But what does he mean by,
'Marcia, the charming Marcia's left behind?
'Marcia, the charming Marcia's left behind?
Samuel Johnson - Lives of the Poets - 1
There is no reason to doubt, that he suffered
too much pain from the prevalence of Pope's poetical reputation; nor is
it without strong reason suspected, that by some disingenuous acts he
endeavoured to obstruct it; Pope was not the only man whom he insidiously
injured, though the only man of whom he could be afraid.
His own powers were such as might have satisfied him with conscious
excellence. Of very extensive learning he has, indeed, given no proofs.
He seems to have had small acquaintance with the sciences, and to have
read little except Latin and French; but, of the Latin poets, his
Dialogues on Medals show that, he had perused the works with great
diligence and skill. The abundance of his own mind left him little
need of adventitious sentiments; his wit always could suggest what the
occasion demanded. He had read, with critical eyes, the important volume
of human life, and knew the heart of man from the depths of stratagem to
the surface of affectation.
What he knew he could easily communicate. "This," says Steele, "was
particular in this writer, that, when he had taken his resolution, or
made his plan for what he designed to write, he would walk about a room,
and dictate it into language, with as much freedom and ease as any one
could write it down, and attend to the coherence and grammar of what he
dictated. "
Pope[195], who can be less suspected of favouring his memory, declares
that he wrote very fluently, but was slow and scrupulous in correcting;
that many of his Spectators were written very fast, and sent immediately
to the press; and that it seemed to be for his advantage not to have time
for much revisal.
"He would alter," says Pope, "any thing to please his friends, before
publication; but would not retouch his pieces afterwards: and, I believe,
not one word in Cato, to which I made an objection, was suffered to
stand. "
The last line of Cato is Pope's, having been originally written,
And, oh! 'twas this that ended Cato's life.
Pope might have made more objections to the six concluding lines. In the
first couplet the words, "from hence," are improper; and the second line
is taken from Dryden's Virgil. Of the next couplet, the first verse being
included in the second, is, therefore, useless; and in the third, discord
is made to produce strife.
Of the course of Addison's familiar day[196], before his marriage, Pope
has given a detail. He had in the house with him Budgell, and, perhaps,
Philips. His chief companions were Steele, Budgell, Philips, Carey,
Davenant, and colonel Brett. With one or other of these he always
breakfasted. He studied all morning; then dined at a tavern; and went
afterwards to Button's.
Button had been a servant in the countess of Warwick's family; who, under
the patronage of Addison, kept a coffee-house on the south side of Russel
street, about two doors from Covent garden. Here it was that the wits of
that time used to assemble. It is said, that when Addison had suffered
any vexation from the countess, he withdrew the company from Button's
house.
From the coffee-house he went again to a tavern, where he often sat late,
and drank too much wine. In the bottle, discontent seeks for comfort,
cowardice for courage, and bashfulness tot confidence. It is not unlikely
that Addison was first seduced to excess by the manumission which he
obtained from the servile timidity of his sober hours. He that feels
oppression from the presence of those to whom he knows himself superiour,
will desire to set loose his powers of conversation; and who, that ever
asked succours from Bacchus, was able to preserve himself from being
enslaved by his auxiliary?
Among those friends it was that Addison displayed the elegance of his
colloquial accomplishments, which may easily be supposed such as Pope
represents them. The remark of Mandeville, who, when he had passed an
evening in his company, declared that he was a parson in a tie-wig, can
detract little from his character; he was always reserved to strangers,
and was not incited to uncommon freedom by a character like that of
Mandeville.
From any minute knowledge of his familiar manners, the intervention of
sixty years has now debarred us. Steele once promised Congreve and the
publick a complete description of his character; but the promises of
authors are like the vows of lovers. Steele thought no more on his
design, or thought on it with anxiety that at last disgusted him, and
left his friend in the hands of Tickell.
One slight lineament of his character Swift has preserved. It was his
practice, when he found any man invincibly wrong, to flatter his opinions
by acquiescence, and sink him yet deeper in absurdity. This artifice
of mischief was admired by Stella; and Swift seems to approve her
admiration.
His works will supply some information. It appears, from his various
pictures of the world, that, with all his bashfulness, he had conversed
with many distinct classes of men, had surveyed their ways with very
diligent observation, and marked, with great acuteness, the effects
of different modes of life. He was a man in whose presence nothing
reprehensible was out of danger; quick in discerning whatever was wrong
or ridiculous, and not unwilling to expose it. "There are," says Steele,
"in his writings many oblique strokes upon some of the wittiest paen of
the age. " His delight was more to excite merriment than detestation; and
he detects follies rather than crimes.
If any judgment be made, from his books, of his moral character, nothing
will be found but purity and excellence. Knowledge of mankind, indeed,
less extensive than that of Addison, will show, that to write, and to
live, are very different. Many who praise virtue, do no more than praise
it. Yet it is reasonable to believe that Addison's professions and
practice were at no great variance, since, amidst that storm of faction
in which most of his life was passed, though his station made him
conspicuous, and his activity made him formidable, the character given
him by his friends was never contradicted by his enemies: of those, with
whom interest or opinion united him, he had not only the esteem, but the
kindness; and of others, whom the violence of opposition drove against
him, though he might lose the love, he retained the reverence.
It is justly observed by Tickell, that he employed wit on the side of
virtue and religion. He not only made the proper use of wit himself, but
taught it to others; and from his time it has been generally subservient
to the cause of reason and of truth. He has dissipated the prejudice that
had long connected gaiety with vice, and easiness of manners with
laxity of principles. He has restored virtue to its dignity, and taught
innocence not to be ashamed. This is an elevation of literary character,
"above all Greek, above all Roman fame. " No greater felicity can genius
attain, than that of having purified intellectual pleasure, separated
mirth from indecency, and wit from licentiousness; of having taught
a succession of writers to bring elegance and gaiety to the aid of
goodness; and, if I may use expressions yet more awful, of having "turned
many to righteousness. "
Addison, in his life, and for some time afterwards, was considered, by
the greater part of readers, as supremely excelling both in poetry
and criticism. Part of his reputation may be probably ascribed to
the advancement of his fortune: when, as Swift observes, he became a
statesman, and saw poets waiting at his levee, it is no wonder that
praise was accumulated upon him. Much, likewise, may be more honourably
ascribed to his personal character: he who, if he had claimed it, might
have obtained the diadem, was not likely to be denied the laurel.
But time quickly puts an end to artificial and accidental fame; and
Addison is to pass through futurity protected only by his genius. Every
name, which kindness or interest once raised too high, is in danger, lest
the next age should, by the vengeance of criticism, sink it in the same
proportion. A great writer has lately styled him "an indifferent poet,
and a worse critick. "
His poetry is first to be considered; of which it must be confessed,
that it has not often those felicities of diction which give lustre to
sentiments, or that vigour of sentiment that animates diction; there
is little of ardour, vehemence, or transport; there is very rarely the
awfulness of grandeur, and not very often the splendour of elegance. He
thinks justly; but he thinks faintly. This is his general character; to
which, doubtless, many single passages will furnish exceptions.
