’Twas then great Marlbro’s mighty soul was prov’d, That, in the shock of charging hosts unmov’d, Amidst confusion, horror, and despair, Examin’d all the dreadful scenes of war; In peaceful thought the field of death survey’d, To fainting squadrons sent the timely aid, Inspir’d repuls’d battalions to engage, And taught the doubtful battle where to rage. So when an angel by divine command With rising tempests shakes a guilty land, Such as of late o’er pale Britannia past, Calm and serene he drives the furious blast; And pleas’d th’ Almighty’s orders to perform, Rides in the whirlwind, and directs the storm. His only other poetical works worthy of notice are his hymns, which are melodious, scholarly, and full of a cheerful piety. The one that begins “The spacious firmament on high” is among the best. =3. His Drama.= Addison was lucky in his greatest dramatic effort, just as he was lucky in his longest poem. In 1713 he produced the tragedy of _Cato_, part of which had been in manuscript as early as 1703. It is of little merit, and shows that Addison, whatever his other qualities may be, is no dramatist. It is written in laborious blank verse, in which wooden characters declaim long, dull speeches. But it caught the ear of the political parties, both of which in the course of the play saw pithy references to the inflamed passions of the time. The play had the remarkable run of thirty-five nights, and was revived with much success. Addison also attempted an opera, _Rosamond_ (1706), which was a failure; and the prose comedy of _The Drummer_ (about 1715) is said, with some reason, to be his also. If it is, it adds nothing to his reputation. =4. His Prose.= Several political pamphlets are ascribed to Addison, but as a pamphleteer he is not impressive. He lacked the brutal directness of Swift, whose pen was a terror to his opponents. It is in fact almost entirely as an essayist that Addison is justly famed.