NORTH SHORE BREEZE. 
ENGLISH LITERATURE 
——— 
Continued from page 3 
as many as twenty thousand copies of a 
number being sometimes sold in a single 
day; the little unpretentious sheet  trav- 
elled all over England and was read by 
almost all classes except the lowest. Its 
influence upon Enelish literature and 
social life can hardly be overestimated. 
Its range of subjects and of appropriate 
treatment. was from Fencing and the 
Use of a Fan, the Dissection of a Beau’s 
Head and a Coquette’s Heart, to Crit- 
icisms on Language, Ancient and Mod- 
ern Literature, on old English Ballads, 
on Genius, on Paradise Lost, lofty and 
solemn meditations on the Omnipres- 
ence of Deity, and thoughts suggested 
among. the tombs of England’s greatness 
in. Westminister. 
The papers on Milton, running 
through nineteen numbers every Satur- 
day, first called attention on any large 
scale, to Paradise Lost, and are still 
recognized as masterly and critical com- 
ments on that great epic. But that 
which gave the “‘ Spectator’ its greatest 
popularity and remains its chief attraction, 
is the picture of Sir Roger de Coverley, 
the quaint and genial old country squire, 
his household and his times. “UChese 
pictures have all the fidelity of a photo- 
eraph to the manners and customs of the 
age, with all the charm of free-hand 
drawing and coloring from nature-itself. 
‘They are inimitable in their portraits of 
character, and a model of clear, flowing, 
oraceful English not to be surpassed. 
They will remain a monument to Addi- 
son’ s refinedand delicate humor, and com- 
mand of literary style, while the lancuage 
lasts. [hese papers, thirty-five in all of 
which all but twelve are by Addison 
himself, fully justify Johnson’s remark 
based ona critical view of all of his 
works, ‘‘ Whoever-wishes to attain an 
English style, familiar but not coarse, 
and elegant but not ostentatious, must 
give his days and nights to the volumes 
of Addison.”’ 
The perfection of Addison’s skill and 
power are seen in his prose; he does not 
rise to great heights as a poet, although 
there is lively imagery and strong paint- 
ing and a passionate love of freedom in 
some of his pieces, as in the “‘ Lines 
written at the Tomb of. Virgil.’’ Some 
of his Paraphrases of the Psalms have 
lived and are still admired, especially, 
*“'The Lord my pasture shall prepare,’’ 
and ‘‘The Spacious Firmament on 
high,’’ which are not wanting in fine 
taste and smoothness of -versification, 
though not showing much originality or 
power. 
As a philosoper, Addison has not a 
high rank, nor did he claim to cultivate 
or teach philosophy atall. Scholasticism 
had in his time passed from the sphere 
of living thought. Addison is no meta- 
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phician of the Butler and Chillingworth 
school, but there is a mildly philosophic- 
al air in his amiable lectures on arts and 
morals, and such philosophy as he had 
adopted from Locke, the philosopher of 
common sense, and this was all the phil- 
osophy that the age cared for. 
Addison’s late marriage, in 1716, to 
the Countess Dowager of Warwick, did 
not add to his happiness; she was un- 
fortunately much his inferior, except in 
wealth and station. He passed gently to 
his rest, June 17, 1719. His last words, 
spoken to his son-in-law, Lord War- 
wick, an amiable but dissipated young 
nobleman, were characteristic of the 
gentle spirit, ‘‘See in what peace a 
Christian can die.’’ So passed from 
earth one of the purest, most humane, 
kindliest souls that ever adorned the 
ranks of English letters. 
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In brief, the following might pass for 
Addison’s Epitaph: 
A writer of great taste and correctness; 
The Prince of English essayists; 
The first to awaken the British public to the 
beauty and sublimity of Paradise Lost; 
In the Coverley papers presenting a charming 
picture of his age; 
He elevated the language and shamed the dul- 
ness and vulgarity of his time; 
Unconsciously he wrote his name high on the 
tablet of Fame. 
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