CHAPTER VI

EIGHTEENTH-CENTURY LITERATURE

In words, as fashions, the same rule will hold: Alike fantastic if too new or old. Be not the first by whom the new are tried, Nor yet the last to lay the old aside.

Pope, "An Essay on Criticism"

HISTORY OF THE PERIOD. The most striking political feature of the times was the rise of constitutional and party government. The Revolution of 1688, which banished the Stuarts, had settled the king question by making Parliament supreme in England, but not all Englishmen were content with the settlement. No sooner were the people in control of the government than they divided into hostile

## parties: the liberal Whigs, who were determined to safeguard

popular liberty, and the conservative Tories, with tender memories of kingcraft, who would leave as much authority as possible in the royal hands. On the extreme of Toryism was a third party of zealots, called the Jacobites, who aimed to bring the Stuarts back to the throne, and who for fifty years filled Britain with plots and rebellion. The literature of the age was at times dominated by the interests of these contending factions.

The two main parties were so well balanced that power shifted easily from one to the other. To overturn a Tory or a Whig cabinet only a few votes were necessary, and to influence such votes London was flooded with pamphlets. Even before the great newspapers appeared, the press had become a mighty power in England, and any writer with a talent for argument or satire was almost certain to be hired by party leaders. Addison, Steele, Defoe, Swift,--most of the great writers of the age were, on occasion, the willing servants of the Whigs or Tories. So the new politician replaced the old nobleman as a patron of letters.

[Sidenote: SOCIAL LIFE]

Another feature of the age was the rapid development of social life. In earlier ages the typical Englishman had lived much by himself; his home was his castle, and in it he developed his intense individualism; but in the first half of the eighteenth century some three thousand public coffeehouses and a large number of private clubs appeared in London alone; and the sociability of which these clubs were an expression was typical of all English cities. Meanwhile country life was in sore need of refinement.

The influence of this social life on literature was inevitable. Nearly all writers frequented the coffeehouses, and matters discussed there became subjects of literature; hence the enormous amount of eighteenth-century writing devoted to transient affairs, to politics, fashions, gossip. Moreover, as the club leaders set the fashion in manners or dress, in the correct way of taking snuff or of wearing wigs and ruffles, so the literary leaders emphasized formality or correctness of style, and to write prose like Addison, or verse like Pope, became the ambition of aspiring young authors.

There are certain books of the period (seldom studied amongst its masterpieces) which are the best possible expression of its thought and manners. The Letters of Lord Chesterfield, for example, especially those written to his son, are more significant, and more readable, than anything produced by Johnson. Even better are the Memoirs of Horace Walpole, and his gossipy Letters, of which Thackeray wrote:

"Fiddles sing all through them; wax lights, fine dresses, fine jokes, fine plate, fine equipages glitter and sparkle; never was such a brilliant, smirking Vanity Fair as that through which he leads us."

[Sidenote: SPREAD OF EMPIRE]

Two other significant features of the age were the large part played by England in Continental wars, and the rapid expansion of the British empire. These Continental wars, which have ever since influenced British policy, seem to have originated (aside from the important matter of self-interest) in a double motive: to prevent any one nation from gaining overwhelming superiority by force of arms, and to save the smaller "buffer" states from being absorbed by their powerful neighbors. Thus the War of the Spanish Succession (1711) prevented the union of the French and Spanish monarchies, and preserved the smaller states of Holland and Germany. As Addison then wrote, at least half truthfully:

'T is Britain's care to watch o'er Europe's fate, And hold in balance each contending state: To threaten bold, presumptuous kings with war, And answer her afflicted neighbors' prayer. [1]

[Footnote [1]: From Addison's Address to Liberty, in his poetical "Letter to Lord Halifax."]

The expansion of the empire, on the whole the most marvelous feature of English history, received a tremendous impetus in this age when India, Australia and the greater part of North America were added to the British dominions, and when Captain Cook opened the way for a belt of colonies around the whole world.

The influence of the last-named movement hardly appears in the books which we ordinarily read as typical of the age. There are other books, however, which one may well read for his own unhampered enjoyment: such expansive books as Hawkesworth's _Voyages_ (1773), corresponding to Hakluyt's famous record of Elizabethan exploration, and especially the _Voyages of Captain Cook_, [Footnote: The first of Cook's fateful voyages appears in Hawkesworth's collection. The second was recorded by Cook himself (1777), and the third by Cook and Captain King (1784). See Synge, _Captain Cook's Voyages Around the World_ (London, 1897).] which take us from the drawing-room chatter of politics or fashion or criticism into a world of adventure and great achievement. In such works, which make no profession of literary style, we feel the lure of the sea and of lands beyond the horizon, which is as the mighty background of English literature from Anglo-Saxon times to the present day.

It is difficult to summarize the literature of this age, or to group such antagonistic writers as Swift and Addison, Pope and Burns, Defoe and Johnson, Goldsmith and Fielding, with any fine discrimination. It is simply for convenience, therefore, that we study eighteenth-century writings in three main divisions: the reign of so-called classicism, the revival of romantic poetry, and the beginnings of the modern novel. As a whole, it is an age of prose rather than of poetry, and in this respect it differs from all preceding ages of English literature.

