The Lives of the Poets of Great Britain and Ireland (1753) Volume IV Part 3

Congreve himself. So n.o.bly 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,

'Nostrae spes altera Romae!'

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 G.o.d, 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 Na.s.sau, 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 s.h.i.+nes in its full l.u.s.tre. 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 circ.u.mstance 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 n.o.ble 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 n.o.blest 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 ent.i.tles 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 s.h.i.+ning 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 pa.s.s 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 circ.u.mstances 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 pa.s.sions 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 a.s.sistance, excusing his not finis.h.i.+ng 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 pa.s.sage.

'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 n.o.ble 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 a.s.sists 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, ent.i.tled, 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 Parna.s.sus, 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'Abbe 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, int.i.tled the Lancas.h.i.+re-Witches.

Vol. III. Numb. 210. On the immortality of the Soul.

Numb. 220. A Letter concerning expedients for Wit.