Yet, if he seldom reaches supreme excellence, he rarely sinks into
dulness, and is still more rarely entangled in absurdity. He did not
trust his powers enough to be negligent. There is, in most of his
compositions, a calmness and equability, deliberate and cautious,
sometimes with little that delights, but seldom with any thing that
offends.
Of this kind seem to be his poems to Dryden, to Somers, and to the king.
His ode on St. Cecilia has been imitated by Pope, and has something in it
of Dryden's vigour. Of his account of the English poets, he used to speak
as a "poor thing[197];" but it is not worse than his usual strain. He has
said, not very judiciously, in his character of Waller,
Thy verse could show ev'n Cromwell's innocence,
And compliment the storms that bore him hence.
O! had thy muse not come an age too soon,
But seen great Nassau on the British throne,
How had his triumph glitter'd in thy page!
What is this but to say, that he who could compliment Cromwell had been
the proper poet for king William; Addison, however, never printed the
piece.
The letter from Italy has been always praised, but has never been praised
beyond its merit. It is more correct, with less appearance of labour,
and more elegant, with less ambition of ornament, than any other of
his poems. There is, however, one broken metaphor, of which notice may
properly be taken:
Fir'd with that name--
I bridle in my struggling muse with pain,
That longs to launch into a nobler strain.
To _bridle a goddess_ is no very delicate idea; but why must she be
_bridled_? because she _longs to launch_; an act which was never hindered
by a _bridle_: and whither will she _launch_? into a _nobler strain_. She
is in the first line a _horse_, in the second a _boat_; and the care of
the poet is to keep his _horse_ or his _boat_ from _singing_.
The next composition is the far-famed Campaign, which Dr. Warton has
termed a "Gazette in rhyme," with harshness not often used by the
good-nature of his criticism. Before a censure so severe is admitted, let
us consider that war is a frequent subject of poetry, and then inquire
who has described it with more justness and force. Many of our own
writers tried their powers upon this year of victory; yet Addison's is
confessedly the best performance: his poem is the work of a man not
blinded by the dust of learning; his images are not borrowed merely from
books. The superiority which he confers upon his hero is not personal
prowess, and "mighty bone," but deliberate intrepidity, a calm command of
his passions, and the power of consulting his own mind in the midst of
danger. The rejection and contempt of fiction is rational and manly.
It may be observed that the last line is imitated by Pope:
Marlb'rough's exploits appear divinely bright--
Rais'd of themselves, their genuine charms they boast,
And those that paint them truest, praise them most.
This Pope had in his thoughts: but, not knowing how to use what was not
his own, he spoiled the thought when he had borrowed it:
The well-sung woes shall sooth my pensive ghost;
He best can paint[198]them who shall feel them most.
Martial exploits may be _painted_; perhaps _woes_ may be _painted_; but
they are surely not _painted_ by being _well-sung_: it is not easy to
paint in song, or to sing in colours.
No passage in the Campaign has been more often mentioned than the simile
of the angel, which is said, in the Tatler, to be "one of the noblest
thoughts that ever entered into the heart of man," and is, therefore,
worthy of attentive consideration. Let it be first inquired whether it
be a simile. A poetical simile is the discovery of likeness between two
actions, in their general nature dissimilar, or of causes terminating by
different operations in some resemblance of effect. But the mention of
another like consequence from a like cause, or of a like performance by a
like agency, is not a simile, but an exemplification. It is not a simile
to say that the Thames waters fields, as the Po waters fields; or that as
Hecla vomits flames in Iceland, so Aetna vomits flames in Sicily. When
Horace says of Pindar, that he pours his violence and rapidity of verse,
as a river swoln with rain rushes from the mountain; or of himself, that
his genius wanders in quest of poetical decorations, as the bee wanders
to collect honey; he, in either case, produces a simile; the mind is
impressed with the resemblance of things generally unlike, as unlike as
intellect and body. But if Pindar had been described as writing with the
copiousness and grandeur of Homer; or Horace had told that he reviewed
and finished his own poetry with the same care as Isocrates polished his
orations, instead of similitude he would have exhibited almost identity;
he would have given the same portraits with different names. In the poem
now examined, when the English are represented as gaining a fortified
pass, by repetition of attack and perseverance of resolution; their
obstinacy of courage, and vigour of onset, is well illustrated by the
sea that breaks, with incessant battery, the dikes of Holland. This is a
simile; but when Addison, having celebrated the beauty of Marlborough's
person, tells us, that "Achilles thus was form'd with ev'ry grace," here
is no simile, but a mere exemplification. A simile may be compared to
lines converging at a point, and is more excellent as the lines approach
from greater distance; an exemplification may be considered as two
parallel lines, which run on together without approximation, never far
separated, and never joined. Marlborough is so like the angel in the
poem, that the action of both is almost the same, and performed by both
in the same manner. Marlborough "teaches the battle to rage;" the angel
"directs the storm:" Marlborough is "unmoved in peaceful thought;" the
angel is "calm and serene:" Marlborough stands "unmoved amidst the
shock of hosts;" the angel rides "calm in the whirlwind. " The lines on
Marlborough are just and noble; but the simile gives almost the same
images a second time.
But, perhaps, this thought, though hardly a simile, was remote from
vulgar conceptions, and required great labour of research, or dexterity
of application. Of this, Dr. Madden, a name which Ireland ought to
honour, once gave me his opinion. "If I had set," said he, "ten
schoolboys to write on the battle of Blenheim, and eight had brought me
the angel, I should not have been surprised. "
The opera of Rosamond, though it is seldom mentioned, is one of the first
of Addison's compositions. The subject is well chosen, the fiction is
pleasing, and the praise of Marlborough, for which the scene gives an
opportunity, is, what perhaps every human excellence must be, the product
of good luck, improved by genius. The thoughts are sometimes great, and
sometimes tender; the versification is easy and gay. There is, doubtless,
some advantage in the shortness of the lines, which there is little
temptation to load with expletive epithets. The dialogue seems commonly
better than the songs. The two comick characters of sir Trusty
and Grideline, though of no great value, are yet such as the poet
intended[199]. Sir Trusty's account of the death of Rosamond is, I think,
too grossly absurd. The whole drama is airy and elegant; engaging in its
process, and pleasing in its conclusion. If Addison had cultivated the
lighter parts of poetry, he would, probably, have excelled.
The tragedy of Cato, which, contrary to the rule observed in selecting
the works of other poets, has, by the weight of its character, forced its
way into the late collection, is unquestionably the noblest production
of Addison's genius. Of a work so much read, it is difficult to say any
thing new. About things on which the publick thinks long, it commonly
attains to think right; and of Cato it has been not unjustly determined,
that it is rather a poem in dialogue than a drama, rather a succession
of just sentiments in elegant language, than a representation of natural
affections, or of any state probable or possible in human life. Nothing
here "excites or assuages emotion:" here is "no magical power of raising
phantastick terrour or wild anxiety. " The events are expected without
solicitude, and are remembered without joy or sorrow. Of the agents we
have no care: we consider not what they are doing, or what they are
suffering; we wish only to know what they have to say. Cato is a being
above our solicitude; a man of whom the gods take care, and whom we leave
to their care with heedless confidence. To the rest, neither gods nor men
can have much attention; for there is not one amongst them that strongly
attracts either affection or esteem. But they are made the vehicles of
such sentiments and such expression, that there is scarcely a scene in
the play which the reader does not wish to impress upon his memory.
