Addison[1]
In July, 1843, Lord Macaulay pronounced the opinion that Joseph Addison had enriched our literature with compositions “that will live as long as the English language”. But when Lord Macaulay pronounced an opinion it was not merely an opinion. Even now, at a distance of seventy-six years, the words seem to issue from the mouth of the chosen representative of the people. There is an authority about them, a sonority, a sense of responsibility, which put us in mind of a Prime Minister making a proclamation on behalf of a great empire rather than of a journalist writing about a deceased man of letters for a magazine. The article upon Addison is, indeed, one of the most vigorous of the famous essays. Florid, and at the same time extremely solid, the phrases seem to build up a monument, at once square and lavishly festooned with ornament, which should serve Addison for shelter so long as one stone of Westminster Abbey stands upon another. Yet, though we may have read and admired this particular essay times out of number (as we say when we have read anything three times over), it has never occurred to us, strangely enough, to believe that it is true. That is apt to happen to the admiring reader of Macaulay’s essays. While delighting in their richness, force, and variety, and finding every judgement, however emphatic, proper in its place, it seldom occurs to us to connect these sweeping assertions and undeniable convictions with anything so minute as a human being. So it is with Addison. “If we wish”, Macaulay writes, “to find anything more vivid than Addison’s best portraits, we must go either to Shakespeare or to Cervantes”. “We have not the least doubt that if Addison had written a novel on an extensive plan it would have been superior to any that we possess.” His essays, again, “fully entitle him to the rank of a great poet”; and, to complete the edifice, we have Voltaire proclaimed “the prince of buffoons”, and together with Swift forced to stoop so low that Addison takes rank above them both as a humorist.
Examined separately, such flourishes of ornament look grotesque enough, but in their place—such is the persuasive power of design—they are part of the decoration; they complete the monument. Whether Addison or another is interred within, it is a very fine tomb. But now that two centuries have passed since the real body of Addison was laid by night under the Abbey floor, we are, through no merit of our own, partially qualified to test the first of the flourishes on that fictitious tombstone to which, though it may be empty, we have done homage, in a formal kind of way, these sixty-seven years. The compositions of Addison will live as long as the English language. Since every moment brings proof that our mother tongue is more lusty and lively than sorts with complete sedateness or chastity, we need only concern ourselves with the vitality of Addison. Neither lusty nor lively is the adjective we should apply to the present condition of the Tatler and the Spectator. To take a rough test, it is possible to discover how many people in the course of a year borrow Addison’s works from the public library, and a particular instance affords us the not very encouraging information that during nine years two people yearly take out the first volume of the Spectator. The second volume is less in request than the first. The inquiry is not a cheerful one. From certain marginal comments and pencil marks it seems that these rare devotees seek out only the famous passages and, as their habit is, score what we are bold enough to consider the least admirable phrases. No; if Addison lives at all, it is not in the public libraries. It is in libraries that are markedly private, secluded, shaded by lilac trees and brown with folios, that he still draws his faint, regular breath. If any man or woman is going to solace himself with a page of Addison before the June sun is out of the sky to-day, it is in some such pleasant retreat as this.
Yet all over England at intervals, perhaps wide ones, we may be sure that there are people engaged in reading Addison, whatever the year or season. For Addison is very well worth reading. The temptation to read Pope on Addison, Macaulay on Addison, Thackeray on Addison, Johnson on Addison rather than Addison himself is to be resisted, for you will find, if you study the Tatler and the Spectator, glance at Cato, and run through the remainder of the six moderate-sized volumes, that Addison is neither Pope’s Addison nor anybody else’s Addison, but a separate, independent individual still capable of casting a clear-cut shape of himself upon the consciousness, turbulent and distracted as it is, of nineteen hundred and nineteen. It is true that the fate of the lesser shades is always a little precarious. They are so easily obscured or distorted. It seems so often scarcely worth while to go through the cherishing and humanising process which is necessary to get into touch with a writer of the second class who may, after all, have little to give us. The earth is crusted over them; their features are obliterated, and perhaps it is not a head of the best period that we rub clean in the end, but only the chip of an old pot. The chief difficulty with the lesser writers, however, is not only the effort. It is that our standards have changed. The things that they like are not the things that we like; and as the charm of their writing depends much more upon taste than upon conviction, a change of manners is often quite enough to put us out of touch altogether. That is one of the most troublesome barriers between ourselves and Addison. He attached great importance to certain qualities. He had a very precise notion of what we are used to call “niceness” in man or woman. He was extremely fond of saying that men ought not to be atheists, and that women ought not to wear large petticoats. This directly inspires in us not so much a sense of distaste as a sense of difference. Dutifully, if at all, we strain our imaginations to conceive the kind of audience to whom these precepts were addressed. The Tatler was published in 1709; the Spectator a year or two later. What was the state of England at that particular moment? Why was Addison so anxious to insist upon the necessity of a decent and cheerful religious belief? Why did he so constantly, and in the main kindly, lay stress upon the foibles of women and their reform? Why was he so deeply impressed with the evils of party government? Any historian will explain; but it is always a misfortune to have to call in the services of any historian. A writer should give us direct certainty; explanations are so much water poured into the wine. As it is, we can only feel that these counsels are addressed to ladies in hoops and gentlemen in wigs—a vanished audience which has learnt its lesson and gone its way and the preacher with it. We can only smile and marvel and perhaps admire the clothes.
