In the Essay on Satire he was always
supposed
to have had the help of
Dryden.
Dryden.
Samuel Johnson - Lives of the Poets - 1
M.
]
[Footnote 177: Spence. ]
[Footnote 178: Alluding to the duke of Marlborough, at that time
suspected of an ambitious aim to obtain the post of general in chief for
life. ED. ]
[Footnote 179: Spence. ]
[Footnote 180: The Guardian was published in the interval between the
Spectator's being laid down and taken up again. The first number was
published March 12, 1713; and the last appeared October 1st, 1713. M. ]
[Footnote 181: From a tory song in vogue at the time, the burden whereof
is,
And he, that will this health deny,
Down among the dead men let him lie.
H. ]
[Footnote 182: Addison wrote twenty-three papers out of forty-five, viz.
Numbs. 556, 557, 558, 559, 561, 562. 565. 567, 568, 569. 571. 574, 575.
579, 580. 582,583, 584, 585. 590. 592. 598. 600; so that he produced more
than one half. ]
[Footnote 183: When lord Sunderland was appointed lord lieutenant of
Ireland, in 1714, Addison was appointed his secretary. Johnson has
omitted another step in his promotions. He was, in 1715, made a lord of
trade. M. ]
[Footnote 184: August 2. ]
[Footnote 185: Spence. ]
[Footnote 186: It has been said, that Addison first discovered his
addresses to the countess of Warwick would not be unacceptable, from the
manner of her receiving such an article in the newspapers, of his own
inserting, at which, when he read it to her, he affected to be much
astonished. Many anecdotes are on record of Addison's tavern resorts when
Holland-house was rendered disagreeable by the haughty caprices of his
aristocratic bride. When he had suffered any vexation from her, he would
propose to withdraw the club from Button's, who had been a servant in the
countess's family. ED. ]
[Footnote 187: Spence. ]
[Footnote 188: Spence. ]
[Footnote 189: This is inaccurately stated. Pope does not mention the
conjecture of Tonson at all. Spence himself has mentioned it from
Tonson's own information; for he has subscribed the name of Tonson to the
paragraph in question, according to his constant practice of stating the
name of his informer. M. ]
[Footnote 190: Spence. ]
[Footnote 191: This account of Addison's death is from Dr. Young, who
calls lord Warwick a youth finely accomplished; and does not give the
least ground for the representation in the text, that he was of irregular
life, and that this was a last effort of Addison's to reclaim him.
M. --Dr. Young was far too much of a courtier to see the vices of a
peer, but even his guarded statement does give ground for Dr. Johnson's
conclusion. His words are, "finely accomplished, but not above being the
better for good impressions from a dying friend. " ED. ]
[Footnote 192: Who died at Bilton, in Warwickshire, at a very advanced
age, in 1797. See Gent. Mag. vol. lxvii. p. 256. 385. N. ]
[Footnote 193: Spence. ]
[Footnote 194: Tonson and Spence. ]
[Footnote 195: Spence. ]
[Footnote 196: Spence. ]
[Footnote 197: Spence. ]
[Footnote 198: "Paint means," says Dr. Warton, "express, or describe
them. "]
[Footnote 199: But, according to Dr. Warton, "ought not to have
intended. "]
[Footnote 200: Spence. ]
[Footnote 201: The person meant by the initials, J. G. is sir John Gibson,
lieutenant-governor of Portsmouth in the year 1710, and afterwards. He
was much beloved in the army, and by the common soldiers called Johnny
Gibson. H. ]
[Footnote 202: Taste must decide. WARTON. ]
[Footnote 203: Far, in Dr. Warton's opinion, beyond Dryden. ]
[Footnote 204: But, says Dr. Warton, he sometimes is so; and, in another
manuscript note, he adds, often so. ]
HUGHES
John Hughes, the son of a citizen of London, and of Anne Burgess, of an
ancient family in Wiltshire, was born at Marlborough, July 29, 1677. He
was educated at a private school; and though his advances in literature
are in the Biographia very ostentatiously displayed, the name of his
master is somewhat ungratefully concealed[205].
At nineteen he drew the plan of a tragedy; and paraphrased, rather too
diffusely, the ode of Horace which begins "Integer vitas. " To poetry
he added the science of musick, in which he seems to have attained
considerable skill, together with the practice of design, or rudiments of
painting.
His studies did not withdraw him wholly from business, nor did business
hinder him from study. He had a place in the office of ordnance; and was
secretary to several commissions for purchasing lands necessary to secure
the royal docks at Chatham and Portsmouth; yet found time to acquaint
himself with modern languages.
In 1697 he published a poem on the Peace of Ryswick: and, in 1699,
another piece, called the Court of Neptune, on the return of king
William, which he addressed to Mr. Montague, the general patron of the
followers of the muses. The same year he produced a song on the duke of
Gloucester's birthday.
He did not confine himself to poetry, but cultivated other kinds of
writing with great success; and about this time showed his knowledge of
human nature by an essay on the Pleasure of being deceived. In 1702, he
published, on the death of king William, a Pindarick ode, called the
House of Nassau; and wrote another paraphrase on the "Otium Divos" of
Horace.
In 1703, his ode on Musick was performed at Stationers' hall; and he
wrote afterwards six cantatas, which were set to musick by the greatest
master of that time, and seem intended to oppose or exclude the Italian
opera, an exotick and irrational entertainment, which has been always
combated, and always has prevailed.
His reputation was now so far advanced, that the publick began to pay
reverence to his name; and he was solicited to prefix a preface to the
translation of Boccalini, a writer whose satirical vein cost him his life
in Italy, but who never, I believe, found many readers in this country,
even though introduced by such powerful recommendation.
