Chapter 3

Having given this short account of his life, which perhaps is all that is preserved any where concerning him; we shall now consider him, first, as a poet, and then as a prose writer.

The Triumph of Peace was the earliest poem he wrote of any length, that appeared in public. It was written on occasion of the peace of Ryswick, and printed in the year 1677. A learned gentleman at Cambridge, in a letter to a friend of Mr. Hughes's, dated the 28th of February 1697-8, gives the following account of the favourable reception this poem met with there, upon its first publication.

'I think I never heard a poem read with so much admiration, as the Triumph of Peace was by our best critics here, nor a greater character given to a young poet, at his first appearing; no, not even to Mr. Congreve himself. So nobly elevated are his thoughts, his numbers so harmonious, and his turns so fine and delicate, that we cry out with Tully, on a like occasion,

'Nostræ spes altera Romæ!'

The Court of Neptune, was written on king William's return from Holland, two years after the peace, in 1699. This Poem was admired for the verification, however, the musical flow of the numbers is its least praise; it rather deserves to be valued for the propriety, and boldness of the figures and metaphors, and the machinery.

The following lines have been justly quoted as an instance of the author's happy choice of metaphors.

As when the golden god, who rules the day, Drives down his flaming chariot to the sea, And leaves the nations here, involved in night, To distant regions he transports his light; So William's rays by turns, two rations cheer, And when he sets to them, he rises here.

A friend of Mr. Hughes's soon after the publication of this poem, complimented him upon the choice of his subject, and for the moral sentiments contained in it. 'I am sure (says he) virtue is most for the interest of mankind; and those poets have ever obtained the most honour in the world, who have made that the end and design of their works. A wanton Sappho, or Anacreon, among the ancients, never had the same applause, as a Pindar, or Alexis; nor in the judgment of Horace did they deserve it. In the opinion of all posterity, a lewd and debauch'd Ovid, did justly submit to the worth of a Virgil; and, in future ages, a Dryden will never be compared to Milton. In all times, and in all places of the world, the moral poets have been ever the greatest; and as much superior to others in wit, as in virtue. Nor does this seem difficult to be accounted for, since the dignity of their subjects naturally raised their ideas, and gave a grandeur to their sentiments.'

The House of Nassau, a Pindaric Ode (printed in 1702) was occasioned by the death of king William. 'In Pindaric and Lyric Poetry (says Mr. Duncomb) our author's genius shines in its full lustre. Tho' he enjoyed all that fire of imagination, and divine enthusiasm, for which some of the ancient poets are so deservedly admired, yet did his fancy never run away with his reason, but was always guided by superior judgment; and the music of his verse is exquisite.'

The Translation of the third Ode of the third Book of Horace, and the Paraphrase of the twenty-second Ode, of the first book, were both written when he was very young; and the latter of them was his first poetical Essay, which appeared in print. Mr. Hughes, in a private letter sent to one of his friends, gives it as his opinion, that the Odes of Horace, are fitter to be paraphrased, than translated.

The Tenth Book of Lucan, was translated by Mr. Hughes, long before Mr. Rowe undertook that author. The occasion of it was this: Mr. Tonson the bookseller, sollicited a translation of Lucan, by several hands. Mr. Hughes performed his part, but others failing in their promises, the design was dropp'd; and Mr. Rowe was afterwards prevailed upon to undertake the whole, which he performed with great success.

In the year 1709 Mr. Hughes obliged the publick, with an elegant translation of Moliere's celebrated Comedy, the Misantrope. This has been since reprinted, with the other plays of that admirable author, translated by Mr. Ozell; but care is taken to distinguish this particular play.

In the year 1712 his Opera of Calypso and Telemachus, was performed at the Queen's Theatre in the Hay-Market. Perhaps it may be worth while to mention here, one circumstance concerning this Opera, as it relates to the History of Music in England, and discovers the great partiality shewn at that time to Opera's performed in Italian. After many such had been encouraged by large subscriptions, this, originally written, and set in English, after the Italian manner, was prepared with the usual expence of scenes and decorations; and being much crowded and applauded at the rehearsals, a subscription was obtained for it as usual.

