To hearts like mine, suspence is misery. Wax! render up thy trust,—Be the contents Prosperous, or fatal, they are all my due.

Now Mr. Pope shews us his profound judgment in dramatical passions; thinks a lady in her circumstances cannot without absurdity open a letter that seems to her as surprize, with any more preparation than the most unconcerned person alive should a common letter by the penny-post. I am aware Mr. Pope may reply, his cavil was not against the action itself of addressing to the wax, but of exalting that action in the terms. In this point I may fairly shelter myself under the judgment of a man, whose character in poetry will vie with any rival this age shall produce.

Mr. Dryden in his Essay on Dramatic Poetry, tells us. 'That when from the most elevated thoughts of verse, we pass to those which are most mean, and which are common with the lowest houshold conversation; yet still there is a choice to be made of the best words, and the least vulgar (provided they be apt) to express such thoughts. Our language, says he, is noble, full, and significant; and I know not, why he who is master of it, may not cloath ordinary things in it as decently as the Latin, if we use the same diligence in the choice of words.'

I come now to the last quotation, which in our examiner's handling, falls under this predicament of being a thought astonishingly out of the way of common sense.

None but himself can be his parallel.

This, he hints, may seem borrowed from the thought of that master of a show in Smithfield, who wrote in large letters over the picture of his Elephant. This is the greatest Elephant in the world except himself. I like the pleasantry of the banter, but have no great doubt of getting clear from the severity of it. The lines in the play stand thus.

Is there a treachery like this in baseness, Recorded any where? It is the deepest; None but itself can be its parallel.

I am not a little surprized, to find that our examiner at last is dwindled into a word-catcher. Literally speaking, indeed, I agree with Mr. Pope, that nothing can be the parallel to itself; but allowing a little for the liberty of expression, does it not plainly imply, that it is a treachery which stands single for the nature of its baseness, and has not its parallel on record; and that nothing but a treachery equal to it in baseness can parallel it? If this were such nonsense as Pope would willingly have it, it would be a very bad plea for me to alledge, as the truth is, that the line is in Shakespear's old copy; for I might have suppressed it. But I hope it is defensible; at least if examples can keep it in countenance. There is a piece of nonsense of the same kind in the Amphytrio of Plautus: Sofia having survey'd Mercury from top to toe, finds him such an exact resemblance of himself, in dress, shape, and features, that he cries out,

Tam consimil' est, atq; ego.

That is, he is as like me, as I am to myself. Now I humbly conceive, in strictness of expression a man can no more be like himself, than a thing its own parallel. But to confine myself to Shakespear. I doubt not but I can produce some similar passages from him, which literally examined, are stark nonsense; and yet taken with a candid latitude have never appeared ridiculous. Mr. Pope would scarce allow one man to say to another. 'Compare and weigh your mistress with your mistress; and I grant she is a very fair woman; but compare her with some other woman that I could name, and the case will be very much altered.' Yet the very substance of this, is said by Shakespear, in Romeo and Juliet; and Mr. Pope has not degraded it as any absurdity, or unworthy of the author.

Pho! pho! you saw her fair, none else being by; HERSELF poiz'd with HERSELF in either eye. But, &c.

Or, what shall we say of the three following quotations.

ROMEO and JULIET. —Oh! so light a foot Will ne'er wear out the everlasting flint.

WINTER'S TALE. —For Cogitation Resides not in the man that does not think.

HAMLET. —Try what repentance can, what can it not? Yet what can it, when one cannot repent.

Who does not see at once, the heaviest foot that ever trod cannot wear out the everlasting flint? or that he who does not think has no thoughts in him? or that repentance can avail nothing when a man has not repentance? yet let these passages appear, with a casting weight of allowance, and their absurdity will not be so extravagant, as when examined by the literal touchstone.—

Your's, &c.

LEWIS THEOBALD.

By perusing the above, the reader will be enabled to discern whether Mr. Pope has wantonly ridiculed the passages in question; or whether Mr. Theobald has, from a superstitious zeal for the memory of Shakespear, defended absurdities, and palliated extravagant blunders.

The ingenious Mr. Dodd, who has lately favoured the public with a judicious collection of the beauties of Shakespear, has quoted a beautiful stroke of Mr. Theobald's, in his Double Falsehood, upon music.

—Strike up, my masters; But touch the strings with a religious softness; Teach sounds to languish thro' the night's dull ear, 'Till Melancholy start from her lazy couch, And carelessness grow concert to attention.

ACT I. SCENE III.

A gentleman of great judgment happening to commend these lines to Mr. Theobald, he assured him he wrote them himself, and only them in the whole play.

Mr. Theobald, besides his edition of all Shakespear's plays, in which he corrected, with great pains and ingenuity, many faults which had crept into that great poet's writings, is the author of the following dramatic pieces.