When Cato was shown to Pope[200], he advised the author to print it,
without any theatrical exhibition; supposing that it would be read more
favourably than heard. Addison declared himself of the same opinion; but
urged the importunity of his friends for its appearance on the stage.
The emulation of parties made it successful beyond expectation; and its
success has introduced or confirmed among us the use of dialogue too
declamatory, of unaffecting elegance, and chill philosophy.
The universality of applause, however it might quell the censure of
common mortals, had no other effect than to harden Dennis in fixed
dislike; but his dislike was not merely capricious. He found and showed
many faults: he showed them, indeed, with anger, but he found them with
acuteness, such as ought to rescue his criticism from oblivion; though,
at last, it will have no other life than it derives from the work which
it endeavours to oppress.
Why he pays no regard to the opinion of the audience, he gives his
reason, by remarking, that,
"A deference is to be paid to a general applause, when it appears that
that applause is natural and spontaneous; but that little regard is to
be had to it, when it is affected and artificial. Of all the tragedies
which, in his memory, have had vast and violent runs, not one has been
excellent; few have been tolerable; most have been scandalous. When a
poet writes a tragedy, who knows he has judgment, and who feels he has
genius, that poet presumes upon his own merit, and scorns to make a
cabal. That people come coolly to the representation of such a tragedy,
without any violent expectation, or delusive imagination, or invincible
prepossession; that such an audience is liable to receive the impressions
which the poem shall naturally make on them, and to judge by their own
reason, and their own judgments, and that reason and judgment are calm
and serene, not formed by nature to make proselytes, and to control and
lord it over the imaginations of others. But that when an author writes a
tragedy, who knows he has neither genius nor judgment, he has recourse
to the making a party, and he endeavours to make up in industry what
is wanting in talent, and to supply by poetical craft the absence of
poetical art; that such an author is humbly contented to raise men's
passions by a plot without doors, since he despairs of doing it by
that which he brings upon the stage. That party and passion, and
prepossession, are clamorous and tumultuous things, and so much the
more clamorous and tumultuous by how much the more erroneous: that
they domineer and tyrannise over the imaginations of persons who want
judgment, and sometimes too of those who have it; and, like a fierce
and outrageous torrent, bear down all opposition before them. " He then
condemns the neglect of poetical justice; which is always one of his
favourite principles.
"'Tis certainly the duty of every tragick poet, by the exact distribution
of poetical justice, to imitate the divine dispensation, and to inculcate
a particular providence. 'Tis true, indeed, upon the stage of the world,
the wicked sometimes prosper, and the guiltless suffer. But that is
permitted by the governor of the world, to show, from the attribute of
his infinite justice, that there is a compensation in futurity, to prove
the immortality of the human soul, and the certainty of future rewards
and punishments. But the poetical persons in tragedy exist no longer than
the reading, or the representation; the whole extent of their entity
is circumscribed by those; and, therefore, during that reading or
representation, according to their merits or demerits, they must be
punished or rewarded. If this is not done, there is no impartial
distribution of poetical justice, no instructive lecture of a particular
providence, and no imitation of the divine dispensation. And yet the
author of this tragedy does not only run counter to this, in the fate of
his principal character; but every where, throughout it, makes virtue
suffer, and vice triumph: for not only Cato is vanquished by Caesar,
but the treachery and perfidiousness of Syphax prevail over the
honest simplicity and the credulity of Juba; and the sly subtlety and
dissimulation of Portius over the generous frankness and open-heartedness
of Marcus. "
Whatever pleasure there may be in seeing crimes punished and virtue
rewarded, yet, since wickedness often prospers in real life, the poet is
certainly at liberty to give it prosperity on the stage. For if poetry
has an imitation of reality, how are its laws broken by exhibiting the
world in its true form? The stage may sometimes gratify our wishes; but,
if it be truly the "mirror of life," it ought to show us sometimes what
we are to expect.
Dennis objects to the characters, that they are not natural, or
reasonable; but as heroes and heroines are not beings that are seen every
day, it is hard to find upon what principles their conduct shall be
tried. It is, however, not useless to consider what he says of the manner
in which Cato receives the account of his son's death.
"Nor is the grief of Cato, in the fourth act, one jot more in nature than
that of his son and Lucia in the third. Cato receives the news of his
son's death not only with dry eyes, but with a sort of satisfaction; and,
in the same page, sheds tears for the calamity of his country, and does
the same thing in the next page upon the bare apprehension of the danger
of his friends. Now, since the love of one's country is the love of one's
countrymen, as I have shown upon another occasion, I desire to ask these
questions: Of all our countrymen, which do we love most, those whom we
know, or those whom we know not? And of those whom we know, which do we
cherish most, our friends or our enemies? And of our friends, which are
the dearest to us, those who are related to us, or those who are not? And
of all our relations, for which have we most tenderness, for those who
are near to us, or for those who are remote? And of our near relations,
which are the nearest, and, consequently, the dearest to us, our
offspring, or others? Our offspring most certainly; as nature, or, in
other words, providence, has wisely contrived for the preservation of
mankind. Now, does it not follow, from what has been said, that for a man
to receive the news of his son's death with dry eyes, and to weep at the
same time for the calamities of his country, is a wretched affectation,
and a miserable inconsistency? Is not that, in plain English, to receive
with dry eyes the news of the deaths of those for whose sake our country
is a name so dear to us, and, at the same time, to shed tears for those
for whose sake our country is not a name so dear to us? "
But this formidable assailant is least resistible when he attacks the
probability of the action, and the reasonableness of the plan. Every
critical reader must remark, that Addison has, with a scrupulosity almost
unexampled on the English stage, confined himself in time to a single
day, and in place to rigorous unity. The scene never changes, and the
whole action of the play passes in the great hall of Cato's house at
Utica. Much, therefore, is done in the hall, for which any other place
had been more fit; and this impropriety affords Dennis many hints of
merriment, and opportunities of triumph. The passage is long; but as such
disquisitions are not common, and the objections are skilfully formed
and vigorously urged, those who delight in critical controversy will not
think it tedious.
"Upon the departure of Portius, Sempronius makes but one soliloquy, and
immediately in comes Syphax, and then the two politicians are at it
immediately. They lay their heads together, with their snuffboxes in
their hands, as Mr. Bayes has it, and league it away. But in the midst of
that wise scene, Syphax seems to give a seasonable caution to Sempronius:
'_Syph_.
But is it true, Sempronius, that your senate
Is call'd together? Gods! thou must be cautious;
Cato has piercing eyes. '
"There is a great deal of caution shown indeed, in meeting in a
governor's own hall to carry on their plot against him. Whatever opinion
they have of his eyes, I suppose they had none of his ears, or they would
never have talked at this foolish rate so near:
'Gods! thou must be cautious. '
Oh! yes, very cautious, for if Cato should overhear you, and turn you off
for politicians, Caesar would never take you; no, Caesar would never take
you.
