87 23 Taylor's holy Living and Dying: Jeremy Taylor (1613–1677) wrote The Rule and Exercises of Holy Living, etc., London, 1650, and The Rule and Exercises of Holy Dying, etc., London, 1651.

87 24 La Ferte's Instructions for Country Dances: In the Spectator, No. 52 and others, appears the advertisement of “Mr. Fert, Dancing Master, who keeps his School in Compton Street Soho, over-against St. Ann's Church Back-door.” He may have written The Dancing Master; or, plain and easie rules for the dancing of Country dances, second edition, London, 1652. It reached a twelfth edition in 1703.

88 15 Grottoes: Cf. Nos. 447 and 632, also Pope's Works, ed. Elwin and Courthope, IV, 494, and VI, 385. Lecky (I, 525–526) has a brief notice of Queen Anne gardens. The Hon. Alicia Amherst's History of Gardening in England treats the matter in more detail, and has at the end a bibliography, chronologically arranged, from which one can very readily discover what Addison's contemporaries wrote upon the subject. 88 28 Consort: a company of players or singers; most strictly, probably, a string quartet. More correctly concert: see Oxford Dictionary. Cf. Spect. 5, 418.

898 Another Paper: No. 92.

89 Motto: Horace, Epist., ii, 2, 102–103:

Much do I suffer, much to keep in peace

This jealous, waspish, wrong-head rhyming race. — РОРЕ.

89 13 Tragedy . . . the noblest: Aristotle thought so: see the final section of his Poetics.

89 16 Says Seneca: De Providentia, ii, 6: “Ecce spectaculum dignum," etc. Addison uses this passage again as the motto for the titlepage of his Cato.

906 In other following papers: Nos. 40, 42, 44.

908 Aristotle observes: Poetics, iv; Rhet., iii, 1.

90 19 Rhyme: Some of the critical treatises which had discussed rhyme before Addison's day are: pro, Daniel's Defence of Rhyme, 1603, Dryden's Essay of Dramatic Poesy, 1668, and his Defence of the Essay of Dramatic Poesy, 1668; con, Campion's Observations on the Art of English Poesie, 1602, and Sir Robert Howard's Preface to The Great Favourite, or the Duke of Lerma, 1668. The documents in the DrydenHoward controversy should be read together; they are so placed in Arber's English Garner, II, 487 ff. For discussion of the subject see Ward's English Dramatic Poetry, London, 1899, III, 314 ff.; and especially Lounsbury's Shakespeare as a Dramatic Artist, New York, 1901, pp. 210 ff.

90 34 An Hemistick: see Dryden's Essay of Dramatic Poesy (Works ed. Scott-Saintsbury, XV, 363). That essay touches nearly all the points mentioned in this paper.

92 2 A fine observation in Aristotle: Poetics, xxii, 3 ff.

929 Horace . . . in the following verses: Ars Poet., 95-98.

92 20 Lee: Nathaniel Lee (circ. 1650–circ. 1690); his best known plays are The Rival Queens, or the Death of Alexander the Great, 1677; Mithridates, King of Pontus, 1678; with Dryden, Edipus, 1679. Dryden (Parallel of Poetry and Painting, ed. Scott-Saintsbury, XVII, 320– 321) comments at some length on Lee's tempestuousness: "Another who had a great genius for tragedy, following the fury of his natural temper, made every man, and woman too, in his plays, stark raging mad; there was not a sober person to be had for love or money. All was tempestuous and blustering; heaven and earth were coming together at every word; a mere hurricane from the beginning to the end, and every actor seemed to be hastening on the day of judgment." Lee felt the same thing himself in the Dedication of his Cæsar Borgia, 1680, he wrote, “I abound in ungoverned fancy."

92 32 Then he would talk, etc.: Nichols (Literary Illustrations, II, 195 ff.) prints a letter from Warburton in which Addison is said to have 'coldly imitated" the above line from Lee in his Cato, act i, scene 4, where Juba says, "True she is fair. O how divinely fair!" "I pronounce the more boldly of this," says Warburton, "because Mr. A. in his 39 Spec. expresses his admiration of it."