He translated Fontenelle's Dialogues of the Dead; and his version was,
perhaps, read at that time, but is now neglected; for by a book not
necessary, and owing its reputation wholly to its turn of diction, little
notice can be gained but from those who can enjoy the graces of the
original. To the dialogues of Fontenelle he added two composed by
himself; and, though not only an honest but a pious man, dedicated his
work to the earl of Wharton. He judged skilfully enough of his own
interest; for Wharton, when he went lord lieutenant to Ireland, offered
to take Hughes with him, and establish him; but Hughes, having hopes or
promises from another man in power, of some provision more suitable to
his inclination, declined Wharton's offer, and obtained nothing from the
other.
He translated the Miser of Moliere, which he never offered to the stage;
and occasionally amused himself with making versions of favourite scenes
in other plays.
Being now received as a wit among the wits, he paid his contributions
to literary undertakings, and assisted both the Tatler, Spectator, and
Guardian. In 1712, he translated Vertot's History of the Revolution of
Portugal; produced an Ode to the Creator of the World, from the Fragments
of Orpheus; and brought upon the stage an opera, called Calypso and
Telemachus, intended to show that the English language might be very
happily adapted to musick. This was impudently opposed by those who
were employed in the Italian opera; and, what cannot be told without
indignation, the intruders had such interest with the duke of Shrewsbury,
then lord chamberlain, who had married an Italian, as to obtain an
obstruction of the profits, though not an inhibition of the performance.
There was, at this time, a project formed by Tonson for a translation of
the Pharsalia by several hands; and Hughes englished the tenth book.
But this design, as must often happen where the concurrence of many
is necessary, fell to the ground; and the whole work was afterwards
performed by Rowe.
His acquaintance with the great writers of his time appears to have been
very general; but of his intimacy with Addison there is a remarkable
proof. It is told, on good authority, that Cato was finished and played
by his persuasion. It had long wanted the last act, which he was desired
by Addison to supply. If the request was sincere, it proceeded from an
opinion, whatever it was, that did not last long; for when Hughes came
in a week to show him his first attempt, he found half an act written by
Addison himself.
He afterwards published the works of Spenser, with his life, a glossary,
and a discourse on allegorical poetry; a work for which he was well
qualified as a judge of the beauties of writing, but, perhaps, wanted an
antiquary's knowledge of the obsolete words. He did not much revive
the curiosity of the publick; for near thirty years elapsed before his
edition was reprinted. The same year produced his Apollo and Daphne, of
which the success was very earnestly promoted by Steele, who, when the
rage of party did not misguide him, seems to have been a man of boundless
benevolence.
Hughes had hitherto suffered the mortifications of a narrow fortune;
but, in 1717, the lord chancellor Cowper set him at ease, by making him
secretary to the commissions of the peace; in which he afterwards, by a
particular request, desired his successor, lord Parker, to continue him.
He had now affluence; but such is human life, that he had it when his
declining health could neither allow him long possession, nor quick
enjoyment.
His last work was his tragedy, the Siege of Damascus, after which, a
Siege became a popular title. This play, which still continues on the
stage, and of which it is unnecessary to add a private voice to such
continuance of approbation, is not acted or printed according to the
author's original draught, or his settled intention. He had made Phocyas
apostatize from his religion; after which the abhorrence of Eudocia would
have been reasonable, his misery would have been just, and the horrours
of his repentance exemplary. The players, however, required, that the
guilt of Phocyas should terminate in desertion to the enemy; and Hughes,
unwilling that his relations should lose the benefit of his work,
complied with the alteration.
He was now weak with a lingering consumption, and not able to attend
the rehearsal; yet was so vigorous in his faculties, that only ten days
before his death he wrote the dedication to his patron lord Cowper. On
February 17, 1719-20, the play was represented, and the author died.
He lived to hear that it was well received; but paid no regard to
the intelligence, being then wholly employed in the meditations of a
departing Christian.
A man of his character was, undoubtedly, regretted; and Steele devoted
an essay, in the paper called the Theatre, to the memory of his virtues.
His life is written in the Biographia with some degree of favourable
partiality; and an account of him is prefixed to his works by his
relation, the late Mr. Buncombe, a man whose blameless elegance deserved
the same respect.
The character of his genius I shall transcribe from the correspondence of
Swift and Pope.
"A month ago," says Swift, "were sent me over, by a friend of mine, the
works of John Hughes, esquire. They are in prose and verse. I never heard
of the man in my life, yet I find your name as a subscriber. He is too
grave a poet for me; and I think among the mediocrists, in prose as well
as verse. "
To this Pope returns: "To answer your question as to Mr. Hughes; what he
wanted in genius, he made up as an honest man; but he was of the class
you think him[206]. "
In Spence's Collections Pope is made to speak of him with still less
respect, as having no claim to poetical reputation but from his tragedy.
[Footnote 205: He was educated in a dissenting academy, of which the
reverend Mr. Thomas Rowe was tutor; and was a fellow-student there with
Dr. Isaac Watts, Mr. Samuel Say, and other persons of eminence. In the
Hora Lyricae of Dr. Watts, is a poem to the memory of Mr. Rowe. H. ]
[Footnote 206: This, Dr. Warton asserts, is very unjust censure; and in a
note in his late edition of Pope's works, asks if "the author of such a
tragedy as the Siege of Damascus was one of the _mediocribus_? Swift and
Pope seem not to recollect the value and rank of an author who could
write such a tragedy. "]
SHEFFIELD
DUKE OF BUCKINGHAMSHIRE.
John Sheffield, descended from a long series of illustrious ancestors,
was born in 1649, the son of Edmund, earl of Mulgrave, who died in
1658[207]. The young lord was put into the hands of a tutor, with whom he
was so little satisfied, that he got rid of him in a short time, and, at
an age not exceeding twelve years, resolved to educate himself. Such a
purpose, formed at such an age, and successfully prosecuted, delights as
it is strange, and instructs as it is real.
