No More Learning

'

"If he had seen her in the open field, what occasion had he to track her,
when he had so many Numidian dogs at his heels, which, with one halloo,
he might have set upon her haunches? If he did not see her in the open
field, how could he possibly track her? If he had seen her in the street,
why did he not set upon her in the street, since through the street she
must be carried at last? Now here, instead of having his thoughts upon
his business, and upon the present danger; instead of meditating and
contriving how he shall pass with his mistress through the southern gate,
where her brother Marcus is upon the guard, and where she would certainly
prove an impediment to him, which is the Roman word for the baggage;
instead of doing this, Sempronius is entertaining himself with whimseys:

'_Semp_. How will the young Numidian rave to see
His mistress lost! If aught could glad my soul,
Beyond th' enjoyment of so bright a prize,
'Twould be to torture that young gay barbarian.
But hark! what noise? Death to my hopes! 'tis he,
'Tis Juba's self! There is but one way left!
He must be murder'd, and a passage cut
Through those his guards. '

"Pray, what are 'those his guards? ' I thought, at present, that Juba's
guards had been Sempronius's tools, and had been dangling after his
heels.

"But now let us sum up all these absurdities together. Sempronius goes at
noonday, in Juba's clothes, and with Juba's guards, to Cato's palace,
in order to pass for Juba, in a place where they were both so very well
known: he meets Juba there, and resolves to murder him with his own
guards. Upon the guards appearing a little bashful, he threatens them:

'Hah! dastards, do you tremble!
Or act like men; or, by yon azure heav'n! '--

But the guards still remaining restive, Sempronius himself attacks Juba,
while each of the guards is representing Mr. Spectator's sign of the
Gaper, awed, it seems, and terrified by Sempronius's threats. Juba kills
Sempronius, and takes his own army prisoners, and carries them in triumph
away to Cato. Now, I would fain know, if any part of Mr. Bayes's tragedy
is so full of absurdity as this?

"Upon hearing the clash of swords, Lucia and Marcia come in. The question
is, why no men come in upon hearing the noise of swords in the governor's
hall? Where was the governor himself? Where were his guards? Where were
his servants? Such an attempt as this, so near the person of a governor
of a place of war, was enough to alarm the whole garrison: and yet, for
almost half an hour after Sempronius was killed, we find none of those
appear, who were the likeliest in the world to be alarmed; and the noise
of swords is made to draw only two poor women thither, who were most
certain to run away from it. Upon Lucia and Marcia's coming in, Lucia
appears in all the symptoms of an hysterical gentlewoman:

'_Luc_. Sure 'twas the clash of swords! my troubl'd heart
Is so cast down, and sunk amidst its sorrows,
It throbs with fear, and aches at ev'ry sound! '

And immediately her old whimsey returns upon her:

'O Marcia, should thy brothers, for my sake--
die away with horrour at the thought. '

She fancies that there can be no cutting of throats, but it must be for
her. If this is tragical, I would fain know what is comical. Well! upon
this they spy the body of Sempronius; and Marcia, deluded by the habit,
it seems, takes him for Juba; for says she,

'The face is muffl'd up within the garment. '

"Now, how a man could fight, and fall with his face muffled up in his
garment, is, I think, a little hard to conceive! Besides, Juba, before he
killed him, knew him to be Sempronius. It was not by his garment that he
knew this; it was by his face then; his face, therefore, was not muffled.
Upon seeing this man with the muffled face, Marcia falls a raving; and,
owning her passion for the supposed defunct, begins to make his funeral
oration. Upon which Juba enters listening, I suppose on tiptoe; for I
cannot imagine how any one can enter listening in any other posture. I
would fain know how it came to pass, that during all this time he had
sent nobody, no, not so much as a candle-snuffer, to take away the dead
body of Sempronius. Well! but let us regard him listening. Having left
his apprehension behind him, he, at first, applies what Marcia says to
Sempronius. But finding at last, with much ado, that he himself is the
happy man, he quits his eve-dropping, and discovers himself just time
enough to prevent his being cuckolded by a dead man, of whom the moment
before he had appeared so jealous; and greedily intercepts the bliss
which was fondly designed for one who could not be the better for it. But
here I must ask a question: how comes Juba to listen here, who had not
listened before throughout the play? Or how comes he to be the only
person of this tragedy who listens, when love and treason were so often
talked in so publick a place as a hall? I am afraid the author was driven
upon all these absurdities only to introduce this miserable mistake of
Marcia; which, after all, is much below the dignity of tragedy, as any
thing is which is the effect or result of trick.