"When Cato, act the second, turns the senators out of the hall, upon
pretence of acquainting Juba with the result of their debates, he appears
to me to do a thing which is neither reasonable nor civil. Juba might
certainly have better been made acquainted with the result of that debate
in some private apartment of the palace. But the poet was driven upon
this absurdity to make way for another; and that is, to give Juba an
opportunity to demand Marcia of her father. But the quarrel and rage of
Juba and Syphax, in the same act; the invectives of Syphax against the
Romans and Cato; the advice that he gives Juba, in her father's hall, to
bear away Marcia by force; and his brutal and clamorous rage upon his
refusal, and at a time when Cato was scarcely out of sight, and, perhaps,
not out of hearing, at least some of his guards or domesticks must
necessarily be supposed to be within hearing; is a thing that is so far
from being probable, that it is hardly possible.
"Sempronius, in the second act, comes back once more in the same morning
to the governor's hall, to carry on the conspiracy with Syphax against
the governor, his country, and his family; which is so stupid, that it is
below the wisdom of the O--'s, the Mac's, and the Teague's; even Eustace
Cummins himself would never have gone to Justice-hall to have conspired
against the government. If officers at Portsmouth should lay their heads
together, in order to the carrying off[201] J---- G----'s niece or
daughter, would they meet in J--- G---'s hall, to carry on that
conspiracy? There would be no necessity for their meeting there, at least
till they came to the execution of their plot, because there would be
other places to meet in. There would be no probability that they
should meet there, because there would be places more private and more
commodious. Now there ought to be nothing in a tragical action but what
is necessary or probable.
"But treason is not the only thing that is carried on in this hall; that,
and love, and philosophy, take their turns in it, without any manner
of necessity or probability occasioned by the action, as duly and as
regularly, without interrupting one another, as if there were a triple
league between them, and a mutual agreement that each should give place
to, and make way for the other, in a due and orderly succession.
"We now come to the third act. Sempronius, in this act, comes into the
governor's hall, with the leaders of the mutiny; but, as soon as Cato
is gone, Sempronius, who but just before had acted like an unparalleled
knave, discovers himself, like an egregious fool, to be an accomplice in
the conspiracy.
'_Semp_.
Know, villains, when such paltry slaves presume
To mix in treason, if the plot succeeds,
They're thrown neglected by; but, if it fails,
They're sure to die like dogs, as you shall do.
Here, take these factious monsters, drag them forth
To sudden death. '--
"'Tis true, indeed, the second leader says, there are none there but
friends; but is that possible at such a juncture? Can a parcel of rogues
attempt to assassinate the governor of a town of war, in his own house,
in mid-day, and, after they are discovered, and defeated, can there
be none near them but friends? Is it not plain, from these words of
Sempronius,
'Here, take these factious monsters, drag them forth
To sudden death'--
and from the entrance of the guards upon the word of command, that
those guards were within ear-shot? Behold Sempronius, then, palpably
discovered. How comes it to pass, then, that instead of being hanged
up with the rest, he remains secure in the governor's hall, and there
carries on his conspiracy against the government, the third time in the
same day, with his old comrade Syphax, who enters at the same time that
the guards are carrying away the leaders, big with the news of the defeat
of Sempronius; though where he had his intelligence so soon is difficult
to imagine? And now the reader may expect a very extraordinary scene:
there is not abundance of spirit indeed, nor a great deal of passion, but
there is wisdom more than enough to supply all defects.
'_Syph_.
Still there remains an after-game to play:
My troops are mounted, their Numidian steeds
Snuff up the winds, and long to scour the desert.
Let but Sempronius lead us in our flight,
We'll force the gate, where Marcus keeps his guard,
And hew down all that would oppose our passage;
A day will bring us into Caesar's camp.
'_Semp_. Confusion! I have fail'd of half my purpose;
Marcia, the charming Marcia's left behind. '
"Well! but though he tells us the half-purpose that he has failed of, he
does not tell us the half that he has carried.
But what does he mean by,
'Marcia, the charming Marcia's left behind? '
He is now in her own house; and we have neither seen her, nor heard of
her, any where else since the play began. But now let us hear Syphax:
'What hinders then, but that thou find her out,
And hurry her away by manly force? '
But what does old Syphax mean by finding her out? They talk as if she
were as hard to be found as a hare in a frosty morning.
'_Semp_. But how to gain admission? '
Oh! she is found out then, it seems--
But how to gain admission! for access
Is giv'n to none, but Juba and her brothers. '
But, raillery apart, why access to Juba? For he was owned and received
as a lover neither by the father nor by the daughter. Well! but let
that pass. Syphax puts Sempronius out of pain immediately; and, being
a Numidian, abounding in wiles, supplies him with a stratagem for
admission, that, I believe, is a non-pareille.
'_Syph_. Thou shalt have Juba's dress, and Juba's guards;
The doors will open when Numidia's prince
Seems to appear before them. '
"Sempronius is, it seems, to pass for Juba in full day at Cato's house,
where they were both so very well known, by having Juba's dress and his
guards: as if one of the marshals of France could pass for the duke of
Bavaria, at noonday, at Versailles, by having his dress and liveries. But
how does Syphax pretend to help Sempronius to young Juba's dress? Does he
serve him in a double capacity, as general and master of his wardrobe?
But why Juba's guards? For the devil of any guards has Juba appeared with
yet. Well! though this is a mighty politick invention, yet, methinks,
they might have done without it: for, since the advice that Syphax gave
to Sempronius was,
'To hurry her away by manly force,'
in my opinion, the shortest and likeliest way of coming at the lady
was by demolishing, instead of putting on an impertinent disguise to
circumvent two or three slaves. But Sempronius, it seems, is of another
opinion. He extols to the skies the invention of old Syphax:
'_Semp_. Heav'us! what a thought was there! '
"Now I appeal to the reader, if I have not been as good as my word. Did I
not tell him, that I would lay before him a very wise scene?
"But now let us lay before the reader that part of the scenery of the
fourth act, which may show the absurdities which the author has run
into, through the indiscreet observance of the unity of place. I do not
remember that Aristotle has said any thing expressly concerning the unity
of place. 'Tis true, implicitly he has said enough in the rules which he
has laid down for the chorus. For, by making the chorus an essential part
of tragedy, and by bringing it on the stage immediately after the opening
of the scene, and retaining it there till the very catastrophe, he has so
determined and fixed the place of action, that it was impossible for an
author on the Grecian stage to break through that unity. I am of opinion,
that if a modern tragick poet can preserve the unity of place, without
destroying the probability of the incidents, 'tis always best for him
to do it; because, by the preservation of that unity, as we have taken
notice above, he adds grace, and clearness, and comeliness, to the
representation. But since there are no express rules about it, and we are
under no compulsion to keep it, since we have no chorus, as the Grecian
poet had; if it cannot be preserved, without rendering the greater
part of the incidents unreasonable and absurd, and, perhaps, sometimes
monstrous, 'tis certainly better to break it.
"Now comes bully Sempronius, comically accoutred and equipped with his
Numidian dress and his Numidian guards. Let the reader attend to him with
all his ears; for the words of the wise are precious:
'_Semp_. The deer is lodg'd, I've track'd her to her covert. '
"Now I would fain know why this deer is said to be lodged, since we have
not heard one word, since the play began, of her being at all out of
harbour; and if we consider the discourse with which she and Lucia begin
the act, we have reason to believe that they had hardly been talking
of such matters in the street. However, to pleasure Sempronius, let us
suppose, for once, that the deer is lodged:
'The deer is lodg'd, I've track'd her to her covert. '
"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.
too much pain from the prevalence of Pope's poetical reputation; nor is
it without strong reason suspected, that by some disingenuous acts he
endeavoured to obstruct it; Pope was not the only man whom he insidiously
injured, though the only man of whom he could be afraid.
