Addison was cut off in the prime of life, and interrupted in some literary undertakings and projects of great pith and moment. He had written a portion of a treatise on the "Evidences of Christianity," and was meditating some works, such as a "Metrical Version of the Psalms" and a tragedy on the history of Socrates, still more suitable to his cast of mind.
We have already indicated our opinion alike of Addison's character and genius, but must be permitted a few closing remarks. Both partook of the feminine type. He was an amiable and highly gifted, rather than a strong or great man. His shrinking timidity of temperament, his singular modesty of manners, his quiet, sly power of humorous yet kindly observation, his minute style of criticism, even the peculiar cast of his piety, all served to stamp the lady-man. In taciturnity alone he bore the sex no resemblance. And hence it is that Campbell in poetry, and Addison in prose, are, or were, the great favourites of female readers. He had many weaknesses, but, as in the character of woman, they appeared beautiful, and cognate to his gentle nature. His fear of giving offence was one of the most prominent of these. In his writings and in his life, he seems always treading on thin ice. Pope said truly of him—
"He hints a fault, and hesitates dislike."
But this was not owing to malice, but to the bashful good nature which distinguished him. It is true, too, that he hints a beauty, and hesitates in his expressions of love. He says himself the finest things, and then blushes as if detected in a crime; or he praises an obvious and colossal merit in another, and then starts at the sound himself had made. His encomiums resemble the evening talk of lovers, being low, sweet, and trembling. Were we to speak of Addison phrenologically, we should say that, next to veneration, wit, and ideality, his principal faculties were caution and secretiveness. He was cautious to the brink of cowardice. We fancy him in a considerable fright in the storm on the Ligurian Gulf, amidst the exhalations of the unhealthy Campagna, and while the avalanches of the Alps—"the thunderbolts of snow"—were falling around him. We know that he walked about behind the scenes perspiring with agitation while the fate of "Cato" was still undecided. Had it failed, Addison never could, as Dr. Johnson, when asked how he felt after "Irene" was damned, have replied, "Like the Monument." We know, too, that he sought to soothe the fury and stroke down the angry bristles of John Dennis. To call the author of the "Campaign" a coward were going too far; but he felt, we believe, more of a martial glow while writing it in his Haymarket garret than had he mingled in the fray. And as to his secretiveness, his still, deep, scarce-rippling stream of humour, his habit, commemorated by Swift, when he found any man invincibly wrong, of flattering his opinions by acquiescence, and sinking him yet deeper in absurdity; even the fact that no word is found more frequently in his writings than "secret" ("secret joy," "secret satisfaction," "secret solace," are phrases constantly occurring,) prove that, whatever else he had possessed of the female character, the title of the play, "A Wonder—a Woman keeps a Secret," had been no paradox in reference to him.
Having his lips in general barred by the double bolts of caution and secretiveness, one ceases to wonder that the "invisible spirit of wine" was welcomed by him as a key to open occasionally the rich treasures of his mind; but that he was a habitual drunkard is one calumny; that he wrote his best Spectators when too much excited with wine is another; and that he "died drunk" is a third—and the most atrocious of all, propagated though it has been by Walpole and Byron. His habits, however, were undoubtedly too careless and convivial; and there used to be a floating tradition in Holland-house, that, when meditating his writings there, he was wont to walk along a gallery, at each end of which stood a separate bottle, out of both of which he never failed, en passant, to sip! This, after all, however, may be only a mythical fable.
While, as an author, the favourite of ladies, of the young, and of catholic-minded critics generally, Addison has had, and has still, severe and able detractors, who are wont to speak of him in such a manner as this:—"He is a highly cultivated artist, but not one thought of any vivid novelty did he put out in all his many books. You become placid reading him, but think of Ossian and Shakspeare, and be silent. He is a lapidary polishing pebbles—a pretty art, but not vested with the glories of sculpture, nor the mathematical magnitude of architecture. He does not walk a demigod, but a stiff Anglicised imitator of French paces. He is a symmetrical, but a small invisible personage at rapier practice." Now, clever as this is, it only proves that Addison is not a Shakspeare or Milton. He does not pretend to be either. He is no demigod, but he is a man, a lady-man if you will, but the lovelier on that account. Besides, he was cut off in his prime, and when he might have girt himself up to achieve greater things than he has done. And although the French taste of his age somewhat affected and chilled his genius, yet he knew of other models than Racine and Boileau. He drank of "Siloa's brook." He admired and imitated the poetry of the Bible. He loves not, indeed, its wilder and higher strains; he gets giddy on the top of Lebanon; the Valley of Dry Bones he treads with timid steps; and his look up to the "Terrible Crystal" is more of fright than of exultation. But the lovelier, softer, simpler, and more pensive parts of the Bible are very dear to the gentle Spectator, and are finely, if faintly, reproduced in his writings. Indeed, the principle which would derogate from Addison's works, would lead to the depreciation of portions of the Scriptures too. "Ruth" is not so grand as the "Revelation;" the "Song of Solomon" is not so sublime as the "Song of Songs, which is Isaiah's;" and the story of Joseph has not the mystic grandeur or rushing fire of Ezekiel's prophecy. But there they are in the same Book of God, and are even dearer to many hearts than the loftier portions; and so with Addison's papers beside the works of Bacon, Milton, and Coleridge.
His poetry is now in our readers' hands, and should be read with a candid spirit. They will admire the elegance and gracefully-used learning of the "Epistle to Halifax." They will not be astonished at the "Campaign," but they will regard it with interest as the lever which first lifted Addison into his true place in society and letters. They will find much to please them in his verses to Dryden, Somers, King William, and his odes on St. Cecilia's Day; and they will pause with peculiar fondness over those delightful hymns, some of which they have sung or repeated from infancy, which they will find again able to "beat the heavenward flame," and start the tender and pious tear, and which are of themselves sufficient to rank Addison high on the list of Christian poets.
[Footnote 1: Among these "others" was Abraham Stanyan, plenipotentiary extraordinary at Neufchatel at the settlement of the rival claims of the Duke of Brandenberg, Holland, and France, to that principality. He was afterwards ambassador to France. He married a daughter of Dr. Pritchett, Bishop of Gloucester. It is said, that, having on one occasion borrowed a sum of money from Addison, the latter observed him to be very subservient, agreeing with every opinion Mr. A. expressed, till Addison, provoked, and guessing the cause, said, "Stanyan, either contradict me, or pay me my money." Our friend, Mr. J. Stanyan Bigg, author of the very brilliant poem, "Night and the Soul," is a descendant of Abraham Stanyan.]
ADDISON'S POETICAL WORKS.
POEMS ON SEVERAL OCCASIONS.
TO MR DRYDEN.
How long, great poet, shall thy sacred lays
Provoke our wonder, and transcend our praise?
Can neither injuries of time, nor age,
Damp thy poetic heat, and quench thy rage?
Not so thy Ovid in his exile wrote;
Grief chilled his breast,