ys have been written round those entanglements. He lies
buried in his own cathedral, St. Patrick's, Dublin, and beside him
lies Stella. Over his tomb there is an epitaph in Latin, written by
himself, in which, after speaking of the _saeva indignatio_ which
tore his heart, he bids the wayfarer go and imitate, if he can, the
energetic defender of his native land.

Contemporary with the Dean there was another Anglo-Irishman, who
fills a large space in the history of English literature, and of whom
his countrymen are justly proud. Sir Richard Steele (1672-1729), who
was born in Dublin and educated at the Charterhouse in London and
afterwards at Oxford, started the _Tatler_ in 1709, and thereby
popularized, though he did not exactly originate, the periodical
essay. Aided by his friend, Addison, he carried the work to
perfection in the _Spectator_ (1711-1712) and the _Guardian_ (1713).
Since then these essays have enlightened and amused each succeeding
generation. Of the two, Addison's is the greater name, but Steele was
the more innovating spirit, for it is to him, and not to Addison,
that the conception and initiation of the plan of the celebrated
papers is due. Steele had had a predecessor in Defoe, whose _Review_
had been in existence since 1704, but the more airy graces which
characterized the _Tatler_ and the _Spectator_ gave the
"lucubrations" of "Isaac Bickerstaffe" and of "Mr. Spectator" a
greater hold on the public than Defoe's paper was ever able to
establish. Steele was responsible for many more periodicals, such as
the _Englishman_, the _Lover_, the _Reader_, _Town Talk_, the
_Tea-Table, Chit-Chat_, the _Plebeian_, and the _Theatre_, most of
which had a rather ephemeral existence. Among his other services to
literature he helped to purify the stage of some of its grossness,
and he became the founder of that sentimental comedy which in the
days of the early Georges took the place of the immoral comedy of the
Restoration period, when, in Johnson's famous phrase,

Intrigue was plot, obscenity was wit.

Steele's four comedies are _The Funeral; or Grief a la mode_ (1701);
_The Lying Lover_ (1703); _The Tender Husband_ (1705); and _The
Conscious Lovers_ (1722). Although he held various lucrative offices,
Steele was never really prosperous and was frequently in debt; like
most of the contemporary Englishmen with whom his lot was thrown, he
was rather addicted to the bottle; but, on the whole, it may fairly
be