"But let us come to the scenery of the fifth act, Cato appears first upon
the scene, sitting in a thoughtful posture; in his hand Plato's treatise
on the Immortality of the Soul, a drawn sword on the table by him. Now
let us consider the place in which this sight is presented to us. The
place, forsooth, is a long hall. Let us suppose, that any one should
place himself in this posture, in the midst of one of our halls in
London; that he should appear solus, in a sullen posture, a drawn sword
on the table by him; in his hand Plato's treatise on the Immortality of
the Soul, translated lately by Bernard Lintot: I desire the reader to
consider, whether such a person as this would pass, with them who beheld
him, for a great patriot, a great philosopher, or a general, or for some
whimsical person who fancied himself all these? and whether the people,
who belonged to the family, would think that such a person had a design
upon their midriffs or his own?

"In short, that Cato should sit long enough, in the aforesaid posture,
in the midst of this large hall, to read over Plato's treatise on the
Immortality of the Soul, which is a lecture of two long hours; that he
should propose to himself to be private there upon that occasion; that he
should be angry with his son for intruding there; then, that he should
leave this hall upon the pretence of sleep, give himself the mortal wound
in his bedchamber, and then be brought back into that hall to expire,
purely to show his good-breeding, and save his friends the trouble of
coming up to his bedchamber; all this appears to me to be improbable,
incredible, impossible. "

Such is the censure of Dennis. There is, as Dryden expresses it, perhaps
"too much horseplay in his raillery;" but if his jests are coarse, his
arguments are strong. Yet, as we love better to be pleased than to be
taught, Cato is read, and the critick is neglected.

Flushed with consciousness of these detections of absurdity in the
conduct, he afterwards attacked the sentiments of Cato; but he then
amused himself with petty cavils, and minute objections.

Of Addison's smaller poems, no particular mention is necessary; they have
little that can employ or require a critick. The parallel of the princes
and gods, in his verses to Kneller, is often happy, but is too well known
to be quoted.

His translations, so far as I have compared them, want the exactness of
a scholar. That he understood his authors cannot be doubted; but his
versions will not teach others to understand them, being too licentiously
paraphrastical. They are, however, for the most part, smooth and easy;
and, what is the first excellence of a translator, such as may be read
with pleasure by those who do not know the originals.

His poetry is polished and pure; the product of a mind too judicious to
commit faults, but not sufficiently vigorous to attain excellence. He has
sometimes a striking line, or a shining paragraph; but, in the whole, he
is warm rather than fervid, and shows more dexterity than strength. He
was, however, one of our earliest examples of correctness.

The versification which he had learned from Dryden, he debased rather
than refined. His rhymes are often dissonant; in his Georgick he admits
broken lines. He uses both triplets and alexandrines, but triplets more
frequently in his translations than his other works. The mere structure
of verses seems never to have engaged much of his care. But his lines are
very smooth in Rosamond, and, too smooth in Cato.

Addison is now to be considered as a critick; a name which the present
generation is scarcely willing to allow him. His criticism is condemned
as tentative or experimental, rather than scientifick; and he is
considered as deciding by taste[202] rather than by principles.