* * * * *

EIGHTEENTH-CENTURY CLASSICISM

The above title is an unfortunate one, but since it is widely used we must try to understand it as best we can. Yet when one begins to define "classicism" one is reminded of that old bore Polonius, who tells how Hamlet is affected:

Your noble son is mad: Mad, call I it; for to define true madness, What is't but to be nothing else but mad?

In our literature the word "classic" was probably first used in connection with the writers of Greece and Rome, and any English work which showed the influence of such writers was said to have a classic style. If we seek to the root of the word, we shall find that it refers to the _classici_, that is, to the highest of the classes into which the census divided the Roman people; hence the proper use of "classic" to designate the writings that have won first rank in any nation. As Goethe said, "Everything that is good in literature is classical."

[Sidenote: CLASSIC AND PSEUDO-CLASSIC]

Gradually, however, the word "classic" came to have a different meaning, a meaning now expressed by the word "formal." In the Elizabethan age, as we have seen, critics insisted that English plays should conform to the rules or "unities" of the Greek drama, and plays written according to such rules were called classic. Again, in the eighteenth century, English poets took to studying ancient authors, especially Horace, to find out how poetry should be written. Having discovered, as they thought, the rules of composition, they insisted on following such rules rather than individual genius or inspiration. It is largely because of this adherence to rules, this slavery to a fashion of the time, that so much of eighteenth-century verse seems cold and artificial, a thing made to order rather than the natural expression of human feeling. The writers themselves were well satisfied with their formality, however, and called their own the Classic or Augustan age of English letters. [Footnote: Though the eighteenth century was dominated by this formal spirit, it had, like every other age, its classic and romantic movements. The work of Gray, Burns and other romantic poets will be considered later.]

* * * * *

ALEXANDER POPE (1688-1744)

It was in 1819 that a controversy arose over the question, Was Pope a poet? To have asked that in 1719 would have indicated that the questioner was ignorant; to have asked it a half century later might have raised a doubt as to his sanity, for by that time Pope was acclaimed as a master by the great majority of poets in England and America. We judge now, looking at him in perspective and comparing him with Chaucer or Burns, that he was not a great poet but simply the kind of poet that the age demanded. He belongs to eighteenth-century London exclusively, and herein he differs from the master poets who are at home in all places and expressive of all time.

[Illustration: ALEXANDER POPE]

LIFE. Pope is an interesting but not a lovable figure. Against the petty details of his life we should place, as a background, these amazing achievements: that this poor cripple, weak of body and spiteful of mind, was the supreme literary figure of his age; that he demonstrated how an English poet could live by his pen, instead of depending on patrons; that he won greater fame and fortune than Shakespeare or Milton received from their contemporaries; that he dominated the fashion of English poetry during his lifetime, and for many years after his death.

[Sidenote: THE WRITER]

Such are the important facts of Pope's career. For the rest: he was born in London, in the year of the Revolution (1688). Soon after that date his father, having gained a modest fortune in the linen business, retired to Binfield, on the fringe of Windsor Forest. There Pope passed his boyhood, studying a little under private tutors, forming a pleasurable acquaintance with Latin and Greek poets. From fourteen to twenty, he tells us, he read for amusement; but from twenty to twenty-seven he read for "improvement and instruction." The most significant traits of these early years were his determination to be a poet and his talent for imitating any writer who pleased him. Dryden was his first master, from whom he inherited the couplet, then he imitated the French critic Boileau and the Roman poet Horace. By the time he was twenty four the publication of his _Essay on Criticism_ and _The Rape of the Lock_ had made him the foremost poet of England. By his translation of Homer he made a fortune, with which he bought a villa at Twickenham. There he lived in the pale sunshine of literary success, and there he quarreled with every writer who failed to appreciate his verses, his jealousy overflowing at last in _The Dunciad_ (Iliad of Dunces), a witty but venomous lampoon, in which he took revenge on all who had angered him.

[Illustration: TWICKENHAM PARISH CHURCH, WHERE POPE WAS BURIED Pope lived at Twickenham for nearly thirty years]

[Sidenote: THE MAN]

Next to his desire for glory and revenge, Pope loved to be considered a man of high character, a teacher of moral philosophy. His ethical teaching appears in his _Moral Epistles_, his desire for a good reputation is written large in his Letters, which he secretly printed, and then alleged that they had been made public against his wish. These Letters might impress us as the utterances of a man of noble ideals, magnanimous with his friends, patient with his enemies, until we reflect that they were published by the author for the purpose of giving precisely that impression.

Another side of Pope's nature is revealed in this: that to some of his friends, to Swift and Bolingbroke for example, he showed gratitude, and that to his parents he was ever a dutiful son. He came perhaps as near as he could to a real rather than an artificial sentiment when he wrote of his old mother:

Me let the tender office long engage, To rock the cradle of reposing age.

WORKS OF POPE. Pope's first important work, _An Essay on Criticism_ (1711), is an echo of the rules which Horace had formulated in his _Ars Poetica_, more than seventeen centuries before Pope was born. The French critic Boileau made an alleged improvement of Horace in his _L'Art Poétique_, and Pope imitated both writers with his rimed _Essay_, in which he attempted to sum up the rules by which poetry should be judged. And he did it, while still under the age of twenty-five, so brilliantly that his characterization of the critic is unmatched in our literature. A few selections will serve to show the character of the work:

First follow nature, and your judgment frame By her just standard, which is still the same: Unerring nature, still divinely bright, One clear, unchanged and universal light, Life, force and beauty must to all impart, At once the source and end and test of Art.

