[1] From a Tory background, he was well-connected in the political and literary world, and made a mark by his championing of Italian poets and a burlesque style of verse based on their influence as satirists.
[1] His post as Clerk of Pleas was considered by William Cobbett to be a sinecure;[4] and Nathaniel Wraxall saw Rose's appointments as an example of his father's nepotism.
[7] In 1809 the unit was incorporated into the South-West Hampshire Local Militia based at Romsey and commanded by the future Prime Minister Lord Palmerston, who was Secretary at War.
[9] On this trip he suffered an attack of apoplexy in Verona, reported in a letter of Countess of Albany to Ugo Foscolo, saying he had lost the use of one side, and had gone to the baths at Abano Terme.
[2][12][13][14] Henry Crabb Robinson's diary records Rose at a breakfast given by Samuel Rogers, 6 January 1834: "a deaf and rheumatic man, who looks prematurely old".
[5][16] Rose was associated with wits of the Anti-Jacobin circle, such as George Canning and John Hookham Frere, Tories who also gravitated to the group around the Quarterly Review.
[2] Beppo: A Venetian Story was Byron's 1818 poem which in terms of style and tone, and the use of ottava rima, owed something to the "Whistlecraft" Arthurian burlesque published by Frere, for Rose, as Prospectus and Specimen of an intended National Work (1817), and later (after expansion) known as The Monks and the Giants (1818).
[2] Rose, in his verse epistle to Frere, published 1834, called Frere "father of his [Byron's] final song", with a footnote: In which I comprehend Beppo and Don Juan, and to warrant my assertion, it is fitting I should mention that Lord Byron made this avowal to me at Venice, and said he should have inscribed Beppo to him that had served him as a model, if he had been sure it would not have been disagreeble, supposing (as I conclude) that some passages in it might have offended him.
[20]Despite his Tory background, and personal connection to followers of William Pitt the younger, Rose came to join the Holland House set of Whigs.
The publisher John Murray II, seeing the success of Beppo as setting a new literary trend, commissioned the work, on which Rose had already made a start, for part publication.
[25] Philip Hobsbaum in the Oxford Dictionary of National Biography called this animal tale Rose's main claim to critical attention.