It is not uncommon, for those who have grown wise by the labour of
others, to add a little of their own, and overlook their masters. Addison
is now despised by some who, perhaps, would never have seen his defects,
but by the lights which he afforded them. That he always wrote as
he would think it necessary to write now, cannot be affirmed; his
instructions were such as the character of his readers made propers That
general knowledge which now circulates in common talk, was in his time
rarely to be found. Men not professing learning were not ashamed of
ignorance; and, in the female world, any acquaintance with books was
distinguished only to be censured. His purpose was to infuse literary
curiosity, by gentle and unsuspected conveyance, into the gay, the idle,
and the wealthy; he, therefore, presented knowledge in the most alluring
form, not lofty and austere, but accessible and familiar. When he showed
them their defects, he showed them, likewise, that they might be easily
supplied. His, attempt succeeded; inquiry was awakened, and comprehension
expanded. An emulation of intellectual elegance was excited, and, from
his time to our own, life has been gradually exalted, and conversation
purified and enlarged.

Dryden had, not many years before, scattered criticism, over his prefaces
with very little parsimony; but, though he sometimes condescended to be
somewhat familiar, his manner was in general too scholastick for those
who had yet their rudiments to learn, and found it not easy to understand
their master. His observations were framed rather for those that were
learning to write, than for those that read only to talk.

An instructer like Addison was now wanting, whose remarks being
superficial, might be easily understood, and being just, might prepare
the mind for more attainments.

Had he presented Paradise Lost to the publick with all the pomp of system
and severity of science, the criticism would, perhaps, have been admired,
and the poem still have been neglected; but, by the blandishments of
gentleness and facility, he has made Milton an universal favourite, with
whom readers of every class think it necessary to be pleased.

He descended, now and then, to lower disquisitions; and, by a serious
display of the beauties of Chevy-Chase, exposed himself to the ridicule
of Wagstaffe, who bestowed a like pompous character on Tom Thumb; and to
the contempt of Dennis, who, considering the fundamental position of his
criticism, that Chevy-Chase pleases, and ought to please, because it is
natural, observes, "that there is a way of deviating from nature, by
bombast or tumour, which soars above nature, and enlarges images beyond
their real bulk; by affectation, which forsakes nature in quest of
something unsuitable; and by imbecility, which degrades nature by
faintness and diminution, by obscuring its appearances, and weakening
its effects. " In Chevy-Chase there is not much of either bombast or
affectation; but there is chill and lifeless imbecility. The story cannot
possibly be told in a manner that shall make less impression on the mind.

Before the profound observers of the present race repose too securely on
the consciousness of their superiority to Addison, let them consider
his Remarks on Ovid, in which may be found specimens of criticism
sufficiently subtile and refined: let them peruse, likewise, his essays
on Wit, and on the Pleasures of Imagination, in which he founds art
on the base of nature, and draws the principles of invention from
dispositions inherent in the mind of man with skill and elegance[203],
such as his contemners will not easily attain. As a describer of life and
manners, he must be allowed to stand, perhaps, the first of the first
rank. His humour, which, as Steele observes, is peculiar to himself, is
so happily diffused as to give the grace of novelty to domestick scenes
and daily occurrences. He never "outsteps the modesty of nature," nor
raises merriment or wonder by the violation of truth. His figures neither
divert by distortion, nor amaze by aggravation. He copies life with so
much fidelity, that he can be hardly said to invent; yet his exhibitions
have an air so much original, that it is difficult to suppose them not
merely the product of imagination.

As a teacher of wisdom, he may be confidently followed. His religion has
nothing in it enthusiastick or superstitious: he appears neither weakly
credulous, nor wantonly skeptical; his morality is neither dangerously
lax, nor impracticably rigid. All the enchantment of fancy, and all the
cogency of argument, are employed to recommend to the reader his real
interest, the care of pleasing the author of his being. Truth is shown
sometimes as the phantom of a vision; sometimes appears half-veiled in an
allegory; sometimes attracts regard in the robes of fancy, and sometimes
steps forth in the confidence of reason. She wears a thousand dresses,
and in all is pleasing.