Poets, like painters, thus unskilled to trace The naked nature and the living grace, With gold and jewels cover every part, And hide with ornaments their want of art. True wit is nature to advantage dressed, What oft was thought, but ne'er so well expressed.

Expression is the dress of thought, and still Appears more decent, as more suitable.

[Sidenote: RAPE OF THE LOCK]

Pope's next important poem, _The Rape of the Lock_ (1712), is his most original and readable work. The occasion of the poem was that a fop stole a lock of hair from a young lady, and the theft plunged two families into a quarrel which was taken up by the fashionable set of London. Pope made a mock-heroic poem on the subject, in which he satirized the fads and fashions of Queen Anne's age. Ordinarily Pope's fancy is of small range, and proceeds jerkily, like the flight of a woodpecker, from couplet to couplet; but here he attempts to soar like the eagle. He introduces dainty aerial creatures, gnomes, sprites, sylphs, to combat for the belles and fops in their trivial concerns; and herein we see a clever burlesque of the old epic poems, in which gods or goddesses entered into the serious affairs of mortals. The craftsmanship of the poem is above praise; it is not only a neatly pointed satire on eighteenth-century fashions but is one of the most graceful works in English verse.

[Sidenote: ESSAY OF MAN]

An excellent supplement to _The Rape of the Lock_, which pictures the superficial elegance of the age, is _An Essay on Man_, which reflects its philosophy. That philosophy under the general name of Deism, had fancied to abolish the Church and all revealed religion, and had set up a new-old standard of natural faith and morals. Of this philosophy Pope had small knowledge; but he was well acquainted with the discredited Bolingbroke, his "guide, philosopher and friend," who was a fluent exponent of the new doctrine, and from Bolingbroke came the general scheme of the _Essay on Man_.

The poem appears in the form of four epistles, dealing with man's place in the universe, with his moral nature, with social and political ethics, and with the problem of happiness. These were discussed from a common-sense viewpoint, and with feet always on solid earth. As Pope declares:

Know then thyself, presume not God to scan; The proper study of mankind is man.... Created half to rise, and half to fall; Great lord of all things, yet a prey to all; Sole judge of truth, in endless error hurled; The glory, jest and riddle of the world.

Throughout the poem these two doctrines of Deism are kept in sight: that there is a God, a Mystery, who dwells apart from the world; and that man ought to be contented, even happy, in his ignorance of matters beyond his horizon:

All nature is but art, unknown to thee; All chance, direction which thou canst not see; All discord, harmony not understood; All partial evil, universal good; And, spite of pride, in erring reason's spite, One truth is clear: whatever is, is right.

The result is rubbish, so far as philosophy is concerned, but in the heap of incongruous statements which Pope brings together are a large number of quotable lines, such as:

Honor and shame from no condition rise; Act well your part, there all the honor lies.

It is because of such lines, the care with which the whole poem is polished, and the occasional appearance of real beauty (such as the passage beginning, "Lo, the poor Indian") that the _Essay on Man_ occupies such a high place in eighteenth-century literature.

[Sidenote: THE QUALITY OF POPE]

It is hardly necessary to examine other works of Pope, since the poems already named give us the full measure of his strength and weakness. His talent is to formulate rules of poetry, to satirize fashionable society, to make brilliant epigrams in faultless couplets. His failure to move or even to interest us greatly is due to his second-hand philosophy, his inability to feel or express emotion, his artificial life apart from nature and humanity. When we read Chaucer or Shakespeare, we have the impression that they would have been at home in any age or place, since they deal with human interests that are the same yesterday, to-day and forever; but we can hardly imagine Pope feeling at ease anywhere save in his own set and in his own generation. He is the poet of one period, which set great store by formality, and in that period alone he is supreme.

* * * * *

JONATHAN SWIFT (1667-1745)

In the history of literature Swift occupies a large place as the most powerful of English satirists; that is, writers who search out the faults of society in order to hold them up to ridicule. To most readers, however, he is known as the author of _Gulliver's Travels_, a book which young people still read with pleasure, as they read _Robinson Crusoe_ or any other story of adventure. In the fate of that book, which was intended to scourge humanity but which has become a source of innocent entertainment, is a commentary on the colossal failure of Swift's ambition.

[Illustration: JONATHAN SWIFT]

LIFE. Little need be recorded of Swift's life beyond the few facts which help us to understand his satires. He was born in Dublin, of English parents, and was so "bantered by fortune" that he was compelled to spend the greater part of his life in Ireland, a country which he detested. He was very poor, very proud; and even in youth he railed at a mocking fate which compelled him to accept aid from others. For his education he was dependent on a relative, who helped him grudgingly. After leaving Trinity College, Dublin, the only employment he could find was with another relative, Sir William Temple, a retired statesman, who hired Swift as a secretary and treated him as a servant. Galled by his position and by his feeling of superiority (for he was a man of physical and mental power, who longed to be a master of great affairs) he took orders in the Anglican Church; but the only appointment he could obtain was in a village buried, as he said, in a forsaken district of Ireland. There his bitterness overflowed in _A Tale of a Tub_ and a few pamphlets of such satiric power that certain political leaders recognized Swift's value and summoned him to their assistance.

