Lucan, was translated by Mr. Hughes, long before Mr. Rowe undertook that author. The occasion of it was this: Mr. Tonson the bookseller, sollicited a translation of Lucan, by several hands. Mr. Hughes performed his part, but others failing in their promises, the design was dropp'd; and Mr. Rowe was afterwards prevailed upon to undertake the whole, which he performed with great success.

In the year 1709 Mr. Hughes obliged the publick, with an elegant translation of Moliere's celebrated Comedy, the Misantrope. This has been since reprinted, with the other plays of that admirable author, translated by Mr. Ozell; but care is taken to distinguish this particular play.

In the year 1712 his Opera of Calypso and Telemachus, was performed at the Queen's Theatre in the Hay-Market. Perhaps it may be worth while to mention here, one circumstance concerning this Opera, as it relates to the History of Music in England, and discovers the great partiality shewn at that time to Opera's performed in Italian. After many such had been encouraged by large subscriptions, this, originally written, and set in English, after the Italian manner, was prepared with the usual expence of scenes and decorations; and being much crowded and applauded at the rehearsals, a subscription was obtained for it as usual.

This alarmed the whole Italian band, who, apprehending that their profession would suffer thereby, procured an order from the duke of Shrewsbury, then lord chamberlain, the day before the performing of this Opera, to take off the subscription for it, and to open the house at the lowest prices, or not at all. This was designed to sink it, but failed of its end. It was performed, formed, though under such great discouragement; and was revived afterwards at the theatre in Lincoln's-Inn-Fields. Mr. Addison, in the Spectator, Numb. 405, speaking of the just applause given this opera, by Signior Nicolini (who he says was the greatest performer in dramatic music, that perhaps ever appeared upon a stage) has these words,

'The town is highly obliged to that excellent artist, for having shewn us the Italian music in its perfection, as well as for that generous approbation he gave to an Opera of our own country, in which Mr. Galliard the composer endeavoured to do justice to the beauty of the words, by following that noble example which has been set him by the greatest foreign masters of that art.'

The Ode to the Creator of the World, occasioned by the fragments of Orpheus, was printed in the year 1713, at the particular instance of Mr. Addison; and is mentioned with applause in the Spectator. This, and the Extasy, (published since the death of the author) are justly esteemed two of the noblest Odes in our language. The seventh Stanza of the last mentioned piece, is so sublimely excellent, that it would be denying ourselves, and our poetical readers, a pleasure not to transcribe it. The whole of this Ode is beautifully heightened, and poetically conceived. It furnished a hint to a living Poet to write what he entitles the Excursion, which tho' it has very great merit, yet falls infinitely short of this animated Ode of Mr. Hughes.

After having represented the natural and artificial calamities to which man is doomed, he proceeds,

  But why do I delay my flight?
      Or on such gloomy objects gaze?
  I go to realms serene, with ever-living light.
  Haste, clouds and whirlwinds, haste a raptured bard to raise;
    Mount me sublime along the shining way,
    Where planets, in pure streams of Aether driven,
      Swim thro' the blue expanse of heav'n.
  And lo! th' obsequious clouds and winds obey!
  And lo! again the nations downward fly;
  And wide-stretch'd kingdoms perish from my eye.
        Heav'n! what bright visions now arise!
      What op'ning worlds my ravish'd sense surprize!
      I pass Cerulian gulphs, and now behold
      New solid globes; their weight self-ballanc'd, bear
        Unprop'd amidst the fluid air,
  And all, around the central Sun, incircling eddies roll'd.
      Unequal in their course, see they advance
        And form the planetary dance!
      Here the pale Moon, whom the same laws ordain
        T' obey the earth, and rule the main;
      Here spots no more in shadowy streaks appear;
        But lakes instead, and groves of trees,
        The wand'ring muse, transported sees,
    And their tall heads discover'd mountains rear.
    And now once more, I downward cast my sight,
    When lo! the earth, a larger moon displays,
    Far off, amidst the heav'ns, her silver face,
    And to her sister moons by turns gives light!
  Her seas are shadowy spots, her land a milky white.

The author of an Essay on Criticism, printed in the year 1728, informs us, that the Tragedy of Cato being brought upon the stage in 1713 was owing to Mr. Hughes. The circumstances recorded by this author are so remarkable, that they deserve to be related; and as they serve to shew the high opinion Mr. Addison entertained of our author's abilities as a Poet, I shall therefore transcribe his own words.—

'It has been often said by good judges, that Cato was no proper subject for a dramatic poem: That the character of a stoic philosopher, is inconsistent with the hurry and tumult of action, and passions which are the soul of tragedy. That the ingenious author miscarried in the plan of his work, but supported it by the dignity, the purity, the beauty, and justness of the sentiments. This was so much the opinion of Mr. Maynwaring, who was generally allowed to be the best critic of our time; that he was against bringing the play upon the stage, and it lay by unfinished many years. That it was play'd at last was owing to Mr. Hughes. He had read the four acts which were finished, and really thought it would be of service to the public, to have it represented at the latter end of queen Anne's reign, when the spirit of liberty was likely to be lost. He endeavoured to bring Mr. Addison into his opinion, which he did, and consented it should be acted if Mr. Hughes would write the last act; and he offered him the scenery for his assistance, excusing his not finishing it himself, upon account of some other avocations. He press'd Mr. Hughes to do it so earnestly, that he was prevailed upon, and set about it. But, a week after, seeing Mr. Addison again, with an intention to communicate to him what he thought of it, he was agreeably surprized at his producing some papers, where near half of the act was written by the author himself, who took fire at the hint, that it would be serviceable; and, upon a second reflexion, went through with the fifth act, not that he was diffident of Mr. Hughes's abilities; but knowing that no man could have so perfect a notion of his design as himself, who had been so long, and so carefully thinking of it. I was told this by Mr. Hughes, and I tell it to shew, that it was not for the love-scenes, that Mr. Addison consented to have his Tragedy acted, but to support public spirit; which in the opinion of the author was then declining.'

In the year 1720 the Siege of Damascus was acted at the Theatre-Royal in Drury-Lane, with universal applause. His present majesty honoured it with his presence, and the late queen distinguished it with marks of favour.

Mr. Hughes drew up the dedication of this Tragedy to the late Earl Cowper, about ten days before he died. It is indeed surprising, that he should be able to form a piece so finely turned, and at such an hour; when death was just before him, and he was too weak to transcribe it himself.

Mr. Pope, in a letter to Mr. Hughes's brother, written soon after his death,