The time in which he lived had reason to lament his obstinacy of silence: " for he was," says Steele, "above all men in that talent called humour, and enjoyed it in such perfection, that I have often reflected, after a night spent with him apart from all the world, that I had had the pleasure of conversing with an intimate acquaintance of Terence and Catullus, who had all their wit and nature, heightened with humour more exquisite and delightful than any other man ever possessed." This is the fondness of a friend; let us hear what is told us by a rival. "Addison's conversation," says Pope, "had something in it more charming than I have found in any other man. But this was only when familiar; before strangers, or, perhaps, a single stranger, he preserved his dignity by a stiff si lence."

This modesty was by no means inconsistent with a very high opinion of his own merit. He demanded to be the first name in modern wit; and, with Steele to echo him, used to depreciate Dryden, whom Pope and Congreve defended against them. There is no reason to doubt that he suffered too much pain from the prevalence of Pope's poetical reputation; nor is it without strong reason suspected, that by some disingenuous acts he endeavoured to obstruct it: Pope was not the only man whom he insidiously injured, though the only man of whom he could be afraid.

His own powers were such as might have satisfied him with conscious excellence. Of very extensive learning he has indeed given no proofs. He seems to have had small acquaintance with the sciences, and to have read little except Latin and French; but of the Latin poets his Dialogues on Medals shew that he had perused the works with great diligence and skill. The abundance of his

• Spence.

Tonson and Spence.

own mind left him little in need of adventitious sentiments; his wit always could suggest what the occasion demanded. He had read with critical eyes the important volume of human life, and knew the heart of man, from the depths of stratagem to the surface of affectation.

What he knew he could easily communicate. "This," says Steele," was particular in this writer, that, when he had taken his resolution, or made his plan for what he designed to write, he would walk about a room, and dictate it into language with as much freedom and ease as any one could write it down, and attend to the coherence and grammar of what he dictated."

Pope, who can be less suspected of favouring his memory, declares that he wrote very fluently, but was slow and scrupulous in correcting; that many of his Spectators were written very fast, and sent immediately to the press; and that it seemed to be for his advantage not to have time for much revisal.

"He would alter," says Pope, "any thing to please his friends, before publication; but would not retouch his pieces afterwards; and I believe not one word in Cato,' to which I made an objection, was suffered to stand."

The last line of "Cato" is Pope's, having been originally written,

And oh! 'twas this that ended Cato's life.

Pope might have made more objections to the six concluding lines. In the first couplet the words. "from hence" are improper; and the second lipe is taken from Dryden's Virgil. Of the next couplet, the first verse, being included in the second, is therefore useless; and in the third discord is made to produce strife.

• Spence.

Of the course of Addison's familiar day, before his marriage, Pope has given a detail. He had in the house with him Budgell, and perhaps Philips. His chief companions were Steele, Budgell, Philips, Carey, Davenant, and Colonel Brett. With one or other of these he always breakfasted. He studied all the morning, then dined at a tavern, and went afterwards to Button's.

Button had been a servant in the Countess of Warwick's family, who, under the patronage of Addison, kept a coffee-house on the south side of Russel-street, about two doors from Covent-garden. Here it was that the wits of that time used to assemble. It is said, when Addison had suffered any vexation from the Countess, he withdrew the company from Button's house.

From the coffee-house he went again to a tavern, where he often sat late, and drank too much wine. In the bottle discontent seeks for comfort, cowardice for courage, and bashfulness for confidence. It is not unlikely that Addison was first seduced to excess by the manumission which he obtained from the servile timidity of his sober hours. He that feels oppression from the presence of those to whom he knows himself superior will desire to set loose his powers of conversation; and who that ever asked succours from Bacchus was able to preserve himself from being enslaved by his auxiliary?

Among those friends it was that Addison displayed the elegance of his colloquial accomplishments, which may easily be supposed such as Pope. represents them. The remark of Mandeville, who, when he had passed an evening in his company, declared that he was a parson in a tie-wig, can detract little from his character; he was always reserved to strangers, and was not incited to uncommon freedom by a character like that of Mandeville.

• Spence.

From any minute knowledge of his familiar manners, the intervention of sixty years has now debarred us. Steele once promised Congreve and the public a complete description of his character; but the promises of authors are like the vows of lovers. Steele thought no more on his design, or thought on it with anxiety that at last disgusted him, and left his friend in the hands of Tickell.

One slight lineament of his character Swift has preserved. It was his practice, when he found any man invincibly wrong, to flatter his opinions by acquiescence, and sink him yet deeper in absurdity. This artifice of mischief was admired by Stella; and Swift seems to approve her admiration,

His works will supply some information. It appears, from his various pictures of the world, that, with all his bashfulness, he had conversed with many distinct classes of men, had surveyed their ways with very diligent observation, and marked with great acuteness the effects of different modes of life. He was a man in whose presence nothing reprehensible was out of danger; quick in discerning whatever was wrong or ridiculous, and not unwilling to expose it. "There are," says Steele," in his writings many oblique strokes upon some of the wittiest men of the age." His delight was more to excite merriment than detestation; and he detects follies rather than crimes.

If any judgment be made, from his books, of his moral character, nothing will be found but purity and excellence. Knowledge of mankind, indeed, less extensive than that of Addison, will shew, that to write, and to live, are very different, Many who praise virtue do no more than praise it. Yet it is reasonable to believe that Addison's professions and practice were at no great variance, since, amidst that storm of faction in which most of his life was passed, though his station made him conspicuous, and his activity made him formidable, the character given him by his friends was never

contradicted by his enemies: of those with whom interest or opinion united him he had not only the esteem, but the kindness; and of others, whom the violence of opposition drove against him, though he might lose the love, he retained the reverence.

It is justly observed by Tickell, that he employed wit on the side of virtue and religion. He not only made the proper use of wit himself, but taught it to others; and from his time it has been generally subservient to the cause of reason and of truth. He has dissipated the prejudice that had long connected gaiety with vice, and easiness of manners with laxity of principles. He has restored virtue to its dignity, and taught innocence not to be ashamed. This is an elevation of literary charac. ter," above all Greek, above all Roman fame." No greater felicity can genius attain than that of having purified intellectual pleasure, separated mirth from indecency, and wit from licentiousness; of having taught a succession of writers to bring elegance and gaiety to the aid of goodness; and, if I may use expressions yet more awful, of having "turned many to righteousness."

Addison, in his life, and for some time afterwards, was considered by a greater part of readers as supremely excelling both in poetry and criticism. Part of his reputation may be properly ascribed to the advancement of his fortune; when, as Swift observes, he became a statesman, and saw poets waiting at his levee, it was no wonder that praise was accumulated upon him. Much likewise may be more honourably ascribed to his personal character: he who, if he had claimed it, might have obtained the diadem, was not likely to be denied the laurel,

But time quickly puts an end to artificial and accidental fame; and Addison is to pass through futurity protected only by his genius. Every name which kindness or interest once raised too high is in danger, lest the next age should, by the ven