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Meditations in Westminster Abbey
When I am in a serious humour, I very often walk by myself in Westminster Abbey; where the gloominess of the place, and the use to which it is applied, with the solemnity of the building, and the condition of the people who lie in it, are apt to fill the mind with a kind of melancholy, or rather thoughtfulness, that is not disagreeable. I yesterday passed a whole afternoon in the churchyard, the cloisters, and the church, amusing myself with the tombstones and inscriptions that I met with in those several regions of the dead. Most of them recorded nothing else of the buried person, but that he was born upon one day and died upon another: the whole history of his life being comprehended in those two circumstances, that are common to all mankind. I could not but look upon these registers of existence, whether of brass or marble, as a kind of satire upon the departed persons; who had left no other memorial of them, but that they were born, and that they died. They put me in mind of several persons mentioned in the battles of heroic poems, who have sounding names given them, for no other reason but that they may be killed, and are celebrated for nothing but being knocked on the head.
The life of these men is finely described in holy writ, by the path of an arrow, which is immediately closed up and lost.
Upon my going into the church, I entertained myself with the digging of a grave; and saw in every shovel-full of it that was thrown up, the fragment of a bone or skull intermixed with a kind of fresh-mouldering earth, that some time or other had a place in the composition of a human body. Upon this, I began to consider with myself what innumerable multitudes of people lay confused together under the pavement of that ancient cathedral; how men and women, friends and enemies, priests and soldiers, monks and prebendaries, were crumbled among one another, and blended together in the same common mass; how beauty, strength, and youth, with old age, weakness, and deformity, lay undistinguished in the same promiscuous heap of matter.
After having thus surveyed this great magazine of mortality, as it were, in the lump, I examined it more particularly by the accounts which I found on several of the monuments. Some of them were covered with such extravagant epitaphs, that, if it were possible for the dead person to be acquainted with them, he would blush at the praises which his friends have bestowed upon him. There are others so excessively modest, that they deliver the character of the person departed in Greek or Hebrew, and by that means are not understood once in a twelvemonth. In the poetical quarter, I found there were poets who had no monuments, and monuments which had no poets. I observed, indeed, that the present war had filled the church with many of those uninhabited monuments, which had been erected to the memory of persons whose bodies were perhaps buried in the plains of Blenheim, or in the bosom of the ocean.
I could not but be very much delighted with several modern epitaphs, which are written with great elegance of expression and justness of thought, and therefore do honour to the living as well as to the dead. As a foreigner is very apt to conceive an idea of the ignorance or politeness of a nation from the turn of their public monuments and inscriptions, they should be submitted to the perusal of men of learning and genius, before they are put in execution. Sir Cloudesley Shovel’s monument has very often given me great offence. Instead of the brave rough English admiral, which was the distinguishing character of that plain, gallant man, he is represented on his tomb by the figure of a beau, dressed in a long periwig, and reposing himself upon velvet cushions under a canopy of state. The inscription is answerable to the monument; for, instead of celebrating the many remarkable actions he had performed in the service of his country, it acquaints us only with the manner of his death, in which it was impossible for him to reap any honour. The Dutch, whom we are apt to despise for want of genius, show an infinitely greater taste of antiquity and politeness in their buildings and works of this nature, than what we meet with in those of our own country. The monuments of their admirals, which have been erected at the public expense, represent them like themselves, and are adorned with rostral crowns and naval ornaments, with beautiful festoons of seaweed, shells, and coral.
But to return to our subject. I have left the repository of our English kings for the contemplation of another day, when I shall find my mind disposed for so serious an amusement. I know that entertainments of this nature are apt to raise dark and dismal thoughts in timorous minds and gloomy imaginations: but, for my own part, though I am always serious, I do not know what it is to be melancholy; and can, therefore, take a view of nature in her deep and solemn scenes, with the same pleasure as in her most gay and delightful ones. By this means, I can improve myself with those objects which others consider with terror. When I look upon the tombs of the great, every emotion of envy dies in me; when I read the epitaphs of the beautiful, every inordinate desire goes out; when I meet with the grief of parents upon a tombstone, my heart melts with compassion; when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow. When I see kings lying by those who deposed them, when I consider rival wits placed side by side, or the holy men that divided the world with their contests and disputes, I reflect with sorrow and astonishment on the little competitions, factions, and debates of mankind. When I read the several dates of the tombs, of some that died yesterday, and some six hundred years ago, I consider that great day when we shall all of us be contemporaries, and make our appearance together.
Meditations in Westminster Abbey Analysis
“When I am in a serious humour, I very often walk by myself in Westminster Abbey;”
Addison explains that when he feels thoughtful or reflective, he often visits Westminster Abbey. The Abbey, being a place of burial and worship, naturally invites serious contemplation.
“where the gloominess of the place, and the use to which it is applied, with the solemnity of the building, and the condition of the people who lie in it, are apt to fill the mind with a kind of melancholy, or rather thoughtfulness, that is not disagreeable.”
The atmosphere in the Abbey—its dark, somber architecture, and the fact that it houses the dead—evokes a sense of melancholy in him. However, this melancholy is not depressing but rather leads to deep reflection that Addison finds pleasant.
“I yesterday passed a whole afternoon in the churchyard, the cloisters, and the church, amusing myself with the tombstones and inscriptions that I met with in those several regions of the dead.”
Addison shares that he spent an afternoon exploring the churchyard, cloisters, and church. He entertained himself by reading the tombstones and inscriptions, which are markers of those who have passed away.
