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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Declan Mills. It will argue that although the rhetorical and political divisions between the two nascent parties were hardening, there was still room — particularly outside the walls of the House of Commons — for compromise and indeed for switching sides, and that the ardent Whigs Joseph Addison and Richard Steele, in creating a political serial story intended for mass consumption, tapped into the commonalities, providing an interesting and noteworthy counterpoint to the polemicist literature that dominated English print culture during this period, illuminating one discrete example of the interplay between politics and literature in Enlightenment Britain.

The stories were the brainchild of Joseph Addison and Richard Steele, boyhood friends who attended Oxford together.

Addison graduated and entered the Whig-dominated government in an administrative position, while Steele dropped out of university, took a military commission and then became editor of the London Gazette, 1 Kishlansky, Monarchy transformed p. Financial necessity and the desire to continue promoting their social and political ideals led them to journalism. Working together, the two men began to develop one of the most quintessential forms of eighteenth-century print media, the periodical essay.

In the case of there being multiple narrative personae, the framing narrative generally consisted of friends telling stories in a social club.

Entering government as an administrator — and returning in that capacity during the reign of King George I — he served as secretary to the lord lieutenant of Ireland, undersecretary of state and eventually secretary of state. In short, Joseph Addison was a man who was used to the politics of compromise, and as an administrator in a government during the reign of Queen Anne had first-hand experience of bridging the gap between Tory and Whig policies for the good of the state.

But being ill used by the above-mentioned Widow, he was very serious for a Year and a half; and though, his Temper being naturally jovial, he at last got over it, he grew careless of himself, and never dressed afterwards. He continues to wear a Coat and Dublet of the same Cut 10 Ibid, p. However, unlike many such characters, Sir Roger has recognised that the day of the rake is done and is able to joke about his own unfashionability.

His ability to might light of his own situation dovetails neatly with his second key characteristic, his eccentricity. In the words of the narrator, Sir Roger is a Gentleman that is very singular in his Behaviour, but his Singularities proceed from his good Sense, and are Contradictions to the Manners of the World, only as he thinks the World is in the wrong.

However, this Humour creates him no enemies, for he does nothing with Sourness or Obstinacy; and his being unconfined to Modes and Forms, makes him but the readier and more capable to please and oblige all who know him. Indeed, most of the characters in The Coverley papers are source of humour at one point or another. Where Sir Roger stands apart from the other characters is in his blending of Tory and Whig principles.

Tory and Whig, stock-exchange, urban trading port and country fox-hunt were all woven into a single vast, diverse picture of a 19 Ibid, p. Related Papers. By sathya kanth. Spectator and the Coffeehouse Public Sphere. By Brian Cowan. By Stephen Basdeo. By Maurice Rouillard. Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up.



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