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 honour 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 freed from his wig, stepping from his parlour 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.
BARÈRE (1)
(Edinburgh Review, April, 1844.)
THIS book Has more than one title to our serious attention. It is an appeal, solemnly made to posterity by a man who played a conspicuous part in great events, and who represents himself as deeply aggrieved by the rash and malevolent censure of his contemporaries. To such an appeal we shall always give ready audience. We can perform no duty more useful to society, or more agreeable to our own feelings, than that of making, as far as our power extends, reparation to the slandered and persecuted benefactors of mankind. We therefore promptly took into our consideration this copious apology for the life of Bertrand Barère. We have made up our minds; and we now purpose to do him, by the blessing of God, full and signal justice.
It is to be observed that the appellant in this case does not come into court alone. He is attended to the bar of public opinion by two compurgators, who occupy highly honourable stations. One of these is M. David of Angers, Member of the Institute, an eminent sculptor, and, if we have been rightly informed, a favourite pupil, though not a kinsman, of the painter who bore the same name. The other, to whom we owe the biographical
(1) Mémoires de Bertrand Barère; publiés par MM. Hiippolyte
Carnot. Membre de lu Chambre des Députés, et David d’Angers,
Membre de l’Institut: précédés d’une Notice Historique par
H. Carnot. 4 tomes, Paris: 1843.