936 Otway: Thomas Otway (1652–1685), best known for his Alcibiades, 1675; The Orphan, 1680; Venice Preserved, 1682.

93 17 Venice Preserved: "The plot," says Sidney Lee (Dict. Nat. Biog., XLII, 350-351), was "drawn from the Abbé St. Réal's 'Conjuration des Espagnols contre la Venise en 1618,' of which an English translation had appeared in 1675. But Otway modified the story at many points . . .; and, while he accepted the historical names of the conspirators, he subordinated the true leader of the conspiracy, the Spanish envoy in Venice, the Marquis de Bedamar, to Jaffier and Pierre, who were historically insignificant. He is thus solely responsible for the dramatic interest imported into the tale. According to his version of it, Priuli, a senator of Venice, has renounced his daughter, Belvidera, because she has married Jaffier, a man poor and undistinguished. Pierre, a close friend of Jaffier, persuades him, when smarting under Priuli's taunts, to join a conspiracy which aims at the lives of all the senators. Jaffier is led to confide the secret of the plot to his wife, and her frenzied appeals to him to save her father goad him

into betraying the conspiracy to the senate, and sacrificing his dearest friend."

93 24 Si pro patria: Florus, iv, 1, 12.
94 Motto: Horace, Epist., ii, 1, 208–213:

Yet lest you think I really more than teach,
Or praise, malignant, arts I cannot reach,
Let me for once presume t' instruct the times,
To know the poet from the man of rhymes;
'Tis he, who gives my breast a thousand pains,
Can make me feel each passion that he feigns;
Enrage, compose, with more than magic art,
With pity, and with terror, tear my heart;
And snatch me o'er the earth, or through the air,

To Thebes, to Athens, when he will, and where. - POPE.

94 5-6 A ridiculous doctrine in modern criticism: a palpable hit at John Dennis, who is said thus to have acknowledged it. “On the 17th of May, 1712, between the hours of ten and eleven in the morning... [Dennis] . . . entered... [Curll's book-] shop, and opening one of the volumes of the Spectator, in the large paper, did suddenly, without the least provocation, tear out that of No. [40] where the author treats of poetical justice, and cast it into the street." (Pope's Works, ed. Elwin, X, 459.) In Dennis's Original Letters, II, 407-416, is printed his letter to the Spectator in defence of his doctrine. It concludes: "Thus . . . I have discussed the business of poetical justice, and shewn it to be the foundation of all tragedy; and therefore whatever persons, whether ancient or modern, have written dialogues which they call tragedies, where this justice is not observed, these persons have entertained and amused the world with romantic lamentable tales, instead of just tragedies, and of lawful fables." In his letter to Sir Richard Blackmore (Original Letters, I, 1–12) Dennis is especially insistent upon his theory; in a letter to the Duke of Buckingham (I, 55–57) he admits that the attacks of various papers in the Spectator led him to write his Remarks upon Cato.

94 12-13 To raise commiseration and terror: Aristotle, Poetics, xiii : "A perfect tragedy should . . . imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation" (Butcher's translation).

95 2 Aristotle considers: Addison seems here to refer to Poetics, xiii, 6: σnueîov dè μéɣioтov, etc., which Butcher translates "On the stage and in dramatic competition, such plays, if they are well represented, are the most tragic in effect."

95 13 The best Plays, etc.: Otway's Orphan and his Venice Preserved, Lee's Alexander the Great, and Dryden and Lee's Oedipus are mentioned in a note on the previous essay; Lee's Theodosius, or the Force of Love (1680) was drawn from La Calprenède's romance Pharamond (1661); Dryden's All for Love or the World Well Lost (1678) was his version of Shakspere's Antony and Cleopatra; Oroonoko (1696), by Thomas Southerne (1660–1746), was founded on Mrs. Behn's Oroonoko, or the Royal Slave (1668). On these plays in general, see Ward's English Dramatic Poetry, vol. III, chap. 9.

...

95 15-17 King Lear . . . as it is reformed: The History of King Lear. Acted at the Duke's Theatre. Reviv'd with Alterations. By N. Tate. London, 1681. In Tate's version there is no Fool, and Cordelia lives to marry Edgar; there is a summary of the plot, with extracts, in the Appendix (pp. 467 ff.) of Dr. Furness's Variorum Lear, Philadelphia, 1880. Tate also adapted Richard II in The Sicilian Usurper, 1681, and Coriolanus in The Ingratitude of a Common-Wealth, 1682. The controversy between Addison and Dennis over Tate's version of King Lear is conveniently summarized in Lounsbury's Shakespeare as a Dramatic Artist, pp. 405 ff.

