of thought, in which the fertility of fancy scatters flowers of every hue and of every odour. This is one of the few poems in which blank verse could not be changed for rhyme but with disadvantage. The wild diffusion of the sentiments, and the digressive sallies of imagination, would have been compressed and restrained by confinement to rhyme. The excellence of this work is not exactness but copiousness; particular lines are not to be regarded; the power is in the whole, and in the whole there is a magnificence like that ascribed to Chinese plantation, the magnificence of vast extent and endless diversity.

His last poem was the "Resignation;" in which he made, as he was accustomed, an experiment of a new mode of writing, and succeeded better than in his "Ocean" or his "Merchant." It was very falsely represented as a proof of decaying faculties. There is Young in every stanza, such as he often was in his highest vigour.

His tragedies not making part of the Collection, I had forgotten, till Mr. Steevens recalled them to my thoughts by remarking, that he seemed to have one favourite catastrophe, as his three Plays all concluded with lavish suicide; a method by which, as Dryden remarked, a poet easily rids his scene of persons whom he wants not to keep alive. In "Busiris" there are the greatest ebullitions of imagination; but the pride of Busiris is such as no other man can have, and the whole is too remote from known life to raise either grief, terror, or indignation. The "Revenge" approaches much nearer to human practices and manners, and therefore keeps possession of the stage: the first design seems suggested by "Othello;" but the reflections, the incidents, and the diction, are original. The moral observations are so introduced, and so expressed, as to have all the novelty that can be required. Of "The Brothers" Inay be allowed to say nothing since nothing was ever said of it by the publick.

It must be allowed of Young's poetry, that it abounds in thought, but without much accuracy or selection. When he lays hold of an illustration, he pursues it beyond expectation, sometimes happily, as in his parallel of Quicksilver with Pleasure, which I have heard repeated with approbation by a Lady, of whose praise he would have been justly proud, and which is very ingenious, very subtle, and almost exact; but sometimes he is less lucky, as, when in his "Night Thoughts," having it dropped into his mind, that the orbs, floating in space, might be called the cluster of creation, he thinks on a cluster of grapes, and says, that they all hang on the great vine, drinking "the nectareous juice of immortal life."

His conceits are sometimes yet less valuable. In the "Last Day," he hopes to illustrate the re-assembly of the atoms that compose the human body at the "Trump of Doom," by the collection of bees into a swarm at the tinkling of a pan.

The

The Prophet says of Tyre, that "her Merchants are Princes.' Young says of Tyre in his Merchant,"

Her merchants Princes, and each deck a Throne.

Let burlesque try to go beyond him.

He has the trick of joining the turgid and familiar: to buy the alliance of Britain," climes were paid down." Antithesis is his favourite. " They for kindness hate;" and "because she's right, she's ever in the wrong."

His versification is his own, neither his blank nor his rhyming lines have any resemblance to those of former writers; he picks up no hemistichs, he copies no favourite expressions; he seems to have laid up no stores of thought or diction, but to owe all to the fortuitous suggestions of the present moment. Yet I have reason to believe that, when once he had formed a new design, he then laboured it with very patient industry, and that he composed with great labour, and frequent revisions.

His verses are formed by no certain model; for he is no more like himself

in his different productions than he is like others. He seems never to have studied prosody, nor to have had any direction but from his own ear. But with all his defects, he was a man of genius and a poet,

MALLE T.

Ο

F DAVID MALLET, having no written memorial, I am able to give no other account than such as is supplied by the unauthorised loquacity of common fame, and a very slight personal knowledge.

He was by his original one of the Macgregors, a clan, that became, about sixty years ago, under the conduct of Robin Roy, so formidable and so infamous for violence and robbery, that the name was annulled by a legal abolition; and when they were all to denominate themselves anew, the father, I suppose, of this author, called himself Malloch.

David Malloch was, by the penury of his parents, compelled to be Janitor of the High School at Edinburgh; a mean office, of which he did not afterwards delight to hear. But he surmounted the disadvantages of his birth and fortune; for when the Duke of Montrose applied to the College of Edinburgh for a tutor to educate his sons, Malloch was recommended; and I never heard that he dishonoured his credentials.

When his pupils were sent to see the world, they were entrusted to his care; and having conducted them round the common circle of modish travels, he returned with them to London, where, by the influence of the family in which he resided, he naturally gained admission to many persons of the highest rank, and the highest character, to wits, nobles, and statesmen.

Of his works, I know not whether I can trace the series. His first production was "William and Margaret*;" of which, though it contains nothing very striking or difficult, he has been envied the reputation; and plagiarism has been boldly charged, but never proved.

Not

• Mallet's "William and Margaret" was printed in Aaron Hill's "Plain Dealer,” No. 36. July 24, 1724. In its original state it was very different from what it is in the last edition of his works. Dr. J.

