English literature -- 18th century -- History and criticism; Pope, Alexander, 1688-1744
_The Campaign_, which has no other passage worth quoting, proved a happy
hit, and was of such service to the Ministry, that Addison found the way
to fame and fortune. He was appointed Commissioner of Appeals, and not
long after Under Secretary of State. In 1707 he accompanied his friend
and patron, Halifax, on a mission to Hanover, and two years later he was
appointed Chief Secretary to the Lord-Lieutenant of Ireland. In Dublin
he gained golden opinions. 'I am convinced,' Swift writes, 'that
whatever Government come over, you will find all marks of kindness from
any parliament here with respect to your employment; the Tories
contending with the Whigs which should speak best of you. In short, if
you will come over again when you are at leisure, we will raise an army
and make you king of Ireland.' When the Whig Ministry fell in 1710, and
Addison lost his appointment, he must have gained a fortune, for he was
able to purchase an estate for £10,000.
In the early years of the century the Italian opera, which had been
brought into England in the reign of William and Mary, excited the mirth
and opposition of the wits. Lord Chesterfield, who called it 'too absurd
and extravagant to mention,' said, 'Whenever I go to the opera I leave
my sense and reason at the door with my half-guinea, and deliver myself
up to my eyes and ears.' Steele, Gay, and Pope ridiculed the new-fangled
entertainment, and Colley Cibber, too, pointed his jest at these
'poetical drams, these gin-shops of the stage that intoxicate its
auditors, and dishonour their understanding with a levity for which I
want a name.' Addison, who has some lively papers on the subject in the
_Spectator_, undertook to give a faithful account of the progress of
the Italian opera on the English stage, 'for there is no question,' he
writes, 'but our great grandchildren will be very curious to know why
their forefathers used to sit together like an audience of foreigners in
their own country; and to hear whole plays acted before them in a tongue
which they did not understand.'
Public-domain text, read in full here on John Shaqi.
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