Critical, Historical, and Miscellaneous Essays; Vol. 5 With a Memoir and Index — A Closer Reading
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gs had another associate at Westminster of whom we shall have occasion to make frequent mention, Elijah Impey. We know little about their school days. But, we think, we may safely venture to guess that, whenever Hastings wished to play any trick more than usually naughty, he hired Impey with a tart or a ball to act as fag in the worst part of the prank.
Warren was distinguished among his comrades as an excellent swimmer, boatman, and scholar. At fourteen he was first in the examination for the foundation. His name in gilded letters on the walls of the dormitory still attests his victory over many older competitors. He stayed two years longer at the school, and was looking forward to a studentship at Christ Church, when an event happened which changed the whole course of his life. Howard Hastings died, bequeathing has nephew to the care of a friend and distant relation, named Chiswick. This gentleman, though he did not absolutely refuse the charge, was desirous to rid himself of it as soon as possible. Dr. Nichols made strong remonstrances against the cruelty of interrupting the studies of a youth who seemed likely to be one of the first scholars of the age. He even offered to bear the expense of sending his favourite pupil to Oxford. But Mr. Chiswick was inflexible. He thought the years which had already been wasted on hexameters and pentameters quite sufficient. He had it in his power to obtain for the lad a writership in the service of the East India Company. Whether the young adventurer, when once shipped off, made a fortune, or died of a liver complaint, he equally ceased to be a burden to anybody. Warren was accordingly removed from Westminster {7}school, and placed for a few months at a commercial academy, to study arithmetic and book-keeping. In January 1750, a few days after he had completed his seventeenth year, he sailed for Bengal, and arrived at his destination in the October following.
He was immediately placed at a desk in the Secretary’s office at Calcutta, and laboured there during two years. Fort William was then purely a commercial settlement. In the south of India the encroaching policy of Dupleix had transformed the servants of the English Company, against their will, into diplomatists and generals. The war of the succession was raging in the Carnatic; and the tide had been suddenly turned against the French by the genius of young Robert Clive. But in Bengal the European settlers, at peace with the natives and with each other, were wholly occupied with ledgers and bills of lading.
After two years passed in keeping accounts at Calcutta, Hastings was sent up the country to Cossimbazar, a town which lies on the Hoogley, about a mile from Moorshedabad, and which then bore to Moorshedabad a relation, if we may compare small things with great, such as the city of London bears to Westminster. Moorshedabad was the abode of the prince who, by an authority ostensibly derived from the Mogul, but really independent, ruled the three great provinces of Bengal, Orissa, and Bahar. At Moorshedabad were the court, the harem, and the public offices. Cossimbazar was a port and a place of trade, renowned for the quantity and excellence of the silks which were sold in its marts, and constantly receiving and sending forth fleets of richly laden barges. At this important point, the Company had established a small factory subordinate to that of Fort William. {8}Here, during several years, Hastings was employed in making bargains for stuff’s with native brokers. While he was thus engaged, Surajah Dowlah succeeded to the government, and declared war against the English. The defenceless settlement of Cossimbazar, lying close to the tyrant’s capital, was instantly seized. Hastings was sent a prisoner to Moorshedabad, but, in consequence of the humane intervention of the servants of the Dutch Company, was treated with indulgence. Meanwhile the Nabob marched on Calcutta; the governor and the commandant fled; the town and citadel were taken, and most of the English prisoners perished in the Black Hole.
Macaulay opens his essay on Warren Hastings with a striking declaration of intent: he will not minutely examine the book under review but instead offer his own view of Hastings's life and character. This sets the tone for the volume, where the author's voice is as much a subject as the figures he discusses. The essays are marked by a confident, almost judicial tone, as Macaulay weighs virtues against faults, insisting that Hastings, like Cromwell, would prefer to be 'painted as I am'—warts and all. This preference for unvarnished portraiture recurs throughout the collection, giving the prose a moral urgency that drives the narrative forward.
The Use of Classical Allusions as Evidence
In the essay on Addison, Macaulay deploys classical quotations not merely as ornament but as forensic evidence. He argues that Addison's Latin verse was superior to his prose, and that his knowledge of Greek was limited. To prove this, Macaulay points out that Addison's notes on Ovid's Metamorphoses contain no references to Euripides or Theocritus, despite Ovid's debt to them. Similarly, in his travels, Addison cites Silius Italicus for Hannibal's crossing of the Alps rather than Polybius or Livy, and relies on Lucan for the civil war instead of Caesar or Cicero. This method—using an author's own citations to diagnose his intellectual range—is characteristic of Macaulay's critical approach. It allows him to make precise claims about Addison's scholarly limitations without resorting to vague praise or blame.
Shifts in Pace Between Narrative and Argument
Macaulay varies his sentence length and rhythm to control the reader's attention. In the Hastings essay, the opening paragraph moves from a measured, almost conversational tone—'We are inclined to think that we shall best meet the wishes of our readers'—to a series of short, emphatic clauses: 'He had great qualities, and he rendered great services to the state. But to represent him as a man of stainless virtue is to make him ridiculous.' This abrupt shift signals a turning point in the argument. Later, when recounting Hastings's ancestry, the pace slows with a long, periodic sentence tracing the lineage back to 'the great Danish sea-king.' Such changes in tempo are not accidental; they mirror the essay's movement between moral evaluation and historical narrative, keeping the reader engaged through variety.
Recurring Imagery of Portraiture and Judgment
Macaulay repeatedly returns to the metaphor of painting to frame his biographical judgments. In the Hastings essay, he invokes Cromwell's command to Lely—'Paint me as I am'—to argue that a truthful likeness, even with 'scars and wrinkles,' is preferable to a flattering 'daub.' This image reappears implicitly in the Addison essay, where Macaulay describes his own method as a 'minute examination' that will 'fully bear out' his remarks. The language of visual accuracy—'spots,' 'likeness,' 'portrayed'—suggests that Macaulay sees himself as a portraitist of character, not a mere chronicler of events. This consistent imagery ties together essays on disparate subjects, giving the volume a cohesive thematic thread about the ethics of representation.
Readers approaching this volume should attend to the way Macaulay structures his arguments: he often begins with a bold thesis, then supports it with a cascade of specific examples drawn from the subject's own writings or actions. The essays reward careful attention to his use of analogy and allusion, which serve both as evidence and as rhetorical devices. Because the excerpts are incomplete, some essays—such as those on Frederick the Great and Madame d'Arblay—are only partially represented, but the patterns of voice and method visible in the Hastings and Addison pieces are likely to recur throughout.
There are evenings I still think of Macaulay's Hastings essay, that strange mix of gravity and spark. It lingered like a half-remembered conversation. That feeling, of sentences carrying moral weight so gracefully, reminded me of another book I once carried around—Aspects of Literature — Key Ideas to Explore. Some collections simply leave a quiet warmth behind, the way certain friends do, long after the pages close.
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