Vol.  II.  Numb. 91.  The History of Honoria, or
the Rival Mother. 
Numb. 104.  A Letter on Riding-Habits for
Ladies. 
Numb. 141.  Remarks on a Comedy, intitled
the Lancashire-Witches.

Vol.  III.  Numb. 210.  On the immortality of the
Soul. 
Numb. 220.  A Letter concerning expedients
for Wit. 
Numb. 230.  All, except the last Letter. 
Numb. 231.  A Letter on the awe of appearing
before public assemblies. 
Numb. 237.  On Divine Providence.

Vol.  IV.  Numb. 252.  A Letter on the Eloquence of
Tears, and fainting fits. 
Numb. 302.  The Character of Emilia. 
Numb. 311.  A Letter from the Father of
a great Fortune.

Vol.  V. Numb. 57.  A Picture of Virtue in Distress. 
Vol.  VII.  Numb. 525.  On Conjugal Love. 
Numb. 537.  On the Dignity of Human
Nature. 
Numb. 541.  Rules for Pronunciation and
Action, chiefly collected from Cicero.

Vol.  VII.  Numb. 554.  On the Improvement of the Genius, illustrated in the characters of Lord Bacon, Mr. Boyle, Sir Isaac Newton, and Leonardo da Vinci.—­We have not been able to learn, what papers in the Guardian were written by him, besides Number 37, Vol.  I. which contains Remarks on the Tragedy of Othello.

In the year 1715 Mr. Hughes published a very accurate edition of the works of our famous poet Edmund Spenser, in six volumes, 12mo. to this edition are prefixed the Life of Spenser; an Essay on Allegorical poetry; Remarks on the Fairy Queen; on the Shepherd’s Calendar, and other writings of Spenser; and a Glossary explaining the Old and obsolete Words.

In 1718 he published a piece called Charon, or The Ferry-Boat, a Vision.  This, and Mr. Walsh’s AEsculapius, or Hospital of Fools, are perhaps two of the finest dialogues we have in English, as well as the most lively imitations of Lucian.

Sir Richard Steele, in a paper called The Theatre, No. 15. has paid a tribute to the memory of Mr. Hughes, with which as it illustrates his amiable character, we shall conclude his life.

’I last night (says he) saw the Siege of Damascus, and had the mortification to hear this evening that Mr. Hughes, the author of it, departed this life within some few hours after his play was acted, with universal applause.  This melancholy circumstance recalled into my thought a speech in the tragedy, which very much affected the whole audience, and was attended to with the greatest, and most solemn instance of approbation, and awful silence.’  The incidents of the play plunge a heroic character into the last extremity; and he is admonished by a tyrant commander to expect no mercy, unless he changes the Christian religion for the Mahometan.  The words with which the Turkish general makes his exit from his prisoner are,

  Farewel, and think of death.

Upon which the captive breaks into the following soliloquy,