Joseph Addison was an English essayist, poet, playwright and politician. He was the eldest son of The Reverend Lancelot Addison. His name is usually remembered alongside that of his long-standing friend Richard Steele, with whom he founded The Spectator magazine. Wikipedia
“Reading is to the mind, what exercise is to the body.”
No. 147.
The Tatler (1711–1714)
Variant: A good conscience is to the soul what health is to the body
Context: Reading is to the mind, what exercise is to the body. As by the one, health is preserved, strengthened, and invigorated: by the other, virtue (which is the health of the mind) is kept alive, cherished, and confirmed.
“When I read the epitaphs of the beautiful, every inordinate desire goes out”
Thoughts in Westminster Abbey (1711).
Context: When I read the epitaphs of the beautiful, every inordinate desire goes out; when I meet with the grief of parents upon a tombstone, my heart melts with compassion; when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow: when I see kings lying by those who deposed them, when I consider rival wits placed side by side, or the holy men that divided the world with their contests and disputes, I reflect with sorrow and astonishment on the little competitions, factions, and debates of mankind.
The earliest appearance of this proverb yet located is in Eliza Cook's Journal Vol. 11, (1854), p. 128, and the earliest attribution to Addison yet found is in Public Ledger Almanac (1887), p. 20.
Disputed
Source: https://www.google.com/books/edition/The_New_Era/XD8DAAAAYAAJ?hl=en&gbpv=1&dq=addison%20%22hope%20your%20guardian%20genius%22&pg=PA1&printsec=frontcover&bsq=addison%20%22hope%20your%20guardian%20genius%22 Many Thoughts of Many Minds
No. 192.
The Tatler (1711–1714)
Translation of Horace, Odes, Book III, ode iii.
“Upon the whole, a contented mind is the greatest blessing a man can enjoy in this world.”
No. 574 (30 July 1714).
The Spectator (1711–1714)
“Thus I live in the world rather as a spectator of mankind than as one of the species.”
No. 1 (1 March 1711).
The Spectator (1711–1714)
No. 117 (14 July 1711).
The Spectator (1711–1714)
Attributed to "Addison" in A Dictionary of Thoughts : Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) edited by Tryon Edwards, p. 117, but this might be the later "Mr. Addison" who was credited with publishing Interesting Anecdotes, Memoirs, Allegories, Essays, and Poetical Fragments (1794).
Disputed
“To be exempt from the passions with which others are tormented, is the only pleasing solitude.”
No. 4 (5 March 1711).
The Spectator (1711–1714)
No. 93 (16 June 1711).
The Spectator (1711–1714)
“Thanks to the gods! my boy has done his duty.”
Act IV, scene iv.
Cato, A Tragedy (1713)
“Keep up the loud harmonious song,
And imitate the blest above,
In joy, and harmony, and love.”
Song for St. Cecilia's Day (1692).
Context: Consecrate the place and day
To music and Cecilia.
Let no rough winds approach, nor dare
Invade the hallow'd bounds,
Nor rudely shake the tuneful air,
Nor spoil the fleeting sounds.
Nor mournful sigh nor groan be heard,
But gladness dwell on every tongue;
Whilst all, with voice and strings prepar'd,
Keep up the loud harmonious song,
And imitate the blest above,
In joy, and harmony, and love.
“Transported with the view, I'm lost
In wonder, love and praise.”
No. 453 (9 August 1712).
The Spectator (1711–1714)
Context: When all thy mercies, O my God,
My rising soul surveys,
Transported with the view, I'm lost
In wonder, love and praise.
No. 225.
The Tatler (1711–1714)
Context: At the same time that I think discretion the most useful talent a man can be master of, I look upon cunning to be the accomplishment of little, mean, ungenerous minds. Discretion points out the noblest ends to us, and pursues the most proper and laudable methods of attaining them: cunning has only private selfish aims, and sticks at nothing which may make them succeed. Discretion has large and extended views, and, like a well-formed eye, commands a whole horizon: cunning is a kind of short-sightedness, that discovers the minutest objects which are near at hand, but is not able to discern things at a distance. Discretion the more it is discovered, gives a greater authority to the person who possesses it: cunning, when it is once detected, loses its force, and makes a man incapable of bringing about even those events which he might have done had he passed only for a plain man. Discretion is the perfection of reason, and a guide to us in all the duties of life: cunning is a kind of instinct, that only looks out after our immediate interest and welfare. Discretion is only found in men of strong sense and good understandings, cunning is often to be met with in brutes themselves, and in persons who are but the fewest removes from them.