95 23 The Mourning Bride, etc.: The Mourning Bride, 1697, was by William Congreve (1670–1729); Tamerlane, 1702, by Nicholas Rowe (1674–1718); Ulysses, 1706, also by Rowe; Phædra and Hippolytus, acted 1707, was by Edmund (“ Rag”) Smith (1672-1710). There are good brief accounts of all these plays except the last in Ward's ninth chapter. Addison's commendation of Phædra and Hippolytus here and in Spect. 18 may have been partly a perfunctory return of a compliment in the dedication of Smith's play, where Addison's poem on the peace of Ryswick is called “the best Latin poem since the Æneid.” There are notices of Smith in Dr. Johnson's Lives and in the Dict. Nat. Biog. 95 32 Tragi-comedy: see Ward, English Dramatic Poetry, III, 314 ff.; Lounsbury, Shakespeare as a Dramatic Artist, chapter iv (“The Intermingling of the Comic and the Tragic "). Dryden, among the many who discussed this matter, seems to have been most in Addison's mind; Dryden's dramatic theories are conveniently summarized in G. S. Collins's Dryden's Dramatic Theory and Praxis, Leipzig, 1892. 96 6-15 A double Plot . . . an Under-plot: On these matters nearly all dramatic critics from Aristotle to Dennis had declared themselves. For Dryden's opinions, see the Essay of Dramatic Poesy (ed. ScottSaintsbury, XV, 298 ff., 332 ff.); Preface to Love Triumphant (VIII, 375-376): "For my action, it is evidently double; and in that I have the most of the ancients for my examples. Yet I dare not defend this

way by reason, much less by their authority; for their actions, though double, were of the same species; that is to say, in their comedies, two amours; and their persons were better linked in interest than mine. Yet even this is a fault which I should often practise, if I were to write again, because it is agreeable to the English genius.”

96 28 Powell: George Powell (1658?-1714), the actor who played Portius in Addison's Cato. He is to be distinguished from the Martin Powell, puppet-showman, who is satirized in Spectator 14 and in Tatler 44, 50, etc.

97 18 Oedipus: The first edition differs slightly from the version of the Spectator: in 1. 2 the first edition has "Crime"; in l. 3 it has If wandring in the maze of Fate I run"; in the second passage, l. 4, it has "The pond'rous Earth."

98 Motto: Juvenal, Sat., xiv, 321: “Good taste and nature always speak the same."

The historical development of the method of satire used in this paper, the converse of the method in "Gulliver's Travels," would furnish matter for a considerable essay. This would include at least: Marana, The Turkish Spy (1684, or earlier), said to have been written in Italian, thence translated into English, and finally done into French; William King's A Journey to London in the Year 1698... Written originally in French. ; and newly translated into English (King's Works, London, 1776, II, 187 ff.); Swift's hint at the method, noted above (1704); Antoine Galland's Les mille et une Nuits, contes arabes traduits en français (1704); Du Fresny's Amusements sérieux et comiques d'un Siamois (1707); the present essay (1711); Montesquieu's Lettres persanes (1721); Lord Lyttelton's Persian Letters (1735); J. B. de Boyer (Marquis d'Argens), Lettres juives, chinoises, et cabalistiques (1738–1769); Mme. de Graffigny, Lettres d'une péruvienne (1747); Dr. Dodd's The African Prince, in England, to Zara at his Father's Court (1749); Voltaire's Lettres philosophiques (Asiatic) (1752); Lettres iroquoises (1752); Horace Walpole's Letter from Xo Ho, a Chinese Philosopher at London, to his Friend Lien Chi, at Peking (1757); Goldsmith's Citizen of the World (1760–61); The Algerine Spy (1760– 1761); Letters of Shahcoolen, a Hindu Philosopher, residing in Philadelphia; to his Friend El Hassan, an Inhabitant of Delhi (1802); William Wirt, The Letters of a British Spy, Richmond, Virginia, 1803; Southey's Letters from England by Don Manuel Alvarez Espriella (1807); Ingersoll's Inchiquin the Jesuit's Letters (1810).

The subject is lightly touched in chap. vii of Whittuck's The "Good Man" of the XVIIIth Century, London, 1901.