[Illustration: TRINITY COLLEGE, DUBLIN]

[Sidenote: SWIFT IN LONDON]

To understand his success in London one must remember the times. Politics were rampant; the city was the battleground of Whigs and Tories, whose best weapon was the printed pamphlet that justified one party by heaping abuse or ridicule on the other. Swift was a master of satire, and he was soon the most feared author in England. He seems to have had no fixed principles, for he was ready to join the Tories when that party came into power and to turn his literary cannon on the Whigs, whom he had recently supported. In truth, he despised both parties; his chief object was to win for himself the masterful position in Church or state for which, he believed, his talents had fitted him.

For several years Swift was the literary champion of the victorious Tories; then, when his keen eye detected signs of tottering in the party, he asked for his reward. He obtained, not the great bishopric which he expected, but an appointment as Dean of St. Patrick's Cathedral in Dublin. Small and bitter fruit this seemed to Swift, after his years of service, but even so, it was given grudgingly. [Footnote: Swift's pride and arrogance with his official superiors worked against him. Also he had published _A Tale of a Tub_, a coarse satire against the churches, which scandalized the queen and her ministers, who could have given him preferment. Thackeray says, "I think the Bishops who advised Queen Anne not to appoint the author of the _Tale of a Tub_ to a Bishopric gave perfectly good advice."]

[Sidenote: LIFE IN IRELAND]

When the Tories went out of power Swift's political occupation was gone. The last thirty years of his life were spent largely in Dublin. There in a living grave, as he regarded it, the scorn which he had hitherto felt for individuals or institutions widened until it included humanity. Such is the meaning of his _Gulliver's Travels_. His only pleasure during these years was to expose the gullibility of men, and a hundred good stories are current of his practical jokes,--such as his getting rid of a crowd which had gathered to watch an eclipse by sending a solemn messenger to announce that, by the Dean's orders, the eclipse was postponed till the next day. A brain disease fastened upon him gradually, and his last years were passed in a state of alternate stupor or madness from which death was a blessed deliverance.

WORKS OF SWIFT. The poems of Swift, though they show undoubted power (every smallest thing he wrote bears that stamp), may be passed over with the comment of his relative Dryden, who wrote: "Cousin Swift, you will never be a poet." The criticism was right, but thereafter Swift jeered at Dryden's poetry. We may pass over also the _Battle of the Books_, the _Drapier's Letters_ and a score more of satires and lampoons. Of all these minor works the _Bickerstaff Papers_, which record Swift's practical joke on the astrologers, are most amusing. [Footnote: Almanacs were at that time published by pretender astrologers, who read fortunes or made predictions from the stars. Against the most famous of these quacks, Partridge by name, Swift leveled his "Predictions for the year 1708, by Isaac Bickerstaff." Among the predictions of coming events was this trifle: that Partridge was doomed to die on March 29 following, about eleven o'clock at night, of a raging fever. On March 30 appeared, in the newspapers, a letter giving the details of Partridge's death, and then a pamphlet called "An Elegy of Mr. Partridge." Presently Partridge, who could not see the joke, made London laugh by his frantic attempts to prove that he was alive. Then appeared an elaborate "Vindication of Isaac Bickerstaff," which proved by the infallible stars that Partridge was dead, and that the astrologer now in his place was an impostor. This joke was copied twenty-five years later by Franklin in his _Poor Richard's Almanac._]

[Sidenote: GULLIVER'S TRAVELS]

Swift's fame now rests largely upon his _Gulliver's Travels_, which appeared in 1726 under the title, "Travels into Several Remote Nations of the World, by Lemuel Gulliver, first a Surgeon and then a Captain of Several Ships." In the first voyage we are taken to Lilliput, a country inhabited by human beings about six inches tall, with minds in proportion. The capers of these midgets are a satire on human society, as seen through Swift's scornful eyes. In the second voyage we go to Brobdingnag, where the people are of gigantic stature, and by contrast we are reminded of the petty "human insects" whom Gulliver represents. The third voyage, to the Island of Laputa, is a burlesque of the scientists and philosophers of Swift's day. The fourth leads to the land of the Houyhnhnms, where intelligent horses are the ruling creatures, and humanity is represented by the Yahoos, a horribly degraded race, having the forms of men and the bestial habits of monkeys.

Such is the ferocious satire on the elegant society of Queen Anne's day. Fortunately for our peace of mind we can read the book for its grim humor and adventurous action, as we read any other good story. Indeed, it surprises most readers of _Gulliver_ to be told that the work was intended to wreck our faith in humanity.

[Sidenote: QUALITY OF SWIFT]

In all his satires Swift's power lies in his prose style--a convincing style, clear, graphic, straightforward--and in his marvelous ability to make every scene, however distant or grotesque, as natural as life itself. As Emerson said, he describes his characters as if for the police. His weakness is twofold: he has a fondness for coarse or malodorous references, and he is so beclouded in his own soul that he cannot see his fellows in a true light. In one of his early works he announced the purpose of all his writing:

My hate, whose lash just Heaven has long decreed, Shall on a day make Sin and Folly bleed.

