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Updated: May 18, 2025
It took two years for Steele and Addison to write themselves out, and rather than let the quality of the periodical decline they discontinued its publication, quitting like the wise men they were at the height of their success. When Addison's tragedy of "Cato" was produced in Seventeen Hundred Thirteen, he occupied the first place in English letters.
I became a loiterer, also, about the Bodleian library, and a great dipper into books; but too idle to follow any course of study or vein of research. One of my favorite haunts was the beautiful walk, bordered by lofty elms, along the Isis, under the old gray walls of Magdalen College, which goes by the name of Addison's Walk; and was his resort when a student at the college.
I have always understood that the plan originated in something that Addison had read, or in some picture that he had seen in one of the magazines in the garret. But the old Squire, who had a spice of Yankee inventiveness in him, had improved on Addison's first notion by suggesting a glass roof, set aslant to a south exposure, so as to utilize the rays of the sun when it did shine.
Addison's treatment was slight and merely literary; Burke dealt boldly with his subject on the base of the most scientific psychology that was then within his reach. To approach it on the psychological side at all was to make a distinct and remarkable advance in the method of the inquiry which he had taken in hand.
The two ends were occupied by two partners of the house. And the host seemed to have adopted Addison's ideas as to the literary precedence of his guests. A popular poet had the post of honor, opposite to whom was a hot-pressed traveller in quarto, with plates.
The two tracts which follow consist of the Life of Addison, which forms the preface to Addison's collected works, published by Tickell in 1721, and of the Dedicatory Epistle prefixed by Steele to an edition of Addison's Drummer in 1722. To the student of the literary history of those times they are of great interest and importance.
In April, 1713, in the interval between the completion of the true 'Spectator' and the appearance of the supplementary volume, Addison's tragedy of 'Cato', planned at College; begun during his foreign travels, retouched in England, and at last completed, was produced at Drury Lane.
His tenderness and pathos reach heights and depths that Addison never touches, but he has not Addison's fine perception of events and motives on the ordinary level of emotion. He could not repress his keen interest sufficiently to treat of politics in his paper and yet remain the impartial censor. So the Tatler was dropped, and the Spectator took its place.
His respect for the good name of woman was profound, and whether any woman ever broke through that fine reserve and exquisite formality is a question. He was intensely admired by women, of course, but it was from the other side of the drawing-room. He kept gush at bay, and never tempted to indiscretion. Addison's youth was past; he was creeping well into the thirties, and still with no prospects.
I have often thought that, in the good sense of that unlucky word "genteel," this style deserves it far more than the style either of Shaftesbury or of Temple; while in its different and nineteenth-century way, it is as much a model of the "middle" style, neither very plain nor very ornate, but "elegant," as Addison's own.
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