dramatic representation; and in the bowers and shades of Woodstock, the poet had materials for scenic description and display. The genius of Addison, however, was not adapted to the drama; and his opera being confined in action, and written wholly in rhyme, possesses little to attract either readers or spectators. He wrote also a comedy, The Drummer, or the Haunted House, which Steele brought out after the death of the author. This play contains a fund of quiet natural humour, but has not strength or breadth enough of character or action for the stage. Addison next entered upon his brilliant career as an essayist, and by his papers in the Tatler, Spectator, and Guardian, left all his contemporaries far behind in this delightful department of literature. In these papers, he first displayed that chaste and delicate humour, refined observation, and knowledge of the world, which now form his most distinguishing characteristics; and in his Vision of Mirza, his Reflections in Westminster Abbey, and other of his graver essays, he evinced a more poetical imagination and deeper vein of feeling than his previous writings had at all indicated. In 1713, his tragedy of Cato was brought upon the stage. Pope thought the piece deficient in dramatic interest, and the world has confirmed his judgment; but he wrote a prologue for the tragedy in his happiest manner, and it was performed with almost unexampled success. Party spirit ran high: the Whigs applauded the liberal sentiments in the play, and their cheers were echoed back by the Tories, to show that they did not apply them as censures on themselves. After all the Whig enthusiasm, Lord Bolingbroke sent for Booth the actor, who personated the character of Cato, and presented him with fifty guineas, in acknowledgment, as he said, of his defending the cause of liberty so well against a perpetual dictator (a hit at the Duke of Marlborough). Poetical eulogiums were showered upon the author, Steele, Hughes, Young, Tickell, and Ambrose Philips, being among the writers of these encomiastic verses. The queen expressed a wish that the tragedy should be dedicated to her, but Addison had previously designed this honour for his friend Tickell; and to avoid giving offence either to his loyalty or his friendship, he published it without any dedication. It was translated into French, Italian, and German, and was performed by the Jesuits in their college at St Omers. Being,' says Sir Walter Scott, 'in form and essence rather a French than an English play, it is one of the few English tragedies which foreigners have admired.' The unities of time and place have been preserved, and the action of the play is consequently much restricted. Cato abounds in generous and patriotic sentiments, and contains passages of great dignity and sonorous diction; but the poet fails to unlock the sources of passion and natural emotion. It is a splendid and imposing work of art, with the grace and majesty, and also the lifelessness, of a noble antique statue. Addison was now at the height of his fame. He had long aspired to the hand of the countess-dowager of Warwick, whom he had first known by becoming tutor to her son, and he was united to her in 1716. The poet married discord in a noble wife.' His marriage was as unhappy as Dryden's with Lady Elizabeth Howard. Both ladies awarded to their husbands the heraldry of hands, not hearts,' and the fate of the poets should serve as beacons to warn ambitious literary adventurers. Addison received his highest political honour in 1717, when he was made secretary of state; but he held the office only for a short time. He wanted the physical boldness and ready resources of an effective public speaker, and was unable to defend his measures in parlia