a small shop in the Haymarket. In this humble lodging he was surprised, on the morning which followed the conversation between Godolphin and Halifax, by a visit from no less a person than the Right Honorable Henry Boyle, then Chancellor of the Exchequer, and afterward Lord Carleton. This high-born minister had been sent by the lord treasurer as embassador to the needy poet. Addison readily undertook the proposed task-a task which, to so good a Whig, was probably a pleasure. When the poem was little more than half finished, he showed it to Godolphin, who was delighted with it, and particularly with the famous similitude of the Angel. Addison was instantly appointed to a commissionership worth about two hundred pounds a year, and was assured that this appointment was only an carnest of greater favors. The "Campaign" came forth, and was as much admired by the public as by the minister. It pleases us less, on the whole, than the "Epistle to Halifax." Yet it undoubtedly ranks high among the poems which appeared during the interval between the death of Dryden and the dawn of Pope's genius. The chief merit of the "Campaign," we think, is that which was noticed by Johnson, the manly and rational rejection of fiction. The first great poet whose works have come down to us sung of war long before war became a science or a trade. If, in his time, there was enmity between two little Greek towns, each poured forth its crowd of citizens, ignorant of discipline, and armed with implements of labor rudely turned into weapons. On each side appeared conspicuous a few chiefs, whose wealth had enabled them to procure good armor, horses, and chariots, and whose leisure had enabled them to practice military exercises. One such chief, if he were a man of great strength, agility, and courage, would probably be more formidable than twenty common men; and the force and dexterity with which he flung his spear might have no inconsiderable share in deciding the event of the day. Such were probably the battles with which Homer was familiar. But Homer related the actions of men of a former generation, of men who sprung from the gods, and communed with the gods face to face; of men, one of whom could with ease hurl rocks which two sturdy hinds of a later period would be unable even to lift. He therefore naturally represented their martial exploits as resembling in kind, but far surpassing in magnitude, those of the stoutest and most expert combatants of his own age. Achilles, clad in celestial armor, drawn by celestial coursers, grasping the spear which none but himself could raise, driving all Troy and Lycia before him, and choking Scamander with dead, was only a magnificent exaggeration of the real hero, who, strong, fearless, accustomed to the use of weapons, guarded by a shield and helmet of the best Sidonian fabric, and whirled along by horses of Thessalian breed, struck down with his own right arm foe after foe. In all rude societies similar notions are found. There are at this day countries where the Life-guardsman Shaw would be considered as a much greater warrior than the Duke of Wellington. Bonaparte loved to describe the astonishment with which the Mamelukes looked at his diminutive figure. Mourad Bey, distinguished above all his fellows by his bodily strength, and by the skill with which he managed his horse and his sabre, could not believe that a man who was scarcely five feet high, and rode like a butcher, could be the greatest soldier in Europe. Homer's descriptions of war had therefore as much truth as poetry requires. But truth was altogether wanting to the performances of those who, writing about battles which had scarcely any thing in common with the battles of his times, servilely imitated his manner. The folly of Silius Italicus, in particular, is positively nauseous. He undertook to record in verse the vicissitudes of a great struggle between generals of the first order; and his narrative is made up of the hideous wounds which these generals inflicted with their own hands. Asdrubal flings a spear which grazes the shoulder of the consul Nero; but Nero sends his spear into Asdrubal's side. Fabius slays Thuris and Butes and Maris and Arses, and the long-haired Adherbes, and the gigantic Thylis, and Sapharus and Monæsus, and the trumpeter Morinus. Hannibal runs Perusinus through the groin with a stake, and breaks the backbone of Telesinus with a huge stone. This detestable fashion was copied in modern times, and continued to prevail down to the age of Addison. Several versifiers had described William turning thousands to flight by his single prowess, and dyeing the Boyne with Irish blood. Nay, so estimable a writer as John Philips, the author of "The Splendid Shilling," represented Marlborough as having won the battle of Blenheim merely by strength of muscle and skill in fence. The following lines may serve as an example: With speed "Churchill, viewing where He dyes his reeking sword, and