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Garth," seems not able to deny what he is angry to hear, and loath to confess.
Pope afterwards declared himself convinced, that Garth died in the communion of the church of Rome, having been privately reconciled. It is observed by Lowth, that there is less distance than is thought between scepticism and popery and that a mind, wearied with perpetual doubt, willingly seeks repose in the bosom of an infallible church.
His poetry has been praised at least equally to its merit. In "The Dispensary" there is a strain of smooth and free versification; but few lines are eminently elegant. No passages fall below mediocrity, and few rise much above it. The plan seems formed without just proportion to the subject; the means and end have no necessary connection. Resnel, in his preface to Pope's Essay, remarks, that Garth exhibits no
discrimination of characters; and that what any one says might, with equal propriety, have been said by another. The general design is, perhaps, open to criticism; but the composition can seldom be charged with inaccuracy or negligence. The Author never slumbers in selfindulgence; his full vigour is always exerted; scarcely a line is left unfinished; nor is it easy to find an expression used by constraint, or a thought imperfectly expressed. It was remarked by Pope, that "The Dispensary" had been corrected in every edition, and that every change was an improvement. It appears, however, to want something of poetical ardour, and something of general delectation; and, therefore, since it has been no longer supported by accidental and intrinsic popularity, it has been scarcely able to support itself.
time he read statutes and reports with proficiency proportionate to the force of his mind, which was already such that he endeavoured to comprehend law, not as a series of precedents, or collection of positive precepts, but as a system of rational government, and impartial justice.
NICHOLAS ROWE was born at Little Beckford, | student of the Middle Temple, where for some in Bedfordshire, in 1673. His family had long possessed a considerable estate, with a good house, at Lambertoun, in Devonshire. His ancestor, from whom he descended in a direct line, received the arms borne by his descendants for his bravery in the Holy War. His father, John Rowe, who was the first that quitted his paternal acres to practise any part of profit, professed the law, and published Benlow's and Dallison's "Reports" in the reign of James the Second, when in opposition to the notions, then diligently propagated, of dispensing power, he ventured to remark how low his authors rated the prerogative. He was made a serjeant, and died April 30, 1692. He was buried in the Temple church.
Nicholas was first sent to a private school, at Highgate; and, being afterwards removed to Westminster, was, at twelve years,† chosen one of the King's scholars. His master was Busby, who suffered none of his scholars to let their powers lie useless; and his exercises in several languages are said to have been written with uncommon degrees of excellence, and yet to have cost him very little labour.
At sixteen he had in his father's opinion, made advances in learning sufficient to qualify him for the study of law, and was entered a
In the Villare, Lamerton.-Orig. Edit.
When he was nineteen, he was, by the death of his father, left more to his own direction, and probably from that time suffered law gradually to give way to poetry. At twenty-five he produced "The Ambitious Step-mother," which was received with so much favour, that he devoted himself from that time wholly to elegant literature.
His next tragedy (1702) was "Tamerlane," in which, under the name of Tamerlane, he intended to characterize King William, and Lewis the Fourteenth under Bajazet. The virtues of Tamerlane seem to have been arbitrarily assigned him by his poet, for I know not that history gives any other qualities than those which make a conqueror. The fashion, however, of the time was, to accumulate upon Lewis all that can raise horror and detestation; and whatever good was withheld from him, that it might not be thrown away, was bestowed upon King William.
This was the tragedy which Rowe valued most, and that which probably, by the help of political auxiliaries, excited most applause; but
occasional poetry must often content itself with occasional praise. "Tamerlane" has for a long time been acted only once a year, on the night when King William landed. Our quarrel with Lewis has been long over; and it now gratifies neither zeal nor malice to see him painted with aggravated features, like a Saracen upon a sign.
"The Fair Penitent," his next production (1703), is one of the most pleasing tragedies on the stage, where it still keeps its turns of appearing, and probably will long keep them, for there is scarcely any work of any poet at once so interesting by the fable, and so delightful by the language. The story is domestic, and therefore easily received by the imagination, and assimilated to common life; the diction is exquisitely harmonious, and soft or sprightly as occasion requires.
