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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 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 himself at the head of the opposition, kept a separate court, he endeavoured to increase bis 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 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

nown.

“ 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 re

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 exigences put them in pawn. They then remained with the old Duchess, who in her will as signed 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 Marlbo- . rough 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 ben hind 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.

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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 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

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award ; and by the help of Millar the bookseller, published all that he could find, but with success very much below his expectation.

In 1755, his masque of “ Britannia," was acted at Drury Lane; 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 cha

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rácter 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.

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