“Most of them recorded nothing else of the buried person, but that he was born upon one day and died upon another: the whole history of his life being comprehended in those two circumstances, that are common to all mankind.”
He notices that most tombstones simply record two facts: the birth and death dates of the person buried. Addison reflects on how entire lives are reduced to just these two common details, which apply to everyone.
“I could not but look upon these registers of existence, whether of brass or marble, as a kind of satire upon the departed persons; who had left no other memorial of them, but that they were born, and that they died.”
Addison views these simple inscriptions as a form of satire or irony, as they reflect how little is remembered of these individuals. Despite their whole lives, they are only remembered for having been born and died, leaving no lasting legacy.
“They put me in mind of several persons mentioned in the battles of heroic poems, who have sounding names given them, for no other reason but that they may be killed, and are celebrated for nothing but being knocked on the head.”
He compares these tomb inscriptions to characters in epic poems, who are often only given grand names so they can be killed in battle. Their significance in the story is limited to their deaths, just as the tombs only commemorate the end of a person’s life.
“The life of these men is finely described in holy writ, by the path of an arrow, which is immediately closed up and lost.”
Addison refers to a Biblical description of life as being like the path of an arrow. The arrow leaves no lasting trace after passing through the air, just as life leaves little behind after death.
“Upon my going into the church, I entertained myself with the digging of a grave;”
Entering the Abbey, Addison witnesses the digging of a new grave. He finds himself watching this solemn task.
“and saw in every shovel-full of it that was thrown up, the fragment of a bone or skull intermixed with a kind of fresh-mouldering earth, that some time or other had a place in the composition of a human body.”
As the grave is being dug, bits of bones and skulls are mixed with the earth. These remains were once part of a living human body, highlighting how bodies decompose over time and mix with the soil.
“Upon this, I began to consider with myself what innumerable multitudes of people lay confused together under the pavement of that ancient cathedral;”
Addison starts to think about the countless numbers of people buried beneath the floor of Westminster Abbey. These are people from all walks of life, but in death, they are all blended together.
“how men and women, friends and enemies, priests and soldiers, monks and prebendaries, were crumbled among one another, and blended together in the same common mass;”
He reflects on how, in death, there is no distinction between people. Men and women, friends and foes, clergy and soldiers—all are mixed together in the same earth. This highlights the ultimate equality of death, where societal divisions no longer matter.
“how beauty, strength, and youth, with old age, weakness, and deformity, lay undistinguished in the same promiscuous heap of matter.”
Beauty, strength, and youth, once valued in life, lie indistinguishable from old age, weakness, and deformity in death. Everything that once defined a person is now gone, and all are reduced to the same state.
“After having thus surveyed this great magazine of mortality, as it were, in the lump, I examined it more particularly by the accounts which I found on several of the monuments.”
After thinking about death in general terms, Addison shifts his attention to specific monuments and epitaphs, examining them in more detail.
“Some of them were covered with such extravagant epitaphs, that, if it were possible for the dead person to be acquainted with them, he would blush at the praises which his friends have bestowed upon him.”
He notices that some epitaphs are overly grand, and if the deceased were alive, they might feel embarrassed by the exaggerated praise given by their loved ones.
“There are others so excessively modest, that they deliver the character of the person departed in Greek or Hebrew, and by that means are not understood once in a twelvemonth.”
Other epitaphs are so modest that they are written in Greek or Hebrew, languages few people understand. As a result, their meaning remains unknown most of the time.
“In the poetical quarter, I found there were poets who had no monuments, and monuments which had no poets.”
In the section dedicated to poets, Addison observes an irony: some great poets have no monuments, while some monuments commemorate people who aren’t remembered for their poetry.
“I observed, indeed, that the present war had filled the church with many of those uninhabited monuments, which had been erected to the memory of persons whose bodies were perhaps buried in the plains of Blenheim, or in the bosom of the ocean.”
Addison notes that the recent war has led to many empty monuments in the Abbey. These monuments commemorate people who died in battle far from home, like in Blenheim or at sea, whose bodies were never recovered.
“I could not but be very much delighted with several modern epitaphs, which are written with great elegance of expression and justness of thought, and therefore do honour to the living as well as to the dead.”
Addison appreciates many of the modern epitaphs, praising their elegance and thoughtfulness. These epitaphs not only honor the deceased but also reflect well on those who wrote them.
“As a foreigner is very apt to conceive an idea of the ignorance or politeness of a nation from the turn of their public monuments and inscriptions, they should be submitted to the perusal of men of learning and genius, before they are put in execution.”
Addison points out that foreigners often judge the intelligence or refinement of a nation based on its monuments and inscriptions. Therefore, he argues that such monuments should be carefully reviewed by learned and talented people before being finalized.
“Sir Cloudesley Shovel’s monument has very often given me great offence.”
Addison expresses particular dissatisfaction with the monument of Sir Cloudesley Shovel, an English admiral. He finds the monument inappropriate and offensive.
“Instead of the brave rough English admiral, which was the distinguishing character of that plain, gallant man, he is represented on his tomb by the figure of a beau, dressed in a long periwig, and reposing himself upon velvet cushions under a canopy of state.”
The monument, instead of reflecting Shovel’s rough and brave nature as a military man, portrays him as a fashionable gentleman, lounging on velvet cushions under an elegant canopy. Addison sees this as a misrepresentation of Shovel’s true character.
“The inscription is answerable to the monument; for, instead of celebrating the many remarkable actions he had performed in the service of his country, it acquaints us only with the manner of his death, in which it was impossible for him to reap any honour.”
Similarly, the inscription on the monument focuses on Shovel’s manner of death, which was not particularly honorable, instead of highlighting his many accomplishments in service to his country.