The character of Lothario seems to have been expanded by Richardson into Lovelace; but he has excelied his original in the moral effect of the fiction. Lothario, with gayety which cannot be hated, and bravery which cannot be despised, retains too much of the spectator's kindness. It was in the power of Richardson alone to teach us at once esteem and detestation, to make virtuous resentment overpower all the benevolence which wit, elegance, and courage, naturally excite; and to lose at last the hero in the villain.
The fifth act is not equal to the former; the events of the drama are exhausted, and little remains but to talk of what is past. It has been observed, that the title of the play does not sufficiently correspond with the behaviour of Calista, who at last shows no evident signs of repentance, but may be reasonably suspected of feeling pain from detection rather than from guilt, and expresses more shame than sorrow, and more rage than shame.
His next (1706) was "Ulysses;" which, with the common fate of mythological stories, is now generally neglected. We have been too early acquainted with. the poetical heroes, to expect any pleasure from their revival; to show them, as they have already been shown, is to disgust by repetition; to give them new qualities, or new adventures, is to offend by violating received notions.
The motto seems to tell, that this play was not successful.
Rowe does not always remember what his characters require. In "Tamerlane" there is some ridiculous mention of the God of Love; and Rodogune, a savage Saxon, talks of Venus, and the eagle that bears the thunder of Jupiter.
The play discovers its own date, by a prediction of the Union, in imitation of Cranmer's prophetic promises to Henry the Eighth. The anticipated blessings of union are not very naturally introduced, nor very happily expressed. He once (1706) tried to change his hand. He ventured on a comedy, and produced "The Biter;" with which, though it was unfavourably treated by the audience, he was himself delighted; for he is said to have sate in the house laughing with great vehemence, whenever he had, in his own opinion, produced a jest. finding that he and the public had no sympathy of mirth, he tried at lighter scenes no
After "The Royal Convert" (1714) appeared' "Jane Shore," written, as its Author professes, in imitation of Shakspeare's style. In what he thought himself an imitator of Shakspeare, it is not easy to conceive. The numbers, the diction, the sentiments, and the conduct, every thing in which imitation can consist, are remote in the utmost degree from the manner of Shakspeare, whose dramas it resembles only as it is an English story, and as some of the persons have their names in history. This play, consisting chiefly of domestic scenes and private distress, lays. hold upon the heart. The wife is forgiven because she repents, and the husband is honoured because he forgives. This, therefore, is. one of those pieces which we still welcome on the stage.
His last tragedy (1715) was "Lady Jane Gray." This subject had been chosen by Mr. Smith, whose papers were put into Rowe's. hands such as he describes them in his preface. This play has likewise sunk into oblivion. From this time he gave nothing more to the stage.
Being, by a competent fortune, exempted from any necessity of combating his inclination, he never wrote in distress, and therefore does not appear to have ever written in haste. His works were finished to his own approbation, and bear few marks of negligence or hurry. It is remarkable, that his prologues and epilogues are all his own, though he sometimes supplied others; he afforded help, but did not solicit it.
"The Royal Convert" (1708) seems to have a better claim to longevity. The fable is drawn from an obscure and barbarous age, to which fictions are more easily and properly adapted; for when objects are imperfectly seen, they easily take forms from imagination. The scene lies among our ancestors in our own country, As his studies necessarily made him acquaintand therefore very easily catches attention. Ro-ed with Shakspeare, and acquaintance produced dogune is a personage truly tragical, of high. spirit, and violent passions, great with tempestuous dignity, and wicked with a soul that would have been heroic if it had been virtuous.
veneration, he undertook (1709) an edition of his works, from which he neither received much praise, nor seems to have expected it; yet, I believe, those who compare it with former
copies will find that he has done more than he promised; and that, without the pomp of notes or boasts of criticism, many passages are happily restored. He prefixed a life of the author, such as tradition, then almost expiring, could supply, and a preface;* which cannot be said to discover much profundity or penetration. He at least contributed to the popularity of his author.
