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"Addison, John A."
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Uneasy Passions
In An Essay Concerning Human Understanding, Locke is of two minds when it comes to human emotion. On the one hand, our passions represent an innate sensing faculty, given to us by “the infinite Wise Author of our being,” for interpreting the intrinsic good and evil in things. On the other hand, feelings like love and hate, joy and sorrow are the end product of rational cognition, whereby we determine the meaning of an initial, provoking “uneasiness.” This article argues that Locke’s paradox provides important insight for reading the passions in eighteenth-century discourse. It presents close readings of essays on the passions from The Spectator to demonstrate a fundamental difference between Addison and Steele that can be traced to An Essay’s self-contradiction. Close attention to Steele’s essays on grief reveal a significant move away from The Spectator’s dominant role of training readers to rectify their passions, encouraging them, instead, to bear witness to the “pleasing Perplexities” of affective intensity. Addison and Steele’s divergent positions, via Locke, reflect a cautiously negotiated, and conflicted, conversation taking place in the eighteenth century regarding the nature, function, and value of the passions.
Journal Article
John Addison, 78, Composer Of Film, Theater and TV Scores
John Addison, an English composer whose score for the 1963 film ''Tom Jones'' won an Oscar and whose theme music for ''Murder She Wrote'' won an Emmy, died on Monday at a hospital in Bennington, Vt. He was 78 and lived in Bennington. The cause of death was a stroke, said James Goldstone, a director for whom Mr. Addison supplied music and a friend of the family. Mr. Addison was born in Chobham, England, in 1920 and studied at Wellington College and the Royal College of Music in London. Early in his career he composed symphonic and chamber works, including a ballet, ''Carte Blanche,'' and Concerto for Trumpet, Strings and Percussion.
Newspaper Article