“Music, the greatest good that mortals know,
And all of heaven we have below.”
Song for St. Cecilia's Day (1692), st. 3.
“Great souls by instinct to each other turn,
Demand alliance, and in friendship burn”
Source: The Campaign (1704), Line 101.
Context: Great souls by instinct to each other turn,
Demand alliance, and in friendship burn;
A sudden friendship, while with stretched-out rays
They meet each other, mingling blaze with blaze.
Polished in courts, and hardened in the field,
Renowned for conquest, and in council skilled,
Their courage dwells not in a troubled flood
Of mounting spirits, and fermenting blood:
Lodged in the soul, with virtue overruled,
Inflamed by reason, and by reason cooled,
In hours of peace content to be unknown.
And only in the field of battle shown:
To souls like these, in mutual friendship joined,
Heaven dares intrust the cause of humankind.
“Let echo, too, perform her part,
Prolonging every note with art”
Ode for St. Cecilia's Day (1699), st. 4.
Context: Let echo, too, perform her part,
Prolonging every note with art;
And in a low expiring strain,
Play all the concert o'er again.
“Strain not the laws to make their tortures grievous.”
Act III, scene v.
Cato, A Tragedy (1713)
Context: See they suffer death,
But in their deaths remember they are men,
Strain not the laws to make their tortures grievous.
Act II, scene i.
Cato, A Tragedy (1713)
Context: My voice is still for war.
Gods! Can a Roman senate long debate
Which of the two to choose, slavery or death?
No, let us rise at once,
Gird on our swords, and,
At the head of our remaining troops, attack the foe,
Break through the thick array of his throng'd legions,
And charge home upon him.
Perhaps some arm, more lucky than the rest,
May reach his heart, and free the world from bondage.
Queen Elinor in Rosamond (c. 1707), Act III, sc. ii.
Context: Every star, and every pow'r,
Look down on this important hour:
Lend your protection and defence
Every guard of innocence!
Help me my Henry to assuage,
To gain his love or bear his rage.
Mysterious love, uncertain treasure,
Hast thou more of pain or pleasure!
Chill'd with tears,
Kill'd with fears,
Endless torments dwell about thee:
Yet who would live, and live without thee!
Context: When time itself shall be no more,
And all things in confusion hurl'd,
Music shall then exert it's power,
And sound survive the ruins of the world:
Then saints and angels shall agree
In one eternal jubilee:
All Heaven shall echo with their hymns divine,
And God himself with pleasure see
The whole creation in a chorus join.
Song for St. Cecilia's Day (1692).
“Music religious heat inspires,
It wakes the soul, and lifts it high”
Song for St. Cecilia's Day (1692), st. 4.
Context: Music religious heat inspires,
It wakes the soul, and lifts it high,
And wings it with sublime desires,
And fits it to bespeak the Deity.
No. 225.
The Tatler (1711–1714)
Context: There are many more shining qualities in the mind of man, but there is none so useful as discretion; it is this, indeed, which gives a value to all the rest, which sets them at work in their proper times and places, and turns them to the advantage of the person who is possessed of them. Without it, learning is pedantry, and wit impertinence; virtue itself looks like weakness; the best parts only qualify a man to be more sprightly in errors, and active to his own prejudice.
“What pity is it
That we can die but once to serve our country!”
Act IV, scene iv.
Cato, A Tragedy (1713)
Context: How beautiful is death, when earn'd by virtue!
Who would not be that youth? What pity is it
That we can die but once to serve our country!
Translation of Horace, Odes, Book III, ode iii.
Context: The man resolved, and steady to his trust,
Inflexible to ill, and obstinately just,
May the rude rabble's insolence despise,
Their senseless clamours and tumultuous cries;
The tyrant's fierceness he beguiles,
And the stern brow, and the harsh voice defies,
And with superior greatness smiles.