His own powers were such as might have satisfied him with conscious
excellence. Of very extensive learning he has, indeed, given no proofs.
He seems to have had small acquaintance with the sciences, and to have
read little except Latin and French; but, of the Latin poets, his
Dialogues on Medals show that, he had perused the works with great
diligence and skill. The abundance of his own mind left him little
need of adventitious sentiments; his wit always could suggest what the
occasion demanded. He had read, with critical eyes, the important volume
of human life, and knew the heart of man from the depths of stratagem to
the surface of affectation.
What he knew he could easily communicate. "This," says Steele, "was
particular in this writer, that, when he had taken his resolution, or
made his plan for what he designed to write, he would walk about a room,
and dictate it into language, with as much freedom and ease as any one
could write it down, and attend to the coherence and grammar of what he
dictated. "
Pope[195], who can be less suspected of favouring his memory, declares
that he wrote very fluently, but was slow and scrupulous in correcting;
that many of his Spectators were written very fast, and sent immediately
to the press; and that it seemed to be for his advantage not to have time
for much revisal.
"He would alter," says Pope, "any thing to please his friends, before
publication; but would not retouch his pieces afterwards: and, I believe,
not one word in Cato, to which I made an objection, was suffered to
stand. "
The last line of Cato is Pope's, having been originally written,
And, oh! 'twas this that ended Cato's life.
Pope might have made more objections to the six concluding lines. In the
first couplet the words, "from hence," are improper; and the second line
is taken from Dryden's Virgil. Of the next couplet, the first verse being
included in the second, is, therefore, useless; and in the third, discord
is made to produce strife.
Of the course of Addison's familiar day[196], before his marriage, Pope
has given a detail. He had in the house with him Budgell, and, perhaps,
Philips. His chief companions were Steele, Budgell, Philips, Carey,
Davenant, and colonel Brett. With one or other of these he always
breakfasted. He studied all morning; then dined at a tavern; and went
afterwards to Button's.
Button had been a servant in the countess of Warwick's family; who, under
the patronage of Addison, kept a coffee-house on the south side of Russel
street, about two doors from Covent garden. Here it was that the wits of
that time used to assemble. It is said, that when Addison had suffered
any vexation from the countess, he withdrew the company from Button's
house.
From the coffee-house he went again to a tavern, where he often sat late,
and drank too much wine. In the bottle, discontent seeks for comfort,
cowardice for courage, and bashfulness tot confidence. It is not unlikely
that Addison was first seduced to excess by the manumission which he
obtained from the servile timidity of his sober hours. He that feels
oppression from the presence of those to whom he knows himself superiour,
will desire to set loose his powers of conversation; and who, that ever
asked succours from Bacchus, was able to preserve himself from being
enslaved by his auxiliary?
Among those friends it was that Addison displayed the elegance of his
colloquial accomplishments, which may easily be supposed such as Pope
represents them. The remark of Mandeville, who, when he had passed an
evening in his company, declared that he was a parson in a tie-wig, can
detract little from his character; he was always reserved to strangers,
and was not incited to uncommon freedom by a character like that of
Mandeville.
From any minute knowledge of his familiar manners, the intervention of
sixty years has now debarred us. Steele once promised Congreve and the
publick a complete description of his character; but the promises of
authors are like the vows of lovers. Steele thought no more on his
design, or thought on it with anxiety that at last disgusted him, and
left his friend in the hands of Tickell.
One slight lineament of his character Swift has preserved. It was his
practice, when he found any man invincibly wrong, to flatter his opinions
by acquiescence, and sink him yet deeper in absurdity. This artifice
of mischief was admired by Stella; and Swift seems to approve her
admiration.
His works will supply some information. It appears, from his various
pictures of the world, that, with all his bashfulness, he had conversed
with many distinct classes of men, had surveyed their ways with very
diligent observation, and marked, with great acuteness, the effects
of different modes of life. He was a man in whose presence nothing
reprehensible was out of danger; quick in discerning whatever was wrong
or ridiculous, and not unwilling to expose it. "There are," says Steele,
"in his writings many oblique strokes upon some of the wittiest paen of
the age. " His delight was more to excite merriment than detestation; and
he detects follies rather than crimes.
If any judgment be made, from his books, of his moral character, nothing
will be found but purity and excellence. Knowledge of mankind, indeed,
less extensive than that of Addison, will show, that to write, and to
live, are very different. Many who praise virtue, do no more than praise
it. Yet it is reasonable to believe that Addison's professions and
practice were at no great variance, since, amidst that storm of faction
in which most of his life was passed, though his station made him
conspicuous, and his activity made him formidable, the character given
him by his friends was never contradicted by his enemies: of those, with
whom interest or opinion united him, he had not only the esteem, but the
kindness; and of others, whom the violence of opposition drove against
him, though he might lose the love, he retained the reverence.
It is justly observed by Tickell, that he employed wit on the side of
virtue and religion. He not only made the proper use of wit himself, but
taught it to others; and from his time it has been generally subservient
to the cause of reason and of truth. He has dissipated the prejudice that
had long connected gaiety with vice, and easiness of manners with
laxity of principles. He has restored virtue to its dignity, and taught
innocence not to be ashamed. This is an elevation of literary character,
"above all Greek, above all Roman fame. " No greater felicity can genius
attain, than that of having purified intellectual pleasure, separated
mirth from indecency, and wit from licentiousness; of having taught
a succession of writers to bring elegance and gaiety to the aid of
goodness; and, if I may use expressions yet more awful, of having "turned
many to righteousness. "
Addison, in his life, and for some time afterwards, was considered, by
the greater part of readers, as supremely excelling both in poetry
and criticism. Part of his reputation may be probably ascribed to
the advancement of his fortune: when, as Swift observes, he became a
statesman, and saw poets waiting at his levee, it is no wonder that
praise was accumulated upon him. Much, likewise, may be more honourably
ascribed to his personal character: he who, if he had claimed it, might
have obtained the diadem, was not likely to be denied the laurel.
But time quickly puts an end to artificial and accidental fame; and
Addison is to pass through futurity protected only by his genius. Every
name, which kindness or interest once raised too high, is in danger, lest
the next age should, by the vengeance of criticism, sink it in the same
proportion. A great writer has lately styled him "an indifferent poet,
and a worse critick. "
His poetry is first to be considered; of which it must be confessed,
that it has not often those felicities of diction which give lustre to
sentiments, or that vigour of sentiment that animates diction; there
is little of ardour, vehemence, or transport; there is very rarely the
awfulness of grandeur, and not very often the splendour of elegance. He
thinks justly; but he thinks faintly. This is his general character; to
which, doubtless, many single passages will furnish exceptions.
Yet, if he seldom reaches supreme excellence, he rarely sinks into
dulness, and is still more rarely entangled in absurdity. He did not
trust his powers enough to be negligent. There is, in most of his
compositions, a calmness and equability, deliberate and cautious,
sometimes with little that delights, but seldom with any thing that
offends.
