dramatic representation; and in the bowers and shades of Woodstock, the poet had materials for scenic description and display. The genius of Addison, however, was not adapted to the drama; and his opera being confined in action, and written wholly in rhyme, possesses little to attract either readers or spectators. He wrote also a comedy, The Drummer, or the Haunted House, which Steele brought out after the death of the author. This play contains a fund of quiet natural humour, but has not strength or breadth enough of character or action for the stage. Addison next entered upon his brilliant career as an essayist, and by his papers in the Tatler, Spectator, and Guardian, left all his contemporaries far behind in this delightful department of literature. In these papers, he first displayed that chaste and delicate humour, refined observation, and knowledge of the world, which now form his most distinguishing characteristics; and in his Vision of Mirza, his Reflections in Westminster Abbey, and other of his graver essays, he evinced a more poetical imagination and deeper vein of feeling than his previous writings had at all indicated. In 1713, his tragedy of Cato was brought upon the stage. Pope thought the piece deficient in dramatic interest, and the world has confirmed his judgment; but he wrote a prologue for the tragedy in his happiest manner, and it was performed with almost unexampled success. Party spirit ran high: the Whigs applauded the liberal sentiments in the play, and their cheers were echoed back by the Tories, to show that they did not apply them as censures on themselves. After all the Whig enthusiasm, Lord Bolingbroke sent for Booth the actor, who personated the character of Cato, and presented him with fifty guineas, in acknowledgment, as he said, of his defending the cause of liberty so well against a perpetual dictator (a hit at the Duke of Marlborough). Poetical eulogiums were showered upon the author, Steele, Hughes, Young, Tickell, and Ambrose Philips, being among the writers of these encomiastic verses. The queen expressed a wish that the tragedy should be dedicated to her, but Addison had previously designed this honour for his friend Tickell; and to avoid giving offence either to his loyalty or his friendship, he published it without any dedication. It was translated into French, Italian, and German, and was performed by the Jesuits in their college at St Omers. 'Being,' says Sir Walter Scott, in form and essence rather a French than an English play, it is one of the few English tragedies which foreigners have admired.' The unities of time and place have been preserved, and the action of the play is consequently much restricted. Cato abounds in generous and patriotic sentiments, and contains passages of great dignity and sonorous diction; but the poet fails to unlock the sources of passion and natural emotion. It is a splendid and imposing work of art, with the grace and majesty, and also the lifelessness, of a noble antique statue. Addison was now at the height of his fame. He had long aspired to the hand of the countess-dowager of Warwick, whom he had first known by becoming tutor to her son, and he was united to her in 1716. The poet married discord in a noble wife.' His marriage was as unhappy as Dryden's with Lady Elizabeth Howard. Both ladies awarded to their husbands 'the heraldry of hands, not hearts,' and the fate of the poets should serve as beacons to warn ambitious literary adventurers. Addison received his highest political honour in 1717, when he was made secretary of state; but he held the office only for a short time. He wanted the physical boldness and ready resources of an effective public speaker, and was unable to defend his measures in parlia

ment. He is also said to have been slow and fastidious in the discharge of the ordinary duties of office. When he held the situation of under secretary, he was employed to send word to Prince George at Hanover of the death of the queen, and the vacancy of the throne; but the critical nicety of the author overpowered his official experience, and Addison was so distracted by the choice of expression, that the task was given to a clerk, who boasted of having done what was too hard for Addison. The love of vulgar wonder may have exaggerated the poet's inaptitude for business, but it is certain he was no orator. He retired from the principal secretaryship with a pension of £1500 per annum, and during his retirement, engaged himself in writing a work on the

Addison's Walk, Magdalen College, Oxford.

Evidences of the Christian Religion, which he did not live to complete. He was oppressed by asthma and dropsy, and was conscious that he should die at comparatively an early age. Two anecdotes are related of his deathbed. He sent, as Pope relates, a message by the Earl of Warwick to Gay, desiring to see him. Gay obeyed the summons; and Addison begged his forgiveness for an injury he had done him, for which, he said, he would recompense him if he recovered. The nature or extent of the injury he did not explain, but Gay supposed it referred to his having prevented some preferment designed for him by the court. At another time, he requested an interview of the Earl of Warwick, whom he was anxious to reclaim from a dissipated and licentious life. I have sent for you,' he said, 'that you may see in what peace a Christian can die.' The event thus calmly anticipated took place in Holland house on the 17th of June 1719. A minute or critical review of the daily life of Addison, and his intercourse with his literary associates, is calculated to diminish our reverence and affection. The quarrels of rival wits have long been proverbial, and Addison was also soured by political differences and contention. His temper was jealous and taciturn

(until thawed by wine); and the satire of Pope, that he could bear no rival near the throne,' seems to have been just and well-founded. His quarrels with Pope and Steele throw some disagreeable shades among the lights and beauties of the picture; but enough will still remain to establish Addison's title to the character of a good man and a sincere Christian. The uniform tendency of all his writings is his best and highest eulogium. No man can dissemble upon paper through years of literary exertion, or on topics calculated to disclose the bias of his tastes and feelings, and the qualities of his heart and temper. The display of these by Addison is so fascinating and unaffected, that the impression made by his writings, as has been finely remarked, is like being recalled to a sense of something like that original purity from which man has been long estranged.'