And that is not the way to read. To be thinking that dead people deserved these censures and admired this morality, judged the eloquence, which we find so frigid, sublime, the philosophy to us so superficial, profound, to take a collector’s joy in such signs of antiquity, is to treat literature as if it were a broken jar of undeniable age but doubtful beauty, to be stood in a cabinet behind glass doors. The charm which still makes Cato very readable is much of this nature. When Syphax exclaims,
So, where our wide Numidian wastes extend,
Sudden, th’ impetuous hurricanes descend,
Wheel through the air, in circling eddies play,
Tear up the sands, and sweep whole plains away,
The helpless traveller, with wild surprise,
Sees the dry desert all around him rise,
And smother’d in the dusty whirlwind dies,
we cannot help imagining the thrill in the crowded theatre, the feathers nodding emphatically on the ladies’ heads, the gentlemen leaning forward to tap their canes, and every one exclaiming to his neighbour how vastly fine it is and crying “Bravo!” But how can we be excited? And so with Bishop Hurd and his notes—his “finely observed”, his “wonderfully exact, both in the sentiment and expression”, his serene confidence that when “the present humour of idolising Shakespeare is over”, the time will come when Cato is “supremely admired by all candid and judicious critics”. This is all very amusing and productive of pleasant fancies, both as to the faded frippery of our ancestors’ minds and the bold opulence of our own. But it is not the intercourse of equals, let alone that other kind of intercourse, which as it makes us contemporary with the author, persuades us that his object is our own. Occasionally in Cato one may pick up a few lines that are not obsolete; but for the most part the tragedy which Dr. Johnson thought “unquestionably the noblest production of Addison’s genius” has become collector’s literature.
Perhaps most readers approach the essays also with some suspicion as to the need of condescension in their minds. The question to be asked is whether Addison, attached as he was to certain standards of gentility, morality, and taste, has not become one of those people of exemplary character and charming urbanity who must never be talked to about anything more exciting than the weather. We have some slight suspicion that the Spectator and the Tatler are nothing but talk, couched in perfect English, about the number of fine days this year compared with the number of wet the year before. The difficulty of getting on to equal terms with him is shown by the little fable which he introduces into one of the early numbers of the Tatler, of “a young gentleman, of moderate understanding, but great vivacity, who . . . had got a little smattering of knowledge, just enough to make an atheist or a free-thinker, but not a philosopher, or a man of sense”. This young gentleman visits his father in the country, and proceeds “to enlarge the narrowness of the country notions; in which he succeeded so well, that he had seduced the butler by his table-talk, and staggered his eldest sister. . . . ’Till one day, talking of his setting dog . . . said ‘he did not question but Tray was as immortal as any one of the family’; and in the heat of the argument told his father, that for his own part, ‘he expected to die like a dog’. Upon which, the old man, starting up in a very great passion, cried out, ‘Then, sirrah, you shall live like one’; and taking his cane in his hand, cudgelled him out of his system. This had so good an effect upon him, that he took up from that day, fell to reading good books, and is now a bencher in the Middle-Temple.” There is a good deal of Addison in that story: his dislike of “dark and uncomfortable prospects”; his respect for “principles which are the support, happiness, and glory of all public societies, as well as private persons”; his solicitude for the butler; and his conviction that to read good books and become a bencher in the Middle Temple is the proper end for a very vivacious young gentleman. This Mr. Addison married a countess, “gave his little senate laws”, and, sending for young Lord Warwick, made that famous remark about seeing how a Christian can die which has fallen upon such evil days that our sympathies are with the foolish, and perhaps fuddled, young peer rather than with the frigid gentleman, not too far gone for a last spasm of self-complacency, upon the bed.