Of this kind seem to be his poems to Dryden, to Somers, and to the king.
His ode on St. Cecilia has been imitated by Pope, and has something in it
of Dryden's vigour. Of his account of the English poets, he used to speak
as a "poor thing[197];" but it is not worse than his usual strain. He has
said, not very judiciously, in his character of Waller,
Thy verse could show ev'n Cromwell's innocence,
And compliment the storms that bore him hence.
O! had thy muse not come an age too soon,
But seen great Nassau on the British throne,
How had his triumph glitter'd in thy page!
What is this but to say, that he who could compliment Cromwell had been
the proper poet for king William; Addison, however, never printed the
piece.
The letter from Italy has been always praised, but has never been praised
beyond its merit. It is more correct, with less appearance of labour,
and more elegant, with less ambition of ornament, than any other of
his poems. There is, however, one broken metaphor, of which notice may
properly be taken:
Fir'd with that name--
I bridle in my struggling muse with pain,
That longs to launch into a nobler strain.
To _bridle a goddess_ is no very delicate idea; but why must she be
_bridled_? because she _longs to launch_; an act which was never hindered
by a _bridle_: and whither will she _launch_? into a _nobler strain_. She
is in the first line a _horse_, in the second a _boat_; and the care of
the poet is to keep his _horse_ or his _boat_ from _singing_.
The next composition is the far-famed Campaign, which Dr. Warton has
termed a "Gazette in rhyme," with harshness not often used by the
good-nature of his criticism. Before a censure so severe is admitted, let
us consider that war is a frequent subject of poetry, and then inquire
who has described it with more justness and force. Many of our own
writers tried their powers upon this year of victory; yet Addison's is
confessedly the best performance: his poem is the work of a man not
blinded by the dust of learning; his images are not borrowed merely from
books. The superiority which he confers upon his hero is not personal
prowess, and "mighty bone," but deliberate intrepidity, a calm command of
his passions, and the power of consulting his own mind in the midst of
danger. The rejection and contempt of fiction is rational and manly.
It may be observed that the last line is imitated by Pope:
Marlb'rough's exploits appear divinely bright--
Rais'd of themselves, their genuine charms they boast,
And those that paint them truest, praise them most.
This Pope had in his thoughts: but, not knowing how to use what was not
his own, he spoiled the thought when he had borrowed it:
The well-sung woes shall sooth my pensive ghost;
He best can paint[198]them who shall feel them most.
Martial exploits may be _painted_; perhaps _woes_ may be _painted_; but
they are surely not _painted_ by being _well-sung_: it is not easy to
paint in song, or to sing in colours.
No passage in the Campaign has been more often mentioned than the simile
of the angel, which is said, in the Tatler, to be "one of the noblest
thoughts that ever entered into the heart of man," and is, therefore,
worthy of attentive consideration. Let it be first inquired whether it
be a simile. A poetical simile is the discovery of likeness between two
actions, in their general nature dissimilar, or of causes terminating by
different operations in some resemblance of effect. But the mention of
another like consequence from a like cause, or of a like performance by a
like agency, is not a simile, but an exemplification. It is not a simile
to say that the Thames waters fields, as the Po waters fields; or that as
Hecla vomits flames in Iceland, so Aetna vomits flames in Sicily. When
Horace says of Pindar, that he pours his violence and rapidity of verse,
as a river swoln with rain rushes from the mountain; or of himself, that
his genius wanders in quest of poetical decorations, as the bee wanders
to collect honey; he, in either case, produces a simile; the mind is
impressed with the resemblance of things generally unlike, as unlike as
intellect and body. But if Pindar had been described as writing with the
copiousness and grandeur of Homer; or Horace had told that he reviewed
and finished his own poetry with the same care as Isocrates polished his
orations, instead of similitude he would have exhibited almost identity;
he would have given the same portraits with different names. In the poem
now examined, when the English are represented as gaining a fortified
pass, by repetition of attack and perseverance of resolution; their
obstinacy of courage, and vigour of onset, is well illustrated by the
sea that breaks, with incessant battery, the dikes of Holland. This is a
simile; but when Addison, having celebrated the beauty of Marlborough's
person, tells us, that "Achilles thus was form'd with ev'ry grace," here
is no simile, but a mere exemplification. A simile may be compared to
lines converging at a point, and is more excellent as the lines approach
from greater distance; an exemplification may be considered as two
parallel lines, which run on together without approximation, never far
separated, and never joined. Marlborough is so like the angel in the
poem, that the action of both is almost the same, and performed by both
in the same manner. Marlborough "teaches the battle to rage;" the angel
"directs the storm:" Marlborough is "unmoved in peaceful thought;" the
angel is "calm and serene:" Marlborough stands "unmoved amidst the
shock of hosts;" the angel rides "calm in the whirlwind. " The lines on
Marlborough are just and noble; but the simile gives almost the same
images a second time.
But, perhaps, this thought, though hardly a simile, was remote from
vulgar conceptions, and required great labour of research, or dexterity
of application. Of this, Dr. Madden, a name which Ireland ought to
honour, once gave me his opinion. "If I had set," said he, "ten
schoolboys to write on the battle of Blenheim, and eight had brought me
the angel, I should not have been surprised. "
The opera of Rosamond, though it is seldom mentioned, is one of the first
of Addison's compositions. The subject is well chosen, the fiction is
pleasing, and the praise of Marlborough, for which the scene gives an
opportunity, is, what perhaps every human excellence must be, the product
of good luck, improved by genius. The thoughts are sometimes great, and
sometimes tender; the versification is easy and gay. There is, doubtless,
some advantage in the shortness of the lines, which there is little
temptation to load with expletive epithets. The dialogue seems commonly
better than the songs. The two comick characters of sir Trusty
and Grideline, though of no great value, are yet such as the poet
intended[199]. Sir Trusty's account of the death of Rosamond is, I think,
too grossly absurd. The whole drama is airy and elegant; engaging in its
process, and pleasing in its conclusion. If Addison had cultivated the
lighter parts of poetry, he would, probably, have excelled.
The tragedy of Cato, which, contrary to the rule observed in selecting
the works of other poets, has, by the weight of its character, forced its
way into the late collection, is unquestionably the noblest production
of Addison's genius. Of a work so much read, it is difficult to say any
thing new. About things on which the publick thinks long, it commonly
attains to think right; and of Cato it has been not unjustly determined,
that it is rather a poem in dialogue than a drama, rather a succession
of just sentiments in elegant language, than a representation of natural
affections, or of any state probable or possible in human life. Nothing
here "excites or assuages emotion:" here is "no magical power of raising
phantastick terrour or wild anxiety. " The events are expected without
solicitude, and are remembered without joy or sorrow. Of the agents we
have no care: we consider not what they are doing, or what they are
suffering; we wish only to know what they have to say. Cato is a being
above our solicitude; a man of whom the gods take care, and whom we leave
to their care with heedless confidence. To the rest, neither gods nor men
can have much attention; for there is not one amongst them that strongly
attracts either affection or esteem. But they are made the vehicles of
such sentiments and such expression, that there is scarcely a scene in
the play which the reader does not wish to impress upon his memory.
