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See also: English poet and See also: miscellaneous writer, was See also: born at See also: Marlborough, See also: Wiltshire, on the 29th of See also: January 1677
.
His See also: father was a clerk in a city office, and his
grandfather was ejected from the living of Marlborough in 1662 for his See also: Nonconformist opinions
.
See also: Hughes was educated at a dissenting See also: academy in See also: London, where Isaac See also: Watts was among his See also: fellow scholars
.
He became a clerk in the Ordnance Office, and served on several commissions for the See also: purchase of See also: land for the royal See also: dockyards
.
In 1717 See also: Lord Chancellor Cowper made him secretary to the commissions of the See also: peace in the See also: court of See also: chancery
.
He died on the See also: night of the production of his most celebrated See also: work, The Siege of See also: Damascus, the 17th of See also: February 1720
.
His poems include occasional pieces in honour of See also: William III., imitations of Horace, and a
See also: translation of the tenth See also: book of the Pharsalia of See also: Lucan
.
He was an See also: amateur of the See also: violin, and played in the concerts of See also: Thomas
See also: Britton, the " musical small-See also: coal See also: man." He wrote some of the libretti of the cantatas (2 vols., 1712) set to See also: music by Dr See also: John Christopher Pepusch
.
To these he prefixed an essay advocating the claims of English libretti, and insisting on the value of recitative
.
Others of his pieces were set to music by Ernest Galliard and by
See also: Handel
.
In the masque of See also: Apollo and See also: Daphne (1716) he was associated with Pepusch, and in his See also: opera of See also: Calypso and See also: Telemachus (1712) with John E
.
Galliard
.
He was a contributor to the Taller, the Spectator and the See also: Guardian, and he collaborated with See also: Sir See also: Richard Blackmore in a series of essays entitled The See also: Lay Monastery (1713-1714)
.
He persuaded See also: Joseph See also: Addison to stage See also: Cato
.
Addison had requested Hughes to write the last See also: act, but eventually completed the See also: play himself
.
He wrote a version of the Letters of See also: Abelard and Heloise
.
.
.
(1714) chiefly from the French translation printed at the Hague in 1693, which went through several See also: editions, and is notable as the basis of See also: Pope's " Eloisa to Abelard " (1717)
.
He also made See also: translations from Nloliere, Fontenelle and the See also: Abbe Vertot, and in 1715 edited The See also: Works of Edmund Spenser
.
.
.
(another edition, 1750)
.
His last work, the tragedy of The Siege of Damascus, is his best
.
It remained on the See also: list of acting plays for a long See also: time, and is to be found in various collected editions of See also: British drama
.
His Poems on Several Occasions, with some Select Essays in See also: Prose
were edited with a memoir in 1735, by William Duncombe, who had married his See also: sister See also: Elizabeth
.
See also Letters by several eminent persons (2 vols., 1772) and The See also: Correspondence of John Hughes, Esq
.
. and Several of his See also: Friends
.
(2 vols., 1773), with some additional poems
.
There is a lohg and eulogistic account of Hughes, with some letters, in the Biographia Britannica
.
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