His literary acquisitions are more wonderful, as those years in which
they are commonly made were spent by him in the tumult of a military
life, or the gaiety of a court. When war was declared against the Dutch,
he went, at seventeen, on board the ship in which prince Rupert and
the duke of Albemarle sailed, with the command of the fleet; but, by
contrariety of winds, they were restrained from action. His zeal for the
king's service was recompensed by the command of one of the independent'
troops of horse, then raised to protect the coast.
Next year he received a summons to parliament, which, as he was then
but eighteen years old, the earl of Northumberland censured as at least
indecent, and his objection was allowed. He had a quarrel with the earl
of Rochester, which he has, perhaps, too ostentatiously related, as
Rochester's surviving sister, the lady Sandwich, is said to have told him
with very sharp reproaches.
When another Dutch war, 1672, broke out, he went again a volunteer in the
ship which the celebrated lord Ossory commanded; and there made, as he
relates, two curious remarks.
"I have observed two things, which I dare affirm, though not generally
believed. One was, that the wind of a cannon bullet, though flying never
so near, is incapable of doing the least harm; and, indeed, were it
otherwise, no man above deck would escape. The other was, that a great
shot may be sometimes avoided, even as it flies, by changing one's ground
a little; for, when the wind sometimes blew away the smoke, it was so
clear a sunshiny day, that we could easily perceive the bullets, that
were half-spent, fall into the water, and from thence bound up again
among us, which gives sufficient time for making a step or two on any
side; though, in so swift a motion, 'tis hard to judge well in what line
the bullet comes, which, if mistaken, may, by removing, cost a man his
life, instead of saving it. "
His behaviour was so favourably represented by lord Ossory, that he was
advanced to the command of the Catharine, the best second-rate ship in
the navy.
He afterwards raised a regiment of foot, and commanded it as colonel. The
land-forces were sent ashore by prince Rupert; and he lived in the camp
very familiarly with Schomberg. He was then appointed colonel of the old
Holland regiment, together with his own; and had the promise of a garter,
which he obtained in his twenty-fifth year. He was, likewise, made
gentleman of the bedchamber. He afterwards went into the French service,
to learn the art of war under Turenne, but staid only a short time.
Being, by the duke of Monmouth, opposed in his pretensions to the first
troop of horse-guards, he, in return, made Monmouth suspected by the
duke of York. He was not long after, when the unlucky Monmouth fell
into disgrace, recompensed with the lieutenancy of Yorkshire and the
government of Hull.
Thus rapidly did he make his way both to military and civil honours and
employments; yet, busy as he was, he did not neglect his studies, but, at
least, cultivated poetry; in which he must have been early considered as
uncommonly skilful, if it be true which is reported, that, when he was
yet not twenty years old, his recommendation advanced Dryden to the
laurel.
The Moors having besieged Tangier, he was sent, 1680, with two thousand
men to its relief. A strange story is told of danger to which he was
intentionally exposed in a leaky ship, to gratify some resentful jealousy
of the king, whose health he, therefore, would never permit at his
table, till he saw himself in a safer place. His voyage was prosperously
performed in three weeks; and the Moors, without a contest, retired
before him.
In this voyage he composed the Vision; a licentious poem, such as was
fashionable in those times, with little power of invention or propriety
of sentiment.
At his return he found the king kind, who, perhaps, had never been angry;
and he continued a wit and a courtier, as before.
At the succession of king James, to whom he was intimately known, and by
whom he thought himself beloved, he naturally expected still brighter
sunshine; but all know how soon that reign began to gather clouds. His
expectations were not disappointed; he was immediately admitted into the
privy council, and made lord chamberlain. He accepted a place in the high
commission, without knowledge, as he declared after the revolution, of
its illegality. Having few religious scruples, he attended the king to
mass, and kneeled with the rest, but had no disposition to receive
the Romish faith, or to force it upon others; for when the priests,
encouraged by his appearances of compliance, attempted to convert him,
he told them, as Burnet has recorded, that he was willing to receive
instruction, and that he had taken much pains to believe in God, who made
the world and all men in it; but that he should not be easily persuaded
"that man was quits, and made God again. "
A pointed sentence is bestowed by successive transmission on the last
whom it will fit: this censure of transubstantiation, whatever be its
value, was uttered long ago by Anne Askew, one of the first sufferers
for the protestant religion, who, in the time of Henry the eighth, was
tortured in the Tower; concerning which there is reason to wonder that it
was not known to the historian of the reformation.
In the revolution he acquiesced, though he did not promote it. There
was once a design of associating him in the invitation of the prince of
Orange; but the earl of Shrewsbury discouraged the attempt, by declaring
that Mulgrave would never concur. This king William afterwards told him;
and asked what he would have done if the proposal had been made? "Sir,"
said he, "I would have discovered it to the king whom I then served. " To
which king William replied, "I cannot blame you. "
Finding king James irremediably excluded, he voted for the conjunctive
sovereignty, upon this principle, that he thought the titles of the
prince and his consort equal, and it would please the prince, their
protector, to have a share in the sovereignty. This vote gratified king
William; yet, either by the king's distrust or his own discontent,
he lived some years without employment. He looked on the king with
malevolence, and, if his verses or his prose may be credited, with
contempt. He was, notwithstanding this aversion or indifference, made
marquis of Normanby, 1694; but still opposed the court on some important
questions; yet, at last, he was received into the cabinet council, with a
pension of three thousand pounds.
At the accession of queen Anne, whom he is said to have courted when they
were both young, he was highly favoured. Before her coronation. 1702, she
made him lord privy seal, and, soon after, lord lieutenant of the north
Riding of Yorkshire. He was then named commissioner for treating with the
Scots about the union; and was made, next year, first, duke of Normanby,
and then of Buckinghamshire, there being suspected to be somewhere a
latent claim to the title of Buckingham[208].
