gratitude. God was to him the all-wise and all-powerful friend who had watched over his cradle with more than maternal tenderness; who had listened to his cries before they could form themselves in prayer; who had preserved his youth from the snares of vice; who had made his cup run over with worldly blessings; who had doubled the value of those blessings, by bestowing a thankful heart to enjoy them, and dear friends to partake them; who had rebuked the waves of the Ligurian Gulf, had purified the autumnal air of the Campagna, and had restrained the avalanches of Mont Cenis. Of the Psalms, his favorite was that which represents the Ruler of all things under the endearing image of a shepherd, whose crook guides the flock safe, through gloomy and desolate glens, to meadows well watered and rich with herbage. On that goodness to which he ascribed all the happiness of his life, he relied in the hour of death with the love which casteth out fear. He died on the 17th of June, 1719. He had just entered on his forty-eighth year.

His body lay in state in the Jerusalem Chamber, and was borne thence to the Abbey at dead of night. The choir sung a funeral hymn. Bishop Atterbury, one of those Tories who had loved and honored the most accomplished of the Whigs, met the corpse, and led the procession by torchlight round the shrine of Saint Edward and the graves of the Plantagenets, to the Chapel of Henry the Seventh. On the north side of that chapel, in the vault of the house of Albemarle, the coffin of Addison lies next to the coffin of Montague. Yet a few months, and the same mourners passed again along the same aisle. The same sad anthem was again chanted. The same vault was again opened, and the coffin of Craggs was placed close to the coffin of Addison.

Many tributes were paid to the memory of Addison; but one alone is now remembered. Tickell bewailed his friend

in an elegy which would do honor to the greatest name in our literature, and which unites the energy and magnificence of Dryden to the tenderness and purity of Cowper. This fine poem was prefixed to a superb edition of Addison's works, which was published, in 1721, by subscription. The names of the subscribers proved how widely his fame had been spread. That his countrymen should be eager to possess his writings, even in a costly form, is not wonderful. But it is wonderful that, though English literature was then little studied on the Continent, Spanish grandees, Italian prelates, marshals of France, should be found in the list. Among the most remarkable names are those of the Queen of Sweden, of Prince Eugene, of the Grand Duke of Tuscany, of the Dukes of Parma, Modena, and Guastalla, of the Doge of Genoa, of the Regent Orleans, and of Cardinal Dubois. We ought to add that this edition, though eminently beautiful, is in some important points defective; nor, indeed, do we yet possess a complete collection of Addison's writings.

It is strange that neither his opulent and noble widow, nor any of his powerful and attached friends, should have thought of placing even a simple tablet, inscribed with his name, on the walls of the Abbey. It was not till three generations had laughed and wept over his pages that the omission was supplied by the public veneration. At length, in our own time, his image, skilfully graven, appeared in Poet's Corner. It represents him, as we can conceive him, clad in his dressing-gown, and free from his wig, stepping from his parlor at Chelsea into his trim little garden, with the account of the Everlasting Club, or the Loves of Hilpa and Shalum, just finished for the next day's Spectator, in his hand. Such a mark of national respect was due to the unsullied statesman, to the accomplished scholar, to the master of pure English eloquence, to the consummate painter of life and manners. It was due, above all, to the

great satirist, who alone knew how to use ridicule without abusing it; who, without inflicting a wound, effected a great social reform; and who reconciled wit and virtue, after a long and disastrous separation, during which wit had been led astray by profligacy, and virtue by fanaticism.

NOTES

ΤΟ

THE SELECT ESSAYS OF ADDISON.

P. 1. I have observed, etc. Though the fictitious personage represented in this paper as describing himself has many striking points of resemblance to Joseph Addison, yet the reader must guard against the mistake of thinking that the Spectator is Addison. The Spectator is an imaginary person, created by Addison and Steele and their coadjutors. The writer of each paper, whoever he may be, assumes the rôle of the Spectator, and speaks in this character, using the first person singular. Thus the modern journalistic plural we stands for no one individual, but for the paper, as an impersonal institution.

This imaginary Spectator is a member of an imaginary club, of which he is the spokesman. In this paper he is made to give an account of himself, and in the next to describe his fellow-members. One of these papers is by Addison, the other by Steele, though both papers appear as coming from the Spectator. The fiction that a plan of the work "is laid and concerted in a club" serves to add the interest of mystery to the undertaking, and to furnish occasion for descriptions of manners and humors. Of course the plan of the work was really laid and concerted by Addison and Steele. The writers who now and then aided them were men who had caught the spirit of the fiction, and were thus able to join the enterprise as partners in the work of invention and creation.

The young reader may find cause of confusion in the fact that the name Spectator is given to the entire collection of papers written under this pseudonym, and that the several papers are also called Spectators,