This alarmed the whole Italian band, who, apprehending that their profession would suffer thereby, procured an order from the duke of Shrewsbury, then lord chamberlain, the day before the performing of this Opera, to take off the subscription for it, and to open the house at the lowest prices, or not at all. This was designed to sink it, but failed of its end. It was performed, formed, though under such great discouragement; and was revived afterwards at the theatre in Lincoln's-Inn-Fields. Mr. Addison, in the Spectator, Numb. 405, speaking of the just applause given this opera, by Signior Nicolini (who he says was the greatest performer in dramatic music, that perhaps ever appeared upon a stage) has these words,

'The town is highly obliged to that excellent artist, for having shewn us the Italian music in its perfection, as well as for that generous approbation he gave to an Opera of our own country, in which Mr. Galliard the composer endeavoured to do justice to the beauty of the words, by following that noble example which has been set him by the greatest foreign masters of that art.'

The Ode to the Creator of the World, occasioned by the fragments of Orpheus, was printed in the year 1713, at the particular instance of Mr. Addison; and is mentioned with applause in the Spectator. This, and the Extasy, (published since the death of the author) are justly esteemed two of the noblest Odes in our language. The seventh Stanza of the last mentioned piece, is so sublimely excellent, that it would be denying ourselves, and our poetical readers, a pleasure not to transcribe it. The whole of this Ode is beautifully heightened, and poetically conceived. It furnished a hint to a living Poet to write what he entitles the Excursion, which tho' it has very great merit, yet falls infinitely short of this animated Ode of Mr. Hughes.

After having represented the natural and artificial calamities to which man is doomed, he proceeds,

But why do I delay my flight? Or on such gloomy objects gaze? I go to realms serene, with ever-living light. Haste, clouds and whirlwinds, haste a raptured bard to raise; Mount me sublime along the shining way, Where planets, in pure streams of Aether driven, Swim thro' the blue expanse of heav'n. And lo! th' obsequious clouds and winds obey! And lo! again the nations downward fly; And wide-stretch'd kingdoms perish from my eye. Heav'n! what bright visions now arise! What op'ning worlds my ravish'd sense surprize! I pass Cerulian gulphs, and now behold New solid globes; their weight self-ballanc'd, bear Unprop'd amidst the fluid air, And all, around the central Sun, incircling eddies roll'd. Unequal in their course, see they advance And form the planetary dance! Here the pale Moon, whom the same laws ordain T' obey the earth, and rule the main; Here spots no more in shadowy streaks appear; But lakes instead, and groves of trees, The wand'ring muse, transported sees, And their tall heads discover'd mountains rear. And now once more, I downward cast my sight, When lo! the earth, a larger moon displays, Far off, amidst the heav'ns, her silver face, And to her sister moons by turns gives light! Her seas are shadowy spots, her land a milky white.

The author of an Essay on Criticism, printed in the year 1728, informs us, that the Tragedy of Cato being brought upon the stage in 1713 was owing to Mr. Hughes. The circumstances recorded by this author are so remarkable, that they deserve to be related; and as they serve to shew the high opinion Mr. Addison entertained of our author's abilities as a Poet, I shall therefore transcribe his own words.--

