Spectator, The

a weekly periodical (1711-12, 1714) issued by Joseph Addison and Richard Steele.

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Daily periodical published in London by Richard Steele and Joseph Addison from March 1, 1711, to Dec.

6, 1712, and revived by Addison in 1714 (for 80 issues). It succeeded The Tatler, launched by Steele in 1709. Aiming to "enliven morality with wit, and to temper wit with morality," The Spectator presented a fictional club whose imaginary members expressed the writers' ideas about society. It made serious discussion of letters and politics a normal pastime of the leisured class, set the pattern and established the vogue for the periodical in the 18th century, and helped create a receptive public for novelists.

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▪ 18th-century British periodical

      a periodical published in London by the essayists Sir Richard Steele (Steele, Sir Richard) and Joseph Addison (Addison, Joseph) from March 1, 1711, to Dec. 6, 1712 (appearing daily), and subsequently revived by Addison in 1714 (for 80 numbers). It succeeded The Tatler, which Steele had launched in 1709. In its aim to “enliven morality with wit, and to temper wit with morality,” The Spectator adopted a fictional method of presentation through a “Spectator Club,” whose imaginary members extolled the authors' own ideas about society. These “members” included representatives of commerce, the army, the town (respectively, Sir Andrew Freeport, Captain Sentry, and Will Honeycomb), and of the country gentry (Sir Roger de Coverley). The papers were ostensibly written by Mr. Spectator, an “observer” of the London scene. The conversations that The Spectator reported were often imagined to take place in coffeehouses, which was also where many copies of the publication were distributed and read.

      Though Whiggish in tone, The Spectator generally avoided party-political controversy. An important aspect of its success was its notion that urbanity and taste were values that transcended political differences. Almost immediately it was hugely admired; Mr. Spectator had, observed the poet and dramatist John Gay, “come on like a Torrent and swept all before him.”

      Because of its fictional framework, The Spectator is sometimes said to have heralded the rise of the English novel in the 18th century. This is perhaps an overstatement, since the fictional framework, once adopted, ceased to be of primary importance and served instead as a social microcosm within which a tone at once grave, good-humoured, and flexible could be sounded. The real authors of the essays were free to consider whatever topics they pleased, with reference to the fictional framework (as in Steele's account of Sir Roger's views on marriage, which appeared in issue no. 113) or without it (as in Addison's critical papers on Paradise Lost, John Milton's epic poem, which appeared in issues no. 267, 273, and others).

      Given the success of The Spectator in promoting an ideal of polite sociability, the correspondence of its supposed readers was an important feature of the publication. These letters may or may not, on occasion, have been composed by the editors.

      In addition to Addison and Steele themselves, contributors included Alexander Pope, Thomas Tickell, and Ambrose Philips. Addison's reputation as an essayist has surpassed that of Steele, but their individual contributions to the success of The Spectator are less to the point than their collaborative efforts: Steele's friendly tone was a perfect balance and support for the more dispassionate style of Addison. Their joint achievement was to lift serious discussion from the realms of religious and political partisanship and to make it instead a normal pastime of the leisured class. Together they set the pattern and established the vogue for the periodical throughout the rest of the century and helped to create a receptive public for the novelists, ensuring that the new kind of prose writing—however entertaining—should be essentially serious.

▪ 19th-century British periodical

      weekly magazine of news and opinion, published in London and widely noted for its critical reviews and essays on political, literary, and economic issues. Its editorial stance is moderately conservative and much more conservative than the larger journals with which it shares its eminence, The Economist and New Statesman & Society. The Spectator has been a serious journal of intellectual discussion since it was founded in 1828. For many years it was noted for its witty essays, but in modern times it has turned to more straightforward treatment of political and cultural affairs. It is noted for outstanding book reviews in particular and for the quality of its writing in general. Its influence is much greater than is suggested by its limited circulation.

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