Not long afterwards he published the "Excursion" (1728); a desultory and capricious view of such scenes of Nature as his fancy led him, or his knowledge, enabled him, to describe. It is not devoid of poetical spirit. Many of the images are striking, and many of the paragraphs are elegant. The cast of diction seems to be copied from Thomson, whose "Seasons" were then in their full blossom of reputation. He has Thomson's beauties' and his faults.

- His poem on ❝ Verbal Criticism" (1733) was written to pay court to Pope, on a subject which he either did not understand or willingly misrepresented; and is little more than an improvement, or rather expansion, of a fragment which Pope printed in a Miscellany long before he engrafted it into a regular poem. There is in this piece more pertness than wit, and more. confidence than knowledge. The versification is tolerable, nor can criticism allow it a higher praise.

His first tragedy was "Eurydice," acted at Drury Lane in 1731; of which I know not the reception nor the merit, but have heard it mentioned as a mean performance. He was not then too high to accept a Prologue and Epilogue from Aaron Hill, neither of which can be much commended.

Having cleared his tongue from his native pronunciation so as to be no longer distinguished as a Scot, he seems inclined to disencumber himself from all adherences of his original, and took upon him to change his name from Scotch Malloch to English Mallet, without any imaginable reason of preference which the eye or ear can discover. What other proofs he gave of disrespect to his native country, I know not; but it was remarked of him, that he was the only Scot whom Scotchmen did not commend.

About this time Pope, whom he visited familiarly, published his "Essay on Man," but concealed the author; and when Mallet entered one day, Pope asked him slightly what there was new. Mallet told him, that the newest piece was something called an "Essay on Man," which he had inspected idly, and seeing the utter inability of the author, who had neither skill in writing nor knowledge of his subject, had tossed it away. Pope, to punish his self-conceit, told him the secret.

A new edition of the works of Bacon being prepared (1740) for the press, Mallet was employed to prefix a Life, which he has written with elegance, perhaps with some affectation; but with so much more knowledge of history than of science, that when he afterwards undertook the Life of Marlborough, Warburton remarked, that he might perhaps forget that Marlborough was a general, as he had forgotten that Bacon was a philosopher.

When the Prince of Wales was driven from the palace, and, setting him. self at the head of the opposition, kept a separate court, he endeavoured to encrease his popularity by the patronage of literature, and made Mallet his under-secretary, with a salary of two hundred pounds a year; Thomson likewise had a pension; and they were associated in the composition of the "Masque of Alfred," which in its original state was played at Cliefden in

1740; it was afterwards almost wholly changed by Mallet, and brought upon the stage at Drury Lane in 1751, but with no great success.

Mallet, in a familiar conversation with Garrick, discoursing of the diligence which he was then exerting upon the "Life of Marlborough,” let him know that in the series of great men, quickly to be exhibited, he should find a nich for the hero of the theatre. Garrick professed to wonder by what artifice he could be introduced; but Mallet let him know, that, by a dexterous anticipation, he should fix him in a conspicuous place. Mr. Mallet," says Garrick, in his gratitude of exultation, « have you left off to "write for the stage?" Mallet then confessed that he had a drama in his hands. Garrick promised to act it: and "Alfred" was produced.

ર

The long retardation of the Life of the duke of Marlborough shews, with strong conviction, how little confidence can be placed in posthumous renown. When he died, it was soon determined, that his story should be delivered to posterity; and the papers supposed to contain the necessary information were delivered to the lord Molesworth, who had been his favourite in Flanders. When Molesworth died, the same papers were transferred with the same design to Sir Richard Steele, who in some of his exigencies put them in pawn. They then remained with the old dutchess, who in her will assigned the task to Glover and Mallet, with a reward of a thousand pounds, and a prohibition to insert any verses. Glover rejected, I suppose, with disdain the legacy, and devolved the whole work upon Mallet; who had from the late duke of Marlborough a pension to promote his industry, and who talked of the discoveries which he made; but left not, when he died, any historical labours behind him

r

While he was in the Prince's service he published " Mustapha" with a Prologue by Thomson, not mean, but far inferior to that which he had received from Mallet for "Agamemnon." The Epilogue said to be written by a friend, was composed in haste by Mallet, in the place of one promised, which was never given. This tragedy was dedicated to the Prince his master. It was acted at Drury Lane in 1739, and was well received, but was never revived.

In 1740, he produced, as has been already mentioned, the masque of "Alfred," in conjunction with Thomson.

.For some time afterwards he lay at rest. After a long interval, his next work was "Amyntor and Theodora," (1747), a long story in blank verse; in which it cannot be denied that there is copiousness and elegance of language, vigour of sentiment, and imagery well adapted to take possession of the fancy. But it is blank verse. This he sold to Vaillant for one hundred and twenty pounds. The first sale was not great, and it is now lost in forgetfulness.

Mallet, by address or accident, perhaps by his dependance on the Prince, found his way to Bolingbroke; a man whose pride and petulance made his kindness difficult to gain, or keep, and whom Mallet was content to court

by