'It has been often said by good judges, that Cato was no proper subject for a dramatic poem: That the character of a stoic philosopher, is inconsistent with the hurry and tumult of action, and passions which are the soul of tragedy. That the ingenious author miscarried in the plan of his work, but supported it by the dignity, the purity, the beauty, and justness of the sentiments. This was so much the opinion of Mr. Maynwaring, who was generally allowed to be the best critic of our time; that he was against bringing the play upon the stage, and it lay by unfinished many years. That it was play'd at last was owing to Mr. Hughes. He had read the four acts which were finished, and really thought it would be of service to the public, to have it represented at the latter end of queen Anne's reign, when the spirit of liberty was likely to be lost. He endeavoured to bring Mr. Addison into his opinion, which he did, and consented it should be acted if Mr. Hughes would write the last act; and he offered him the scenery for his assistance, excusing his not finishing it himself, upon account of some other avocations. He press'd Mr. Hughes to do it so earnestly, that he was prevailed upon, and set about it. But, a week after, seeing Mr. Addison again, with an intention to communicate to him what he thought of it, he was agreeably surprized at his producing some papers, where near half of the act was written by the author himself, who took fire at the hint, that it would be serviceable; and, upon a second reflexion, went through with the fifth act, not that he was diffident of Mr. Hughes's abilities; but knowing that no man could have so perfect a notion of his design as himself, who had been so long, and so carefully thinking of it. I was told this by Mr. Hughes, and I tell it to shew, that it was not for the love-scenes, that Mr. Addison consented to have his Tragedy acted, but to support public spirit; which in the opinion of the author was then declining.'

In the year 1720 the Siege of Damascus was acted at the Theatre-Royal in Drury-Lane, with universal applause. His present majesty honoured it with his presence, and the late queen distinguished it with marks of favour.

Mr. Hughes drew up the dedication of this Tragedy to the late Earl Cowper, about ten days before he died. It is indeed surprising, that he should be able to form a piece so finely turned, and at such an hour; when death was just before him, and he was too weak to transcribe it himself.

Mr. Pope, in a letter to Mr. Hughes's brother, written soon after his death, in answer to one received from him, with the printed copy of the play, has the following pathetic passage.

'I read over again your brother's play, with more concern and sorrow, than I ever felt in the reading any Tragedy. The real loss of a good man may be called a distress to the world, and ought to affect us more, than any feigned distress, how well drawn soever. I am glad of an occasion of giving you under my hand this testimony, both how excellent I think this work to be, and how excellent I thought the author.'

It is generally allowed that the characters in this play are finely varied and distinguished; that the sentiments are just, and well adapted to the characters; that it abounds with beautiful descriptions, apt allusions to the manners, and opinions of the times where the scene is laid, and with noble morals; that the diction is pure, unaffected, and sublime; and that the plot is conducted in a simple and clear manner.

Some critics have objected, that there is not a sufficient ground and foundation, for the distress in the fourth and fifth acts. That Phocyas only assists the enemy to take Damascus a few days sooner, than it must unavoidably have fallen into the hands of the Saracens by a capitulation, which was far from dishonourable. If Phocyas is guilty, his guilt must consist in this only, that he performed the same action from a sense of his own wrong, and to preserve the idol of his soul from violation, and death, which he might have performed laudably, upon better principles. But this (say they) seems not sufficient ground for those strong and stinging reproaches he casts upon himself, nor for Eudocia's rejecting him with so much severity. It would have been a better ground of distress, considering the frailty of human nature, and the violent temptations he lay under; if he had been at last prevailed upon to profess himself a Mahometan: For then his remorse, and self-condemnation, would have been natural, his punishment just, and the character of Eudocia placed in a more amiable light. In answer to these objections, and in order to do justice to the judgment of Mr. Hughes, we must observe, that he formed his play according to the plan here recommended: but, over-persuaded by some friends, he altered it as it now stands.

When our author was but in the nineteenth year of his age, he wrote a Tragedy, entitled, Amalasont Queen of the Goths, which displays a fertile genius, and a masterly invention. Besides these poetical productions Mr. Hughes is author of several works in prose, particularly, The Advices from Parnassus, and the Poetical Touchstone of Trajano Boccalini, translated by several hands, were printed in folio 1706. This translation was revised and corrected, and the preface to it was written by Mr. Hughes.

Fontenelle's Dialogues of the Dead, translated by our author; with two original Dialogues, published in the year 1708. The greatest part of this had lain by him for six years.

Fontenelle's Discourse concerning the ancients, and moderns, are printed with his conversations with a Lady, on the Plurality of Worlds, translated by Glanville.

The History of the Revolutions in Portugal, written in French, by Monsieur L'Abbé de Vertot, was translated by Mr. Hughes.

