all. It is simply a Gazette done into tolerable rhyme; and its chief inspiration comes from its zealous party-feeling. Marlborough, though a first-rate marshal, was not a great man, not by any means so great as Wellington, far less as Napoleon; and how can a heroic poem be written without a hero? Yet the poem fell in with the humour of the times, and was cried up as though it had been another book of the Iliad. Shortly afterwards he published his "Travels," which were thought rather cold and classical. To them succeeded the opera of "Rosamond," which, being ill-set to music, failed on the stage; but became, and is still, a favourite in the closet. It is in the lightest and easiest style of Dryden,—that in which he wrote "Alexander's Feast," and some other of his lyrics,—but is sustained for some fifteen hundred lines with an energy and a grace which we doubt if even Dryden could have equalled. Its verses not only move but dance. The spirit is genial and sunny, and above the mazy motions shines the light of genuine poetry. Johnson truly says, that if Addison had cultivated this style he would have excelled.
From the date of the "Campaign," Addison's life became an ascending scale of promotion. We find him first in Hanover with Lord Halifax, then appointed under-secretary to Sir Charles Hodges, and in a few months after to the Earl of Sunderland. In 1708 he was elected member for Malmesbury, and the next year he accompanied Thomas, Earl of Wharton, Lord-Lieutenant of Ireland, to that country as his secretary, and became Keeper of the Records in Birmingham's Tower,—a nominal office worth £300 a-year. His secretary's salary was £2000 per annum.
Previous to this he had resumed his intimacy with Steele, to whom he lent money, and on one occasion is said to have recovered it by sending a bailiff to his house. This has been called heartless conduct, but the probability is that Addison was provoked by the extravagant use made of the loan by his reckless friend. In Parliament it is well-known Addison never spoke; but he surrounded himself in private life with a parliament of his own, and, like Cato, gave his little senate laws. That senate consisted of Steele, Ambrose, Phillips; the wretched Eustace Budgell, who afterwards drowned himself; sometimes Swift and Pope; and ultimately Tickell, who became his most confidential friend and the depositor of his literary remains. In mixed societies he was silent; but with a few select spirits around him, and especially after the "good wine did the good office" of banishing his bashfulness and taciturnity, he became the most delightful and fascinating of conversers. The staple of his conversation was quiet, sly humour; but there was fine sentiment, touches of pathos, and now and then imagination peeped over like an Alp above meaner hills. Swift alone, we suspect, was his match; but his power lay rather in severe and pungent sarcasm, in broad, coarse, though unsmiling wit, and at times in the fierce and terrible sallies of misanthropic rage and despair. Addison, on leaving England, had, by his modesty, geniality, and amiable manners, become the most popular man in the country, so much so, that, says Swift, "he might be king an' he had a mind."
In Ireland—although he sat as member for Cavan, and appears in Parliament to have got beyond his famous "I conceive—I conceive—I conceive"—(having, as the wag observed, "conceived three times and brought forth nothing"), and spoken sometimes, if not often—he did not feel himself at home. He must have loathed the licentious and corrupt Wharton, and felt besides a longing for the society of London, the noctes coenoeque Deûm he had left behind him. It was in Ireland, however, that his real literary career began. Steele, in the spring of 1709, had commenced the Tatler, a thrice-a-week miscellany of foreign news, town gossip, short sharp papers de omnibus rebus et guibusdum aliis, with a sprinkling of moral and literary criticism. When Addison heard of this scheme, he readily lent his aid to it, and then, as honest Richard admits, "I fared like a distressed prince who calls in a powerful neighbour to his aid,—I was undone by my auxiliary." To the Tatler Addison contributed a number of papers, which, if slighter than his better ones in the Spectator, were nevertheless highly characteristic of his singular powers of observation, character-painting, humour, and invention.