That was written at twenty-six, before he took orders in the Church. As a theological student it was certainly impressed upon the young man that Heaven keeps its own prerogatives, and that sin and folly have never been effectually reformed by lashing. But Swift had a scorn of all judgment except his own. As the eyes of fishes are so arranged that they see only their prey and their enemies, so Swift had eyes only for the vices of men and for the lash that scourges them. When he wrote, therefore, he was not an observer, or even a judge; he was a criminal lawyer prosecuting humanity on the charge of being a sham. A tendency to insanity may possibly account both for his spleen against others and for the self-tortures which made him, as Archbishop King said, "the most unhappy man on earth."

[Sidenote: JOURNAL TO STELLA]

There is one oasis in the bitter desert of Swift's writings, namely, his _Journal to Stella_. While in the employ of Temple he was the daily companion of a young girl, Esther Johnson, who was an inmate of the same household. Her love for Swift was pure and constant; wherever he went she followed and lived near him, bringing a ray of sunshine into his life, in a spirit which reminds us of the sublime expression of another woman: "For whither thou goest, I will go; and where thou lodgest, I will lodge; thy people shall be my people, and thy God my God." She was probably married to Swift, but his pride kept him from openly acknowledging the union. While he was at London he wrote a private journal for Esther (Stella) in which he recorded his impressions of the men and women he met, and of the political battles in which he took part. That journal, filled with strange abbreviations to which only he and Stella had the key, can hardly be called literature, but it is of profound interest. It gives us glimpses of a woman who chose to live in the shadow; it shows the better side of Swift's nature, in contrast with his arrogance toward men and his brutal treatment of women; and finally, it often takes us behind the scenes of a stage on which was played a mixed comedy of politics and society.

* * * * *

JOSEPH ADDISON (1672-1719)

In Addison we have a pleasant reflection of the new social life of England. Select almost any feature of that life, and you shall find some account of it in the papers of Addison: its party politics in his _Whig Examiner_; its "grand tour," as part of a gentleman's education, in his _Remarks on Italy_; its adventure on foreign soil in such poems as "The Campaign"; its new drama of decency in his _Cato_; its classic delusions in his _Account of the Greatest English Poets_; its frills, fashions and similar matters in his _Spectator_ essays. He tried almost every type of literature, from hymns to librettos, and in each he succeeded well enough to be loudly applauded. In his own day he was accounted a master poet, but now he is remembered as a writer of prose essays.

[Illustration: JOSEPH ADDISON]

LIFE. Addison's career offers an interesting contrast to that of Swift, who lived in the same age. He was the son of an English clergyman, settled in the deanery of Lichfield, and his early training left upon him the stamp of good taste and good breeding. In school he was always the model boy; in Oxford he wrote Latin verses on safe subjects, in the approved fashion; in politics he was content to "oil the machine" as he found it; in society he was shy and silent (though naturally a brilliant talker) because he feared to make some slip which might mar his prospects or the dignity of his position.

A very discreet man was Addison, and the only failure he made of discretion was when he married the Dowager Countess of Warwick, went to live in her elegant Holland House, and lived unhappily ever afterwards. The last is a mere formal expression. Addison had not depth enough to be really unhappy. From the cold comfort of the Dowager's palace he would slip off to his club or to Will's Coffee house. There, with a pipe and a bottle, he would loosen his eloquent tongue and proceed to "make discreetly merry with a few old friends."

[Illustration: MAGDALEN COLLEGE OXFORD]

His characteristic quality appears in the literary work which followed his Latin verses. He began with a flattering "Address to Dryden," which pleased the old poet and brought Addison to the attention of literary celebrities. His next effort was "The Peace of Ryswick," which flattered King William's statesmen and brought the author a chance to serve the Whig party. Also it brought a pension, with a suggestion that Addison should travel abroad and learn French and diplomacy, which he did, to his great content, for the space of three years.

The death of the king brought Addison back to England. His pension stopped, and for a time he lived poorly "in a garret," as one may read in Thackeray's _Henry Esmond_. Then came news of an English victory on the Continent (Marlborough's victory at Blenheim), and the Whigs wanted to make political capital out of the event. Addison was hunted up and engaged to write a poem. He responded with "The Campaign," which made him famous. Patriots and politicians ascribed to the poem undying glory, and their judgment was accepted by fashionable folk of London. To read it now is to meet a formal, uninspired production, containing a few stock quotations and, incidentally, a sad commentary on the union of Whiggery and poetry.

[Sidenote: HIS PATH OF ROSES]

From that moment Addison's success was assured. He was given various offices of increasing importance; he entered Parliament; he wrote a classic tragedy, _Cato_, which took London by storm (his friend Steele had carefully "packed the house" for the first performance); his essays in _The Spectator_ were discussed in every fashionable club or drawing-room; he married a rich countess; he was appointed Secretary of State. The path of politics, which others find so narrow and slippery, was for Addison a broad road through pleasant gardens. Meanwhile Swift, who could not follow the Addisonian way of kindness and courtesy, was eating bitter bread and railing at humanity.

