by the delicacy of his feelings, by the shyness of his manners, and by the assiduity with which he often prolonged his studies far into the night. It is certain that his reputation for ability and learning stood high. Many years later the ancient doctors of Magdalen continued 5 to talk in their common room of his boyish compositions, and expressed their sorrow that no copy of exercises so remarkable had been preserved. It is proper, however, to remark that Miss Aikin has committed the error, very pardonable in a lady, of overrating Addison's clas- 10 sical attainments. In one department of learning, indeed, his proficiency was such as it is hardly possible to overrate. His knowledge of the Latin poets, from Lucretius and Catullus down to Claudian and Prudentius, was singularly exact and profound. He understood 15 them thoroughly, entered into their spirit, and had the finest and most discriminating perception of all their peculiarities of style and melody; nay, he copied their manner with admirable skill, and surpassed, we think, all their British imitators who had preceded him, Buchanan 20 and Milton alone excepted. This is high praise; and beyond this we cannot with justice go. It is clear that Addison's serious attention during his residence at the university was almost entirely concentrated on Latin poetry, and that, if he did not wholly neglect other 25 provinces of ancient literature, he vouchsafed to them. only a cursory glance. He does not appear to have attained more than an ordinary acquaintance with the political and moral writers of Rome; nor was his own Latin prose by any means equal to his Latin verse. His 30 knowledge of Greek, though doubtless such as was in his time thought respectable at Oxford, was evidently less than that which many lads now carry away every year from Eton and Rugby. A minute examination of 5 his works, if we had time to make such an examination, would fully bear out these remarks. We will briefly advert to a few of the facts on which our judgment is grounded. Great praise is due to the notes which Addison appended to his version of the second and third books of the Metamorphoses.' Yet those notes, while they show him to have been, in his own domain, an accomplished scholar, show also how confined that domain was. They 10 are rich in apposite references to Virgil, Statius, and Claudian; but they contain not a single illustration drawn from the Greek poets. Now, if in the whole compass of Latin literature there be a passage which stands in need of illustration drawn from the Greek poets, it 15 is the story of Pentheus in the third book of the Metamorphoses.' Ovid was indebted for that story to Euripides and Theocritus, both of whom he has sometimes followed minutely. But neither to Euripides nor to Theocritus does Addison make the faintest allusion; 20 and we therefore believe that we do not wrong him by supposing that he had little or no knowledge of their works. His travels in Italy, again, abound with classical quotations, happily introduced; but scarcely one of those 25 quotations is in prose. He draws more illustrations from Ausonius and Manilius than from Cicero. Even his notions of the political and military affairs of the Romans seem to be derived from poets and poetasters. Spots made memorable by events which have changed 3 the destinies of the world, and which have been worthily recorded by great historians, bring to his mind only scraps of some ancient versifier. In the gorge of the Apennines he. naturally remembers the hardships which Hannibal's army endured, and proceeds to cite, not the authentic 'narrative of Polybius, not the picturesque narrative of Livy, but the languid hexameters of Silius Italicus: On the banks of the Rubicon he never thinks of Plutarch's lively description, or of the stern conciseness of the Commentaries, or of those letters to Atticus 5 which so forcibly express the alternations of hope and fear in a sensitive mind at a great crisis. His only authority for the events of the Civil War is Lucan. All the best ancient works of art at Rome and Florence are Greek. Addison saw them, however, without 10 recalling one single verse of Pindar, of Callimachus, or of the Attic dramatists; but they brought to his recollection innumerable passages of Horace, Juvenal, Statius, and Ovid. The same may be said of the Treatise on Medals.' 15 In that pleasing work we find about three hundred passages extracted with great judgment from the Roman poets; but we do not recollect a single passage takenfrom any Roman orator or historian, and we are confident that not a line is quoted from any Greek writer. 20 No person who had derived all his information on the subject of medals from Addison would suspect that the Greek coins were in historical interest equal, and in beauty of execution far superior, to those of Rome. 6 If it were necessary to find any further proof that 25 Addison's classical knowledge was confined within narrow limits, that proof would be furnished by his Essay on the Evidences of Christianity.' The Roman poets throw little or no light on the literary and historical questions which he is under the necessity of examining 30 in that essay. He is, therefore, left completely in the dark; and it is melancholy to see how helplessly he gropes his way from blunder to blunder. He assigns as grounds for his religious belief stories as absurd as 10 that of the Cock Lane ghost, and forgeries as rank as Ireland's Vortigern; puts faith in the lie about the Thundering Legion; is convinced that Tiberius moved the Senate to admit Jesus among the gods; and pronounces 5 the letter of Abgarus, King of Edessa, to be a record of great authority. Nor were these errors the effects of superstition; for to superstition Addison was by no means prone. The truth is, that he was writing about what he did not understand. Miss Aikin has discovered a letter from which it appears that, while Addison resided at Oxford, he was one of several writers whom the booksellers engaged to make an English version of Herodotus; and she infers that he must have been a good Greek scholar. We can allow 15 very little weight to this argument when we consider that his fellow-laborers were to have been Boyle and Blackmore. Boyle is remembered chiefly as the nominal author of the worst book on Greek history and philology that ever was printed; and this book, bad as it is, Boyle 20 was unable to produce without help. Of Blackmore's attainments in the ancient tongues, it may be sufficient to say that, in his prose, he has confounded an aphorism with an apothegm, and that when, in his verse, he treats of classical subjects, his habit is to regale his readers with 25 four false quantities to a page. It is probable that the classical acquirements of Addison were of as much service to him as if they had been more extensive. The world generally gives its admiration, not to the man who does what nobody else even 30 attempts to do, but to the man who does best what mul titudes do well. Bentley was so immeasurably superior to all the other scholars of his time that few among them could discover his superiority. But the accomplishment in which Addison excelled his contemporaries was then, as it is now, highly valued and assiduously cultivated at all English seats of learning. Everybody who had been at a public school had written Latin verses; many had written such verses with tolerable success, and were quite able to appreciate, though by no means able to rival, the 5 skill with which Addison imitated Virgil. His lines on the 'Barometer' and the 'Bowling Green' were applauded by hundreds to whom the 'Dissertation on the Epistles of Phalaris' was as unintelligible as the hieroglyphics on an obelisk. ΙΟ Purity of style and an easy flow of numbers are common to all Addison's Latin poems. Our favorite piece is the 'Battle of the Cranes and Pygmies,' for in that piece we discern a gleam of the fancy and humor which many years later enlivened thousands of breakfast-tables. 15 Swift boasted that he was never known to steal a hint; and he certainly owed as little to his predecessors as any modern writer. Yet we cannot help suspecting that he borrowed, perhaps unconsciously, one of the happiest touches in his voyage to Lilliput from Addison's verses. 20 Let our readers judge. "The Emperor," says Gulliver, "is taller by about the breadth of my nail than any of his court, which alone is enough to strike an awe into the beholders." About thirty years before 'Gulliver's Travels' ap- 25 peared, Addison wrote these lines: "Jamque acies inter medias sese arduus infert The Latin poems of Addison were greatly and justly admired both at Oxford and Cambridge before his name had ever been heard by the wits who thronged the coffee 30 |