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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 bis 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 the 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 (1750) for the press, Mallet was employed to prefix a life, which he has written with elegance, perhaps with some af
fectation; 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 himself at the head of the opposition, kept a separate court, he endeavoured to increase his popularity by the patronage of literature, and made Mallet his undersecretary, 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 niche 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.
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 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 duchess, 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 had made; but left not, when he died, any historical labours behind him.
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 dependence 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 an act, which, I hope, was unwillingly performed. When it was found that Pope had clandestinely printed an unauthorised pamphlet called the Patriot King, Bolingbroke, in a fit of useless fury, resolved to blast his memory, and employed Mallet (1749) as the executioner of his vengeance. Mallet had not virtue, or had not spirit, to refuse the office; and was rewarded, not long after, with the legacy of lord Bolingbroke's works.
Many of the political pieces had been written during the opposition to Walpole, and given to Franklin, as he supposed, in perpetuity. These, among the rest, were claimed by the will. The question was referred to arbitrators; but, when they decided against Mallet, he refused to yield to the award; and, by the help of Millar the bookseller, pub
lished all that he could find, but with success very much below his expectation.
In 1755, his masque of Britannia was acted at Drurylane; and his tragedy of Elvira in 1763; in which year he was appointed keeper of the book of entries for ships in the port of London.
In the beginning of the last war, when the nation was exasperated by ill success, he was employed to turn the public vengeance upon Byng, and wrote a letter of accusation, under the character of a Plain Man. The paper was with great industry circulated and dispersed; and he, for his seasonable intervention, had a considerable pension bestowed upon him, which he retained to his death.
Towards the end of his life, he went with his wife to France; but after a while, finding his health declining, he returned alone to England, and died in April, 1765.
He was twice married, and by his first wife had several children. One daughter, who married an Italian of rank named Cilesia, wrote a tragedy called Almida, which was acted at Drury-lane. His second wife was the daughter of a nobleman's steward, who had a considerable fortune, which she took care to retain in her own hands.
His stature was diminutive, but he was regularly formed; his appearance, till he grew corpulent, was agreeable, and he suffered it to want no recommendation that dress could give it. His conversation was elegant and easy. The rest of his character may, without injury to his memory, sink into silence.
As a writer he cannot be placed in any high class. There is no species of composition in which he was eminent. His dramas had their day, a short day, and are forgotten; his blank verse seems to my ear the echo of Thomson. His Life of Bacon is known, as it is appended to Bacon's volumes, but is no longer mentioned. His works are such as a writer, bustling in the world, shewing himself in public, and emerging occasionally from time to time into notice, might keep alive by his personal influence; but which, conveying little information, and giving no great pleasure, must soon give way, as the succession of things produces new topics of conversation, and other modes of amusement.
MARK AKENSIDE was born on the 9th of November, 1721, at Newcastle-upon-Tyne. His father, Mark, was a butcher, of the presbyterian sect; his mother's name was Mary Lumsden. He received the first part of his education at the grammar-school of Newcastle; and was afterwards instructed by mr. Wilson, who kept a private academy.
At the age of eighteen he was sent to Edinburgh, that he might qualify himself for the office of a dissenting minister, and received some assistance from the fund which the dissenters employ in educating young men of scanty fortune. But a wider view of the world opened other scenes, and prompted other hopes: he determined to study physic, and repaid that contribution, which, being received for a different purpose, he justly thought it disbonourable to retain.
Whether, when he resolved not to be a dissenting minister, he ceased to be a dissenter, I know not. He certainly retained an unnecessary and outrageous zeal for what he called and thought liberty; a zeal which sometimes disguises from the world, and not rarely from the mind which it possesses, an envious desire of plundering wealth or degrading greatness; and of which the immediate tendency is innovation and anarchy, an impetuous eagerness to subvert and confound, with very little care what shall be established.
Akenside was one of those poets who have felt very early the motions of genius, and one of those students who have very early stored their memories with sentiments and images. Many of his performances were produced in his youth; and his greatest work, the Pleasures of Imagination, appeared in 1744. I have heard Dodsley, by whom it was published, relate, that when the copy was offered him, the price demanded for it, which was a hundred and twenty pounds, being such as he was not inclined to give precipi.