"Mille habet ornatus, mille decenter habet. "

His prose is the model of the middle style; on grave subjects not formal,
on light occasions not grovelling, pure without scrupulosity, and exact
without apparent elaboration; always equable, and always easy, without
glowing words or pointed sentences. Addison never deviates from his
track to snatch a grace; he seeks no ambitious ornaments, and tries no
hazardous innovations. His page is always luminous, but never blazes in
unexpected splendour.

It was, apparently, his principal endeavour to avoid all harshness
and severity of diction; he is, therefore, sometimes verbose in his
transitions and connexions, and sometimes descends too much to the
language of conversation; yet if his language had been less idiomatical,
it might have lost somewhat of its genuine Anglicism. What he
attempted, he performed; he is never feeble, and he did not wish to be
energetick[204]; he is never rapid, and he never stagnates. His sentences
have neither studied amplitude, nor affected brevity: his periods, though
not diligently rounded, are voluble and easy. Whoever wishes to attain an
English style, familiar but not coarse, and elegant but not ostentatious,
must give his days and nights to the volumes of Addison.

[Footnote 154: Mr. Tyers says, he was actually laid out for dead, as soon
as he was born. Addisoniana, ii. 218.

A writer, who signs himself T. J. informed Dr. Birch, (Gen. Dict. i. 62. )
that Mr. Addison's mother was Jane Gulstone, a circumstance that should
not have been omitted. Dr. Launcelot Addison had by his wife six
children: 1. Jane, born April 23,1671. 2. Joseph, 1st May, 1672. 3.
Gulstone, in April, 1673. 4. Dorothy, in May, 1674. 5. Anne, in April,
1676; and 6. Launcelot, in 1680. Both Gulstone and Launcelot, who was a
fellow of Magdalen college, Oxford, were reputed to be very well skilled
in the classicks, and in polite literature. Dr. Addison's living at
Milston was 120_l_. per annum; and after his death his son Joseph was
sued for dilapidations by the next incumbent. The writer abovementioned
informed Dr. Birch, that "there was a tradition at Milston, that when at
school in the country, (probably at Ambrosebury,) having committed some
slight fault, he was so afraid of being corrected for it, that he ran
away from his father's house, and fled into the fields, where he lived
upon fruits, and took up his lodging in a hollow tree, till, upon the
publication of a reward to whoever should find him, he was discovered and
restored to his parents. " M. ]

[Footnote 155: "At the Charter-house (says Oldmixon, who was personally
acquainted with Addison, and as a zealous whig, probably encouraged by
him) he made acquaintance with two persons, for whom he had ever after an
entire friendship, Stephen Clay, esq. of the Inner Temple, author of the
epistle in verse, from the elector of Bavaria to the French king after
the battle of Ramilies; and sir Richard Steele, whom he served both with
his pen and purse. " Hist. of England, xi. 632. M. ]

[Footnote 156: Spence. ]

[Footnote 157: This fact was communicated to Johnson, in my hearing, by a
person of unquestionable veracity, but whose name I am not at liberty to
mention. He had it, as he told us, from lady Primrose, to whom Steele
related it with tears in his eyes. The late Dr. Stinton confirmed it to
me, by saying, that he had heard it from Mr. Hooke, author of the Roman
History; and he, from Mr. Pope. H.

See in Steele's Epistolary Correspondence, 1809, vol. i. pp. 208, 356,
this transaction somewhat differently related. N.

The compiler of Addisoniana is of opinion, that Addison's conduct on
this occasion was dictated by the kindest motives; and that the step
apparently so severe, was designed to awaken him, if possible, to a sense
of the impropriety of his mode and habits of life. ED. ]

[Footnote 158: He took the degree of M. A. Feb. 14, 1693. N. ]

