ton) Chancellor of the Exechequer, to communicate to him the business; and the application was made in so obliging a manner, that he readily undertook the task. Godolphin saw the composition, when the poet had proceeded no farther than the simile of the Angel; and was so well pleased with it, that he immediately made him a Commissioner of Appeals. This celebrated poem, addressed to the Duke of Marlborough, is entitled The Campaign,' and contains a short view of the military transactions in the year 1704, with a minute description of the two: great actions at Schellemberg and Blenheim.† In 1705, Addison published his Travels,' dedicated to Lord Somers. From want of taste, the performance was at first but indifferently treated; but receiving high commendations from the most eminent literati both at home and abroad, it rose to five times it's original price before a second edition could be issued. In these Travels, his chief objects were to recommend the study of the classics, and to promote the cause of liberty; objects, which he had previously pursued in his Epistle to Lord Halifax. Hence Tickell has judiciously observed, that the prosework may be considered as a copious commentary upon the verse.' * And yet upon the subject of this simile, for which see the Life of the Duke of Marlborough, it is recorded that Dr. Madden said, "If I had set ten schoolboys to write on the battle of Blenheim, and eight had brought me the Angel, I should not have been surprised." ↑ Several other eminent writers employed their pens on the same subject; particularly Mr. J. Philips, and Mr. Eusden, subsequently Poet Laureat. Addison's, however, was far the most admired. The same year, he attended Halifax to Hanover; and, in the year following, was appointed as Under Secretary of State to Sir Charles Hedges; in which office he was continued by the succeeding Secretary, the Earl of Sunderland. Operas being at this time much in vogue, many persons of taste and distinction importuned Mr. Addison to make a trial, whether sense and sound were really so incompatible, as by some of the admirers of the Italian pieces they were represented. In compliance with their reiterated requests, he composed his • Rosamond.' It did not, however, by it's success on the stage justify the hopes, by which it had been suggested.* About the same time, he assisted Steele in his play called The Tender Husband,' to which he * From Rosamond,' says Sir John Hawkins, the town had for a considerable time conceived a longing expectation, as well from the character of Addison, as the supposed abilities of the musical composer (Clayton). A criticism on this wretched performance is more than it deserves; but, to account for the bad reception it met with, it is necessary to mention, that the music preponderating against the elegance and humour of the poetry, and the reputation of it's author, bore it down the third night of representation. An ingenious and sensible writer pronounces it a confused chaos of music,' and says it's only merit is it's shortness. The sparrows in the opera of Rinaldo, and the lion in Hydaspes, gave occasion to some of the most diverting papers in The Spectator;' to papers, in which the humour is so strong and poignant, that Mr. Pope on reading them laughed till his sides shook. Mr. Addison perhaps, from the bad success of his Rosamond, was led to think that only nonsense was fit to be set to music; and this error is farther to be accounted for by that want of taste (not to say, of skill) in music, which he manifests in his preference of the French to the Italian composers, and in his general sentiments of music and musicians, in which he is ever wrong! wrote a humorous prologue. Sir Richard, whose gratitude was as warm as his wit, surprised him with a dedication, which may be considered as one of the few monuments of the kind not unworthy of it's subject. In 1709, the Marquis of Wharton, being appointed Lord Lieutenant of Ireland, carried Addison with him thither as his Secretary. Her Majesty also, as a mark of her peculiar favour, augmented the salary annexed to the place of Keeper of the Records in that kingdom, and bestowed it upon him. 6 While he was in Ireland, the Tatler' made it's appearance. Addison detected the author by an observation on Virgil, which had originally been imparted to Steele by himself. This discovery led him to farther communications; * so that, as Steele well remarked, he fared like a distressed prince who calls in a powerful neighbour to his aid, that is, he was undone by his auxiliary.' 6 On the termination of the Tatler' in concert with his great ally he formed the project of the Spectator,'t * 6 Upon the change in the ministry, Addison engaged more extensively in this publication, until it's conclusion in 1711. His papers however not being distinguished by any mark, Steele at the request of Tickell pointed them out, showing him likewise such as they were jointly concerned in: and these, as well as his own, are printed in the second volume of Addison's Works. + In these volumes, the character of Sir Roger de Coverley was Addison's particular favourite. He was so tender indeed of his fame, we are told, that he went to Steele on his engaging the Knight in an intrigue, and would not part with him, until he had promised to meddle with his character no more. Nay, at last, to prevent any absurdities into which the authors of subsequent Spectators might fall, he resolved to remove him wholly of which the first number appeared March 1, 1711. In the course of this celebrated publication, Addison furnished a considerable part of the best papers, distinguished throughout by one of the letters in the name of the muse CLIO. The work closed September 6, 1712. In 1713 and 1714 the Guardian,' a paper written in the same taste and spirit, entertained the town. In this, too, Addison took a large share, and his papers were particularly admired: he, also, contributed once or twice to the Lover,' another periodical paper. 1713, his celebrated tragedy of Cato' appeared. 6 6 In The design of writing a tragedy on that subject he had conceived in early life; and he actually composed a considerable portion of it, while he was on his travels. This he retouched upon his return to England, without any fixed purpose of bringing it on the stage: but, some friends of his apprehending that it might be advantageous to the cause of liberty, he prepared it for the theatre by adding the greatest part of the last act. It's reception was most honourable. All parties applauded it; it ran thirty five nights without interruption; and, what was more to the author's reputation, the best judges declared in it's favour in the closet, with the same enthusiasm with which it had been hailed by the pit. The Prologue was written by Pope,* and the Epilogue by Garth; and it was out of the way; or, as he pleasantly expressed himself to an intimate friend, to "kill Sir Roger, that nobody else might murther him." * The Editor takes the liberty of subjoining his own version of this composition in Latin iambics, executed as a college-exer recommended by many prefatory copies of verses; cise for a friend: the original will easily be referred to, in the Works of Pope. PROLOGUS. Ur sensus tragicâ excitaret arte, Heu mentis nimium, impotensque fastus!) Turba ut fortè sui CATONIS ire |
