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The "Universal Passion" is indeed a very great performance. It is said to be a series of Epigrams; but, if it be, it is what the author intended: his endeavour was at the production of striking distichs and pointed sentences; and his distichs have the weight of solid sentiment, and his points the sharpness of resistless truth.

His characters are often selected with discernment, and drawn with nicety; his illustrations are often happy, and his reflections often just. His species of satire is between those of Horace and Juvenal; and he has the gaiety of Horace without his laxity of numbers, and the morality of Juvenal with greater variation of images. He plays, indeed, only on the surface of life; he never penetrates the recesses of the mind, and therefore the whole power of his poetry is exhausted by a single perusal; his conceits please only when they surprise.

To translate he never condescended, unless his "Paraphrase on Job" may be considered as a version in which he has not, I think, been unsuccessful; he indeed favoured himself, by chusing those parts which most easily admit the ornaments of English poetry.

He had least success in his lyrick attempts, in which he seems to have been under some malignant influence he is always labouring to be great, and at last is only turgid.

In his "Night Thoughts" he has exhibited a very wide display of original poetry, variegated with deep reflections and striking allusions, a wilderness 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 plantations, the magnificence of vast extent and endless diversity.

His last poem was "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 decayed faculties. There is Young in every stanza, such as he often was in the 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" I may 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 of 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 reassembly 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 Prophet says of Tyre, that "her Merchants "are Princes." Young says of Tyre, in his "Mer"chant,"

Her merchants Princes, and each deck a Throne. Let burlesque try to go beyond him.

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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; 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.

MALLET.

OF 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,

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