I. The Persian Princess, or the Royal Villain; a Tragedy, acted at the Theatre-Royal in Drury-Lane, printed in the year 1715. The author observes in his preface, this play was written and acted before he was full nineteen years old.

II. The Perfidious Brother; a Tragedy acted at the Theatre in Little Lincoln's-Inn-Fields, 1716. This play is written on the model of Otway's Orphan; the scene is in a private family in Brussels.

III. Pan and Syrinx; an Opera of one act, performed on the Theatre in Little Lincoln's Inn-Fields, 1717.

IV. Decius and Paulina, a Masque; to which is added Musical Entertainments, as performed at the Theatre in Lincoln's-Inn-Fields, in the Dramatic Opera of Circe.

V. Electra, a Tragedy; translated from the Greek of Sophocles, with notes, printed in the year 1714, dedicated to Joseph Addison, Esq;

VI. Oedipus King of Thebes; a Tragedy translated from Sophocles, with notes, translated in the year 1715, dedicated to the earl of Rockingham.

VII. Plutus, or the World's Idol; a Comedy translated from the Greek of Aristophanes, with notes, printed in the year 1715. The author has to this Translation prefixed a Discourse, containing some Account of Aristophanes, and his two Comedies of Plutus and the Clouds.

VIII. The Clouds, a Comedy; translated from Aristophanes, with notes, printed in the year 1715.

IX. The Rape of Proserpine; a Farce acted at the Theatre-Royal in Lincoln's-Inn-Fields, 1727.

X. The Fatal Secret; a Tragedy acted at the Theatre-Royal in Covent-Garden, 1725.

XI. The Vocal Parts of an Entertainment, called Apollo and Daphne, or the Burgo Master Trick'd; performed at the Theatre in Lincoln's-Inn-Fields, 1726.

XII. Double Falsehood; which we have already mentioned.

Mr. Theobald's other Works are chiefly these.

The Gentleman's Library, containing Rules for Conduct in all Parts of Life, in 12mo. 1722.

The first Book of Homer's Odyssey translated, with notes, 8vo. 1716.

The Cave of Poverty, written in imitation of Shakespear.

Pindaric Ode on the Union, 1707.

A Poem sacred to the Memory of Queen Anne, Folio 1714.

Translations from Ovid's Metamorphoses.

Lives of Antiochus, and Berenice, from the French, 1717.

* * * * *

The Revd. Dr. SAMUEL CROXALL,

The celebrated author of the Fair Circassian, was son of the revd. Mr. Samuel Croxall, rector of Hanworth, Middlesex, and vicar of Walton upon Thames in Surry, in the last of which places our author was born. He received his early education at Eton school, and from thence was admitted to St. John's College, Cambridge. Probably while he was at the university, he became enamoured of Mrs. Anna Maria Mordaunt, who first inspired his breast with love, and to whom he dedicates the poem of the Circassian, for which he has been so much distinguished. This dedication is indeed the characteristic of a youth in love, but then it likewise proves him altogether unacquainted with the world, and with that easiness of address which distinguishes a gentleman. A recluse scholar may be passionately in love, but he discovers it by strains of bombast, and forced allusions, of which this dedication is a very lively instance.

'The language of the Fair Circassian, says he, like yours, was natural poetry; her voice music, and the excellent colouring and formation of her features, painting; but still, like yours, drawn by the inimitable pencil of nature, life itself; a pattern for the greatest master, but copying after none; I will not say angels are not cast in the same mould.' And again in another place, 'Pardon, O lovely deity, the presumption of this address, and favour my weak endeavours. If my confession of your divine power is any where too faint, believe it not to proceed from a want of due respect, but of a capacity more than human. Whoever thinks of you can no longer be himself; and if he could, ought to be something above man to celebrate the accomplishment of a goddess. To you I owe my creation as a lover, and in the beams of your beauty only I live, move, and exist. If there should be a suspension of your charms, I should fall to nothing. But it seems to be out of your power to deprive us of their kind influence; wherever you shine they fill all our hearts, and you are charming out of necessity, as the author of nature is good.' We have quoted enough to shew the enthusiasm, or rather phrenzy, of this address, which is written in such a manner as if it were intended for a burlesque on the False Sublime, as the speeches of James I. are upon pedantry.