Soon after, becoming jealous of the duke of Marlborough, he resigned the
privy seal, and joined the discontented tories in a motion, extremely
offensive to the queen, for inviting the princess Sophia to England.
The queen courted him back with an offer no less than that of the
chancellorship; which he refused. He now retired from business, and built
that house in the Park, which is now the queen's, upon ground granted by
the crown.
When the ministry was changed, 1710, he was made lord chamberlain of the
household, and concurred in all transactions of that time, except that he
endeavoured to protect the Catalans. After the queen's death, he became
a constant opponent of the court; and, having no publick business, is
supposed to have amused himself by writing his two tragedies. He died
February 24, 1720-21.
He was thrice married; by his first two wives he had no children; by his
third, who was the daughter of king James, by the countess of Dorchester,
and the widow of the earl of Anglesey, he had, besides other children
that died early, a son born in 1716, who died in 1735, and put an end to
the line of Sheffield. It is observable, that the duke's three wives were
all widows. The dutchess died in 1742.
His character is not to be proposed as worthy of imitation. His religion
he may be supposed to have learned from Hobbes; and his morality was such
as naturally proceeds from loose opinions. His sentiments with respect to
women he picked up in the court of Charles; and his principles concerning
property were such as a gaming-table supplies. He was censured as
covetous, and has been defended by an instance of inattention to his
affairs; as if a man might not at once be corrupted by avarice and
idleness. He is said, however, to have had much tenderness, and to have
been very ready to apologize for his violences of passion.
He is introduced into this collection only as a poet; and, if we credit
the testimony of his contemporaries, he was a poet of no vulgar rank. But
favour and flattery are now at an end; criticism is no longer softened by
his bounties, or awed by his splendour; and, being able to take a more
steady view, discovers him to be a writer that sometimes glimmers, but
rarely shines; feebly laborious, and, at best, but pretty. His songs are
upon common topicks; he hopes, and grieves, and repents, and despairs,
and rejoices, like any other maker of little stanzas: to be great, he
hardly tries; to be gay, is hardly in his power[209].
In the Essay on Satire he was always supposed to have had the help of
Dryden. His Essay on Poetry is the great work for which he was praised by
Roscommon, Dryden, and Pope; and, doubtless, by many more, whose eulogies
have perished.
Upon this piece he appears to have set a high value; for he was all his
life improving it by successive revisals, so that there is scarcely any
poem to be found of which the last edition differs more from the first.
Amongst other changes, mention is made of some compositions of Dryden,
which were written after the first appearance of the essay.
At the time when this work first appeared, Milton's fame was not yet
fully established, and, therefore, Tasso and Spenser were set before him.
The two last lines were these. The epick poet, says he,
Must above Milton's lofty flights prevail,
Succeed where great Torquato, and where greater Spenser, fail.
The last line in succeeding editions was shortened, and the order of
names continued; but now Milton is at last advanced to the highest place,
and the passage thus adjusted:
Must above Tasso's lofty flights prevail,
Succeed where Spenser, and ev'n Milton, fail.
Amendments are seldom made without some token of a rent: _lofty_ does not
suit Tasso so well as Milton.
One celebrated line seems to be borrowed. The essay calls a perfect
character,
A faultless monster which the world ne'er saw.
Scaliger, in his poems, terms Virgil "sine labe monstrum. " Sheffield can
scarcely be supposed to have read Scaliger's poetry; perhaps he found the
words in a quotation.
Of this essay, which Dryden has exalted so highly, it may be justly
said, that the precepts are judicious, sometimes new, and often happily
expressed; but there are, after all the emendations, many weak lines, and
some strange appearances of negligence; as, when he gives the laws of
elegy, he insists upon connexion and coherence; without which, says he,
'Tis epigram, 'tis point, 'tis what you will;
But not an elegy, nor writ with skill,
No Panegyrick, nor a Cooper's Hill.
Who would not suppose that Waller's Panegyrick and Denham's Cooper's Hill
were elegies?
His verses are often insipid; but his memoirs are lively and agreeable;
he had the perspicuity and elegance of an historian, but not the fire and
fancy of a poet.
[Footnote 207: His mother was Elizabeth, one of the daughters of Lionel
Cranfield, earl of Middlesex. M. ]
[Footnote 208: In the earliest editions of the duke's works he is styled
duke of Buckingham; and Walpole, in his Catalogue of Noble Authors,
mentions a wish, cherished by Sheffield, to be confounded with his
predecessor in the title; "but he would more easily," remarks Walpole,
sarcastically, "have been mistaken with the other Buckingham, if he had
not written at all. " Burnet also, and other authorities, speak of him
under the title of duke of Buckingham. His epitaph, being in Latin, will
not settle the point. It is to be regretted, therefore, that Johnson
adduced no better evidence for his doubt than his own unsupported
assertion. ED. ]
[Footnote 209: "The life of this peer takes up fourteen pages and a half
in folio, in the General Dictionary, where it has little pretensions to
occupy a couple: but his pious relict was always purchasing places for
him, herself, and their son, in every suburb of the temple of fame; a
tenure, against which, of all others, quo-warrantos are sure to take
place. The author of the article in the dictionary calls the duke one of
the most beautiful prose writers, and greatest poets, of his age: which
is also, he says, proved by the finest writers, his contemporaries;
certificates that have little weight, where the merit is not proved by
the author's own works. It is certain, that his grace's compositions in
prose have nothing extraordinary in them; his poetry is most indifferent,
and the greatest part of both is already fallen into total neglect. "
Walpole's Noble Authors, vol. i. p. 436 of his works. ]
END OF VOL. VII.
End of Project Gutenberg's Lives of the Poets, Vol. 1, by Samuel Johnson
*** END OF THIS PROJECT GUTENBERG EBOOK LIVES OF THE POETS, VOL. 1 ***
***** This file should be named 9823-8. txt or 9823-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/9/8/2/9823/
Produced by Jonathan Ingram, Jayam Subramanian and PG
Distributed Proofreaders
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. net/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.
