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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 argument are employed to recommend to the reader his real interest, the care of pleasing the Author of his being. Truth is shewn sometimes as the phantom of a vision; sometimes appears half-veiled in an allégory; 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 havet ornatus, mille decenter habet. His prose is the model of the middle style; on grave subjects not formal, on light occasions not groveling; 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 à grace: he seeks no ambitious ornaments and tries no hazardous innovations. His page is always luminous, but never blazes in unexpected splendour.
It was apparently his principal endeavour to avoid all harshness and severity of diction; he is therefore sometimes verbose in his transitions and connexions, and sometimes descends too much to the language of conversation; yet if his language had been less idiomatical, it might have lost somewhat of its genuine Anglicism. What he attempted, he performed: he is never feeble, and he did not wish to be 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.
JOAN HUGHES, the son of a citizen in 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.
At nineteen he drew the plan of a tragedy; and paraphrased, rather too profusely, the ode of Horace which begins Integer Vitæ. To poetry he added the science of music, 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 birth-day.
He did not confine himself to poetry, but cultivated other kinds of writing with great success; and about this time shewed 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 Pindaric ode, called “The House of Nassau;” and wrote another paraphrase on the Otium Divos of Horace.
In 1703 his ode on music was performed at Stationers' Hall; and he wrote afterwards six cantatas, which were set to music by the greatest master of that time, and seemed intended to oppose or exclude the Italian opera, an exotic and irrational entertainment, which has been always combated, and always has prevailed.
His reputation was now so far advanced, that the public 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, and 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 wholiy 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 hoth the 16 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 shew that the English language might be very happily adapted to music. This was impudently opposed by those who were employed in the Italian opera; and, what cannot be told without indig. nation, 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. it. 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 when 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 Ad. dison 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 shew 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 public; 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 horrors 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. Duncombe, 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."
In Spence's Collection, Pope is made to speak of him with still less respect, as having no claim to poetical reputation but from his tragedy.
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. 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