[Footnote 159: A letter which I found among Dr. Johnson's papers, dated
in January, 1784, from a lady in Wiltshire, contains a discovery of some
importance in literary history, viz. that by the initials H. S. prefixed
to the poem, we are not to understand the famous Dr. Henry Sacheverell,
whose trial is the most remarkable incident in his life. The information
thus communicated is, that the verses in question were not an address to
the famous Dr. Sacheverell, but to a very ingenious gentleman of the same
name, who died young, supposed to be a Manksman, for that he wrote the
history of the Isle of Man. That this person left his papers to Mr.
Addison, and had formed a plan of a tragedy upon the death of Socrates,
The lady says, she had this information from a Mr. Stephens, who was a
fellow of Merton college, a contemporary and intimate with Mr. Addison in
Oxford, who died near fifty years ago, a prebendary of Winchester. H. ]

[Footnote 160: Spence. ]

[Footnote 161: A writer already mentioned, J. P. (Gen. Dict, _ut supra_,)
asserts that his acquaintance with Montague commenced at Oxford: but for
this there is no foundation. Mr. Montague was bred at Trinity college,
Cambridge. ]

[Footnote 162: Lord Somers, on this poem being presented to him,
according to Tickell, sent to Addison to desire his acquaintance.
According to Oldmixon, he was introduced to him by Tonson. M. ]

[Footnote 163: Spence. ]

[Footnote 164: See Swift's libel on Dr. Delany. Addison's distress for
money commenced with the death of king William, which happened in March,
1702. In June, 1703, he was at Rotterdam, and seems then to have done
with his _squire_: for in that month the duke of Somerset wrote a letter
to old Jacob Tonson, (of which I have a copy,) proposing that Addison
should be tutor to his son, (who was then going abroad. ) "Neither
lodging, diet, or travelling," says the duke, "shall cost him sixpence:
and over and above that, my son shall present him, at the year's end,
with a hundred guineas, as long as he is pleased to continue in that
service. " Mr. Addison declined this _magnificent_ offer in these words,
as appears from another letter of the duke's to Tonson: "As for the
recompence that is proposed to me, I must confess I can by no means see
my account in it. " M.
]

[Footnote 165: In this letter he uses the phrase _classick ground_, which
has since become so common, but never had been employed before: it was
ridiculed by some of his contemporary writers (I forget which) as very
quaint and affected. M. ]

[Footnote 166: It is incorrect that Addison's stay in foreign countries
was but short. He went to travel in 1700, and did not return till the
latter end of 1703; so that he was abroad near four years. M. ]

[Footnote 167: Addison's father, who was then dean of Lichfield, died in
April, 1703; a circumstance which should have been mentioned on his tomb
at Lichfield: he is said to have been seventy-one. ]

[Footnote 168: Rosamond was first exhibited, March 4th, 1707, and, after
three representations, was laid aside. M. ]

[Footnote 169: Thomas _earl_ of Wharton was constituted lord lieutenant
of Ireland Dec. 4, 1708, and went there in April, 1709. He was not made a
_marquis_ till Dec. 1714. M. ]

[Footnote 170: The first number of the Tatler was published April 12,
1709. The last (271) Jan. 2, 1710-11. The first number of the Spectator
appeared March 1, 1710-11, and N? . 555, which is the last of the seventh
volume, was published Dec. 6, 1712. The paper was then discontinued, and
was recommenced, June 18, 1714, when N? . 556 appeared. From thence, to
N? . 635 inclusive, forms the eighth volume. M. ]

[Footnote 171: This particular number of the Spectator, it is said, was
not published till twelve o'clock, that it might come out precisely at
the hour of her majesty's breakfast, and that no time might be left
for deliberating about serving it up with that meal, as usual. See the
edition of the Tatler with notes, vol. vi. No. 271, note; p. 462, Sec. N. ]

[Footnote 172: Newspapers appear to have had an earlier date than here
assigned. Cleiveland, in his Character of a London Diurnal, says, "the
original sinner of this kind was Dutch; Gallo-belgicus the Protoplast,
and the Modern Mercuries but Hans en kelders. " Some intelligence given by
Mercurius Gallo-belgicus is mentioned in Carew's Survey of Cornwall, p.
126, originally published in 1602. These vehicles of information are
often mentioned in the plays of James and Charles the first. R.