[Footnote 177: Spence. ]
[Footnote 178: Alluding to the duke of Marlborough, at that time
suspected of an ambitious aim to obtain the post of general in chief for
life. ED. ]
[Footnote 179: Spence. ]
[Footnote 180: The Guardian was published in the interval between the
Spectator's being laid down and taken up again. The first number was
published March 12, 1713; and the last appeared October 1st, 1713. M. ]
[Footnote 181: From a tory song in vogue at the time, the burden whereof
is,
And he, that will this health deny,
Down among the dead men let him lie.
H. ]
[Footnote 182: Addison wrote twenty-three papers out of forty-five, viz.
Numbs. 556, 557, 558, 559, 561, 562. 565. 567, 568, 569. 571. 574, 575.
579, 580. 582,583, 584, 585. 590. 592. 598. 600; so that he produced more
than one half. ]
[Footnote 183: When lord Sunderland was appointed lord lieutenant of
Ireland, in 1714, Addison was appointed his secretary. Johnson has
omitted another step in his promotions. He was, in 1715, made a lord of
trade. M. ]
[Footnote 184: August 2. ]
[Footnote 185: Spence. ]
[Footnote 186: It has been said, that Addison first discovered his
addresses to the countess of Warwick would not be unacceptable, from the
manner of her receiving such an article in the newspapers, of his own
inserting, at which, when he read it to her, he affected to be much
astonished. Many anecdotes are on record of Addison's tavern resorts when
Holland-house was rendered disagreeable by the haughty caprices of his
aristocratic bride. When he had suffered any vexation from her, he would
propose to withdraw the club from Button's, who had been a servant in the
countess's family. ED. ]
[Footnote 187: Spence. ]
[Footnote 188: Spence. ]
[Footnote 189: This is inaccurately stated. Pope does not mention the
conjecture of Tonson at all. Spence himself has mentioned it from
Tonson's own information; for he has subscribed the name of Tonson to the
paragraph in question, according to his constant practice of stating the
name of his informer. M. ]
[Footnote 190: Spence. ]
[Footnote 191: This account of Addison's death is from Dr. Young, who
calls lord Warwick a youth finely accomplished; and does not give the
least ground for the representation in the text, that he was of irregular
life, and that this was a last effort of Addison's to reclaim him.
M. --Dr. Young was far too much of a courtier to see the vices of a
peer, but even his guarded statement does give ground for Dr. Johnson's
conclusion. His words are, "finely accomplished, but not above being the
better for good impressions from a dying friend. " ED. ]
[Footnote 192: Who died at Bilton, in Warwickshire, at a very advanced
age, in 1797. See Gent. Mag. vol. lxvii. p. 256. 385. N. ]
[Footnote 193: Spence. ]
[Footnote 194: Tonson and Spence. ]
[Footnote 195: Spence. ]
[Footnote 196: Spence. ]
[Footnote 197: Spence. ]
[Footnote 198: "Paint means," says Dr. Warton, "express, or describe
them. "]
[Footnote 199: But, according to Dr. Warton, "ought not to have
intended. "]
[Footnote 200: Spence. ]
[Footnote 201: The person meant by the initials, J. G. is sir John Gibson,
lieutenant-governor of Portsmouth in the year 1710, and afterwards. He
was much beloved in the army, and by the common soldiers called Johnny
Gibson. H. ]
[Footnote 202: Taste must decide. WARTON. ]
[Footnote 203: Far, in Dr. Warton's opinion, beyond Dryden. ]
[Footnote 204: But, says Dr. Warton, he sometimes is so; and, in another
manuscript note, he adds, often so. ]
HUGHES
John Hughes, the son of a citizen of London, and of Anne Burgess, of an
ancient family in Wiltshire, was born at Marlborough, July 29, 1677. He
was educated at a private school; and though his advances in literature
are in the Biographia very ostentatiously displayed, the name of his
master is somewhat ungratefully concealed[205].
At nineteen he drew the plan of a tragedy; and paraphrased, rather too
diffusely, the ode of Horace which begins "Integer vitas. " To poetry
he added the science of musick, in which he seems to have attained
considerable skill, together with the practice of design, or rudiments of
painting.
His studies did not withdraw him wholly from business, nor did business
hinder him from study. He had a place in the office of ordnance; and was
secretary to several commissions for purchasing lands necessary to secure
the royal docks at Chatham and Portsmouth; yet found time to acquaint
himself with modern languages.
In 1697 he published a poem on the Peace of Ryswick: and, in 1699,
another piece, called the Court of Neptune, on the return of king
William, which he addressed to Mr. Montague, the general patron of the
followers of the muses. The same year he produced a song on the duke of
Gloucester's birthday.
He did not confine himself to poetry, but cultivated other kinds of
writing with great success; and about this time showed his knowledge of
human nature by an essay on the Pleasure of being deceived. In 1702, he
published, on the death of king William, a Pindarick ode, called the
House of Nassau; and wrote another paraphrase on the "Otium Divos" of
Horace.
In 1703, his ode on Musick was performed at Stationers' hall; and he
wrote afterwards six cantatas, which were set to musick by the greatest
master of that time, and seem intended to oppose or exclude the Italian
opera, an exotick and irrational entertainment, which has been always
combated, and always has prevailed.
His reputation was now so far advanced, that the publick began to pay
reverence to his name; and he was solicited to prefix a preface to the
translation of Boccalini, a writer whose satirical vein cost him his life
in Italy, but who never, I believe, found many readers in this country,
even though introduced by such powerful recommendation.