After a brief experience as Secretary of State, finding that he could not make the speeches expected of him, Addison retired on a pension. His unwavering allegiance to good form in all matters appears even in his last remark, "See how a Christian can die." That was in 1719. He had sought the easiest, pleasantest way through life, and had found it. Thackeray, who was in sympathy with such a career, summed it up in a glowing panegyric:

"A life prosperous and beautiful, a calm death; an immense fame and affection afterwards for his happy and spotless name."

WORKS OF ADDISON. Addison's great reputation was won chiefly by his poetry; but with the exception of a few hymns, simple and devout, his poetical works no longer appeal to us. He was not a poet but a verse-maker. His classic tragedy _Cato_, for example (which met with such amazing success in London that it was taken over to the Continent, where it was acclaimed "a masterpiece of regularity and elegance"), has some good passages, but one who reads the context is apt to find the elegant lines running together somewhat drowsily. Nor need that reflect on our taste or intelligence. Even the cultured Greeks, as if in anticipation of classic poems, built two adjoining temples, one dedicated to the Muses and the other to Sleep.

[Sidenote: THE ESSAYS]

The _Essays_ of Addison give us the full measure of his literary talent. In his verse, as in his political works, he seems to be speaking to strangers; he is on guard over his dignity as a poet, as Secretary of State, as husband of a countess; but in his _Essays_ we meet the man at his ease, fluent, witty, light-hearted but not frivolous,--just as he talked to his friends in Will's Coffeehouse. The conversational quality of these _Essays_ has influenced all subsequent works of the same type,--a type hard to define, but which leaves the impression of pleasant talk about a subject, as distinct from any learned discussion.

The _Essays_ cover a wide range: fashions, dress, manners, character sketches, letters of travel, ghost stories, satires on common vices, week-end sermons on moral subjects. They are never profound, but they are always pleasant, and their graceful style made such a lasting impression that, half a century later, Dr. Johnson summed up a general judgment when he said:

"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."

ADDISON AND STEELE. Of these two associates Richard Steele (1672-1729) had the more original mind, and his writings reveal a warm, human sympathy that is lacking in the work of his more famous contemporary. But while Addison cultivated his one talent of writing, Steele was like Defoe in that he always had some new project in his head, and some old debt urging him to put the project into immediate execution. He was in turn poet, political pamphleteer, soldier, dramatist, member of Parliament, publisher, manager of a theater, following each occupation eagerly for a brief season, then abandoning it cheerfully for another,--much like a boy picking blueberries in a good place, who moves on and on to find a better bush, eats his berries on the way, and comes home at last with an empty pail.

[Illustration: SIR RICHARD STEELE From the engraving by Freeman after original by J. Richardson]

[Sidenote: THE TATLER AND THE SPECTATOR]

While holding the political office of "gazetteer" (one who had a monopoly of official news) the idea came to Steele of publishing a literary magazine. The inventive Defoe had already issued _The Review_ (1704), but that had a political origin. With the first number of _The Tatler_ (1709) the modern magazine made its bow to the public. This little sheet, published thrice a week and sold at a penny a copy, contained more or less politics, to be sure, but the fact that it reflected the gossip of coffeehouses made it instantly popular. After less than two years of triumph Steele lost his official position, and _The Tatler_ was discontinued. The idea remained, however, and a few months later appeared _The Spectator_ (1711), a daily magazine which eschewed politics and devoted itself to essays, reviews, letters, criticisms,--in short, to "polite" literature. Addison, who had been a contributor to _The Tatler_ entered heartily into the new venture, which had a brief but glorious career. He became known as "Mr. Spectator," and the famous Spectator Essays are still commonly attributed to him, though in truth Steele furnished a large part of them. [Footnote: Of the _Tatler_ essays Addison contributed 42, Steele about 180, and some 36 were the work of the two authors in collaboration. Of the _Spectator_ essays Addison furnished 274, Steele 236, and about 45 were the work of other writers. In some of the best essays ("Sir Roger de Coverley," for example) the two men worked together. Steele is supposed to have furnished the original ideas, the humor and overflowing kindness of such essays, while the work of polishing and perfecting the style fell to the more skillful Addison.]

[Sidenote: ADDISONIAN STYLE]

Because of their cultivated prose style, Steele and Addison were long regarded as models, and we are still influenced by them in the direction of clearness and grace of expression. How wide their influence extended may be seen in American literature. Hardly had _The Spectator_ appeared when it crossed the Atlantic and began to dominate our English style on both sides of the ocean. Franklin, in Boston, studied it by night in order to imitate it in the essay which he slipped under the printing-house door next morning; and Boyd, in Virginia, reflects its influence in his charming Journal of exploration. Half a century later, the Hartford Wits were writing clever sketches that seemed like the work of a new "Spectator"; another half century, and Irving, the greatest master of English prose in his day, was still writing in the Addisonian manner, and regretting as he wrote that the leisurely style showed signs, in a bustling age, "of becoming a little old-fashioned."