See Idler, N? . 7, and note; and Idler, N? . 40, and note. Ed. ]

[Footnote 173: The errors in this account are explained at considerable
length in the preface to the Spectator, prefixed to the edition in the
British Essayists. The original delineation of sir Roger undoubtedly
belongs to Steele.

See, however, Addisoniana, vol. i. ]

[Footnote 174: That this calculation is not exaggerated, that it is even
much below the real number, see the notes on the Taller, edit. 1786, vol.
vi. 452. N--See likewise prefatory notice to the Rambler, vol. ii. p.
viii. of the present edition. ED. ]

[Footnote 175: Tickell says, "he took up a design of writing a play upon
this subject when he was at the university, and even attempted something
in it then, though not a line as it now stands. The work was performed by
him in his travels, and retouched in England, without any formed design
of bringing it on the stage. " Cibber (Apol. 377. ) says, that in 1704 he
had the pleasure of reading the first four acts of Cato (which were all
that were then written) privately with sir Richard Steele; and Steele
told him they were written in Italy. M. ]

[Footnote 176: The story about Hughes was first told by Oldmixon, in his
Art of Criticism, 1728. M. ]

[Footnote 177: Spence. ]

[Footnote 178: Alluding to the duke of Marlborough, at that time
suspected of an ambitious aim to obtain the post of general in chief for
life. ED. ]

[Footnote 179: Spence. ]

[Footnote 180: The Guardian was published in the interval between the
Spectator's being laid down and taken up again. The first number was
published March 12, 1713; and the last appeared October 1st, 1713. M. ]

[Footnote 181: From a tory song in vogue at the time, the burden whereof
is,

And he, that will this health deny,
Down among the dead men let him lie.

H. ]

[Footnote 182: Addison wrote twenty-three papers out of forty-five, viz.
Numbs. 556, 557, 558, 559, 561, 562. 565. 567, 568, 569. 571. 574, 575.
579, 580. 582,583, 584, 585. 590. 592. 598. 600; so that he produced more
than one half. ]

[Footnote 183: When lord Sunderland was appointed lord lieutenant of
Ireland, in 1714, Addison was appointed his secretary. Johnson has
omitted another step in his promotions. He was, in 1715, made a lord of
trade. M. ]

[Footnote 184: August 2. ]

[Footnote 185: Spence. ]

[Footnote 186: It has been said, that Addison first discovered his
addresses to the countess of Warwick would not be unacceptable, from the
manner of her receiving such an article in the newspapers, of his own
inserting, at which, when he read it to her, he affected to be much
astonished. Many anecdotes are on record of Addison's tavern resorts when
Holland-house was rendered disagreeable by the haughty caprices of his
aristocratic bride. When he had suffered any vexation from her, he would
propose to withdraw the club from Button's, who had been a servant in the
countess's family. ED. ]

[Footnote 187: Spence. ]

[Footnote 188: Spence. ]

[Footnote 189: This is inaccurately stated. Pope does not mention the
conjecture of Tonson at all. Spence himself has mentioned it from
Tonson's own information; for he has subscribed the name of Tonson to the
paragraph in question, according to his constant practice of stating the
name of his informer. M. ]

[Footnote 190: Spence. ]

[Footnote 191: This account of Addison's death is from Dr. Young, who
calls lord Warwick a youth finely accomplished; and does not give the
least ground for the representation in the text, that he was of irregular
life, and that this was a last effort of Addison's to reclaim him.
M. --Dr. Young was far too much of a courtier to see the vices of a
peer, but even his guarded statement does give ground for Dr. Johnson's
conclusion. His words are, "finely accomplished, but not above being the
better for good impressions from a dying friend. " ED. ]

[Footnote 192: Who died at Bilton, in Warwickshire, at a very advanced
age, in 1797. See Gent. Mag. vol. lxvii. p. 256. 385. N. ]

[Footnote 193: Spence. ]

[Footnote 194: Tonson and Spence. ]