The Translation of the Letters of Abelard and Heloise, was done by Mr. Hughes; upon which Mr. Pope has built his beautiful Epistle of Heloise to Abelard.

As Mr. Hughes was an occasional contributor to the Tatler, Spectator, and Guardian, the reader perhaps may be curious to know more particularly what share he had in those papers, which are so justly admired in all places in the world, where taste and genius have visited. As it is the highest honour to have had any concern in works like these, so it would be most injurious to the memory of this excellent genius, not to particularize his share in them.

In the Tatler he writ,

Vol. II. Numb. 64. A Letter signed Josiah Couplet. Numb. 73. A Letter against Gamesters, signed William Trusty.

Mr. Tickell alludes to this Letter, in a Copy of Verses addressed to the Spectator, Vol. VII. No. 532.

From Felon Gamesters, the raw squire is free, And Briton owes her rescued oaks to thee.

Numb. 113. The Inventory of a Beau.

In the Spectator.

Vol. I. Numb. 33. A Letter on the Art of improving beauty. Numb. 53. A Second Letter on the same subject. Numb. 66. Two Letters concerning fine breeding.

Vol. II. Numb. 91. The History of Honoria, or the Rival Mother. Numb. 104. A Letter on Riding-Habits for Ladies. Numb. 141. Remarks on a Comedy, intitled the Lancashire-Witches.

Vol. III. Numb. 210. On the immortality of the Soul. Numb. 220. A Letter concerning expedients for Wit. Numb. 230. All, except the last Letter. Numb. 231. A Letter on the awe of appearing before public assemblies. Numb. 237. On Divine Providence.

Vol. IV. Numb. 252. A Letter on the Eloquence of Tears, and fainting fits. Numb. 302. The Character of Emilia. Numb. 311. A Letter from the Father of a great Fortune.

Vol. V. Numb. 57. A Picture of Virtue in Distress. Vol. VII. Numb. 525. On Conjugal Love. Numb. 537. On the Dignity of Human Nature. Numb. 541. Rules for Pronunciation and Action, chiefly collected from Cicero.

Vol. VII. Numb. 554. On the Improvement of the Genius, illustrated in the characters of Lord Bacon, Mr. Boyle, Sir Isaac Newton, and Leonardo da Vinci.--We have not been able to learn, what papers in the Guardian were written by him, besides Number 37, Vol. I. which contains Remarks on the Tragedy of Othello.

In the year 1715 Mr. Hughes published a very accurate edition of the works of our famous poet Edmund Spenser, in six volumes, 12mo. to this edition are prefixed the Life of Spenser; an Essay on Allegorical poetry; Remarks on the Fairy Queen; on the Shepherd's Calendar, and other writings of Spenser; and a Glossary explaining the Old and obsolete Words.

In 1718 he published a piece called Charon, or The Ferry-Boat, a Vision. This, and Mr. Walsh's Æsculapius, or Hospital of Fools, are perhaps two of the finest dialogues we have in English, as well as the most lively imitations of Lucian.

Sir Richard Steele, in a paper called The Theatre, No. 15. has paid a tribute to the memory of Mr. Hughes, with which as it illustrates his amiable character, we shall conclude his life.

'I last night (says he) saw the Siege of Damascus, and had the mortification to hear this evening that Mr. Hughes, the author of it, departed this life within some few hours after his play was acted, with universal applause. This melancholy circumstance recalled into my thought a speech in the tragedy, which very much affected the whole audience, and was attended to with the greatest, and most solemn instance of approbation, and awful silence.' The incidents of the play plunge a heroic character into the last extremity; and he is admonished by a tyrant commander to expect no mercy, unless he changes the Christian religion for the Mahometan. The words with which the Turkish general makes his exit from his prisoner are,

Farewel, and think of death.