“The Dutch, whom we are apt to despise for want of genius, show an infinitely greater taste of antiquity and politeness in their buildings and works of this nature, than what we meet with in those of our own country.”
Addison contrasts the English monuments with those in Holland, noting that the Dutch, despite being viewed as lacking creativity, actually show more taste and refinement in their public monuments.
“The monuments of their admirals, which have been erected at the public expense, represent them like themselves, and are adorned with rostral crowns and naval ornaments, with beautiful festoons of seaweed, shells, and coral.”
He praises the Dutch monuments of their admirals, which are decorated with appropriate naval symbols like seaweed, shells, and rostral crowns, representing their naval careers accurately and tastefully.
“But to return to our subject. I have left the repository of our English kings for the contemplation of another day, when I shall find my mind disposed for so serious an amusement.”
Addison notes that he has not yet explored the section of Westminster Abbey where English kings are buried, saving that for another visit when he feels in the right mood for such a solemn reflection.
“I know that entertainments of this nature are apt to raise dark and dismal thoughts in timorous minds and gloomy imaginations: but, for my own part, though I am always serious, I do not know what it is to be melancholy;”
Addison acknowledges that such meditations on death might be unsettling for some people, especially those prone to fear or depression. However, he insists that while he is serious, he does not experience sadness or melancholy from such reflections.
“and can, therefore, take a view of nature in her deep and solemn scenes, with the same pleasure as in her most gay and delightful ones.”
He explains that he can appreciate both the solemn and joyous aspects of life, finding value in each. This allows him to contemplate death without fear or sorrow.
“By this means, I can improve myself with those objects which others consider with terror.”
Addison suggests that, by looking at death without fear, he is able to grow and learn from these reflections, which others might find terrifying.
“When I look upon the tombs of the great, every emotion of envy dies in me;”
When he sees the tombs of great and powerful people, any feelings of envy he might have had vanish. Death equalizes everyone, making power and status meaningless.
“when I read the epitaphs of the beautiful, every inordinate desire goes out;”
Similarly, when he reads the epitaphs of beautiful people, any excessive desires or longing for beauty disappear, as beauty, too, fades with death.
“when I meet with the grief of parents upon a tombstone, my heart melts with compassion;”
When he comes across inscriptions reflecting the grief of parents for their lost children, he feels deep compassion and sympathy for their suffering.
“when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow.”
When he sees the tombs of parents, Addison reflects on the futility of mourning too deeply, since all people will eventually follow the same path into death.
“When I see kings lying by those who deposed them, when I consider rival wits placed side by side, or the holy men that divided the world with their contests and disputes, I reflect with sorrow and astonishment on the little competitions, factions, and debates of mankind.”
Addison reflects on the irony of seeing kings buried alongside the people who overthrew them, or intellectual rivals lying side by side. Even religious figures, who once caused divisions, are now united in death. He is struck by the insignificance of human competition, conflict, and pride when viewed from the perspective of mortality.
“When I read the several dates of the tombs, of some that died yesterday, and some six hundred years ago, I consider that great day when we shall all of us be contemporaries, and make our appearance together.”
When Addison sees the various dates on the tombs, some from recent times and some from centuries ago, he contemplates the idea of a “great day” (likely a reference to Judgment Day) when all people, regardless of when they lived, will stand together as equals in death.
Meditations in Westminster Abbey Summary
Joseph Addison’s essay “Meditations in Westminster Abbey” was first published in the periodical “The Spectator,” which he co-founded with Richard Steele. The Spectator was a daily publication that ran from March 1, 1711, to December 20, 1712. It was known for its essays on contemporary manners, morals, and social issues, and became a significant platform for Addison’s writings. The essay was published in “The Spectator” on September 27, 1712.
In this reflective essay, Joseph Addison shares his meditations during a solitary walk-through Westminster Abbey, focusing on the theme of mortality.
Setting and Initial Thoughts: Joseph Addison describes his visit to Westminster Abbey, a place he goes to when he’s feeling serious. The dark and solemn atmosphere of the Abbey makes him think deeply about life and death, and he finds this thoughtfulness to be both interesting and not unpleasant.
Observations on Tombstones and Inscriptions: As he walks around, Addison looks at the tombstones and inscriptions in the churchyard, cloisters, and church. He notices that many of the inscriptions only mention the dates of birth and death, which makes him think these records are a bit like a joke, reducing a person’s whole life to just those two dates. He compares this to characters in epic poems who have grand names but are only remembered for their deaths.
Contemplation of Mortality: Addison reflects on the large number of people buried in the Abbey, all mixed together regardless of their status or achievements. He observes that people of all kinds—rich and poor, soldiers and priests—are now all mixed up in death, highlighting how death levels everyone out.
Analysis of Epitaphs: He looks at various epitaphs and finds some of them overly grand, which might embarrass the deceased if they could see it. Others are very modest, written in languages like Greek or Hebrew, so only a few people can understand them. Addison also notes that some poets don’t have monuments, while others do, but their works aren’t well-known.
Critique of Modern Monuments: Addison criticizes some modern monuments, especially the one for Sir Cloudesley Shovel. He thinks the monument doesn’t properly represent Shovel’s true character as a brave admiral but instead shows him as a fashionable figure. He contrasts this with Dutch monuments, which he thinks are better because they reflect the true nature of the people they commemorate.