“A new creation rises to my sight”
A Letter from Italy (1703).
Context: Fain would I Raphael's godlike art rehearse,
And show th' immortal labours in my verse,
Where from themingled strength of shade and light
A new creation rises to my sight,
Such heavenly figures from his pencil flow,
So warm with life his blended colours glow.
From theme to theme with secret pleasure tost,
Amidst the soft variety I 'm lost:
Here pleasing airs my ravish'd soul confound
With circling notes and labyrinths of sound;
Here domes and temples rise in distant views,
And opening palaces invite my Muse.
No. 225.
The Tatler (1711–1714)
Context: The cast of mind which is natural to a discreet man, make him look forward into futurity, and consider what will be his condition millions of ages hence, as well as what it is at present. He knows that the misery or happiness which are reserved for him in another world, lose nothing of their reality by being placed at so great a distance from him. The objects do not appear little to him because they are remote. He considers that those pleasures and pains which lie hid in eternity, approach nearer to him every moment, and will be present with him in their full weight and measure, as much as those pains and pleasures which he feels at this very instant. For this reason he is careful to secure to himself that which is the proper happiness of his nature, and the ultimate design of his being. He carries his thoughts to the end of every action, and considers the most distant as well as the most immediate effects of it. He supersedes every little prospect of gain and advantage which offers itself here, if he does not find it consistent with his views of an hereafter. In a word, his hopes are full of immortality, his schemes are large and glorious, and his conduct suitable to one who knows his true interest, and how to pursue it by proper methods.
“What I spent I lost; what I possessed is left to others; what I gave away remains with me.”
No. 177 (22 September 1711).
The Spectator (1711–1714)
Context: I have somewhere met with the epitaph of a charitable man, which has very much pleased me. I cannot recollect the words, but the sense of it is to this purpose; What I spent I lost; what I possessed is left to others; what I gave away remains with me.
“Books are the legacies that a great genius leaves to mankind”
No. 166 (10 September 1711).
The Spectator (1711–1714)
Context: Books are the legacies that a great genius leaves to mankind, which are delivered down from generation to generation, as presents to the posterity of those who are yet unborn.
As quoted in Hugs for Girlfriends : Stories, Sayings, and Scriptures to Encourage and Inspire (2001) by Philis Boultinghouse and LeAnn Weiss, p. 7; there seem to be no published sources available for this statement prior to 2001.
Disputed
“They were a people so primitive they did not know how to get money, except by working for it.”
Attributed to Addison in (K)new Words: Redefine Your Communication (2005), by Gloria Pierre, p. 120, there are no indications of such a statement in Addison's writings.
Misattributed
No. 120 (18 July 1711).
The Spectator (1711–1714)
Act I, scene ii.
Cato, A Tragedy (1713)
Saadi as translated in The Gulistān : Or, Rose-garden, of Shek̲h̲ Muslihu'd-dīn Sādī of Shīrāz as translated by Edward Backhouse Eastwick (1880), p. 203.
Misattributed
No. 25 (29 March 1711).
The Spectator (1711–1714)
No. 225.
The Tatler (1711–1714)
Context: At the same time that I think discretion the most useful talent a man can be master of, I look upon cunning to be the accomplishment of little, mean, ungenerous minds. Discretion points out the noblest ends to us, and pursues the most proper and laudable methods of attaining them: cunning has only private selfish aims, and sticks at nothing which may make them succeed. Discretion has large and extended views, and, like a well-formed eye, commands a whole horizon: cunning is a kind of short-sightedness, that discovers the minutest objects which are near at hand, but is not able to discern things at a distance. Discretion the more it is discovered, gives a greater authority to the person who possesses it: cunning, when it is once detected, loses its force, and makes a man incapable of bringing about even those events which he might have done had he passed only for a plain man. Discretion is the perfection of reason, and a guide to us in all the duties of life: cunning is a kind of instinct, that only looks out after our immediate interest and welfare. Discretion is only found in men of strong sense and good understandings, cunning is often to be met with in brutes themselves, and in persons who are but the fewest removes from them.