strews the ground Addison, with excellent sense and taste, departed from this ridiculous fashion. He reserved his praise for the qualities which made Marlborough truly great-energy, sagacity, military science; but, above all, the poet extolled the firmness of that mind which, in the midst of confusion, uproar, and slaugh ter, examined and disposed every thing with the serene wis dom of a higher intelligence. Here it was that he introduced the famous comparison of Marlborough to an angel guiding the whirlwind. We will not dispute the general justice of Johnson's remarks on this passage; but we must point out one circumstance which appears to have escaped all the critics. The extraordinary effect which this simile produced when it first appeared, and which to the following generation seemed inexplicable, is doubtless to be chiefly attributed to a line which most readers now regard as a feeble parenthesis, "Such as, of late, o'er pale Britannia pass'd." Addison spoke, not of a storm, but of the storm. The great tempest of November, 1703, the only tempest which in our latitude has equaled the rage of a tropical hurricane, had left a dreadful recollection in the minds of all men. No other tempest was ever in this country the occasion of a parliamentary address or of a public fast. Whole fleets had been cast away. Large mansions had been blown down. One prelate had been buried beneath the ruins of his palace. London and Bristol had presented the appearance of cities just sacked. Hundreds of families were still in mourning. The prostrate trunks of large trees, and the ruins of houses, still attested, in all the southern counties, the fury of the blast. The popularity which the simile of the Angel enjoyed among Addison's contemporaries has always seemed to us to be a remarkable instance of the advantage which, in rhetoric and poetry, the particular has over the general. THE SPECTATOR. [Essay on Addison.] THE Tatler had completely changed its character. It was now nothing but a series of essays on books, morals, and manners. Steele therefore resolved to bring it to a close, and to commence a new work on an improved plan. It was announced that this new work would be published daily. The undertaking was generally regarded as bold, or rather rash; but the event amply justified the confidence with which Steele relied on the fertility of Addison's genius. On the 2d of January, 1711, appeared the last Tatler. At the beginning of March following, appeared the first of an incomparable series of papers, containing observations on life and literature by an imaginary Spectator. The Spectator himself was conceived and drawn by Addison; and it is not easy to doubt that the portrait was meant to be in some features a likeness of the painter. The Spec tator is a gentleman who, after passing a studious youth at the university, has traveled on classic ground, and has bestowed much attention on curious points of antiquity. Ile has, on his return, fixed his residence in London, and has observed all the forms of life which are to be found in that great city, has daily listened to the wits of Will's, has smoked with the philosophers of the Grecian, and has mingled with the persons at Child's, and with the politicians at the St. James's. In the morning, he often listens to the hum of the Exchange; in the evening, his face is constantly to be seen in the pit of Drury Lane Theatre. But an insurmountable bashfulness prevents him from opening his mouth, except in a small circle of intimate friends. These friends were first sketched by Steele. Four of the club-the templar, the clergyman, the soldier, and the merchant were uninteresting figures, fit only for a background. But the other two-an old country baronet and an old town rake-though not delineated with a very delicate pencil, had some good strokes. Addison took the rude outlines into his own hands, retouched them, colored them, and is in truth the creator of the Sir Roger de Coverley and the Will Honeycomb with whom we are all familiar. The plan of the Spectator must be allowed to be both original and eminently happy. Every valuable essay in the series may be read with pleasure separately; yet the five or six hundred essays form a whole, and a whole which has the interest of a novel. It must be remembered, too, that at that time no novel, giving a lively and powerful picture of the common life and manners of England, had appeared. Richardson was working as a compositor. Fielding was robbing birds - nests. Smollett was not yet born. The narrative, therefore, which connects together the Spectator's essays gave to our ancestors their first taste of an exquisite and untried. pleasure. That narrative was indeed constructed with no art or labor. The events were such events as occur every day. Sir Roger comes up to town to see Eugenio, as the worthy baronet always calls Prince Eugene, goes with the Spectator on the water to Spring Gardens, walks among the tombs in |