Let us rub off such incrustations, so far as they are due to the corrosion of Pope’s wit or the deposit of mid-Victorian lachrymosity, and see what, for us in our time, remains. In the first place, there remains the not despicable virtue, after two centuries of existence, of being readable. Addison can fairly lay claim to that; and then, slipped in on the tide of the smooth, well-turned prose, are little eddies, diminutive waterfalls, agreeably diversifying the polished surface. We begin to take note of whims, fancies, peculiarities on the part of the essayist which light up the prim, impeccable countenance of the moralist and convince us that, however tightly he may have pursed his lips, his eyes are very bright and not so shallow after all. He is alert to his finger tips. Little muffs, silver garters, fringed gloves draw his attention; he observes with a keen, quick glance, not unkindly, and full rather of amusement than of censure. To be sure, the age was rich in follies. Here were coffee-houses packed with politicians talking of Kings and Emperors and letting their own small affairs go to ruin. Crowds applauded the Italian opera every night without understanding a word of it. Critics discoursed of the unities. Men gave a thousand pounds for a handful of tulip roots. As for women—or “the fair sex”, as Addison liked to call them—their follies were past counting. He did his best to count them, with a loving particularity which roused the ill humour of Swift. But he did it very charmingly, with a natural relish for the task, as the following passage shows:
I consider woman as a beautiful romantic animal, that may be adorned with furs and feathers, pearls and diamonds, ores and silks. The lynx shall cast its skin at her feet to make her a tippet; the peacock, parrot, and swan, shall pay contributions to her muff; the sea shall be searched for shells, and the rocks for gems; and every part of nature furnish out its share towards the embellishment of a creature that is the most consummate work of it. All this I shall indulge them in; but as for the petticoat I have been speaking of, I neither can nor will allow it.
In all these matters Addison was on the side of sense and taste and civilisation. Of that little fraternity, often so obscure and yet so indispensable, who in every age keep themselves alive to the importance of art and letters and music, watching, discriminating, denouncing and delighting, Addison was one—distinguished and strangely contemporary with ourselves. It would have been, so one imagines, a great pleasure to take him a manuscript; a great enlightenment, as well as a great honour, to have his opinion. In spite of Pope, one fancies that his would have been criticism of the best order, open-minded and generous to novelty, and yet, in the final resort, unfaltering in its standards. The boldness which is a proof of vigour is shown by his defence of “Chevy Chase”. He had so clear a notion of what he meant by the “very spirit and soul of fine writing” as to track it down in an old barbarous ballad or rediscover it in “that divine work” “Paradise Lost”. Moreover, far from being a connoisseur only of the still, settled beauties of the dead, he was aware of the present; a severe critic of its “Gothic taste”, vigilant in protecting the rights and honours of the language, and all in favour of simplicity and quiet. Here we have the Addison of Will’s and Button’s, who, sitting late into the night and drinking more than was good for him, gradually overcame his taciturnity and began to talk. Then he “chained the attention of every one to him”. “Addison’s conversation”, said Pope, “had something in it more charming than I have found in any other man.” One can well believe it, for his essays at their best preserve the very cadence of easy yet exquisitely modulated conversation—the smile checked before it has broadened into laughter, the thought lightly turned from frivolity or abstraction, the ideas springing, bright, new, various, with the utmost spontaneity. He seems to speak what comes into his head, and is never at the trouble of raising his voice. But he has described himself in the character of the lute better than any one can do it for him.
The lute is a character directly opposite to the drum, that sounds very finely by itself, or in a very small concert. Its notes are exquisitely sweet, and very low, easily drowned in a multitude of instruments, and even lost among a few, unless you give a particular attention to it. A lute is seldom heard in a company of more than five, whereas a drum will show itself to advantage in an assembly of 500. The lutanists, therefore, are men of a fine genius, uncommon reflection, great affability, and esteemed chiefly by persons of a good taste, who are the only proper judges of so delightful and soft a melody.
Addison was a lutanist. No praise, indeed, could be less appropriate than Lord Macaulay’s. To call Addison on the strength of his essays a great poet, or to prophesy that if he had written a novel on an extensive plan it would have been “superior to any that we possess”, is to confuse him with the drums and trumpets; it is not merely to overpraise his merits, but to overlook them. Dr. Johnson superbly, and, as his manner is, once and for all has summed up the quality of Addison’s poetic genius:
His poetry is first to be considered; of which it must be confessed that it has not often those felicities of diction which give lustre to sentiments, or that vigour of sentiment that animates diction; there is little of ardour, vehemence, or transport; there is very rarely the awfulness of grandeur, and not very often the splendour of elegance. He thinks justly; but he thinks faintly.