[Footnote 195: Spence. ]

[Footnote 196: Spence. ]

[Footnote 197: Spence. ]

[Footnote 198: "Paint means," says Dr. Warton, "express, or describe
them. "]

[Footnote 199: But, according to Dr. Warton, "ought not to have
intended. "]

[Footnote 200: Spence. ]

[Footnote 201: The person meant by the initials, J. G. is sir John Gibson,
lieutenant-governor of Portsmouth in the year 1710, and afterwards. He
was much beloved in the army, and by the common soldiers called Johnny
Gibson. H. ]

[Footnote 202: Taste must decide. WARTON. ]

[Footnote 203: Far, in Dr. Warton's opinion, beyond Dryden. ]

[Footnote 204: But, says Dr. Warton, he sometimes is so; and, in another
manuscript note, he adds, often so. ]




HUGHES

John Hughes, the son of a citizen of London, and of Anne Burgess, of an
ancient family in Wiltshire, was born at Marlborough, July 29, 1677. He
was educated at a private school; and though his advances in literature
are in the Biographia very ostentatiously displayed, the name of his
master is somewhat ungratefully concealed[205].

At nineteen he drew the plan of a tragedy; and paraphrased, rather too
diffusely, the ode of Horace which begins "Integer vitas. " To poetry
he added the science of musick, in which he seems to have attained
considerable skill, together with the practice of design, or rudiments of
painting.

His studies did not withdraw him wholly from business, nor did business
hinder him from study. He had a place in the office of ordnance; and was
secretary to several commissions for purchasing lands necessary to secure
the royal docks at Chatham and Portsmouth; yet found time to acquaint
himself with modern languages.

In 1697 he published a poem on the Peace of Ryswick: and, in 1699,
another piece, called the Court of Neptune, on the return of king
William, which he addressed to Mr. Montague, the general patron of the
followers of the muses. The same year he produced a song on the duke of
Gloucester's birthday.

He did not confine himself to poetry, but cultivated other kinds of
writing with great success; and about this time showed his knowledge of
human nature by an essay on the Pleasure of being deceived. In 1702, he
published, on the death of king William, a Pindarick ode, called the
House of Nassau; and wrote another paraphrase on the "Otium Divos" of
Horace.

In 1703, his ode on Musick was performed at Stationers' hall; and he
wrote afterwards six cantatas, which were set to musick by the greatest
master of that time, and seem intended to oppose or exclude the Italian
opera, an exotick and irrational entertainment, which has been always
combated, and always has prevailed.

His reputation was now so far advanced, that the publick began to pay
reverence to his name; and he was solicited to prefix a preface to the
translation of Boccalini, a writer whose satirical vein cost him his life
in Italy, but who never, I believe, found many readers in this country,
even though introduced by such powerful recommendation.

He translated Fontenelle's Dialogues of the Dead; and his version was,
perhaps, read at that time, but is now neglected; for by a book not
necessary, and owing its reputation wholly to its turn of diction, little
notice can be gained but from those who can enjoy the graces of the
original. To the dialogues of Fontenelle he added two composed by
himself; and, though not only an honest but a pious man, dedicated his
work to the earl of Wharton. He judged skilfully enough of his own
interest; for Wharton, when he went lord lieutenant to Ireland, offered
to take Hughes with him, and establish him; but Hughes, having hopes or
promises from another man in power, of some provision more suitable to
his inclination, declined Wharton's offer, and obtained nothing from the
other.

He translated the Miser of Moliere, which he never offered to the stage;
and occasionally amused himself with making versions of favourite scenes
in other plays.

Being now received as a wit among the wits, he paid his contributions
to literary undertakings, and assisted both the Tatler, Spectator, and
Guardian. In 1712, he translated Vertot's History of the Revolution of
Portugal; produced an Ode to the Creator of the World, from the Fragments
of Orpheus; and brought upon the stage an opera, called Calypso and
Telemachus, intended to show that the English language might be very
happily adapted to musick. This was impudently opposed by those who
were employed in the Italian opera; and, what cannot be told without
indignation, the intruders had such interest with the duke of Shrewsbury,
then lord chamberlain, who had married an Italian, as to obtain an
obstruction of the profits, though not an inhibition of the performance.

