he showed them their defects, he showed them likewise that they might be easily supplied. His attempt succeeded; inquiry was awakened, and comprehension expanded. An emulation of intellectual elegance was excited, and, from this time to our own, life has been gradually exalted, and conversation purified and enlarged. Dryden had, not many years before, scattered criticism over his Prefaces with very little parsimony; but though he sometimes condescended to be somewhat familiar, his manner was in general too scholastic for those who had yet their rudiments to learn, and found it not easy to understand their master. His observations were framed rather for those that were learning to write, than for those that read only to talk. An instructor like Addison was now wanting, whose remarks being superficial might be easily understood, and being just might prepare the mind for more attainments. Had he presented Paradise Lost to the public with all the pomp of system and severity of science, the criticism would perhaps have been admired, and the poem still have been neglected; but by the blandishments of gentleness and facility he has made Milton an universal favourite, with whom readers of every class think it necessary to be pleased. He descended now and then to lower disquisitions; and by a serious display of the beauties of Chevy Chase exposed himself to the ridicule of Wagstaff, who bestowed a like pompous character on Tom Thumb; and to the contempt of Dennis, who, considering the fundamental position of his criticism, that Chevy Chase pleases, and ought to please, because it is natural, observes," that there is a way of deviating from nature, by bombast or tumour, which soars above nature, and enlarges images beyond their real bulk; by affectation, which forsakes nature in quest of something unsuitable; and by imbecility, which degrades nature by faintness and diminution, by obscuring its appearances, and weakening its effects." In Chevy Chase there is not much of either bombast or affectation; but there is chill and lifeless imbecility. The story cannot possibly be told in a manner that shall make less impression on the mind. Before the profound observers of the present race repose too securely on the consciousness of their superiority to Addison, let them consider his Remarks on Ovid, in which may be found specimens of criticism sufficiently subtle and refined: let them peruse likewise his Essays on Wit, and on the Pleasures of Imagination, in which he founds art on the base of nature, and draws the principles of invention from dispositions inherent in the mind of man with skill and elegance, such as his contemners will not easily attain. 66 As a describer of life and manners, he must be allowed to stand perhaps the first of the first rank. His humour, which, as Steele observes, is peculiar to himself, is so happily diffused as to give the grace of novelty to domestic scenes and daily occurrences. He never outsteps the modesty of nature," nor raises merriment or wonder by the violation of truth. His figures neither divert by distortion, nor amaze by aggravation. He copies life with so much fidelity, that he can be hardly said to invent; yet his exhibitions have an air so much original, that it is difficult to suppose them not merely the product of imagination. As a teacher of wisdom, he may be confidently followed. His religion has nothing in it enthusiastic or superstitious: he appears neither weakly credulous, nor wantonly sceptical; his morality is neither dangerously lax, nor impracticably rigid. All the enchantment of fancy, and all the cogency of argu ment, are employed to recommend to the reader his real interest, the care of pleasing the Author of his being. Truth is shown sometimes as the phantom of a vision; sometimes appears half-veiled in an allegory; sometimes attracts regard in the robes of fancy; and sometimes steps forth in the confidence of reason. She wears a thousand dresses, and in all is pleasing: Mille habet ornatus, mille decenter habet. His prose is the model of the middle style; on grave subjects not formal, on light occasions not grovelling; pure without scrupulosity, and exact without apparent elaboration; always equable, and always easy, without glowing words or pointed sentences. Addison never deviates from his track to snatch a grace; he seeks no ambitious ornaments, and tries no hazardous innovations. His page is always luminous, but never blazes in unexpected splendour. It was apparently his principal endeavour to avoid all barshness and severity of diction; he is therefore sometimes verbose in his transitions and connexions, and sometimes descends too much to the language of conversation; yet if his language had been less idiomatical, it might have lost somewhat of its genuine anglicism. What he attempted, he performed; he is never feeble, and he did not wish to be energetic: he is never rapid, and he never stagnates. His sentences have neither studied amplitude, nor affected brevity; his periods, though not diligently rounded, are voluble and easy. Whoever wishes to attain an English style, familiar, but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison. POEMS OF JOSEPH ADDISON. TO MR. DRYDEN. How long, great poet! shall thy sacred lays Damp thy poetic heat, and quench thy rage? Prevailing warmth has still thy mind possess'd, Thy copy casts a fairer light on all, Now Ovid boasts the' advantage of thy song, And frighted at himself, ran howling through the woods. O! may'st thou still the noble task prolong, Have lived a second life, and different natures tried. AN ACCOUNT OF THE GREATEST ENGLISH POETS. TO MR. HENRY SACHEVERELL'. April 3, 1694. SINCE, dearest Harry! you will needs request 1 Not the notorious Dr. Sacheverell, as has been supposed; but a gentleman who died young. |