The political tone of the “Tatler” favored the Marlborough administration, and on this account Steele was rewarded with a snug office under the wing of the State.  In Seventeen Hundred Ten, the Whig Ministry fell, but Lord Harley knew the value of Steele as a writer, and so notified him that he would not be disturbed in possession of his Stamp Office.

Now, a complete silence concerning things political in the “Tatler” was hardly possible, and a change of front would be humiliating, and whether to give up the “Tatler” or the office—­that was the question!  Addison was in the same box.  The offices they held brought them in twice as much money as the little periodical, and either the patronage or the paper would have to go.  They decided to abandon the “Tatler.”

But the habit of writing sticks to a man; and after two months Steele and Addison began to feel the necessity of some outlet for their pent-up thoughts.  They had each grown with their work, and were aware of it.  They would start a new paper, and make it a daily; and they would keep clear of politics.  So we find the “Spectator” duly launched with the intended purpose of forming “a rational standard of conduct in morals, manners, art and literature.”

Every good thing has its prototype, and Addison in Italy had become familiar with the force of “Manners” by Casa, and the “Courtier” by Castiglione.  Then he knew the character of La Bruyere, and this gave the cue for the Spectator Club, with Sir Roger de Coverley, Sir Andrew Freeport, Will Honeycomb, Captain Sentry and the Templar.

Swift had contributed several papers to the “Tatler,” but he found the “Spectator” too soft and feminine for his fancy.  Probably Steele and Addison were afraid of the doughty Dean’s style; there was too much vitriol in it for popularity—­and they kept the Irish parson at a distance, as certain letters to “Stella” seem to indicate.  The “Spectator” was a notable success from the start and soon put Steele and Addison in comfortable financial shape.

After the first year the daily issue amounted to fourteen thousand copies.  Addison introduced the “Answers to Correspondents” scheme.

He has had many imitators along this line, some of whom yet endure, but they are not Addisons.

An imitation of the “Spectator” was started as a daily in New York in Eighteen Hundred Ninety-eight.  In one week it ran short on phosphorus and was obliged to quit.  It took two years for Steele and Addison to write themselves out, and rather than let the quality of the periodical decline they discontinued its publication, quitting like the wise men they were at the height of their success.

* * * * *

When Addison’s tragedy of “Cato” was produced in Seventeen Hundred Thirteen, he occupied the first place in English letters.  The play was a dazzling success; and it is a great play yet.  It lives as literature among the best things men have ever done—­a masterpiece!