There was, at this time, a project formed by Tonson for a translation of
the Pharsalia by several hands; and Hughes englished the tenth book.
But this design, as must often happen where the concurrence of many
is necessary, fell to the ground; and the whole work was afterwards
performed by Rowe.

His acquaintance with the great writers of his time appears to have been
very general; but of his intimacy with Addison there is a remarkable
proof. It is told, on good authority, that Cato was finished and played
by his persuasion. It had long wanted the last act, which he was desired
by Addison to supply. If the request was sincere, it proceeded from an
opinion, whatever it was, that did not last long; for when Hughes came
in a week to show him his first attempt, he found half an act written by
Addison himself.

He afterwards published the works of Spenser, with his life, a glossary,
and a discourse on allegorical poetry; a work for which he was well
qualified as a judge of the beauties of writing, but, perhaps, wanted an
antiquary's knowledge of the obsolete words. He did not much revive
the curiosity of the publick; for near thirty years elapsed before his
edition was reprinted. The same year produced his Apollo and Daphne, of
which the success was very earnestly promoted by Steele, who, when the
rage of party did not misguide him, seems to have been a man of boundless
benevolence.

Hughes had hitherto suffered the mortifications of a narrow fortune;
but, in 1717, the lord chancellor Cowper set him at ease, by making him
secretary to the commissions of the peace; in which he afterwards, by a
particular request, desired his successor, lord Parker, to continue him.
He had now affluence; but such is human life, that he had it when his
declining health could neither allow him long possession, nor quick
enjoyment.

His last work was his tragedy, the Siege of Damascus, after which, a
Siege became a popular title. This play, which still continues on the
stage, and of which it is unnecessary to add a private voice to such
continuance of approbation, is not acted or printed according to the
author's original draught, or his settled intention. He had made Phocyas
apostatize from his religion; after which the abhorrence of Eudocia would
have been reasonable, his misery would have been just, and the horrours
of his repentance exemplary. The players, however, required, that the
guilt of Phocyas should terminate in desertion to the enemy; and Hughes,
unwilling that his relations should lose the benefit of his work,
complied with the alteration.

He was now weak with a lingering consumption, and not able to attend
the rehearsal; yet was so vigorous in his faculties, that only ten days
before his death he wrote the dedication to his patron lord Cowper. On
February 17, 1719-20, the play was represented, and the author died.
He lived to hear that it was well received; but paid no regard to
the intelligence, being then wholly employed in the meditations of a
departing Christian.

A man of his character was, undoubtedly, regretted; and Steele devoted
an essay, in the paper called the Theatre, to the memory of his virtues.
His life is written in the Biographia with some degree of favourable
partiality; and an account of him is prefixed to his works by his
relation, the late Mr. Buncombe, a man whose blameless elegance deserved
the same respect.

The character of his genius I shall transcribe from the correspondence of
Swift and Pope.

"A month ago," says Swift, "were sent me over, by a friend of mine, the
works of John Hughes, esquire. They are in prose and verse. I never heard
of the man in my life, yet I find your name as a subscriber. He is too
grave a poet for me; and I think among the mediocrists, in prose as well
as verse. "

To this Pope returns: "To answer your question as to Mr. Hughes; what he
wanted in genius, he made up as an honest man; but he was of the class
you think him[206]. "

In Spence's Collections Pope is made to speak of him with still less
respect, as having no claim to poetical reputation but from his tragedy.

[Footnote 205: He was educated in a dissenting academy, of which the
reverend Mr. Thomas Rowe was tutor; and was a fellow-student there with
Dr. Isaac Watts, Mr. Samuel Say, and other persons of eminence. In the
Hora Lyricae of Dr. Watts, is a poem to the memory of Mr. Rowe.