Upon which the captive breaks into the following soliloquy,

Farewel! and think of death!--was it not so? Do murtherers then, preach morality? But how to think of what the living know not, And the dead cannot, or else may not tell! What art thou? O thou great mysterious terror! The way to thee, we know; diseases, famine, Sword, fire, and all thy ever open gates, That day and night stand ready to receive us. But what, beyond them? who will draw that veil? Yet death's not there.----No, 'tis a point of time; The verge 'twixt mortal, and immortal Being. It mocks our thought----On this side all is life; And when we've reach'd it, in that very instant, 'Tis past the thinking of----O if it be The pangs, the throes, the agonizing struggle, When soul and body part, sure I have felt it! And there's no more to fear.

'The gentleman (continues Sir Richard) to whose memory I devote this paper, may be the emulation of more persons of different talents, than any one I have ever known. His head, hand, or heart, was always employed in something worthy imitation; his pencil, his bow (string) or his pen, each of which he used in a masterly manner, were always directed to raise, and entertain his own mind, or that of others, to a more chearful prosecution of what is noble and virtuous. Peace be with thy remains, thou amiable spirit! but I talk in the language of our weakness, that is flown to the regions of immortality, and relieved from the aking engine and painful instrument of anguish and sorrow, in which for many tedious years he panted with a lively hope for his present condition.' We shall consign the trunk, in which he was so long imprisoned, to common earth, with all that is due to the merit of its inhabitant[A].

[Footnote A: There are several copies of verses written to the memory of Mr. Hughes, prefixed to Mr. Duncomb's edition of his poems, of which one by a lady who has withheld her name, deserves particular distinction.]

* * * * *

MATTHEW PRIOR, Esq;

This celebrated poet was the son of Mr. George Prior, citizen of London, who was by profession a Joiner. Our author was born in 1664. His father dying when he was very young, left him to the care of an uncle, a Vintner near Charing-Cross, who discharged the trust that was reposed in him, with a tenderness truly paternal, as Mr. Prior always acknowledged with the highest professions of gratitude. He received part of his education at Westminster school, where he distinguished himself to great advantage, but was afterwards taken home by his uncle in order to be bred up to his trade. Notwithstanding this mean employment, to which Mr. Prior seemed now doomed, yet at his leisure hours he prosecuted his study of the classics, and especially his favourite Horace, by which means he was soon taken notice of, by the polite company, who resorted to his uncle's house. It happened one day, that the earl of Dorset being at his Tavern, which he often frequented with several gentlemen of rank, the discourse turned upon the Odes of Horace; and the company being divided in their sentiments about a passage in that poet, one of the gentlemen said, I find we are not like to agree in our criticisms, but, if I am not mistaken, there is a young fellow in the house, who is able to set us all right: upon which he named Prior, who was immediately sent for, and desired to give his opinion of Horace's meaning in the Ode under consideration; this he did with great modesty, and so much to the satisfaction of the company, that the earl of Dorset, from that moment, determined to remove him from the station in which he was, to one more suited to his genius; and accordingly procured him to be sent to St. John's College in Cambridge, where he took his degree in 1686, and afterwards became fellow of the College.

During his residence in the university, he contracted an intimate friendship with Charles Montague, esq; afterwards earl of Hallifax, in conjunction with whom he wrote a very humorous piece, entitled The Hind and Panther transversed to the story of the Country Mouse, and the City Mouse, printed 1687 in 4to. in answer to Mr. Dryden's Hind and the Panther, published the year before.

Upon the revolution Mr. Prior was brought to court by his great patron the earl of Dorset, by whose interest he was introduced to public employment, and in the year 1690 was made secretary to the earl of Berkley, plenipotentiary to King William and Queen Mary at the Congress at the Hague.

In this station he acquitted himself so well, that he was afterwards appointed secretary to the earls of Pembroke, and Jersey, and Sir Joseph Williamson, ambassadors, and plenipotentiaries, at the treaty of Ryswick 1697, as he was likewise in 1698 to the earl of Portland, ambassador to the court of France. While he was in that kingdom, one of the officers of the French King's houshold, shewing him the royal apartments, and curiosities at Versailles, especially the paintings of Le Brun, wherein the victories of Lewis XIV. are described, asked him, whether King William's actions are to be seen in his palace? 'No Sir, replied Mr. Prior, the monuments of my master's actions are to be seen every where, but in his own house.'