Personal Reflection and Conclusion: Addison ends by saying that while these reflections might seem gloomy, he finds them helpful and enlightening. He doesn’t feel sad but rather thoughtful, using these reflections to overcome feelings like envy and grief. He looks forward to visiting the tombs of English kings another time and reflects on the idea that one day, everyone will be together in death, making for a great day of reckoning.
Meditations in Westminster Abbey Key Points
Author
Joseph Addison (1672–1719) was a prominent English essayist, poet, playwright, and politician. He is best known for his contributions to The Spectator, a daily publication he co-founded with Richard Steele. His writings in The Spectator are famous for their wit, elegance, and moral insights. Addison’s essays often delve into topics of society, politics, and human nature, as seen in “Meditations in Westminster Abbey.”
Introduction
“Meditations in Westminster Abbey” is an essay that reflects Addison’s thoughts on death, legacy, and the fleeting nature of life. Set in Westminster Abbey, a historic burial site for many notable figures in British history, the essay takes the reader on a reflective journey. Addison contemplates the lives of those buried there, drawing lessons on mortality and human vanity. Through his observations of tombstones, epitaphs, and monuments, Addison presents a powerful meditation on death’s ability to equalize all people, regardless of status or achievement.
Structure
The essay is structured as a personal reflection, beginning with Addison describing his frequent walks through Westminster Abbey, particularly when he is in a serious mood. It follows a chronological path, moving from Addison’s external observations of the Abbey’s tombstones and monuments to deeper internal reflections on life, death, and human nature. Addison then offers examples of specific monuments, epitaphs, and how they reflect societal values. The essay concludes with a broad, philosophical contemplation of mortality and equality in death.
Setting
The essay is set in Westminster Abbey, one of London’s most famous churches, known for being the burial place of British monarchs, poets, soldiers, and other prominent figures. Addison’s walk through the Abbey provides a serene yet somber backdrop to his reflections. The church’s architecture, history, and the presence of countless graves create an atmosphere of contemplation. The Abbey serves as a symbol of both the grandeur and the inevitable mortality that even the most famous individuals face.
Theme
Mortality and the Equality of Death: Addison explores how death unites everyone, from kings to commoners. In death, distinctions such as beauty, power, and achievement become irrelevant.
The Vanity of Human Achievements: The essay reflects on how many people’s lives are reduced to just two dates on a tombstone, with nothing else to remember them by. This serves as a reminder of the futility of worldly accomplishments and the transient nature of life.
Legacy and Memory: Addison critiques the exaggerated praise found on some epitaphs and the silence about real accomplishments in others. He questions how people will be remembered and whether inscriptions are truthful representations of their lives.
Reflection and Contemplation: Throughout the essay, Addison emphasizes the importance of reflection on death and the lessons it teaches about life. He sees value in contemplating solemn subjects to cultivate wisdom and virtue.
Style
Addison’s style in this essay is reflective, elegant, and mildly satirical. He employs a meditative tone as he walks through Westminster Abbey, blending personal experience with philosophical musings. His use of vivid imagery—such as the description of bones and skulls unearthed during grave digging—creates a poignant atmosphere. Addison’s language is refined and formal, typical of 18th-century prose, yet accessible to his readership. His gentle satire is evident in his critique of overly extravagant epitaphs and monuments, which he views as misrepresentations of people’s true characters.
Message
The central message of “Meditations in Westminster Abbey” is that death is the great equalizer. Addison suggests that no matter how important a person was in life, their legacy will likely be reduced to a simple inscription on a tombstone. He urges readers to consider the futility of worldly success and to reflect on more lasting, spiritual values. In his view, contemplating death is not a source of fear or sadness but a way to gain wisdom and humility. The essay ultimately encourages readers to live virtuous, meaningful lives that are not bound by superficial achievements.
Joseph Addison
Joseph Addison (1672–1719) was an influential English essayist, poet, and politician. He is best known for his contributions to English literature and journalism, particularly through his work with the periodical The Spectator, which he co-founded with Richard Steele. Here’s a closer look at his life and contributions:
Early Life and Education
Joseph Addison was born on May 1, 1672, in Milston, Wiltshire, England. He was educated at the Charterhouse School and then went on to study at Oxford University, where he became known for his classical education and literary talent. His academic background laid the foundation for his future literary achievements.
Literary Career
Addison’s literary career took off with his work as an essayist. He is most famous for his contributions to The Spectator, a daily publication started in 1711. The aim of The Spectator was to provide moral and intellectual reflections on contemporary society, culture, and politics. Addison’s essays in the publication were characterized by their clarity, wit, and insightful commentary.
Addison also wrote for The Tatler, another influential periodical, alongside Richard Steele. Together, these publications helped shape public opinion and intellectual life in early 18th-century England.
Major Works
“The Spectator”: Addison’s essays in The Spectator covered a wide range of topics, including manners, morals, and social issues. The work was highly influential and popular, known for its elegant prose and insightful observations.
“Cato”: Addison wrote a tragedy called Cato, which premiered in 1713. The play, set in ancient Rome, deals with themes of liberty and political virtue. It was well-received and had a significant impact on contemporary political thought.
Poetry: Addison also wrote poetry, including works such as “The Campaign,” which celebrated the Duke of Marlborough’s victories in the War of Spanish Succession.
Political Career
In addition to his literary work, Addison had a notable political career. He served as a member of Parliament and held various government positions. His political involvement was marked by his commitment to Whig principles and his support for reform.
Legacy
Joseph Addison is remembered for his significant contributions to English literature and journalism. His essays in The Spectator and The Tatler remain influential, and his writing is celebrated for its elegance, wit, and moral insight. Addison’s work helped to shape the essay genre and public discourse in his time, and he remains a key figure in the study of 18th-century literature. He died on June 17, 1719, but his legacy endures through his impactful writings.