He was willing enough to improve his fortune by other arts than poetry. He was undersecretary for three years when the Duke of Queensberry was secretary of state, and afterwards applied to the Earl of Oxford for some public employment.+ Oxford enjoined him to study Spanish; and when, some time afterwards, he came again, and said that he had mastered it, dismissed him with this congratulation: "Then, Sir, I envy you the pleasure of reading' Don Quixote' in the original."
This story is sufficiently attested; but why Oxford, who desired to be thought a favourer of literature, should thus insult a man of acknowledged merit; or how Rowe, who was so keen a whig, that he did not willingly converse with men of the opposite party, could ask preferment from Oxford, it is not now possible to discover. Pope, who told the story, did not say on what occasion the advice was given; and, though he owned Rowe's disappointment, doubted whether any injury was intended him, but thought it rather Lord Oxford's odd way.
"As to his person, it was graceful and well made: his face regular, and of a manly beauty. As his soul was well lodged, so its rational and animal faculties excelled in a high degree. He had a quick and fruitful invention, a deep penetration, and a large compass of thought, with singular dexterity and easiness in making his thoughts to be understood. He was master of most parts of polite learning, especially the classical authors, both Greek and Latin; understood the French, Italian, and Spanish languages; and spoke the first fluently, and the other two tolerably well.
"He had likewise read most of the Greek and Roman histories in their original languages, and most that are written in English, French, Italian, and Spanish. He had a good taste in philosophy; and, having a firm impression of religion upon his mind, he took great delight in divinity and ecclesiastical history, in both which he made great advances in the times he retired into the country, which were frequent. He expressed, on all occasions, his full persuasion of the truth of revealed religion; and, being a sincere member of the established church himself, he pitied, but condemned not, those that dissented from it. He abhorred the principles of persecuting men upon the account of their opinions in religion; and, being strict in his own, he took it not upon him to censure those of another persuasion. His conversation was pleasant, witty, and learned, without the least tincture of affectation or pedantry; and his inimitable manner of diverting and enlivening the company, made it impossible for any one to be out of humour when he was in it. Envy and detraction seemed to be entirely foreign to his constitution; and whatever provocations he met with at any time, he passed them over without the least thought of resentment or revenge. As Homer had a Ziolus, so Mr. Rowe had sometimes his; for there were not wanting malevolent people and pretenders to poetry too, that would now and then bark at his best per
It is likely that he lived on discontented through the rest of Queen Anne's reign; but the time came at last when he found kinder friends. At the accession of King George he was made poet-laureat; I am afraid by the ejection of poor Nahum Tate, who (1716) died in the Mint, where he was forced to seek shelter by extreme poverty. He was made likewise one of the land-surveyors of the customs of the port of London. The Prince of Wales chose him clerk of his council; and the Lord Chancellor Parker, as soon as he received the seals, appointed him, unasked, secretary of the pre-formances; but he was conscious of his own sentations. Such an accumulation of employments undoubtedly produced a very considerable
genius, and had so much good-nature as to forgive them; nor could he ever be tempted to return them an answer.
"The love of learning and poetry made him. not the less fit for business, and nobody applied himself closer to it, when it required his attendThe late Duke of Queensberry, when he was secretary of state, made him his secretary for public affairs; and when that truly great man came to know him well, he was never so pleased as when Mr. Rowe was in his company. After the Duke's death, all avenues were stopped to his preferment; and, during the rest of that reign, he passed his time with the muses and his books, and sometimes the conversation of his friends.