* * * * *

DR. JOHNSON AND HIS CIRCLE

Since Caxton established the king's English as a literary language our prose style has often followed the changing fashion of London. Thus, Lyly made it fantastic, Dryden simplified it, Addison gave it grace; and each leader set a fashion which was followed by a host of young writers. Hardly had the Addisonian style crossed the Atlantic, to be the model for American writers for a century, when London acclaimed a new prose fashion--a ponderous, grandiloquent fashion, characterized by mouth-filling words, antithetical sentences, rounded periods, sonorous commonplaces--which was eagerly adopted by orators and historians especially. The man who did more than any other to set this new oratorical fashion in motion was the same Dr. Samuel Johnson who advised young writers to study Addison as a model. And that was only one of his amusing inconsistencies.

Johnson was a man of power, who won a commanding place in English letters by his hard work and his downright sincerity. He won his name of "the great lexicographer" by his _Dictionary_, which we no longer consult, but which we remember as the first attempt at a complete English lexicon. If one asks what else he wrote, with the idea of going to the library and getting a book for pleasure, the answer must be that Johnson's voluminous works are now as dead as his dictionary. One student of literature may be interested in such a melancholy poem as "The Vanity of Human Wishes"; another will be entertained by the anecdotes or blunt criticisms of the _Lives of the Poets_; a third may be uplifted by the _Rambler Essays_, which are well called "majestically moral productions"; but we shall content ourselves here by recording Johnson's own refreshing criticism of certain ancient authors, that "it is idle to criticize what nobody reads." Perhaps the best thing he wrote was a minor work, which he did not know would ever be published. This was his manly Letter to Lord Chesterfield, a nobleman who had treated Johnson with discourtesy when the poor author was making a heroic struggle, but who offered his patronage when the Dictionary was announced as an epoch-making work. In his noble refusal of all extraneous help Johnson unconsciously voiced Literature's declaration of independence: that henceforth a book must stand or fall on its own merits, and that the day of the literary patron was gone forever.

[Illustration: DR. SAMUEL JOHNSON From the portrait by Sir Joshua Reynolds]

LIFE. The story of Johnson's life (1709-1784) has been so well told that one is loath to attempt a summary of it. We note, therefore, a few plain facts: that he was the son of a poor bookseller; that despite poverty and disease he obtained his classic education; that at twenty-six he came to London, and, after an experience with patrons, rebelled against them; that he did every kind of hackwork to earn his bread honestly, living in the very cellar of Grub Street, where he was often cold and more often hungry; that after nearly thirty years of labor his services to literature were rewarded by a pension, which he shared with the poor; that he then formed the Literary Club (including Reynolds, Pitt, Gibbon, Goldsmith, Burke, and almost every other prominent man in London) and indulged nightly in his famous "conversations," which were either monologues or knockdown arguments; and that in his old age he was regarded as the king of letters, the oracle of literary taste in England.

[Illustration: DR. JOHNSON'S HOUSE (BOLT COURT, FLEET ST.) From the print by Charles J. Smith]

Such is the bare outline of Johnson's career. To his character, his rough exterior and his kind heart, his vast learning and his Tory prejudices, his piety, his melancholy, his virtues, his frailty, his "mass of genuine manhood," only a volume could do justice. Happily that volume is at hand. It is Boswell's _Life of Johnson_, a famous book that deserves its fame.

BOSWELL'S JOHNSON. Boswell was an inquisitive barrister who came from Edinburgh to London and thrust himself into the company of great men. To Johnson, then at the summit of his fame, "Bozzy" was devotion itself, following his master about by day or night, refusing to be rebuffed, jotting down notes of what he saw and heard. After Johnson's death he gathered these notes together and, after seven years of labor, produced his incomparable _Life of Johnson_ (1791).

The greatness of Boswell's work may be traced to two causes. First, he had a great subject. The story of any human life is interesting, if truthfully told, and Johnson's heroic life of labor and pain and reward was passed in a capital city, among famous men, at a time which witnessed the rapid expansion of a mighty empire. Second, Boswell was as faithful as a man could be to his subject, for whom he had such admiration that even the dictator's frailties seemed more impressive than the virtues of ordinary humanity. So Boswell concealed nothing, and felt no necessity to distribute either praise or blame. He portrayed a man just as that man was, recorded the word just as the word was spoken; and facing the man we may see his enraptured audience,--at a distance, indeed, but marvelously clear, as when we look through the larger end of a field glass at a landscape dominated by a mountain. One who reads this matchless biography will know Johnson better than he knows his own neighbor; he will gain, moreover, a better understanding of humanity, to reflect which clearly and truthfully is the prime object of all good literature.

[Illustration: James Boswell]

EDMUND BURKE (1729-1797). This brilliant Irishman came up to London as a young man of twenty-one. Within a few years--such was his character, his education, his genius--he had won a reputation among old statesmen as a political philosopher. Then he entered Parliament, where for twenty years the House listened with growing amazement to his rhythmic periods, and he was acclaimed the most eloquent of orators.

Among Burke's numerous works those on America, India and France are deservedly the most famous. Of his orations on American subjects a student of literature or history may profitably read "On Taxation" (1774) and "On Conciliation" (1775), in which Burke presents the Whig argument in favor of a liberal colonial policy. The Tory view of the same question was bluntly presented by Johnson in his essay "Taxation No Tyranny"; while like a reverberation from America, powerful enough to carry across the Atlantic, came Thomas Paine's "Common Sense," which was a ringing plea for colonial independence.