Holland House.

A 'Life of Addison,' in two volumes, by Lucy Aiken, published in 1843, contains several letters supplied by a descendant of Tickell. This work is written in a strain of unvaried eulogium, and is frequently unjust to Steele, Pope, and the other contemporaries of Addison. The most interesting of the letters were written by Addison during his early travels; and though brief, and often incorrect, contain touches of his inimitable pen. He thus records his impressions of France:Truly, by what I have yet seen, they are the happiest nation in the world. "Tis not in the power of want or slavery to make 'em miserable. There is nothing to be met with in the country but mirth and poverty. Every one sings, laughs, and starves. Their conversation is generally agreeable; for if they have any wit or sense, they are sure to show it. They never mend upon a second meeting, but use all the freedom and familiarity at first sight that a long intimacy or abundance of wine can scarce draw from an Englishman. Their women are perfect mistresses in this art of showing themselves to the best advantage. They are always gay and sprightly, and set off the worst faces in Europe with the best airs. Every one knows how to give herself as charming a look and posture as Sir Godfrey Kneller could draw her in.'

After some further experience, he recurs to the same subject: I have already seen, as I informed you in my last, all the king's palaces, and have now seen a great part of the country; I never thought there had been in the world such an excessive magnificence or poverty as I have met with in both together. One can scarce conceive the pomp that appears in everything about the king; but at the same time it makes half his subjects go bare-foot. The people are, however, the happiest in the world, and enjoy from the benefit of their climate and natural constitution such a perpetual mirth and easiness of temper, as even liberty and plenty cannot bestow on those of other nations. Devotion and loyalty are everywhere at their greatest height, but learning seems to run very low, especially in the younger people; for all the rising geniuses have turned their ambition another way, and endeavoured to make their fortunes in the army. The belles lettres in particular seem to be but short-lived in France.'

In acknowledging a present of a snuff-box, we see traces of the easy wit and playfulness of the Spectator:- About three days ago, Mr Bocher put a very pretty snuff-box in my hand. I was not a little pleased to hear that it belonged to myself, and was much more so when I found it was a present from a gentleman that I have so great an honour for. You do not probably foresee that it would draw on you the trouble of a letter, but you must blame yourself for it. For my part, I can no more accept of a snuff-box without returning my acknowledgments, than I can take snuff without sneezing after it. This last, I must own to you, is so great an absurdity, that I should be ashamed to confess it, were not I in hopes of correcting it very speedily. I am observed to have my box oftener in my hand than those that have bin used to one these twenty years, for I can't forbear taking it out of my pocket whenever I think of Mr Dashwood. You know Mr Bays recommends snuff as a great provocative to wit, but you may produce this letter as a standing evidence against him. I have, since the beginning of it, taken above a dozen pinches, and still find myself much more inclined to sneeze than to jest. From whence I conclude, that wit and tobacco are not inseparable; or to make a pun of it, tho' a man may be master of a snuff-box,

"Non cuicunque datum est habere Nasam."

I should be afraid of being thought a pedant for my quotation, did not I know that the gentleman I am writing to always carrys a Horace in his pocket.'

The same taste which led Addison, as we have seen, to censure as fulsome the wild and gorgeons genius of Spenser, made him look with indifference, if not aversion, on the splendid scenery of the Alps: I am just arrived at Geneva,' he says, 'by a very troublesome journey over the Alps, where I have been for some days together shivering among the eternal snows. My head is still giddy with mountains and precipices, and you can't imagine how much I am pleased with the sight of a plain, that is as agreeable to me at present as a shore was about a year ago, after our tempest at Genoa.'

The matured powers of Addison show little of this tame prosaic feeling. The higher of his essays, and his criticism on the Paradise Lost, betray no insensibility to the nobler beauties of creation, or the sublime effusions of genius. His conceptions were enlarged, and his mind expanded, by that literary study and reflection from which his political ambition never divorced him even in the busiest and most engrossing period of his life.

[From the Letter from Italy.]