Meditations in Westminster Abbey
Word Meaning
| Tough Word | Meaning in English | Meaning in Hindi |
| Meditations | Deep thoughts or reflections | ध्यान या चिंतन |
| Westminster Abbey | A famous church in London | लंदन का एक प्रसिद्ध चर्च |
| Gloominess | Darkness or sadness | उदासी या अंधकार |
| Solemnity | Seriousness, dignity | गंभीरता, गरिमा |
| Apt | Suitable or appropriate | उपयुक्त |
| Melancholy | A feeling of sadness | विषाद, उदासी |
| Churchyard | The yard surrounding a church, often used for burials | चर्च के चारों ओर का क्षेत्र, कब्रिस्तान |
| Cloisters | Covered walkways in a church or monastery | मठ या चर्च के गलियारे |
| Amusing | Entertaining, causing laughter | मनोरंजक |
| Tombstones | Grave markers, often made of stone | कब्र पर लगाया गया पत्थर |
| Inscriptions | Words engraved or written on a surface | शिलालेख |
| Buried | To be placed in a grave | दफनाया गया |
| Comprehended | Understood or included | समझा गया, शामिल |
| Circumstances | Conditions or facts connected with an event | परिस्थितियाँ |
| Look upon | To consider or regard | मानना, विचार करना |
| Satire | The use of humor, irony, or exaggeration to criticize | व्यंग्य |
| Heroic poems | Epic or grand poems | वीरगाथा कविताएँ |
| Knocked | To hit or strike | मारा गया |
| Holy writ | Sacred text, Bible | पवित्र शास्त्र, बाइबल |
| Grave | A burial place | कब्र |
| Shovel | A tool used for digging | फावड़ा |
| Fresh-mouldering earth | Recently decaying soil | ताज़ी सड़ती हुई मिट्टी |
| Innumerable multitudes | Countless large groups of people | अनगिनत भीड़ |
| Pavement | A hard surface or floor | फर्श या मार्ग |
| Ancient cathedral | Very old, large church | प्राचीन गिरजाघर |
| Prebendaries | Church officials | चर्च के अधिकारी |
| Crumbled | Broken into small pieces | टूट कर बिखर जाना |
| Undistinguished | Not differentiated or recognized separately | अप्रभेद्य |
| Promiscuous heap of matter | A mixed, unorganized mass of things | अनियमित ढेर |
| Lump | A mass or collection | ढेर |
| Extravagant | Excessive or elaborate | अतिशयोक्ति |
| Epitaphs | Words written on a tombstone | समाधिलेख |
| Acquainted | Familiar or aware | परिचित |
| Blush | To become red in the face due to embarrassment | शर्म से लाल हो जाना |
| Bestowed | Given as a gift or honor | प्रदान किया गया |
| Modest | Humble, simple | विनम्र, साधारण |
| Hebrew | A Semitic language | हिब्रू भाषा |
| Poetical quarter | Section related to poets | कवियों से संबंधित हिस्सा |
| Uninhabited monuments | Monuments without bodies buried there | बिना शव के स्मारक |
| Plains of Blenheim | Battlefield of the Battle of Blenheim | ब्लेन्हैम का मैदान |
| Bosom of the ocean | The depths of the ocean | समुद्र का गहराई |
| Delighted | Very pleased or happy | प्रसन्न |
| Elegance | Grace and style | सुंदरता और शैली |
| Justness | Fairness or accuracy | न्यायसंगतता |
| Conceive an idea | Form a mental image | एक विचार बनाना |
| Perusal | The act of reading or examining carefully | सावधानी से पढ़ना |
| Execution | The act of carrying out or performing something | क्रियान्वयन |
| Sir Cloudesley Shovel’s | Name of a British admiral | सर क्लाउडस्ले शॉवेल |
| Offence | Annoyance or resentment | अपमान या नाराजगी |
| English admiral | A naval officer of the British navy | ब्रिटिश नौसेना का अधिकारी |
| Gallant man | Brave and heroic man | बहादुर और वीर पुरुष |
| Beau | A fashionable, elegant man | फैशनेबल पुरुष |
| Periwig | A wig worn during the 17th century | 17वीं सदी का विग |
| Canopy of state | A decorative cover over a throne | शाही छत्र |
| Acquaints | Makes familiar or aware | परिचित कराना |
| Reap | To receive or gain something | प्राप्त करना |
| Despise | To regard with contempt | तिरस्कार करना |
| Antiquity | Ancient times | प्राचीनता |
| Erected | Built or constructed | बनाया गया |
| Public expense | At the cost of the government | सार्वजनिक खर्च |
| Adorned | Decorated or embellished | सजाया गया |
| Rostral crowns | Crowns shaped like the front of a ship | जहाज की नोक के आकार के ताज |
| Naval ornaments | Decorations related to ships or the navy | नौसेना से संबंधित सजावट |
| Festoons | Decorative chains or garlands | माला या सजावटी श्रृंखला |
| Seaweed | Marine plants | समुद्री पौधे |
| Shells | Hard outer covering of marine animals | समुद्री जीवों के खोल |
| Coral | Marine invertebrates’ skeleton | मूंगे की संरचना |
| Repository | A place where things are stored | भंडार |
| English kings | British monarchs | अंग्रेजी राजा |
| Contemplation | Deep thought | चिंतन, मनन |
| Disposed | Inclined or willing | इच्छुक |
| Dismal | Depressing or gloomy | उदास |
| Timorous | Fearful or nervous | भयभीत |
| Gloomy | Dark or depressing | उदास |
| Solemn | Serious or grave | गंभीर |
| Gay | Cheerful or joyful | खुशहाल |
| Envy | Jealousy or resentment | ईर्ष्या |
| Inordinate | Excessive or beyond normal bounds | अत्यधिक |
| Grief | Deep sorrow | गहरा दुख |
| Compassion | Sympathy or concern | सहानुभूति |
| Vanity of grieving | Pointlessness of mourning | शोक की व्यर्थता |
| Deposed | Removed from power | सत्ता से हटा दिया गया |
| Rival wits | Competing intellects | प्रतिद्वंद्वी बुद्धिजीवी |
| Contests and disputes | Arguments or competitions | बहस और झगड़े |
| Astonishment | Great surprise | आश्चर्य |
| Factions | Small conflicting groups | गुट |
| Contemporaries | People living at the same time | समकालीन लोग |
Meditations in Westminster Abbey Questions Answers
Very Short Answer Questions
Q: What is the setting of Addison’s essay?
