The effect of all this political turmoil upon the leading men in England had been manifest; both parties had been expectant, and many of the statesmen had been upon the fence, ready to get down on one side or the other, according to circumstances.  Marlborough left the Tories and joined the Whigs; Swift, who had been a Whig, joined the Tories.  The queen’s first ministry had consisted of Whigs and the more moderate Tories; but as she fell away from the Marlboroughs, she threw herself into the hands of the Tories, who had determined, and now achieved, the downfall of Marlborough.

Such was the reign of good Queen Anne.  With this brief sketch as a preliminary, we return to the literature, which, like her coin, bore her image and carried it into succeeding reigns.  In literature, the age of Queen Anne extends far beyond her lifetime.

ADDISON.—­The principal name of this period is that of Joseph Addison.  He was the son of the rector of Milston, in Wiltshire, and was born in 1672.  Old enough in 1688 to appreciate the revolution, as early as he could wield his pen, he used it in the cause of the new monarchs.  At the age of fifteen he was sent from the Charter-House to Oxford; and there he wrote some Latin verses, for which he was rewarded by a university scholarship.  After pursuing his studies at Oxford, he began his literary career.  In his twenty-second year he wrote a poetical address to Dryden; but he chiefly sought preferment through political poetry.  In 1695 he wrote a poem to the king, which was well received; and in 1699 he received a pension of L300.  In 1701 he went upon the Continent, and travelled principally in France and Italy.  On his return, he published his travels, and a Poetical Epistle from Italy, which are interesting as delineating continental scenes and manners in that day.  Of the travels, Dr. Johnson said, “they might have been written at home;” but he praised the poetical epistle as the finest of Addison’s poetical works.

Upon the accession of Queen Anne, he continued to pay his court in verse.  When the great battle of Blenheim was fought, in 1704, he at once published an artificial poem called The Campaign, which has received the fitting name of the Rhymed Despatch.  Eulogistic of Marlborough and descriptive of his army manoeuvres, its chief value is to be found in its historical character, and not in any poetic merit.  It was a political paper, and he was rewarded for it by the appointment of Commissioner of Appeals, in which post he succeeded the philosopher Locke.

The spirit of this poem is found in the following lines: 

    Fiction may deck the truth with spurious rays,
    And round the hero cast a borrowed blaze;
    Marlboro’s exploits appear divinely bright,
    And proudly shine in their own native light.

If we look for a contrast to this poem, indicating with it the two political sides of the question, it may be found in Swift’s tract on The Conduct of the Allies, which asserts that the war had been maintained to gratify the ambition and greed of Marlborough, and also for the benefit of the Allies.  Addison was appointed, as a reward for his poem, Under-Secretary of State.