Essays and Tales — Background and Themes

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Addison, Joseph, 1672-1719, Morley, Henry, 1822-1894 [Editor] Project Gutenberg 2001 Not confirmed
Fiction; Short stories; English essays -- 18th century Readers of public-domain and historical texts
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Words 48,686
Reading time 212 min
Text sections 5

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This collection of Joseph Addison's essays and tales, edited by Henry Morley, showcases the author's refined prose and moral wit. Observations focus on Addison's use of classical allusion, his analysis of friendship and humor, and his defense of simplicity in art, as seen in excerpts on Chevy Chase and the nature of wit.
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Pope thought himself free to strike; but Addison took occasion to express, through Steele, a serious regret that he had done so. True criticism may be affected, as Addison's was, by some bias in the canons of taste prevalent in the writer's time, but, as Addison's did in the Chevy-Chase papers, it will dissent from prevalent misapplications of them, and it can never associate perception of the purest truth and beauty with petty arrogance, nor will it so speak as to give pain. When Wordsworth was remembering with love his mother's guidance of his childhood, and wished to suggest that there were mothers less wise in their ways, he was checked, he said, by the unwillingness to join thought of her "with any thought that looks at others' blame." So Addison felt towards his mother Nature, in literature and in life. He attacked nobody. With a light, kindly humour, that was never personal and never could give pain, he sought to soften the harsh lines of life, abate its follies, and inspire the temper that alone can overcome its wrongs.

Politics, in which few then knew how to think calmly and recognise the worth of various opinion, Steele and Addison excluded from the pages of the _Spectator_. But the first paper in this volume is upon "Public Credit," and it did touch on the position of the country at a time when the shock of change caused by the Revolution of 1688-89, and also the strain of foreign war, were being severely felt.

--_Quoi quisque fere studio devinctus adhaeret_ _Aut quibus i rebus multum sumus ante morati_ _Atque in quo ratione fuit contenta magis mens_, _In somnis cadem plerumque videmur obire_.

--What studies please, what most delight, And fill men's thoughts, they dream them o'er at night.

In one of my rambles, or rather speculations, I looked into the great hall where the bank is kept, and was not a little pleased to see the directors, secretaries, and clerks, with all the other members of that wealthy corporation, ranged in their several stations, according to the parts they act in that just and regular economy. This revived in my memory the many discourses which I had both read and heard concerning the decay of public credit, with the methods of restoring it; and which, in my opinion, have always been defective, because they have always been made with an eye to separate interests and party principles.

The thoughts of the day gave my mind employment for the whole night; so that I fell insensibly into a kind of methodical dream, which disposed all my contemplations into a vision, or allegory, or what else the reader shall please to call it.

Methoughts I returned to the great hall, where I had been the morning before; but to my surprise, instead of the company that I left there, I saw, towards the upper end of the hall, a beautiful virgin, seated on a throne of gold. Her name, as they told me, was Public Credit. The walls, instead of being adorned with pictures and maps, were hung with many Acts of Parliament written in golden letters. At the upper end of the hall was the Magna Charta, with the Act of Uniformity on the right hand, and the Act of Toleration on the left. At the lower end of the hall was the Act of Settlement, which was placed full in the eye of the virgin that sat upon the throne. Both the sides of the hall were covered with such Acts of Parliament as had been made for the establishment of public funds. The lady seemed to set an unspeakable value upon these several pieces of furniture, insomuch that she often refreshed her eye with them, and often smiled with a secret pleasure as she looked upon them; but, at the same time, showed a very particular uneasiness if she saw anything approaching that might hurt them. She appeared, indeed, infinitely timorous in all her behaviour: and whether it was from the delicacy of her constitution, or that she was troubled with vapours, as I was afterwards told by one who I found was none of her well-wishers, she changed colour and startled at everything she heard. She was likewise, as I afterwards found, a greater valetudinarian than any I had ever met with, even in her own sex, and subject to such momentary consumptions, that in the twinkling of an eye, she would fall away from the most florid complexion and the most healthful state of body, and wither into a skeleton. Her recoveries were often as sudden as her decays, insomuch that she would revive in a moment out of a wasting distemper, into a habit of the highest health and vigour.

Joseph Addison's prose in this collection reveals a writer who treats language as a precision instrument. In the essay on friendship, he cites Ecclesiasticus and Martial with equal ease, weaving biblical authority into classical epigram. His method is not to declaim but to illustrate: a friend who betrays secrets is 'as one that letteth a bird go out of his hand.' The simile is homely, exact, and quietly devastating.