The Sir Roger de Coverley papers are those which have the most resemblance, on the surface, to a novel. But their merit consists in the fact that they do not adumbrate, or initiate, or anticipate anything; they exist, perfect, complete, entire in themselves. To read them as if they were a first hesitating experiment containing the seed of greatness to come is to miss the peculiar point of them. They are studies done from the outside by a quiet spectator. When read together they compose a portrait of the Squire and his circle all in characteristic positions—one with his rod, another with his hounds—but each can be detached from the rest without damage to the design or harm to himself. In a novel, where each chapter gains from the one before it or adds to the one that follows it, such separations would be intolerable. The speed, the intricacy, the design, would be mutilated. These particular qualities are perhaps lacking, but nevertheless Addison’s method has great advantages. Each of these essays is very highly finished. The characters are defined by a succession of extremely neat, clean strokes. Inevitably, where the sphere is so narrow—an essay is only three or four pages in length—there is not room for great depth or intricate subtlety. Here, from the Spectator, is a good example of the witty and decisive manner in which Addison strikes out a portrait to fill the little frame:
Sombrius is one of these sons of sorrow. He thinks himself obliged in duty to be sad and disconsolate. He looks on a sudden fit of laughter as a breach of his baptismal vow. An innocent jest startles him like blasphemy. Tell him of one who is advanced to a title of honour, he lifts up his hands and eyes; describe a public ceremony, he shakes his head; shew him a gay equipage, he blesses himself. All the little ornaments of life are pomps and vanities. Mirth is wanton, and wit profane. He is scandalized at youth for being lively, and at childhood for being playful. He sits at a christening, or at a marriage-feast, as at a funeral; sighs at the conclusion of a merry story, and grows devout when the rest of the company grow pleasant. After all Sombrius is a religious man, and would have behaved himself very properly, had he lived when Christianity was under a general persecution.
The novel is not a development from that model, for the good reason that no development along these lines is possible. Of its kind such a portrait is perfect; and when we find, scattered up and down the Spectator and the Tatler, numbers of such little masterpieces with fancies and anecdotes in the same style, some doubt as to the narrowness of such a sphere becomes inevitable. The form of the essay admits of its own particular perfection; and if anything is perfect the exact dimensions of its perfection become immaterial. One can scarcely settle whether, on the whole, one prefers a raindrop to the River Thames. When we have said all that we can say against them—that many are dull, others superficial, the allegories faded, the piety conventional, the morality trite—there still remains the fact that the essays of Addison are perfect essays. Always at the highest point of any art there comes a moment when everything seems in a conspiracy to help the artist, and his achievement becomes a natural felicity on his part of which he seems, to a later age, half-unconscious. So Addison, writing day after day, essay after essay, knew instinctively and exactly how to do it. Whether it was a high thing, or whether it was a low thing, whether an epic is more profound or a lyric more passionate, undoubtedly it is due to Addison that prose is now prosaic—the medium which makes it possible for people of ordinary intelligence to communicate their ideas to the world. Addison is the respectable ancestor of an innumerable progeny. Pick up the first weekly journal and the article upon the “Delights of Summer” or the “Approach of Age” will show his influence. But it will also show, unless the name of Mr. Max Beerbohm, our solitary essayist, is attached to it, that we have lost the art of writing essays. What with our views and our virtues, our passions and profundities, the shapely silver drop, that held the sky in it and so many bright little visions of human life, is now nothing but a hold-all knobbed with luggage packed in a hurry. Even so, the essayist will make an effort, perhaps without knowing it, to write like Addison.
In his temperate and reasonable way Addison more than once amused himself with speculations as to the fate of his writings. He had a just idea of their nature and value. “I have new-pointed all the batteries of ridicule”, he wrote. Yet, because so many of his darts had been directed against ephemeral follies, “absurd fashions, ridiculous customs, and affected forms of speech”, the time would come, in a hundred years, perhaps, when his essays, he thought, would be “like so many pieces of old plate, where the weight will be regarded, but the fashion lost”. Two hundred years have passed; the plate is worn smooth; the pattern almost rubbed out; but the metal is pure silver.
- ↑ Written in 1919.