Context: A man's first care should be to avoid the reproaches of his own heart; his next to escape the censures of the world: if the last interferes with the former, it ought to be entirely neglected; but otherwise there cannot be a greater satisfaction to an honest mind, than to see those approbations which it gives itself seconded by the applauses of the public: a man is more sure of his conduct, when the verdict which he passes upon his own behaviour is thus warranted and confirmed by the opinion of all that know him.
On "Sir Roger", in The Spectator No. 122 (20 July 1711).
No. 225.
The Tatler (1711–1714)
Context: The discreet man finds out the talents of those he converses with, and knows how to apply them to proper uses. Accordingly, if we look into particular communities and divisions of men, we may observe that it is the discreet man, not the witty, nor the learned, nor the brave, who guides the conversation, and gives measures to the society.
“Every star, and every pow'r,
Look down on this important hour”
Queen Elinor in Rosamond (c. 1707), Act III, sc. ii.
Context: Every star, and every pow'r,
Look down on this important hour:
Lend your protection and defence
Every guard of innocence!
Help me my Henry to assuage,
To gain his love or bear his rage.
Mysterious love, uncertain treasure,
Hast thou more of pain or pleasure!
Chill'd with tears,
Kill'd with fears,
Endless torments dwell about thee:
Yet who would live, and live without thee!
“Perhaps some arm, more lucky than the rest,
May reach his heart, and free the world from bondage.”
Act II, scene i.
Cato, A Tragedy (1713)
Context: My voice is still for war.
Gods! Can a Roman senate long debate
Which of the two to choose, slavery or death?
No, let us rise at once,
Gird on our swords, and,
At the head of our remaining troops, attack the foe,
Break through the thick array of his throng'd legions,
And charge home upon him.
Perhaps some arm, more lucky than the rest,
May reach his heart, and free the world from bondage.
Song for St. Cecilia's Day (1692).
Context: Consecrate the place and day
To music and Cecilia.
Let no rough winds approach, nor dare
Invade the hallow'd bounds,
Nor rudely shake the tuneful air,
Nor spoil the fleeting sounds.
Nor mournful sigh nor groan be heard,
But gladness dwell on every tongue;
Whilst all, with voice and strings prepar'd,
Keep up the loud harmonious song,
And imitate the blest above,
In joy, and harmony, and love.
Song for St. Cecilia's Day (1692).
Context: When time itself shall be no more,
And all things in confusion hurl'd,
Music shall then exert it's power,
And sound survive the ruins of the world:
Then saints and angels shall agree
In one eternal jubilee:
All Heaven shall echo with their hymns divine,
And God himself with pleasure see
The whole creation in a chorus join.
“Where have my ravish'd senses been!
What joys, what wonders, have I seen!”
Henry in Rosamond (c. 1707), Act III, sc. i.
Context: Where have my ravish'd senses been!
What joys, what wonders, have I seen!
The scene yet stands before my eye,
A thousand glorious deeds that lie
In deep futurity obscure,
Fights and triumphs immature,
Heroes immers'd in time's dark womb,
Ripening for mighty years to come,
Break forth, and, to the day display'd,
My soft inglorious hours upbraid.
Transported with so bright a scheme,
My waking life appears a dream.
No. 225.
The Tatler (1711–1714)
Context: Though a man has all other perfections, and wants discretion, he will be of no great consequence in the world; but if he has this single talent in perfection, and but a common share of others, he may do what he pleases in his station of life.
No. 101 (26 June 1711).
The Spectator (1711–1714)
Context: "Censure," says a late ingenious author, "is the tax a man plays for being eminent." It is a folly for an eminent man to think of escaping it, and a weakness to be affected with it. All the illustrious persons of antiquity, and indeed of every age in the world, have passed through this fiery persecution. There is no defense against reproach but obscurity; it is a kind of comitant to greatness, as satires and invectives were an essential part of a Roman triumph.
Source: The Campaign (1704), Line 287, the word "passed" was here originally spelt "past" but modern renditions have updated the spelling for clarity. An alteration of these lines occurs in Alexander Pope's satire The Dunciad, Book III, line 264, where he describes a contemporary theatre manager as an "Angel of Dulness":
Immortal Rich! how calm he sits at ease,
Midst snows of paper, and fierce hail of pease;
And proud his mistress' order to perform,
Rides in the whirlwind and directs the storm.