In November 1709, he returned to England, and not long after he shared in the downfall of his party, and lost his secretaryship. This also is thought to have injured him in a tender point. He had already conceived an affection for the Countess-Dowager of Warwick, who had been disposed to encourage the addresses of the Secretary, but looked coldly on those of the mere man and scribbler Joseph Addison, who, to crown his misfortunes at this time, had resigned his Fellowship, suffered some severe pecuniary losses of a kind, and from a quarter which are both obscure, and was trembling lest he should be deprived of his small Irish office too. Yet, although reduced and well-nigh beggared, never did his mind approve itself more rich. Besides writing a great deal in the Tatler, he published a political journal, called the Whig Examiner, in which, although the wit, we think, is not so fine as in his Freeholder, there is a vigour and masculine energy which he has seldom equalled elsewhere. When it expired, Swift exulted over its death in terms which sufficiently proved that he was annoyed and oppressed by its life. "He might well," says Johnson, "rejoice at the death of that which he could not have killed."
On the 2d of January 1711, the last Tatler came forth; and on the 1st of the following March appeared the Spectator, which is now the main pillar of Addison's fame, and the fullest revelation of his exquisite genius. Without being as a whole a great, or in any part of it a profound work, there are few productions which, if lost, would be more missed in literature. One reclines on its pages as on pillows. The sweetness of the spirit,—the trembling beauty of the sentences, like that of a twilight wave just touched by the west wind's balmy breath,—the nice strokes of humour, so gentle, yet so overpowering,—the feminine delicacy and refinement of the allusions,—the art which so dexterously conceals itself,—the mild enthusiasm for the works of man and God which glows in all its serious effusions,—the good nature of its satire,—the geniality of its criticism,—the everlasting April of the style, so soft and vivid,—the purity and healthiness of the moral tone,—and the childlike religion which breathes in the Saturday papers—one or two of which, such as the "Vision of Mirza," are almost scriptural in spirit and beautiful simplicity,—combine to throw a charm around the Spectator which works of far loftier pretensions, if they need not, certainly do not possess. Macaulay (whom we love for his love of Addison and Bunyan more than for aught else about his works) truly observes, that few writers have discovered so much variety and inventiveness as Addison, who, in the papers of a single week, sometimes traverses the whole gamut of literature, supplying keen sarcasm, rich portraiture of character, the epistle, the tale, the allegory, the apologue, the moral essay, and the religious meditation,—all first-rate in quality, and all suggesting the idea that his resources are boundless, and that the half has not been told. His criticisms have been ridiculed as shallow; but while his lucubrations on Milton were useful in their day as plain finger-posts, quietly pointing up to the stupendous sublimities of the theme, his essays on Wit are subtle, and his papers on the "Pleasures of Imagination" throw on the beautiful topic a light like that of a red evening west, giving and receiving glory from the autumnal landscape.
In the end of 1712 the Spectator, which had circulated at one time to the extent of 4000 copies a-day, was discontinued, and in a few weeks the Guardian supplied its place. It was two months ere Addison began to write, and during that time it was flippantly dull; but when he appeared its character changed, and his contributions to the new periodical were quite as good as the best of his Spectators.
In April 1713 his "Cato" was acted with immense success, and in circumstances so well known that they need not be detailed at length. Pope wrote the prologue; Booth enacted the hero; Steele packed the house; peers, both Tory and Whig, crowded the boxes; claps of applause were echoed back from High Churchmen to the members of the "Kit-Cat Club;" Bolingbroke sent fifty guineas, during the progress of the play, to Booth for defending the cause of liberty against a perpetual dictator, (Marlborough;) and with the exception of growling Dennis, everybody was in raptures. The play has long found its level. It has passages of power and thoughts of beauty, but it has one radical fault—formality. Mandeville described Addison as a parson in a tie-wig. "Cato" is a parson without the tie-wig; an intolerable mixture of the patriot and the pedant. Few would now give one of the Spectator's little papers about Sir Roger de Coverley for a century of Catos.
In September 1713 the Guardian