He translated Fontenelle's Dialogues of the Dead; and his version was,
perhaps, read at that time, but is now neglected; for by a book not
necessary, and owing its reputation wholly to its turn of diction, little
notice can be gained but from those who can enjoy the graces of the
original. To the dialogues of Fontenelle he added two composed by
himself; and, though not only an honest but a pious man, dedicated his
work to the earl of Wharton. He judged skilfully enough of his own
interest; for Wharton, when he went lord lieutenant to Ireland, offered
to take Hughes with him, and establish him; but Hughes, having hopes or
promises from another man in power, of some provision more suitable to
his inclination, declined Wharton's offer, and obtained nothing from the
other.
He translated the Miser of Moliere, which he never offered to the stage;
and occasionally amused himself with making versions of favourite scenes
in other plays.
Being now received as a wit among the wits, he paid his contributions
to literary undertakings, and assisted both the Tatler, Spectator, and
Guardian. In 1712, he translated Vertot's History of the Revolution of
Portugal; produced an Ode to the Creator of the World, from the Fragments
of Orpheus; and brought upon the stage an opera, called Calypso and
Telemachus, intended to show that the English language might be very
happily adapted to musick. This was impudently opposed by those who
were employed in the Italian opera; and, what cannot be told without
indignation, the intruders had such interest with the duke of Shrewsbury,
then lord chamberlain, who had married an Italian, as to obtain an
obstruction of the profits, though not an inhibition of the performance.
There was, at this time, a project formed by Tonson for a translation of
the Pharsalia by several hands; and Hughes englished the tenth book.
But this design, as must often happen where the concurrence of many
is necessary, fell to the ground; and the whole work was afterwards
performed by Rowe.
His acquaintance with the great writers of his time appears to have been
very general; but of his intimacy with Addison there is a remarkable
proof. It is told, on good authority, that Cato was finished and played
by his persuasion. It had long wanted the last act, which he was desired
by Addison to supply. If the request was sincere, it proceeded from an
opinion, whatever it was, that did not last long; for when Hughes came
in a week to show him his first attempt, he found half an act written by
Addison himself.
He afterwards published the works of Spenser, with his life, a glossary,
and a discourse on allegorical poetry; a work for which he was well
qualified as a judge of the beauties of writing, but, perhaps, wanted an
antiquary's knowledge of the obsolete words. He did not much revive
the curiosity of the publick; for near thirty years elapsed before his
edition was reprinted. The same year produced his Apollo and Daphne, of
which the success was very earnestly promoted by Steele, who, when the
rage of party did not misguide him, seems to have been a man of boundless
benevolence.
Hughes had hitherto suffered the mortifications of a narrow fortune;
but, in 1717, the lord chancellor Cowper set him at ease, by making him
secretary to the commissions of the peace; in which he afterwards, by a
particular request, desired his successor, lord Parker, to continue him.
He had now affluence; but such is human life, that he had it when his
declining health could neither allow him long possession, nor quick
enjoyment.
His last work was his tragedy, the Siege of Damascus, after which, a
Siege became a popular title. This play, which still continues on the
stage, and of which it is unnecessary to add a private voice to such
continuance of approbation, is not acted or printed according to the
author's original draught, or his settled intention. He had made Phocyas
apostatize from his religion; after which the abhorrence of Eudocia would
have been reasonable, his misery would have been just, and the horrours
of his repentance exemplary. The players, however, required, that the
guilt of Phocyas should terminate in desertion to the enemy; and Hughes,
unwilling that his relations should lose the benefit of his work,
complied with the alteration.
He was now weak with a lingering consumption, and not able to attend
the rehearsal; yet was so vigorous in his faculties, that only ten days
before his death he wrote the dedication to his patron lord Cowper. On
February 17, 1719-20, the play was represented, and the author died.
He lived to hear that it was well received; but paid no regard to
the intelligence, being then wholly employed in the meditations of a
departing Christian.
A man of his character was, undoubtedly, regretted; and Steele devoted
an essay, in the paper called the Theatre, to the memory of his virtues.
His life is written in the Biographia with some degree of favourable
partiality; and an account of him is prefixed to his works by his
relation, the late Mr. Buncombe, a man whose blameless elegance deserved
the same respect.
The character of his genius I shall transcribe from the correspondence of
Swift and Pope.
"A month ago," says Swift, "were sent me over, by a friend of mine, the
works of John Hughes, esquire. They are in prose and verse. I never heard
of the man in my life, yet I find your name as a subscriber. He is too
grave a poet for me; and I think among the mediocrists, in prose as well
as verse. "
To this Pope returns: "To answer your question as to Mr. Hughes; what he
wanted in genius, he made up as an honest man; but he was of the class
you think him[206]. "
In Spence's Collections Pope is made to speak of him with still less
respect, as having no claim to poetical reputation but from his tragedy.
[Footnote 205: He was educated in a dissenting academy, of which the
reverend Mr. Thomas Rowe was tutor; and was a fellow-student there with
Dr. Isaac Watts, Mr. Samuel Say, and other persons of eminence. In the
Hora Lyricae of Dr. Watts, is a poem to the memory of Mr. Rowe. H. ]
[Footnote 206: This, Dr. Warton asserts, is very unjust censure; and in a
note in his late edition of Pope's works, asks if "the author of such a
tragedy as the Siege of Damascus was one of the _mediocribus_? Swift and
Pope seem not to recollect the value and rank of an author who could
write such a tragedy. "]
SHEFFIELD
DUKE OF BUCKINGHAMSHIRE.
John Sheffield, descended from a long series of illustrious ancestors,
was born in 1649, the son of Edmund, earl of Mulgrave, who died in
1658[207]. The young lord was put into the hands of a tutor, with whom he
was so little satisfied, that he got rid of him in a short time, and, at
an age not exceeding twelve years, resolved to educate himself. Such a
purpose, formed at such an age, and successfully prosecuted, delights as
it is strange, and instructs as it is real.