[Illustration: EDMUND BURKE From the print by John Jones, after Romney]

Of Burke's works pertaining to India "The Nabob of Arcot's Debts" (1785) and the "Impeachment of Warren Hastings" (1786) are interesting to those who can enjoy a long flight of sustained eloquence. Here again Burke presents the liberal, the humane view of what was then largely a political question; but in his _Reflections on the French Revolution_ (1790) he goes over to the Tories, thunders against the revolutionists or their English sympathizers, and exalts the undying glories of the British constitution. The _Reflections_ is the most brilliant of all Burke's works, and is admired for its superb rhetorical style.

[Sidenote: BURKE'S METHOD]

To examine any of these works is to discover the author's characteristic method: first, his framework or argument is carefully constructed so as to appeal to reason; then this framework is buried out of sight and memory by a mass of description, digression, emotional appeal, allusions, illustrative matter from the author's wide reading or from his prolific imagination. Note this passage from the _French Revolution_:

"It is now sixteen or seventeen years since I saw the Queen of France, then the Dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like the morning star, full of life and splendor and joy. Oh, what a revolution! And what a heart must I have to contemplate without emotion that elevation and that fall! Little did I dream, when she added titles of veneration to those of distant, enthusiastic, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men, in a nation of men of honour and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. But the age of chivalry is gone. That of sophisters, economists and calculators has succeeded; and the glory of Europe is extinguished for ever. Never, never more shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom. The unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprise is gone! It is gone, that sensibility of principle, that chastity of honour, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil by losing all its grossness."

That is finely expressed, but it has no bearing on the political matter in question; namely, whether the sympathy of England should be extended to the French revolutionists in their struggle for liberty. This irrelevancy of Burke suggests our first criticism: that he is always eloquent, and usually right; but he is seldom convincing, and his eloquence is a hindrance rather than a help to his main purpose. So we are not surprised to hear that his eloquent speech on Conciliation emptied the benches; or that after his supreme effort in the impeachment of Hastings--an effort so tremendously dramatic that spectators sobbed, screamed, were carried out in fits--the object of all this invective was acquitted by his judges. Reading the works now, they seem to us praiseworthy not for their sustained eloquence, which is wearisome, but for the brilliancy of certain detached passages which catch the eye like sparkling raindrops after a drenching shower. It was the splendor of such passages, their vivid imagery and harmonious rhythm, which led Matthew Arnold to assert that Burke was the greatest master of prose style in our literature. Anybody can make such an assertion; nobody can prove or disprove it.

THE HISTORIANS. Perhaps it was the rapid expansion of the empire in the latter, part of the eighteenth century which aroused such interest in historical subjects that works of history were then more eagerly welcomed than poetry or fiction. Gibbon says in his _Memoirs_ that in his day "history was the most popular species of composition." It was also the best rewarded; for while Johnson, the most renowned author of his time, wrote a romance (_Rasselas_) hoping to sell it for enough to pay for his mother's funeral, Robertson easily disposed of his _History of the Emperor Charles V_ for £4500; and there were others who were even better paid for popular histories, the very titles of which are now forgotten.

[Sidenote: GIBBON]

Of all the historical works of the age, and their name was legion, only one survives with something of its original vitality, standing the double test of time and scholarship. This is _The Decline and Fall of the Roman Empire_ (1776), a work which remained famous for a century, and which still has its admiring readers. It was written by Edward Gibbon (1737-1794), who belonged to the Literary Club that gathered about Johnson, and who cultivated his style, he tells us, first by adopting the dictator's rounded periods, and then practicing them "till they moved to flutes and hautboys."

The scope of Gibbon's work is enormous. It begins with the Emperor Trajan (A.D. 98) and carries us through the convulsions of a dying civilization, the descent of the Barbarians on Rome, the spread of Christianity, the Crusades, the rise of Mohammedanism,--through all the confused history of thirteen centuries, ending with the capture of Constantinople by the Turks, in 1453. The mind that could grasp such vast and chaotic materials, arrange them in orderly sequence and resent them as in a gorgeous panorama, moves us to wonder. To be sure, there are many things to criticize in Gibbon's masterpiece,--the author's love of mere pageants; his materialism; his inability to understand religious movements, or even religious motives; his lifeless figures, which move as if by mechanical springs,--but one who reads the _Decline and Fall_ may be too much impressed by the evidences of scholarship, of vast labor, of genius even, to linger over faults. It is a "monumental" work, most interesting to those who admire monuments; and its style is the perfection of that oratorical, Johnsonese style which was popular in England in 1776, and which, half a century later, found its best American mouthpiece in Daniel Webster. The influence of Gibbon may still be seen in the orators and historians who, lacking the charm of simplicity, clothe even their platitudes in high-sounding phrases.

[Illustration: EDWARD GIBBON From an enamel by H Bone, R.A.; after Sir Joshua Reynolds]

* * * * *

THE REVIVAL OF ROMANTIC POETRY

Every age has had its romantic poets--that is, poets who sing the dreams and ideals of life, and whose songs seem to be written naturally, spontaneously, as from a full heart [Footnote: For specific examples of formal and romantic poetry see the comparison between Addison and Wordsworth below, under "Natural vs Formal Poetry",