A: Westminster Abbey.
Q: What does Addison find fills his mind while walking in the Abbey?
A: Melancholy or thoughtfulness.
Q: What do most tombstones in Westminster Abbey record?
A: The dates of birth and death.
Q: How does Addison view these simple inscriptions?
A: As a kind of satire on the departed.
Q: What literary device does Addison compare tombstones to?
A: Registers of existence.
Q: How does Addison describe the life of people mentioned in heroic poems?
A: Celebrated only for being killed.
Q: What does Addison see in every shovel-full of earth while digging?
A: Fragments of bones or skulls.
Q: What does Addison reflect on regarding people buried in the Abbey?
A: Their equality in death regardless of status.
Q: What type of epitaphs does Addison criticize in his essay?
A: Both exaggerated and excessively modest epitaphs.
Q: What does Addison find amusing about the poetical quarter of the Abbey?
A: Poets with no monuments and monuments with no poets.
Q: How does Addison feel about the modern epitaphs he encounters?
A: Delighted by their elegance and thoughtfulness.
Q: What does Addison think about the monuments of Dutch admirals?
A: They show greater taste and politeness.
Q: What has often offended Addison about Sir Cloudesley Shovel’s monument?
A: Its portrayal as a beau rather than a brave admiral.
Q: How does Addison feel about the representation of Sir Cloudesley Shovel on his monument?
A: He feels it misrepresents Shovel’s true character.
Q: What does Addison consider when he sees the tombs of the great?
A: The dissolution of envy.
Q: How does Addison respond to reading epitaphs of the beautiful?
A: He feels that inordinate desires vanish.
Q: What emotion does Addison experience when he sees the grief of parents on a tombstone?
A: Compassion.
Q: What does Addison think about grieving for the deceased?
A: He sees it as vain since we will follow them soon.
Q: What does Addison reflect on when he sees kings buried next to those who deposed them?
A: The futility of worldly competitions and disputes.
Q: How does Addison view the varying dates on tombstones?
A: As a reminder of the future day when all will be contemporaries.
Q: What does Addison hope to examine on another day?
A: The repository of English kings.
Q: How does Addison describe his reaction to deep and solemn scenes in nature?
A: He finds pleasure and improvement in them.
Q: What is Addison’s perspective on melancholy?
A: He does not experience it despite being serious.
Q: How does Addison feel about the combination of beauty, strength, and age in the Abbey?
A: He sees them as undistinguished in death.
Q: What does Addison observe about the mixing of various people in the Abbey?
A: They are all crumbled together in the same mass.
Q: What kind of emotions does Addison feel while walking among the graves?
A: A mix of thoughtfulness and reflection.
Q: What does Addison note about the memorials for people lost in war?
A: They often have monuments without bodies.
Q: What is Addison’s view on the design of monuments in his country versus the Dutch?
A: He finds Dutch monuments to be of better taste and politeness.
Q: What does Addison find interesting about the language used on some epitaphs?
A: They are in Greek or Hebrew and rarely understood.
Q: How does Addison’s perspective on death help him in life?
A: It helps him live with less envy, desire, and grief.
Short Answer Questions
What was the great source of entertainment for Addison when he was in a serious mood?
Addison found walking alone in Westminster Abbey to be a great source of entertainment. He enjoyed reflecting on the tombstones, inscriptions, and the overall solemn atmosphere of the place.
What does the essay Meditations in Westminster Abbey discuss about?
The essay explores themes of mortality, the equality of death, and the nature of human legacy. It reflects on how death brings everyone to the same level, how human achievements are ultimately insignificant, and how people are remembered through inscriptions and monuments.
What are the circumstances that Addison finds common to all mankind?
Addison notes that the common circumstances to all mankind are the dates of birth and death. He observes that these dates are the primary details recorded on tombstones, highlighting the universality of these events.
What did Addison find when he dug the grave?
Addison found fragments of bones or skulls mixed with fresh-mouldering earth. This led him to reflect on the many people buried together and the blending of various lives and statuses in death.
Why does the writer criticize the modern epitaphs?
Addison criticizes modern epitaphs for being either excessively grand or too modest. He feels that some are exaggerated to the point of embarrassment for the deceased, while others are so obscure that they fail to properly convey the person’s character.
What is the common idea that the essayist wants to convey?
The common idea conveyed is that death equalizes everyone and renders worldly achievements insignificant. Addison encourages reflection on mortality to gain perspective on life and to understand the futility of human pride and competition.
Write a note on Addison’s views about the inscriptions on the tombstones in the Westminster Abbey.
