Part 56 (1/2)

[Footnote 193: Spence.]

[Footnote 194: Tonson and Spence.]

[Footnote 195: Spence.]

[Footnote 196: Spence.]

[Footnote 197: Spence.]

[Footnote 198: ”Paint means,” says Dr. Warton, ”express, or describe them.”]

[Footnote 199: But, according to Dr. Warton, ”ought not to have intended.”]

[Footnote 200: Spence.]

[Footnote 201: The person meant by the initials, J.G. is sir John Gibson, lieutenant-governor of Portsmouth in the year 1710, and afterwards. He was much beloved in the army, and by the common soldiers called Johnny Gibson. H.]

[Footnote 202: Taste must decide. WARTON.]

[Footnote 203: Far, in Dr. Warton's opinion, beyond Dryden.]

[Footnote 204: But, says Dr. Warton, he sometimes is so; and, in another ma.n.u.script note, he adds, often so.]

HUGHES

John Hughes, the son of a citizen of London, and of Anne Burgess, of an ancient family in Wilts.h.i.+re, was born at Marlborough, July 29, 1677. He was educated at a private school; and though his advances in literature are in the Biographia very ostentatiously displayed, the name of his master is somewhat ungratefully concealed[205].

At nineteen he drew the plan of a tragedy; and paraphrased, rather too diffusely, the ode of Horace which begins ”Integer vitas.” To poetry he added the science of musick, in which he seems to have attained considerable skill, together with the practice of design, or rudiments of painting.

His studies did not withdraw him wholly from business, nor did business hinder him from study. He had a place in the office of ordnance; and was secretary to several commissions for purchasing lands necessary to secure the royal docks at Chatham and Portsmouth; yet found time to acquaint himself with modern languages.

In 1697 he published a poem on the Peace of Ryswick: and, in 1699, another piece, called the Court of Neptune, on the return of king William, which he addressed to Mr. Montague, the general patron of the followers of the muses. The same year he produced a song on the duke of Gloucester's birthday.

He did not confine himself to poetry, but cultivated other kinds of writing with great success; and about this time showed his knowledge of human nature by an essay on the Pleasure of being deceived. In 1702, he published, on the death of king William, a Pindarick ode, called the House of Na.s.sau; and wrote another paraphrase on the ”Otium Divos” of Horace.

In 1703, his ode on Musick was performed at Stationers' hall; and he wrote afterwards six cantatas, which were set to musick by the greatest master of that time, and seem intended to oppose or exclude the Italian opera, an exotick and irrational entertainment, which has been always combated, and always has prevailed.

His reputation was now so far advanced, that the publick began to pay reverence to his name; and he was solicited to prefix a preface to the translation of Boccalini, a writer whose satirical vein cost him his life in Italy, but who never, I believe, found many readers in this country, even though introduced by such powerful recommendation.

He translated Fontenelle's Dialogues of the Dead; and his version was, perhaps, read at that time, but is now neglected; for by a book not necessary, and owing its reputation wholly to its turn of diction, little notice can be gained but from those who can enjoy the graces of the original. To the dialogues of Fontenelle he added two composed by himself; and, though not only an honest but a pious man, dedicated his work to the earl of Wharton. He judged skilfully enough of his own interest; for Wharton, when he went lord lieutenant to Ireland, offered to take Hughes with him, and establish him; but Hughes, having hopes or promises from another man in power, of some provision more suitable to his inclination, declined Wharton's offer, and obtained nothing from the other.

He translated the Miser of Moliere, which he never offered to the stage; and occasionally amused himself with making versions of favourite scenes in other plays.

Being now received as a wit among the wits, he paid his contributions to literary undertakings, and a.s.sisted both the Tatler, Spectator, and Guardian. In 1712, he translated Vertot's History of the Revolution of Portugal; produced an Ode to the Creator of the World, from the Fragments of Orpheus; and brought upon the stage an opera, called Calypso and Telemachus, intended to show that the English language might be very happily adapted to musick. This was impudently opposed by those who were employed in the Italian opera; and, what cannot be told without indignation, the intruders had such interest with the duke of Shrewsbury, then lord chamberlain, who had married an Italian, as to obtain an obstruction of the profits, though not an inhibition of the performance.

There was, at this time, a project formed by Tonson for a translation of the Pharsalia by several hands; and Hughes englished the tenth book.

But this design, as must often happen where the concurrence of many is necessary, fell to the ground; and the whole work was afterwards performed by Rowe.