When Cato was shown to Pope[200], he advised the author to print it,
without any theatrical exhibition; supposing that it would be read more
favourably than heard. Addison declared himself of the same opinion; but
urged the importunity of his friends for its appearance on the stage.
The emulation of parties made it successful beyond expectation; and its
success has introduced or confirmed among us the use of dialogue too
declamatory, of unaffecting elegance, and chill philosophy.
The universality of applause, however it might quell the censure of
common mortals, had no other effect than to harden Dennis in fixed
dislike; but his dislike was not merely capricious. He found and showed
many faults: he showed them, indeed, with anger, but he found them with
acuteness, such as ought to rescue his criticism from oblivion; though,
at last, it will have no other life than it derives from the work which
it endeavours to oppress.
Why he pays no regard to the opinion of the audience, he gives his
reason, by remarking, that,
"A deference is to be paid to a general applause, when it appears that
that applause is natural and spontaneous; but that little regard is to
be had to it, when it is affected and artificial. Of all the tragedies
which, in his memory, have had vast and violent runs, not one has been
excellent; few have been tolerable; most have been scandalous. When a
poet writes a tragedy, who knows he has judgment, and who feels he has
genius, that poet presumes upon his own merit, and scorns to make a
cabal. That people come coolly to the representation of such a tragedy,
without any violent expectation, or delusive imagination, or invincible
prepossession; that such an audience is liable to receive the impressions
which the poem shall naturally make on them, and to judge by their own
reason, and their own judgments, and that reason and judgment are calm
and serene, not formed by nature to make proselytes, and to control and
lord it over the imaginations of others. But that when an author writes a
tragedy, who knows he has neither genius nor judgment, he has recourse
to the making a party, and he endeavours to make up in industry what
is wanting in talent, and to supply by poetical craft the absence of
poetical art; that such an author is humbly contented to raise men's
passions by a plot without doors, since he despairs of doing it by
that which he brings upon the stage. That party and passion, and
prepossession, are clamorous and tumultuous things, and so much the
more clamorous and tumultuous by how much the more erroneous: that
they domineer and tyrannise over the imaginations of persons who want
judgment, and sometimes too of those who have it; and, like a fierce
and outrageous torrent, bear down all opposition before them. " He then
condemns the neglect of poetical justice; which is always one of his
favourite principles.
"'Tis certainly the duty of every tragick poet, by the exact distribution
of poetical justice, to imitate the divine dispensation, and to inculcate
a particular providence. 'Tis true, indeed, upon the stage of the world,
the wicked sometimes prosper, and the guiltless suffer. But that is
permitted by the governor of the world, to show, from the attribute of
his infinite justice, that there is a compensation in futurity, to prove
the immortality of the human soul, and the certainty of future rewards
and punishments. But the poetical persons in tragedy exist no longer than
the reading, or the representation; the whole extent of their entity
is circumscribed by those; and, therefore, during that reading or
representation, according to their merits or demerits, they must be
punished or rewarded. If this is not done, there is no impartial
distribution of poetical justice, no instructive lecture of a particular
providence, and no imitation of the divine dispensation. And yet the
author of this tragedy does not only run counter to this, in the fate of
his principal character; but every where, throughout it, makes virtue
suffer, and vice triumph: for not only Cato is vanquished by Caesar,
but the treachery and perfidiousness of Syphax prevail over the
honest simplicity and the credulity of Juba; and the sly subtlety and
dissimulation of Portius over the generous frankness and open-heartedness
of Marcus. "
Whatever pleasure there may be in seeing crimes punished and virtue
rewarded, yet, since wickedness often prospers in real life, the poet is
certainly at liberty to give it prosperity on the stage. For if poetry
has an imitation of reality, how are its laws broken by exhibiting the
world in its true form? The stage may sometimes gratify our wishes; but,
if it be truly the "mirror of life," it ought to show us sometimes what
we are to expect.
Dennis objects to the characters, that they are not natural, or
reasonable; but as heroes and heroines are not beings that are seen every
day, it is hard to find upon what principles their conduct shall be
tried. It is, however, not useless to consider what he says of the manner
in which Cato receives the account of his son's death.
"Nor is the grief of Cato, in the fourth act, one jot more in nature than
that of his son and Lucia in the third. Cato receives the news of his
son's death not only with dry eyes, but with a sort of satisfaction; and,
in the same page, sheds tears for the calamity of his country, and does
the same thing in the next page upon the bare apprehension of the danger
of his friends. Now, since the love of one's country is the love of one's
countrymen, as I have shown upon another occasion, I desire to ask these
questions: Of all our countrymen, which do we love most, those whom we
know, or those whom we know not? And of those whom we know, which do we
cherish most, our friends or our enemies? And of our friends, which are
the dearest to us, those who are related to us, or those who are not? And
of all our relations, for which have we most tenderness, for those who
are near to us, or for those who are remote? And of our near relations,
which are the nearest, and, consequently, the dearest to us, our
offspring, or others? Our offspring most certainly; as nature, or, in
other words, providence, has wisely contrived for the preservation of
mankind. Now, does it not follow, from what has been said, that for a man
to receive the news of his son's death with dry eyes, and to weep at the
same time for the calamities of his country, is a wretched affectation,
and a miserable inconsistency? Is not that, in plain English, to receive
with dry eyes the news of the deaths of those for whose sake our country
is a name so dear to us, and, at the same time, to shed tears for those
for whose sake our country is not a name so dear to us? "
But this formidable assailant is least resistible when he attacks the
probability of the action, and the reasonableness of the plan. Every
critical reader must remark, that Addison has, with a scrupulosity almost
unexampled on the English stage, confined himself in time to a single
day, and in place to rigorous unity. The scene never changes, and the
whole action of the play passes in the great hall of Cato's house at
Utica. Much, therefore, is done in the hall, for which any other place
had been more fit; and this impropriety affords Dennis many hints of
merriment, and opportunities of triumph. The passage is long; but as such
disquisitions are not common, and the objections are skilfully formed
and vigorously urged, those who delight in critical controversy will not
think it tedious.
"Upon the departure of Portius, Sempronius makes but one soliloquy, and
immediately in comes Syphax, and then the two politicians are at it
immediately. They lay their heads together, with their snuffboxes in
their hands, as Mr. Bayes has it, and league it away. But in the midst of
that wise scene, Syphax seems to give a seasonable caution to Sempronius:
'_Syph_.
But is it true, Sempronius, that your senate
Is call'd together? Gods! thou must be cautious;
Cato has piercing eyes. '
"There is a great deal of caution shown indeed, in meeting in a
governor's own hall to carry on their plot against him. Whatever opinion
they have of his eyes, I suppose they had none of his ears, or they would
never have talked at this foolish rate so near:
'Gods! thou must be cautious. '
Oh! yes, very cautious, for if Cato should overhear you, and turn you off
for politicians, Caesar would never take you; no, Caesar would never take
you.