"When he had just got to be easy in his.
fortune, and was in a fair way to make it better, death swept him away, and in him deprived the world of one of the best men, as well as one of the best geniuses of the age. He died like a Christian and a philosopher, in charity with all mankind, and with an absolute resignation to the will of God. He kept up his good-humour to the last; and took leave of his wife and friends, immediately before his last agony, with the same tranquillity of mind, and the same indifference for life, as though he had been upon taking but a short journey. He was twice married: first to a daughter of Mr. Parsons, one of the auditors of the revenue ; and afterwards to a daughter of Mr. Devenish, of a good family in Dorsetshire. By the first he had a son; and by the second a daughter, married afterwards to Mr. Fane. He died the sixth of December, 1718, in the forty-fifth year of his age; and was buried the nineteenth of the same month in Westminster Abbey, in the aisle where many of our English poets are interred, over against Chaucer, his body being attended by a select number of his friends, and the Dean and choir officiating at the funeral."
To this character, which is apparently given with the fondness of a friend, may be added the testimony of Pope, who says in a letter to Blount," Mr. Rowe accompanied me, and passed a week in the Forest. I need not tell you how much a man of his turn entertained me; but I must acquaint you, there is a vivacity and gayety of disposition almost peculiar to him, which makes it impossible to part from him without that uneasiness which generally succeeds all our pleasure."
Pope has left behind him another mention of his companion, less advantageous, which is thus reported by Dr. Warburton.
"Rowe, in Mr. Pope's opinion, maintained a decent character, but had no heart. Mr. Addison was justly offended with some behaviour which arose from that want, and estranged himself from him; which Rowe felt very severely. Mr. Pope, their common friend, knowing this, took an opportunity, at some juncture of Mr. Addison's advancement, to tell him how poor Rowe was grieved at his displeasure, and what satisfaction he expressed at Mr. Addison's good fortune, which he expressed so naturally, that he (Mr. Pope) could not but think him sincere. Mr. Addison replied, 'I do not suspect that he feigned; but the levity of his heart is such, that he is struck with any new adventure; and it would affect him just in the same manner, if he heard I was going to be hanged.' -Mr. Pope said he could not deny but Mr. Addison understood Rowe well."
This censure time has not left us the power of confirming or refuting; but observation daily shows, that much stress is not to be laid on hyperbolical accusations, and pointed sentences,
which even he that utters them desires to be applauded rather than credited. Addison can hardly be supposed to have meant all that he said. Few characters can bear the microscopic scrutiny of wit quickened by anger; and perhaps the best advice to authors would be, that they should keep out of the way of one another. Rowe is chiefly to be considered as a tragic writer and a translator. In his attempt at comedy he failed so ignominiously, that his “Bi、 ter" is not inserted in his works; and his occasional poems and short compositions are rarely worthy of either praise or censure; for they seem the casual sports of a mind seeking rather to amuse its leisure than to exercise its powers.
In the construction of his dramas, there is not much art; he is not a nice observer of the unities. He extends time and varies place as his convenience requires. To vary the place is not, in my opinion, any violation of nature, if the change be made between the acts; for it is no less easy for the spectator to suppose himself at Athens in the second act, than at Thebes in the first; but to change the scene, as is done by Rowe, in the middle of an act, is to add more acts to the play, since an act is so much of the business as is transacted without interruption. Rowe, by this licence, easily extricates himself from difficulties; as, in "Jane Gray," when we have been terrified with all the dreadful pomp of public execution, and are wondering how the heroine or the poet will proceed, no sooner has Jane pronounced some prophetic rhymes, than-pass and be gone-the scene closes, and Pembroke and Gardiner are turned out upon the stage.
I know not that there can be found in his plays, any deep search into nature, any accurate discriminations of kindred qualities, or nice display of passion in its progress: all is general and undefined. Nor does he much interest or affect the auditor, except in " Jane Shore," who is always seen and heard with pity. Alicia is a character of empty noise, with no resemblance to real sorrow or to natural madness.
Whence, then, has Rowe his reputation? From the reasonableness and propriety of some of his scenes, from the elegance of his diction, and the suavity of his verse. He seldom moves either pity or terror, but he often elevates the sentiments; he seldom pierces the breast, but he always delights the ear, and often improves the understanding.
His translation of the "Golden Verses," and of the first book of Quillet's Poem, have nothing in them remarkable. The "Golden Verses" are tedious.