His literary acquisitions are more wonderful, as those years in which
they are commonly made were spent by him in the tumult of a military
life, or the gaiety of a court. When war was declared against the Dutch,
he went, at seventeen, on board the ship in which prince Rupert and
the duke of Albemarle sailed, with the command of the fleet; but, by
contrariety of winds, they were restrained from action. His zeal for the
king's service was recompensed by the command of one of the independent'
troops of horse, then raised to protect the coast.
Next year he received a summons to parliament, which, as he was then
but eighteen years old, the earl of Northumberland censured as at least
indecent, and his objection was allowed. He had a quarrel with the earl
of Rochester, which he has, perhaps, too ostentatiously related, as
Rochester's surviving sister, the lady Sandwich, is said to have told him
with very sharp reproaches.
When another Dutch war, 1672, broke out, he went again a volunteer in the
ship which the celebrated lord Ossory commanded; and there made, as he
relates, two curious remarks.
"I have observed two things, which I dare affirm, though not generally
believed. One was, that the wind of a cannon bullet, though flying never
so near, is incapable of doing the least harm; and, indeed, were it
otherwise, no man above deck would escape. The other was, that a great
shot may be sometimes avoided, even as it flies, by changing one's ground
a little; for, when the wind sometimes blew away the smoke, it was so
clear a sunshiny day, that we could easily perceive the bullets, that
were half-spent, fall into the water, and from thence bound up again
among us, which gives sufficient time for making a step or two on any
side; though, in so swift a motion, 'tis hard to judge well in what line
the bullet comes, which, if mistaken, may, by removing, cost a man his
life, instead of saving it. "
His behaviour was so favourably represented by lord Ossory, that he was
advanced to the command of the Catharine, the best second-rate ship in
the navy.
He afterwards raised a regiment of foot, and commanded it as colonel. The
land-forces were sent ashore by prince Rupert; and he lived in the camp
very familiarly with Schomberg. He was then appointed colonel of the old
Holland regiment, together with his own; and had the promise of a garter,
which he obtained in his twenty-fifth year. He was, likewise, made
gentleman of the bedchamber. He afterwards went into the French service,
to learn the art of war under Turenne, but staid only a short time.
Being, by the duke of Monmouth, opposed in his pretensions to the first
troop of horse-guards, he, in return, made Monmouth suspected by the
duke of York. He was not long after, when the unlucky Monmouth fell
into disgrace, recompensed with the lieutenancy of Yorkshire and the
government of Hull.
Thus rapidly did he make his way both to military and civil honours and
employments; yet, busy as he was, he did not neglect his studies, but, at
least, cultivated poetry; in which he must have been early considered as
uncommonly skilful, if it be true which is reported, that, when he was
yet not twenty years old, his recommendation advanced Dryden to the
laurel.
The Moors having besieged Tangier, he was sent, 1680, with two thousand
men to its relief. A strange story is told of danger to which he was
intentionally exposed in a leaky ship, to gratify some resentful jealousy
of the king, whose health he, therefore, would never permit at his
table, till he saw himself in a safer place. His voyage was prosperously
performed in three weeks; and the Moors, without a contest, retired
before him.
In this voyage he composed the Vision; a licentious poem, such as was
fashionable in those times, with little power of invention or propriety
of sentiment.
At his return he found the king kind, who, perhaps, had never been angry;
and he continued a wit and a courtier, as before.
At the succession of king James, to whom he was intimately known, and by
whom he thought himself beloved, he naturally expected still brighter
sunshine; but all know how soon that reign began to gather clouds. His
expectations were not disappointed; he was immediately admitted into the
privy council, and made lord chamberlain. He accepted a place in the high
commission, without knowledge, as he declared after the revolution, of
its illegality. Having few religious scruples, he attended the king to
mass, and kneeled with the rest, but had no disposition to receive
the Romish faith, or to force it upon others; for when the priests,
encouraged by his appearances of compliance, attempted to convert him,
he told them, as Burnet has recorded, that he was willing to receive
instruction, and that he had taken much pains to believe in God, who made
the world and all men in it; but that he should not be easily persuaded
"that man was quits, and made God again. "
A pointed sentence is bestowed by successive transmission on the last
whom it will fit: this censure of transubstantiation, whatever be its
value, was uttered long ago by Anne Askew, one of the first sufferers
for the protestant religion, who, in the time of Henry the eighth, was
tortured in the Tower; concerning which there is reason to wonder that it
was not known to the historian of the reformation.
In the revolution he acquiesced, though he did not promote it. There
was once a design of associating him in the invitation of the prince of
Orange; but the earl of Shrewsbury discouraged the attempt, by declaring
that Mulgrave would never concur. This king William afterwards told him;
and asked what he would have done if the proposal had been made? "Sir,"
said he, "I would have discovered it to the king whom I then served. " To
which king William replied, "I cannot blame you. "
Finding king James irremediably excluded, he voted for the conjunctive
sovereignty, upon this principle, that he thought the titles of the
prince and his consort equal, and it would please the prince, their
protector, to have a share in the sovereignty. This vote gratified king
William; yet, either by the king's distrust or his own discontent,
he lived some years without employment. He looked on the king with
malevolence, and, if his verses or his prose may be credited, with
contempt. He was, notwithstanding this aversion or indifference, made
marquis of Normanby, 1694; but still opposed the court on some important
questions; yet, at last, he was received into the cabinet council, with a
pension of three thousand pounds.
At the accession of queen Anne, whom he is said to have courted when they
were both young, he was highly favoured. Before her coronation. 1702, she
made him lord privy seal, and, soon after, lord lieutenant of the north
Riding of Yorkshire. He was then named commissioner for treating with the
Scots about the union; and was made, next year, first, duke of Normanby,
and then of Buckinghamshire, there being suspected to be somewhere a
latent claim to the title of Buckingham[208].
Soon after, becoming jealous of the duke of Marlborough, he resigned the
privy seal, and joined the discontented tories in a motion, extremely
offensive to the queen, for inviting the princess Sophia to England.