Addison views the inscriptions on tombstones in Westminster Abbey as often simplistic and lacking depth. He finds that many tombstones only record the dates of birth and death, which he sees as a minimal and somewhat satirical representation of a person’s life. Addison is critical of both overly grand and excessively modest epitaphs, noting that they often fail to capture the true essence of the deceased.
“The life of these men is finely described in the Holy writ by the path of an arrow which is immediately closed up and lost.” Explain.
This metaphor compares the brevity of human life to the flight of an arrow, which is swift and soon forgotten. Addison uses this imagery to emphasize how quickly lives are lived and how they are eventually closed off and lost, underscoring the transient nature of human existence.
Describe the thoughts that come to Addison’s mind when he visits the Westminster Abbey.
When visiting Westminster Abbey, Addison reflects on the equality of death, as everyone, regardless of their status, ends up as a part of the same mass of matter. He thinks about the blending of various lives and the often-inadequate memorials. His contemplation leads him to consider the futility of human pride and competition, finding solace and perspective in the reflections on mortality.
What is a Satire?
A satire is a literary work that uses humor, irony, or exaggeration to criticize and expose flaws or shortcomings in individuals, institutions, or society. The goal of satire is often to provoke thought, promote change, or entertain while pointing out the flaws in its subject.
How does Addison describe the impact of the environment of Westminster Abbey on his thoughts?
Addison describes the environment of Westminster Abbey as solemn and gloomy, which contributes to a kind of thoughtful melancholy. This atmosphere prompts him to reflect deeply on life, death, and the nature of human achievements, finding the setting conducive to serious contemplation.
What does Addison observe about the way people are remembered in Westminster Abbey?
Addison observes that many tombstones simply record the dates of birth and death, providing minimal information about the deceased. He finds this sparse record to be a form of satire, as it underscores the limited impact of individual lives beyond these basic facts.
What is Addison’s view on the difference between modern and historical epitaphs?
Addison notes that modern epitaphs are sometimes excessively grand or modest. He criticizes modern epitaphs for either being overly flattering to the point of embarrassment or so obscure that they fail to convey the deceased’s true character. In contrast, he appreciates more elegant and thoughtful historical epitaphs.
How does Addison use the metaphor of an arrow to describe human life?
Addison uses the metaphor of an arrow to illustrate the fleeting nature of human life. Just as an arrow quickly flies and is soon lost, human lives are short and swiftly forgotten. This metaphor highlights the transient nature of human existence and the inevitability of being lost to memory.
What are Addison’s reflections on the blending of different people in death?
Addison reflects on how death brings together people of various statuses, such as friends, enemies, priests, and soldiers, into a single indistinguishable mass. He observes that beauty, strength, and youth are mixed with old age, weakness, and deformity, emphasizing the equality imposed by death.
How does Addison feel about the inscriptions that are written in Greek or Hebrew?
Addison finds inscriptions in Greek or Hebrew to be excessively modest, as they are not easily understood by most people. He feels that such inscriptions do not effectively communicate the character or accomplishments of the deceased to the general public.
What is Addison’s critique of Sir Cloudesley Shovel’s monument?
Addison criticizes Sir Cloudesley Shovel’s monument for its portrayal of the admiral as a fashionable beau rather than a brave and rough seaman. He feels that the monument misrepresents Shovel’s true character and highlights the flaws in how monuments can fail to honor individuals appropriately.
How does Addison describe his reaction to the modern war memorials in the Abbey?
Addison observes that many modern war memorials are filled with monuments dedicated to individuals whose bodies are not actually buried in the Abbey. These uninhabited monuments serve as a reminder of the disconnect between memorials and the actual resting places of the deceased.
What does Addison think about the role of epitaphs in reflecting national character?
Addison believes that epitaphs and monuments can reflect a nation’s character and sensibilities. He argues that well-crafted epitaphs, reviewed by people of learning and taste, can honor both the living and the dead, whereas poorly done monuments may suggest ignorance or lack of refinement.
How does Addison find pleasure in contemplating the tombs and epitaphs despite their somber nature?
Addison finds pleasure in contemplating tombs and epitaphs because they offer him a chance to reflect on the fundamental truths of human existence and mortality. He views these reflections as a way to gain perspective on life’s fleeting nature, diminish personal envy and desire, and appreciate the equality brought by death.
Essay Type Questions
Write the critical appreciation of “Meditations in Westminster Abbey” .
Joseph Addison’s essay “Meditations in Westminster Abbey” is a profound reflection on mortality, human legacy, and the nature of remembrance. Written in a contemplative and thoughtful style, the essay captures the essence of Addison’s philosophical musings as he walks through the solemn and historic surroundings of Westminster Abbey.
Setting and Atmosphere:
Setting: The essay is set in Westminster Abbey, a place rich with historical and spiritual significance. This setting is crucial for Addison’s reflections on mortality.
Atmosphere: The solemn and gloomy atmosphere of the Abbey enhances the contemplative mood of the essay. Addison uses the setting to frame his meditations on life and death, providing a tangible backdrop for his philosophical thoughts.
Theme of Mortality:
Observation of Tombstones: Addison reflects on the simplicity of many tombstone inscriptions, which only record birth and death dates. This minimalism underscores the ultimate equality imposed by death, regardless of one’s achievements or status in life.
Human Legacy: The essay highlights how human lives are often reduced to these basic facts, suggesting that our earthly accomplishments may be ultimately insignificant compared to the inevitability of death.
