Biography
Sir Richard Steele, a pivotal figure in the literary world of his time, experienced an eventful life marked by both triumph and struggle. Known for his profound contributions to periodical literature and the theater, Steele's journey from a Dublin-born orphan to an influential writer and playwright reflects the cultural shifts of his era. His work, often imbued with moral undertones, has left a lasting legacy in the realm of English literature.
Early Life and Education
Born in March 1672 in Dublin, Richard Steele was the son of an attorney. Orphaned at a young age, he was raised by his uncle, Henry Gascoigne, a man of notable influence, which secured Steele's entry into the Charterhouse School in 1684. Here, Steele formed a lifelong friendship with Joseph Addison, another luminary in English literature. In 1689, Steele joined Addison at Oxford University but left without a degree in 1694, opting instead for a military career. His enlistment as a private in a guards regiment was facilitated by his uncle's connections, leading him to serve under the Duke of Ormond.
Military Career and Literary Beginnings
Steele's military life saw him rise to the rank of captain by 1700, stationed at the Tower of London. During this time, he mingled with notable contemporaries such as Sir Charles Sedley, Sir John Vanbrugh, and William Congreve. Despite the camaraderie, Steele's experiences in the army led to personal excesses he later regretted. This prompted him to write "The Christian Hero" in 1701, a treatise arguing that only religious principles could cultivate true greatness. Though this work alienated his soldier peers, it spurred Steele to pen his first comedy, "The Funeral: Or, Grief-à-la-Mode."
Theatrical Ventures and Moral Undertones
"The Funeral" resonated with audiences, challenging the libertine values of Restoration comedy by advocating for a return to moral respectability. Characters like Sable the undertaker and Puzzle the lawyer satirized societal hypocrisies, while Lady Sharlot and Lady Hariot highlighted the era's disregard for women. Steele's moralistic approach was a departure from peers like Sir George Etherege and Congreve, marking a shift toward bourgeois sensibilities. However, his follow-up play, "The Lying Lover," was criticized for its piety and failed to impress audiences. "The Tender Husband" in 1705 saw moderate success, but significant theatrical endeavors eluded Steele for the next seventeen years.
Journalistic Achievements and Political Engagement
Redirecting his focus, Steele delved into politics and periodical writing, collaborating extensively with Addison. From 1707 to 1710, he actively engaged in politics, while also producing essays that would shape modern journalism. Together, the duo launched "The Tatler" in 1709, followed by "The Spectator" in 1711, both of which became influential publications. Steele was the driving force behind these ventures, using his platform to advocate for "reformed gentility" and authentic gentlemanliness. His writing style was noted for its clarity and warmth, resonating with readers and influencing writers like Benjamin Franklin. His dedication to the cause earned him a knighthood in 1714.
Impact on Literature and Society
Steele's periodicals were highly successful, reflecting a broader societal trend towards rationality and decorum. The impact of "The Tatler" and "The Spectator" on public discourse was profound, shaping attitudes and tastes of the time. The success of his last theatrical work, "The Conscious Lovers" in 1722, marked a departure from Restoration comedy, embracing a more sentimental narrative. The play's middle-class characters and straightforward romantic plot stood in stark contrast to the traditional witty banter and rakishness of earlier works. Steele's portrayal of virtue being rewarded resonated with audiences, affirming his belief in moral storytelling.
Legacy and Final Years
"The Conscious Lovers" heralded the decline of Restoration comedy, making way for the rise of sentimental comedy. Steele's contribution to this transition was significant, as he prioritized moral integrity over the superficial charms of his predecessors. His work, while sometimes criticized as being overly didactic, effectively captured the shifting values of his society. William Hazlitt's comment, "It is almost a misnomer to call them comedies; they are rather homilies in dialogues," underscored Steele's distinctive approach. With his objectives largely realized, Steele passed away on September 1, 1729, in Carmarthen, Wales, leaving behind a legacy of moral fortitude and literary innovation. He was laid to rest at St. Peter’s Church, marking the end of a life dedicated to the advancement of ethical and literary excellence.
Criticism by Richard Steele
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