which was written according to French canons, contained such fine phrases about liberty that it was claimed by both Whigs and Tories. Pope wrote an eloquent prologue, and Swift, after a long period of estrangement, attended a rehearsal. A comedy, The Drummer, acted in 1715, was unsuccessful. This work marks the close of Addison's purely literary activity, his later writings being political in character. After his retirement from office in 1718, his health continued to fail, and he died on the 17th of June, 1719. The same spirit that had made him so attractive while he was in the full enjoyment of his powers characterized him to the very end. Even when he was on his deathbed, his chief concern was for others rather than for himself. Believing that he had once, in connection with some almost forgotten matter, injured Gay, he sent for him and begged his forgiveness; and calling for his stepson Warwick just before his end, he said, "See in what peace a Christian can die."

STEELE.

Richard Steele - properly Sir Richard Steele — has been better loved and oftener misrepresented than almost any other English writer. The temptation to paint him as the exact opposite of Addison, has in most cases proved too strong to enable his biographers to deal fairly with his character. Thackeray's fascinating account in his English Humourists, the most popular sketch of Steele, while correct in certain details, is on the whole misleading. One who desires to form a just estimate of this interesting man should read Mr. Aitken's careful biography or the short but sympathetic "life" by Mr. Austin Dobson.

Steele was born in Dublin in March, 1672. He was, consequently, something less than two months older than Addison. Of his family little is known. Unfortunately

he lost both parents at an early age: his father, who was a solicitor, died when he was about five years old, and his mother not long after. In later years he speaks of his mother as "a very beautiful woman, of a noble spirit." In his uncle, Henry Gascoigne, secretary to the Duke of Ormond, the boy found a kind guardian. At the age of twelve he was sent to the Charterhouse School in London; and two years later, on Addison's arrival, the friendship between the two boys began.

Steele entered Oxford when seventeen, but did not finish his course there. Mr. Aitken remarks: "Steele left Oxford without taking a degree, which was not at all unusual at the time, but we are told that he took with him the love of the whole society."

Having a desire to try the life of a soldier, he enlisted in 1694 as a private in the Duke of Ormond's regiment of Guards, and remained in the army for twelve years. In 1700 he became Captain Steele.

His military duties do not seem to have interfered with his development as a writer; for his first promotion was due to a patriotic poem, The Procession, composed just after the death of Queen Mary, in 1695, and dedicated to Lord Cutts. He was rewarded by an ensign's commission in that lord's regiment, and soon after became his secretary. His Christian Hero, a little book published in 1701, was designed, he afterwards informs his readers, to "fix upon his own mind a strong impression of virtue and religion in opposition to a stronger propensity towards unwarrantable pleasures." Mr. Aitken justly remarks: "We must remember that the standard of morality was low even among those who considered themselves on a higher moral level than Steele, and that his ideal was far above that of most of his contemporaries." Finding that his friends failed to understand his attitude in the Christian Hero, and that they were inclined to accuse him of

posing as a moralist, he produced not long after a comedy, The Funeral, which was intended to "enliven his character." His third play, The Tender Husband, acted after Addison's return from the continent, was dedicated to his friend, who, besides writing the prologue, contributed "many applauded strokes." The author says: "My purpose in this application. is only to show the esteem I have for you, and that I look upon my intimacy with you as one of the most valuable enjoyments of my life."

Immediately after the production of his play Steele married, but his wife died in a little over a year. In 1797 he married as a second wife a Welsh lady, Mary Scurlock, the "Dear Prue" to whom he wrote so many interesting notes and letters. Before his second marriage he left the army, and the following year, in 1707, he was made Gazetteer, at a salary of £300 a year (less a tax of £45). As the Gazette was the official organ of the government, the positionwhich he held for several years — must have required tact and judgment.

The fact that Steele was a sincere patriot rather than a successful politician is illustrated by his experience as a member of Parliament. He gave up several lucrative positions in order to become a member, but was expelled from the House of Commons a Tory house — before the end of his first year. The publication of his Crisis, and a bitter attack by Swift, were the causes that led to this result. When the Whigs came into power on the accession of George I., he again entered Parliament, and the following year he was knighted. His manly stand in the controversy over the Peerage Bill in 1719 resulted in the loss of the patent which constituted him manager of Drury Lane Theatre. This circumstance marks the close of his political career.

It is chiefly because of the Tatler and the Spectator that Steele occupies an important place in English literature.

After the Spectator was discontinued he published the Guardian, which was followed by the Englishman, a political paper. Later still came two short-lived periodicals, the Lover and the Reader, and a compilation entitled The Ladies Library. The best of his political pamphlets was his Apology for Himself and His Writings. The Conscious Lovers, his most successful play, was produced in 1722; this was his latest literary effort.

Steele had always found it difficult to meet his expenses, and his closing years, which were spent in Carmarthenshire, Wales, were troubled by money difficulties and ill health. Before the end, however, his debts had all been paid.

His biographer says: "The last glimpse we have of him comes from the actor Benjamin Victor, who had sought from him an introduction to Walpole: 'I was told he retained his cheerful sweetness of temper to the last, and would often be carried out on a summer's evening, when the country lads and lasses were assembled at their rural sports, and with his pencil, give an order on his agent, the mercer, for a new gown to the best dancer.'" He died in September, 1729.

BUDGELL.

Of Eustace Budgell little need be said, since his work is of small importance. Through the influence of Addison, who was his cousin, he obtained several positions of trust; but in later years his character deteriorated, and finally, in 1737, he drowned himself in the Thames. As a writer he was an imitator of Addison, and besides other works, he wrote a number of papers for the Spectator.

IV. JOURNALISM AND PARTY LITERATURE.

Defoe,

The facts just stated make us realize that the life of the literary man of the so-called "Augustan Age" in England was a life of political and social importance. Almost every writer of note - for Pope must be excepted- was at some time during his career the mouthpiece of a party. Swift, the most truly original genius of them all, was always a stanch defender of the national church and, except during the first few years of his public life, a zealous Tory. now known chiefly as the author of Robinson Crusoe, was an indefatigable pamphleteer and journalist, on the side of the Liberals. The age of Queen Anne was preeminently an age of party literature: besides party pamphlets and newspapers there were party poems, party sermons, party plays; and in the case of Addison's Cato, a play claimed by both Whigs and Tories at once.

This literary activity could not have existed had it not. been for the recently acquired liberty of the press. In 1695 Parliament failed to appoint the usual licenser, without whose leave no book or newspaper might be published. Before this, the discussion of public matters had been left for the most part to those who were sufficiently daring or sufficiently unprincipled to disregard the law. Since the press was no longer fettered, the best intellects were free to express themselves on all matters of general interest, and party leaders eagerly sought the services of writers who could gain the ear of the people. The writer on political subjects had at that time an unusual advantage over the orator, when it came to influencing public opinion, because speeches made in Parliament were not, as now, printed and circulated.