Critique of Epitaphs:
Modern vs. Historical Epitaphs: Addison critiques the modern practice of inscribing extravagant or excessively modest epitaphs. He contrasts these with historical epitaphs that he finds more meaningful and reflective.
Example of Sir Cloudesley Shovel’s Monument: Addison criticizes this monument for misrepresenting Shovel’s true character. He believes that the monument’s depiction of Shovel as a fashionable figure, rather than as a brave admiral, fails to honor his genuine achievements and personality.
Use of Metaphor:
Arrow Metaphor: Addison employs the metaphor of an arrow to describe the fleeting nature of human life. This comparison effectively conveys the idea that human lives, like arrows, are swift and soon forgotten, emphasizing the transient nature of existence.
Philosophical Reflection:
Contemplation of Death: Addison approaches the subject of mortality with a sense of calm and philosophical acceptance. He finds pleasure in contemplating the tombs and inscriptions, seeing them as opportunities for deeper understanding rather than sources of despair.
Emotional Impact: His reflections lead him to insights about envy, desire, and compassion. He uses the contemplation of graves and epitaphs to address and resolve personal emotions and desires, reflecting his profound grasp of human nature.
Insight into Memorial Practices:
Representation of Individuals: Addison discusses how monuments and inscriptions can misrepresent individuals. He argues that well-crafted memorials should honor the true character of the deceased, rather than adhering to superficial or misleading depictions.
Cultural Reflection: He notes that the quality of monuments and inscriptions reflects a nation’s cultural values and tastes, suggesting that they should be thoughtfully designed to accurately represent the deceased and honor their memory.
Overall Style and Tone:
Reflective and Thoughtful: The essay is written in a reflective and thoughtful style, appropriate for its contemplative subject matter. Addison’s tone is calm and measured, which enhances the depth of his philosophical observations.
Eloquence: Addison’s prose is eloquent and expressive, contributing to the essay’s ability to engage readers and convey complex ideas in an accessible manner.
Contributions to Essay Writing:
Essay Form: Addison’s essay exemplifies the essay form, blending personal reflection with broader philosophical insights. His ability to weave personal observations with general truths about human existence showcases his skill as an essayist.
Intellectual Engagement: The essay engages with profound themes, including the nature of life, death, and human remembrance, demonstrating Addison’s intellectual depth and his ability to provoke thoughtful consideration in his readers.
Overall, “Meditations in Westminster Abbey” is a thoughtful and eloquent essay that uses a reflective setting to explore deep themes about mortality, human legacy, and the nature of remembrance. Addison’s critique of memorial practices, use of metaphor, and philosophical reflections all contribute to a work that is both intellectually stimulating and emotionally resonant.
Write long note on Joseph Addison as Essayist.
Joseph Addison (1672-1719) is celebrated as one of the most influential essayists in English literature, renowned for his contributions to the development of the modern essay. His essays, often characterized by their clarity, wit, and moral insight, played a crucial role in shaping the genre and setting high standards for subsequent essayists.
Early Life and Career: Joseph Addison was born in Milston, Wiltshire, England, and educated at Oxford University. His early career was marked by a strong academic background, which laid the foundation for his later literary achievements. Addison’s initial forays into literature included poetry, but it was his work as an essayist that truly defined his career and left a lasting impact on English literature.
Influence of Periodicals: Addison, along with his close friend and collaborator Richard Steele, is best known for his work on the periodicals “The Tatler” and “The Spectator.” These periodicals were crucial in popularizing the essay as a literary form and are considered landmark achievements in the history of English literature. The two periodicals were instrumental in providing a platform for Addison’s essays, which combined wit, moral reflection, and social commentary.
Style and Characteristics: Addison’s essays are notable for their elegant and accessible prose. His style is characterized by a blend of classical clarity and conversational ease, which makes his observations on life and society both engaging and thought-provoking. Addison’s essays often feature a blend of humor and seriousness, reflecting his ability to tackle weighty topics with a light touch. His writing is marked by its clarity, balance, and moral earnestness, aiming to entertain as well as to instruct.
Themes and Content: Addison’s essays cover a wide range of themes, including manners, morals, and social behavior. He frequently addressed contemporary issues, offering insights into the social and cultural milieu of his time. His essays often explore the nature of human behavior, the importance of virtue, and the role of manners in social interactions. Addison’s approach is both reflective and didactic, aiming to improve the moral and intellectual life of his readers.
Notable Essays: One of Addison’s most famous essays is “Meditations in Westminster Abbey,” which exemplifies his contemplative style and philosophical depth. In this essay, Addison reflects on mortality and the nature of human remembrance while walking through Westminster Abbey. The essay is a testament to Addison’s ability to blend personal reflection with broader philosophical themes, showcasing his skill as an essayist.
Impact and Legacy: Addison’s contributions to the essay form were transformative. His work helped to establish the essay as a key genre in English literature, characterized by its focus on personal reflection and social commentary. The clarity and moral insight of his essays set a high standard for future writers and ensured that his work continued to influence English literature long after his death.
Addison’s essays were not only popular in his own time but also continued to be appreciated by subsequent generations of readers and writers. His ability to combine literary elegance with moral and social insight has cemented his reputation as a master essayist. His work remains a significant part of the literary canon, studied for its contributions to the development of the English essay and its enduring insights into human nature and society.
In conclusion, Joseph Addison’s achievements as an essayist are characterized by his elegant prose, moral depth, and social insight. His work on “The Tatler” and “The Spectator,” along with his individual essays, has had a profound and lasting impact on English literature. Addison’s essays continue to be valued for their clarity, wit, and reflection on human nature, securing his place as a key figure in the history of the English essay.