The version of Lucan is one of the greatest productions of English poetry; for there is perhaps none that so completely exhibits the genius and spirit of the original. Lucan is distinguished by a kind of dictatorial or philosophic
dignity, rather, as Quintilian observes, declama- | lody or force.
His author's sense is sometimes
tory than poetical; full of ambitious morality a little diluted by additional infusions, and and pointed sentences, comprised in vigorous and animated lines. This character Rowe has very diligently and successfully preserved. His versification, which is such as his contemporaries practised, without any attempt at innovation or improvement, seldom wants either me
sometimes weakened by too much expansion. But such faults are to be expected in all translations, from the constraint of measures and dissimilitude of languages. The "Pharsalia" of Rowe deserves more notice than it obtains, and as it is more read will be more esteemed.*
JOSEPH ADDISON was born on the first of May, | story, I have inquired when he was sent to the 1672, at Milston, of which his father, Lancelot Addison, was then rector, near Ambrosebury in Wiltshire, and appearing weak and unlikely to live, he was christened the same day. After the usual domestic education, which from the character of his father may be reasonably supposed to have given him strong impressions of piety, he was committed to the care of Mr. Naish, at Ambrosebury, and afterwards of Mr. Taylor, at Salisbury.
Not to name the school or the masters of men illustrious for literature is a kind of historical fraud, by which honest fame is injuriously dimished; I would therefore trace him through the whole process of his education. In 1683, in the beginning of his twelfth year, his father, being made dean of Lichfield, naturally carried his family to his new residence, and, I believe, placed him for some time, probably not long, under Mr. Shaw, then master of the school at Lichfield, father of the late Dr. Peter Shaw. Of this interval his biographers have given no account, and I know it only from a story of a barring-out, told me when I was a boy, by Andrew Corbet of Shropshire, who had heard it from Mr. Pigot, his uncle.
The practice of barring-out was a savage licence, practised in many schools at the end of the last century, by which the boys, when the periodical vacation drew near, growing petulent at the approach of liberty, some days before the time of regular recess, took possession of the school, of which they barred the doors, and bade their master defiance from the windows. It is not easy to suppose that on such occasions the master would do more than laugh; yet if tradition may be credited, he often struggled hard to force or surprise the garrison. The master, when Pigot was a school-boy, was barred-out at Lichfield; and the whole operation, as he said, was planned and conducted by Addison.
To judge better of the probability of this
Chartreux; but, as he was not one of those who enjoyed the founder's benefaction, there is no account preserved of his admission. At the school of the Chartreux, to which he was removed either from that of Salisbury or Lichfield, he pursued his juvenile studies under the care of Dr. Ellis, and contracted that intimacy with Sir Richard Steele, which their joint labours have so effectually recorded.
Of this memorable friendship the greater praise must be given to Steele. It is not hard to love those from whom nothing can be feared; and Addison never considered Steele as a rival, but Steele lived, as he confesses, under an habitual subjection to the predominating genius of Addison, whom he always mentioned with reverence, and treated with obsequiousness.
Addison,† who knew his own dignity, could not always forbear to show it, by playing a little upon his admirer; but he was in no danger of retort: his jests were endured without resistance or resentment.
But the sneer of jocularity was not the worst. Steele, whose imprudence of generosity, or vanity of profusion, kept him always incurably necessitous, upon some pressing exigence, in an evil hour, borrowed a hundred pounds of his friend, probably without much purpose of repayment; but Addison, who seems to have had other notions of a hundred pounds, grew impatient of delay, and reclaimed his loan by an execution. Steele felt with great sensibility the obduracy of his creditor, but with emotions of sorrow rather than of anger.‡
The life of Rowe is a very remarkable instance of the uncommon strength of Dr. Johnson's memory. When I received from him the MS. he complacently observed, "that the criticism was tolerably well done, considering that he had not seen Rowe's
Works for thirty years."-N.
This fact was communicated to Johnson in my