Source: The Campaign (1704), Line 101.
Context: Great souls by instinct to each other turn,
Demand alliance, and in friendship burn;
A sudden friendship, while with stretched-out rays
They meet each other, mingling blaze with blaze.
Polished in courts, and hardened in the field,
Renowned for conquest, and in council skilled,
Their courage dwells not in a troubled flood
Of mounting spirits, and fermenting blood:
Lodged in the soul, with virtue overruled,
Inflamed by reason, and by reason cooled,
In hours of peace content to be unknown.
And only in the field of battle shown:
To souls like these, in mutual friendship joined,
Heaven dares intrust the cause of humankind.
No. 225.
The Tatler (1711–1714)
Context: The cast of mind which is natural to a discreet man, make him look forward into futurity, and consider what will be his condition millions of ages hence, as well as what it is at present. He knows that the misery or happiness which are reserved for him in another world, lose nothing of their reality by being placed at so great a distance from him. The objects do not appear little to him because they are remote. He considers that those pleasures and pains which lie hid in eternity, approach nearer to him every moment, and will be present with him in their full weight and measure, as much as those pains and pleasures which he feels at this very instant. For this reason he is careful to secure to himself that which is the proper happiness of his nature, and the ultimate design of his being. He carries his thoughts to the end of every action, and considers the most distant as well as the most immediate effects of it. He supersedes every little prospect of gain and advantage which offers itself here, if he does not find it consistent with his views of an hereafter. In a word, his hopes are full of immortality, his schemes are large and glorious, and his conduct suitable to one who knows his true interest, and how to pursue it by proper methods.
No. 101 (26 June 1711), this has sometimes been quoted as "It is the privilege of posterity to set matters right between those antagonists who, by their rivalry for greatness, divided a whole age".
The Spectator (1711–1714)
Context: If men of eminence are exposed to censure on one hand, they are as much liable to flattery on the other. If they receive reproaches which are not due to them, they likewise receive praises which they do not deserve. In a word, the man in a high post is never regarded with an indifferent eye, but always considered as a friend or an enemy. For this reason persons in great stations have seldom their true characters drawn till several years after their deaths. Their personal friendships and enmities must cease, and the parties they were engaged in be at an end, before their faults or their virtues can have justice done them. When writers have the least opportunity of knowing the truth, they are in the best disposition to tell it.
It is therefore the privilege of posterity to adjust the characters of illustrious persons, and to set matters right between those antagonists who by their rivalry for greatness divided a whole age into factions.
Henry in Rosamond (c. 1707), Act III, sc. i.
Context: Where have my ravish'd senses been!
What joys, what wonders, have I seen!
The scene yet stands before my eye,
A thousand glorious deeds that lie
In deep futurity obscure,
Fights and triumphs immature,
Heroes immers'd in time's dark womb,
Ripening for mighty years to come,
Break forth, and, to the day display'd,
My soft inglorious hours upbraid.
Transported with so bright a scheme,
My waking life appears a dream.
This appears as an anonymous proverb in Frank Leslie's Sunday Magazine Vol. XIII, (January - June 1883) edited by T. De Witt Talmage, and apparently only in recent years has it become attributed to Addison.
Disputed
Though sometimes attributed to Addison, this actually comes from a speech delivered by the Irish lawyer Charles Phillips in 1817, in the case of O'Mullan v. M'Korkill, published in Irish Eloquence: The Speeches of the Celebrated Irish Orators (1834) pp. 91-92.
Misattributed
“Sweet are the slumbers of the virtuous man.”
Act V, scene iv.
Cato, A Tragedy (1713)
Very often attributed to Addison, this is in fact by Hugh Blair, published in Blair's Sermons (1815), Vol. 1, pp. 196-197.
Misattributed
No. 465, Ode (23 August 1712).
Also in The Polite Arts (1749), Chap. XXI. "Of Lyrick Poetry."
The Spectator (1711–1714)
“The soul, secured in her existence, smiles
At the drawn dagger, and defies its point.”
Act V, scene i.
Cato, A Tragedy (1713)