"When Cato, act the second, turns the senators out of the hall, upon
pretence of acquainting Juba with the result of their debates, he appears
to me to do a thing which is neither reasonable nor civil. Juba might
certainly have better been made acquainted with the result of that debate
in some private apartment of the palace. But the poet was driven upon
this absurdity to make way for another; and that is, to give Juba an
opportunity to demand Marcia of her father. But the quarrel and rage of
Juba and Syphax, in the same act; the invectives of Syphax against the
Romans and Cato; the advice that he gives Juba, in her father's hall, to
bear away Marcia by force; and his brutal and clamorous rage upon his
refusal, and at a time when Cato was scarcely out of sight, and, perhaps,
not out of hearing, at least some of his guards or domesticks must
necessarily be supposed to be within hearing; is a thing that is so far
from being probable, that it is hardly possible.
"Sempronius, in the second act, comes back once more in the same morning
to the governor's hall, to carry on the conspiracy with Syphax against
the governor, his country, and his family; which is so stupid, that it is
below the wisdom of the O--'s, the Mac's, and the Teague's; even Eustace
Cummins himself would never have gone to Justice-hall to have conspired
against the government. If officers at Portsmouth should lay their heads
together, in order to the carrying off[201] J---- G----'s niece or
daughter, would they meet in J--- G---'s hall, to carry on that
conspiracy? There would be no necessity for their meeting there, at least
till they came to the execution of their plot, because there would be
other places to meet in. There would be no probability that they
should meet there, because there would be places more private and more
commodious. Now there ought to be nothing in a tragical action but what
is necessary or probable.
"But treason is not the only thing that is carried on in this hall; that,
and love, and philosophy, take their turns in it, without any manner
of necessity or probability occasioned by the action, as duly and as
regularly, without interrupting one another, as if there were a triple
league between them, and a mutual agreement that each should give place
to, and make way for the other, in a due and orderly succession.
"We now come to the third act. Sempronius, in this act, comes into the
governor's hall, with the leaders of the mutiny; but, as soon as Cato
is gone, Sempronius, who but just before had acted like an unparalleled
knave, discovers himself, like an egregious fool, to be an accomplice in
the conspiracy.
'_Semp_.
Know, villains, when such paltry slaves presume
To mix in treason, if the plot succeeds,
They're thrown neglected by; but, if it fails,
They're sure to die like dogs, as you shall do.
Here, take these factious monsters, drag them forth
To sudden death. '--
"'Tis true, indeed, the second leader says, there are none there but
friends; but is that possible at such a juncture? Can a parcel of rogues
attempt to assassinate the governor of a town of war, in his own house,
in mid-day, and, after they are discovered, and defeated, can there
be none near them but friends? Is it not plain, from these words of
Sempronius,
'Here, take these factious monsters, drag them forth
To sudden death'--
and from the entrance of the guards upon the word of command, that
those guards were within ear-shot? Behold Sempronius, then, palpably
discovered. How comes it to pass, then, that instead of being hanged
up with the rest, he remains secure in the governor's hall, and there
carries on his conspiracy against the government, the third time in the
same day, with his old comrade Syphax, who enters at the same time that
the guards are carrying away the leaders, big with the news of the defeat
of Sempronius; though where he had his intelligence so soon is difficult
to imagine? And now the reader may expect a very extraordinary scene:
there is not abundance of spirit indeed, nor a great deal of passion, but
there is wisdom more than enough to supply all defects.
'_Syph_.
Still there remains an after-game to play:
My troops are mounted, their Numidian steeds
Snuff up the winds, and long to scour the desert.
Let but Sempronius lead us in our flight,
We'll force the gate, where Marcus keeps his guard,
And hew down all that would oppose our passage;
A day will bring us into Caesar's camp.
'_Semp_. Confusion! I have fail'd of half my purpose;
Marcia, the charming Marcia's left behind. '
"Well! but though he tells us the half-purpose that he has failed of, he
does not tell us the half that he has carried.
But what does he mean by,
'Marcia, the charming Marcia's left behind? '
He is now in her own house; and we have neither seen her, nor heard of
her, any where else since the play began. But now let us hear Syphax:
'What hinders then, but that thou find her out,
And hurry her away by manly force? '
But what does old Syphax mean by finding her out? They talk as if she
were as hard to be found as a hare in a frosty morning.
'_Semp_. But how to gain admission? '
Oh! she is found out then, it seems--
But how to gain admission! for access
Is giv'n to none, but Juba and her brothers. '
But, raillery apart, why access to Juba? For he was owned and received
as a lover neither by the father nor by the daughter. Well! but let
that pass. Syphax puts Sempronius out of pain immediately; and, being
a Numidian, abounding in wiles, supplies him with a stratagem for
admission, that, I believe, is a non-pareille.
'_Syph_. Thou shalt have Juba's dress, and Juba's guards;
The doors will open when Numidia's prince
Seems to appear before them. '
"Sempronius is, it seems, to pass for Juba in full day at Cato's house,
where they were both so very well known, by having Juba's dress and his
guards: as if one of the marshals of France could pass for the duke of
Bavaria, at noonday, at Versailles, by having his dress and liveries. But
how does Syphax pretend to help Sempronius to young Juba's dress? Does he
serve him in a double capacity, as general and master of his wardrobe?
But why Juba's guards? For the devil of any guards has Juba appeared with
yet. Well! though this is a mighty politick invention, yet, methinks,
they might have done without it: for, since the advice that Syphax gave
to Sempronius was,
'To hurry her away by manly force,'
in my opinion, the shortest and likeliest way of coming at the lady
was by demolishing, instead of putting on an impertinent disguise to
circumvent two or three slaves. But Sempronius, it seems, is of another
opinion. He extols to the skies the invention of old Syphax:
'_Semp_. Heav'us! what a thought was there! '
"Now I appeal to the reader, if I have not been as good as my word. Did I
not tell him, that I would lay before him a very wise scene?
"But now let us lay before the reader that part of the scenery of the
fourth act, which may show the absurdities which the author has run
into, through the indiscreet observance of the unity of place. I do not
remember that Aristotle has said any thing expressly concerning the unity
of place. 'Tis true, implicitly he has said enough in the rules which he
has laid down for the chorus. For, by making the chorus an essential part
of tragedy, and by bringing it on the stage immediately after the opening
of the scene, and retaining it there till the very catastrophe, he has so
determined and fixed the place of action, that it was impossible for an
author on the Grecian stage to break through that unity. I am of opinion,
that if a modern tragick poet can preserve the unity of place, without
destroying the probability of the incidents, 'tis always best for him
to do it; because, by the preservation of that unity, as we have taken
notice above, he adds grace, and clearness, and comeliness, to the
representation. But since there are no express rules about it, and we are
under no compulsion to keep it, since we have no chorus, as the Grecian
poet had; if it cannot be preserved, without rendering the greater
part of the incidents unreasonable and absurd, and, perhaps, sometimes
monstrous, 'tis certainly better to break it.
"Now comes bully Sempronius, comically accoutred and equipped with his
Numidian dress and his Numidian guards. Let the reader attend to him with
all his ears; for the words of the wise are precious:
'_Semp_. The deer is lodg'd, I've track'd her to her covert. '
"Now I would fain know why this deer is said to be lodged, since we have
not heard one word, since the play began, of her being at all out of
harbour; and if we consider the discourse with which she and Lucia begin
the act, we have reason to believe that they had hardly been talking
of such matters in the street. However, to pleasure Sempronius, let us
suppose, for once, that the deer is lodged:
'The deer is lodg'd, I've track'd her to her covert. '
"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.