Addison's critical essays, such as those on Chevy Chase, argue for the 'essential and inherent perfection of simplicity of thought.' He defends popular ballads by noting that Molière tested his comedies on his housekeeper, trusting the 'rabble' to judge what pleases universal human nature. This democratic aesthetic runs through the volume, grounding his judgments in observed life rather than abstract rules.

The Architecture of a Sentence

Addison builds his paragraphs with a deliberate rhythm that mirrors his moral equipoise. In the friendship essay, he moves from scriptural quotation to Ciceronian morum comitas to Martial's epigram, each step a modulation in tone. The Latin is not displayed as ornament but as a hinge: 'Difficilis, facilis, jucundus, acerbus es idem' is immediately translated into a couplet that captures the paradox of a friend who is 'touchy, testy, pleasant.' The translation does not merely render meaning; it domesticates the classical voice into English common sense.

Notice how often Addison uses the word 'equability' or 'evenness.' It is a stylistic ideal as much as a moral one. His sentences rarely rush; they accumulate. A typical period might begin with a general observation, then narrow to a specific instance, then conclude with a quoted authority. This three-step movement gives his prose a judicial calm, as if each thought were being weighed before being set down.

The Moralist as Observer

Addison's essays on wit and humor show a writer who classifies human behavior with the detachment of a naturalist. In 'True and False Humour,' he distinguishes between genuine wit, which arises from 'similitude in ideas,' and false humor, which depends on 'the likeness of words.' This is not mere taxonomy; it is a defense of reason against mere cleverness.

His portraits of character types—the man who is 'sometimes amiable and sometimes odious,' the friend whose latent ill-humor breaks out after a year—are drawn from life but never descend into gossip. The essay on 'A Grinning Match' describes a contest of facial contortions with a deadpan precision that makes the absurdity self-evident. Addison does not need to condemn; he simply describes, and the reader supplies the judgment.

The Ballad as a Test of Taste

The two papers on Chevy Chase are among the earliest serious defenses of popular poetry in English. Addison argues that a ballad 'universally tasted and approved by a multitude' must contain 'some peculiar aptness to please the mind of man.' He treats the anonymous ballad with the same analytical seriousness he would apply to Virgil, noting its 'simplicity of thought' and its power to move 'the vulgar and the polite' alike.

His method is comparative: he quotes stanzas from the ballad alongside passages from classical epic, showing how both achieve pathos through understatement. The dying Percy's words—'O, I am slain!'—are set beside Aeneas's lament for Pallas. The effect is to elevate the folk tradition without condescension. Addison's criticism here is a quiet manifesto for a literature that speaks to all readers, not just the learned.

The Uses of Classical Quotation

Addison's essays are studded with Latin tags, but he never uses them as mere display. In the essay on friendship, he quotes Ecclesiasticus at length, then adds: 'We may observe in this, and several other precepts in this author, those little familiar instances and illustrations which are so much admired in the moral writings of Horace and Epictetus.' The comparison is not casual; it is a claim that the Bible and the classics share a common method of moral instruction through concrete example.

When he translates Martial's epigram, he does so in a way that preserves the epigrammatic snap: 'Hast so much wit, and mirth, and spleen about thee, / There is no living with thee, nor without thee.' The translation is not literal but idiomatic, turning a Latin paradox into an English proverb. Addison's classical learning is always in service of clarity, not obscurity.

This edition, drawn from the 1888 Cassell's National Library series, presents Addison without the companion pieces by Steele that often surround his work in the Spectator and Tatler. Reading Addison alone sharpens attention to his distinctive voice: measured, urbane, and quietly insistent on the moral weight of style. The essays reward slow reading; they are built to be savored sentence by sentence, their classical echoes and domestic similes working together to form a coherent vision of what good writing—and good living—might be.

Addison’s gentle plea for simplicity in art, his quiet defense of the plain ballad against learned fuss, has stayed with me across the years. There is a like-minded patience in George Walker at Suez — Key Ideas to Explore, a shared fondness for noticing the unforced truth in things. Each finds wisdom without shouting.

Charlotte Nelson
3 weeks ago

Benjamin Martinez
1 month ago

4.5
4.5 out of 5 (2 User reviews )

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