For wheresoe'er I turn my ravish'd eyes,
Gay gilded scenes and shining prospects rise;
Poetic fields encompass me around,
And still I seem to tread on classic ground;1
For here the muse so oft her harp has strung,
That not a mountain rears its head unsung;
Renown'd in verse each shady thicket grows,
And every stream in heavenly numbers flows.
See how the golden groves around me smile,
That shun the coast of Britain's stormy isle;
Or when transplanted and preserved with care,
Curse the cold clime, and starve in northern air.
Here kindly warmth their mounting juice ferments
To nobler tastes, and more exalted scents;
Even the rough rocks with tender myrtle bloom,
And trodden weeds send out a rich perfume.
Bear me, some god, to Baia's gentle seats,
Or cover me in Umbria's green retreats;
Where western gales eternally reside,
And all the seasons lavish all their pride;
Blossoms, and fruits, and flowers together rise,
And the whole year in gay confusion lies.
How has kind heaven adorn'd the happy land,
And scatter'd blessings with a wasteful hand!
But what avail her unexhausted stores,
Her blooming mountains, and her sunny shores,
With all the gifts that heaven and earth impart,
The smiles of nature, and the charms of art,
While proud oppression in her valleys reigns,
And tyranny usurps her happy plains?
The poor inhabitant beholds in vain

*

The redd'ning orange, and the swelling grain:
Joyless he sees the growing oils and wines,
And in the myrtle's fragrant shade repines:
Starves in the midst of nature's bounty curst,
And in the loaded vineyard dies for thirst.

O liberty, thou goddess heavenly bright,
Profuse of bliss, and pregnant with delight!
Eternal pleasures in thy presence reign,
And smiling plenty leads thy wanton train;
Eas'd of her load, subjection grows more light,
And poverty looks cheerful in thy sight;
Thou mak'st the gloomy face of nature gay,
Giv'st beauty to the sun, and pleasure to the day.
Thee, goddess, thee, Britannia's isle adores;
How has she oft exhausted all her stores,
How oft in fields of death thy presence sought,
Nor thinks the mighty prize too dearly bought!
On foreign mountains may the sun refine
The grape's soft juice, and mellow it to wine;
With citron groves adorn a distant soil,
And the fat olive swell with floods of oil:
We envy not the warmer clime, that lies

In ten degrees of more indulgent skies;

Nor at the coarseness of our heaven repine,

Though o'er our heads the frozen Pleiads shine: 'Tis liberty that crowns Britannia's isle,

And makes her barren rocks and her bleak mountains smile.

Ode.

How are thy servants blest, O Lord!

How sure is their defence!

Eternal wisdom is their guide,

Their help Omnipotence.

In foreign realms, and lands remote,
Supported by thy care,

Through burning climes I pass'd unhurt,
And breathed in tainted air.

1 Malone states that this was the first time the phrase classic ground, since so common, was ever used. It was ridiculed by some contemporaries as very quaint and affected.

Thy mercy sweeten'd every soil,

Made every region please;
The hoary Alpine hills it warm'd,
And smooth'd the Tyrrhene seas.

Think, O my soul! devoutly think,
How, with affrighted eyes,
Thou saw'st the wide-extended deep
In all its horrors rise.

Confusion dwelt on every face,
And fear in every heart,

When waves on waves, and gulfs on gulfs,
O'ercame the pilot's art.

Yet then from all my griefs, O Lord!
Thy mercy set me free;
Whilst in the confidence of prayer

My soul took hold on thee.

For though in dreadful whirls we hung
High on the broken wave,*

I knew thou wert not slow to hear,
Nor impotent to save.

The storm was laid, the winds retir'd,
Obedient to thy will;

The sea that roar'd at thy command,
At thy command was still.

In midst of dangers, fears, and death,
Thy goodness I'll adore;
I'll praise thee for thy mercies past,
And humbly hope for more.

My life, if thou preserv'st my life,

Thy sacrifice shall be;

And death, if death must be my doom,
Shall join my soul to thee.

Ode.

The spacious firmament on high,
With all the blue ethereal sky,
And spangled heavens, a shining frame,
Their great original proclaim:
Th' unwearied sun, from day to day,
Does his Creator's power display,
And publishes to every land
The work of an Almighty hand.

Soon as the evening shades prevail,
The moon takes up the wond'rous tale,
And nightly to the list'ning earth
Repeats the story of her birth:
Whilst all the stars that round her burn,
And all the planets in their turn,
Confirm the tidings as they roll,
And spread the truth from pole to pole.

What, though in solemn silence, all
Move round the dark terrestrial ball?
What though nor real voice nor sound
Amid their radiant orbs be found?
In reason's ear they all rejoice,
And utter forth a glorious voice,
For ever singing, as they shine,
The hand that made us is divine.

*The earliest composition that I recollect taking any pleasure in was the Vision of Mirza, and a hymn of Addison's, beginning, "How are thy servants blest, O Lord!" I particularly remember one half-stanza, which was music to my boyish ear:

"For though in dreadful whirls we hung
High on the broken wave."

Burns-Letter to Dr Moore.