The queen courted him back with an offer no less than that of the
chancellorship; which he refused. He now retired from business, and built
that house in the Park, which is now the queen's, upon ground granted by
the crown.
When the ministry was changed, 1710, he was made lord chamberlain of the
household, and concurred in all transactions of that time, except that he
endeavoured to protect the Catalans. After the queen's death, he became
a constant opponent of the court; and, having no publick business, is
supposed to have amused himself by writing his two tragedies. He died
February 24, 1720-21.
He was thrice married; by his first two wives he had no children; by his
third, who was the daughter of king James, by the countess of Dorchester,
and the widow of the earl of Anglesey, he had, besides other children
that died early, a son born in 1716, who died in 1735, and put an end to
the line of Sheffield. It is observable, that the duke's three wives were
all widows. The dutchess died in 1742.
His character is not to be proposed as worthy of imitation. His religion
he may be supposed to have learned from Hobbes; and his morality was such
as naturally proceeds from loose opinions. His sentiments with respect to
women he picked up in the court of Charles; and his principles concerning
property were such as a gaming-table supplies. He was censured as
covetous, and has been defended by an instance of inattention to his
affairs; as if a man might not at once be corrupted by avarice and
idleness. He is said, however, to have had much tenderness, and to have
been very ready to apologize for his violences of passion.
He is introduced into this collection only as a poet; and, if we credit
the testimony of his contemporaries, he was a poet of no vulgar rank. But
favour and flattery are now at an end; criticism is no longer softened by
his bounties, or awed by his splendour; and, being able to take a more
steady view, discovers him to be a writer that sometimes glimmers, but
rarely shines; feebly laborious, and, at best, but pretty. His songs are
upon common topicks; he hopes, and grieves, and repents, and despairs,
and rejoices, like any other maker of little stanzas: to be great, he
hardly tries; to be gay, is hardly in his power[209].
In the Essay on Satire he was always supposed to have had the help of
Dryden. His Essay on Poetry is the great work for which he was praised by
Roscommon, Dryden, and Pope; and, doubtless, by many more, whose eulogies
have perished.
Upon this piece he appears to have set a high value; for he was all his
life improving it by successive revisals, so that there is scarcely any
poem to be found of which the last edition differs more from the first.
Amongst other changes, mention is made of some compositions of Dryden,
which were written after the first appearance of the essay.
At the time when this work first appeared, Milton's fame was not yet
fully established, and, therefore, Tasso and Spenser were set before him.
The two last lines were these. The epick poet, says he,
Must above Milton's lofty flights prevail,
Succeed where great Torquato, and where greater Spenser, fail.
The last line in succeeding editions was shortened, and the order of
names continued; but now Milton is at last advanced to the highest place,
and the passage thus adjusted:
Must above Tasso's lofty flights prevail,
Succeed where Spenser, and ev'n Milton, fail.
Amendments are seldom made without some token of a rent: _lofty_ does not
suit Tasso so well as Milton.
One celebrated line seems to be borrowed. The essay calls a perfect
character,
A faultless monster which the world ne'er saw.
Scaliger, in his poems, terms Virgil "sine labe monstrum. " Sheffield can
scarcely be supposed to have read Scaliger's poetry; perhaps he found the
words in a quotation.
Of this essay, which Dryden has exalted so highly, it may be justly
said, that the precepts are judicious, sometimes new, and often happily
expressed; but there are, after all the emendations, many weak lines, and
some strange appearances of negligence; as, when he gives the laws of
elegy, he insists upon connexion and coherence; without which, says he,
'Tis epigram, 'tis point, 'tis what you will;
But not an elegy, nor writ with skill,
No Panegyrick, nor a Cooper's Hill.
Who would not suppose that Waller's Panegyrick and Denham's Cooper's Hill
were elegies?
His verses are often insipid; but his memoirs are lively and agreeable;
he had the perspicuity and elegance of an historian, but not the fire and
fancy of a poet.
[Footnote 207: His mother was Elizabeth, one of the daughters of Lionel
Cranfield, earl of Middlesex. M. ]
[Footnote 208: In the earliest editions of the duke's works he is styled
duke of Buckingham; and Walpole, in his Catalogue of Noble Authors,
mentions a wish, cherished by Sheffield, to be confounded with his
predecessor in the title; "but he would more easily," remarks Walpole,
sarcastically, "have been mistaken with the other Buckingham, if he had
not written at all. " Burnet also, and other authorities, speak of him
under the title of duke of Buckingham. His epitaph, being in Latin, will
not settle the point. It is to be regretted, therefore, that Johnson
adduced no better evidence for his doubt than his own unsupported
assertion. ED. ]
[Footnote 209: "The life of this peer takes up fourteen pages and a half
in folio, in the General Dictionary, where it has little pretensions to
occupy a couple: but his pious relict was always purchasing places for
him, herself, and their son, in every suburb of the temple of fame; a
tenure, against which, of all others, quo-warrantos are sure to take
place. The author of the article in the dictionary calls the duke one of
the most beautiful prose writers, and greatest poets, of his age: which
is also, he says, proved by the finest writers, his contemporaries;
certificates that have little weight, where the merit is not proved by
the author's own works. It is certain, that his grace's compositions in
prose have nothing extraordinary in them; his poetry is most indifferent,
and the greatest part of both is already fallen into total neglect. "
Walpole's Noble Authors, vol. i. p. 436 of his works. ]
END OF VOL. VII.
End of Project Gutenberg's Lives of the Poets, Vol. 1, by Samuel Johnson
*** END OF THIS PROJECT GUTENBERG EBOOK LIVES OF THE POETS, VOL. 1 ***
***** This file should be named 9823-8. txt or 9823-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/9/8/2/9823/
Produced by Jonathan Ingram, Jayam Subramanian and PG
Distributed Proofreaders
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. net/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.