Mr. Croxall, who was intended for holy orders, and, probably, when he published the Circassian, had really entered into them, was cautious lest he should be known to be the author of this piece, since many divines have esteemed the Song of Solomon, from which it is taken, as an inspired poem, emblematic of the Messiah and the Church. Our author was of another opinion, and with him almost all sensible men join, in believing that it is no more than a beautiful poem, composed by that Eastern monarch, upon some favourite lady in his Seraglio. He artfully introduces it with a preface, in which he informs us, that it was the composition of a young gentleman, his pupil, lately deceased, executed by him, while he was influenced by that violent passion with which Mrs. Mordaunt inspired him. He then endeavours to ascertain who this Eastern beauty was, who had charms to enflame the heart of the royal poet. He is of opinion it could not be Pharaoh's daughter, as has been commonly conjectured, because the bride in the Canticles is characterised as a private person, a shepherdess, one that kept a vineyard, and was ill used by her mother's children, all which will agree very well with somebody else, but cannot, without great straining, be drawn to fit the Egyptian Princess. He then proceeds, 'seeing we have so good reason to conclude that it was not Pharaoh's daughter, we will next endeavour to shew who she was: and here we are destitute of all manner of light, but what is afforded us by that little Arabian manuscript, mentioned in the Philosophical Transactions of Amsterdam, 1558, said to be found in a marble chest among the ruins of Palmyra, and presented to the university of Leyden by Dr. Hermanus Hoffman. The contents of which are something in the nature of Memoirs of the Court of Solomon; giving a sufficient account of the chief offices and posts in his houshold; of the several funds of the royal revenue; of the distinct apartments of his palace there; of the different Seraglios, being fifty two in number in that one city. Then there is an account given of the Sultanas; their manner of treatment and living; their birth and country, with some touches of their personal endowments, how long they continued in favour, and what the result was of the King's fondness for each of them. Among these, there is particular mention made of a slave of more exceeding beauty than had ever been known before; at whose appearance the charms of all the rest vanished like stars before the morning sun; that the King cleaved to her with the strongest affection, and was not seen out of the Seraglio, where she was kept, for about a month. That she was taken captive, together with her mother, out of a vineyard, on the Coast of Circassia, by a Corsair of Hiram King of Tyre, and brought to Jerusalem. It is said, she was placed in the ninth Seraglio, to the east of Palmyra, which, in the Hebrew tongue, is called Tadmor; which, without farther particulars, are sufficient to convince us that this was the charming person, sung with so much rapture by the Royal poet, and in the recital of whose amour he seems so transported. For she speaks of herself as one that kept a vineyard, and her mother's introducing her in one of the gardens of pleasure (as it seems she did at her first presenting her to the King) is here distinctly mentioned. The manuscript further takes notice, that she was called Saphira, from the heavenly blue of her eyes.'

Notwithstanding the caution with which Mr. Croxall published the Fair Circassian, yet it was some years after known to be his. The success it met with, which was not indeed above its desert, was perhaps too much for vanity (of which authors are seldom entirely divested) to resist, and he might be betrayed into a confession, from that powerful principle, of what otherwise would have remained concealed.

Some years after it was published, Mr. Cragg, one of the ministers of the city of Edinburgh, gave the world a small volume of spiritual poems, in one of which he takes occasion to complain of the prostitution of genius, and that few poets have ever turned their thoughts towards religious subjects; and mentions the author of the Circassian with great indignation, for having prostituted his Muse to the purposes of lewdness, in converting the Song of Solomon (a work, as he thought it, of sacred inspiration) into an amorous dialogue between a King and his mistress. His words are,

Curss'd be he that the Circassian wrote, Perish his fame, contempt be all his lot, Who basely durst in execrable strains, Turn holy mysteries into impious scenes.

The revd. gentleman met with some remonstrances from his friends, for indulging so splenetic a temper, when he was writing in the cause of religion, as to wish any man accursed. Of this censure he was not insensible; in the next edition of his poems, he softened the sarcasm, by declaring, in a note, that he had no enmity to the author's person, and that when he wished him accursed, be meant not the man, but the author, which are two very distinct considerations; for an author may be accursed, that is, damned to fame, while the man may be in as fair a way to happiness as any body; but, continues he, I should not have expected such prophanation from a clergyman.

The Circassian, however, is a beautiful poem, the numbers are generally smooth, and there is a tender delicacy in the dialogue, though greatly inferior to the noble original.

Mr. Croxall had not long quitted the university, e'er he was instituted to the living of Hampton in Middlesex; and afterwards to the united parishes of St. Mary Somerset, and St. Mary Mounthaw, in the city of London, both which he held 'till his death. He was also chancellor, prebend, and canon residentiary and portionist of the church of Hereford. Towards the latter end of the reign of Queen Anne he published two original Cantos, in imitation of Spenser's Fairy Queen, which were meant as a satire on the earl of Oxford's administration. In the year 1715 he addressed a poem to the duke of Argyle, upon his obtaining a Victory over the Rebels, and the same year published The Vision, a poem, addressed to the earl of Halifax. He was concerned, with many others, in the translation of Ovid's Metamorphoses, of which the following were performed by him:

The Story of Nisus and Scylla, from the sixth Book.

The Labyrinth, and Daedalus and Icarus, from the eighth Book.

Part of the Fable of Cyparissus from the tenth Book.

Most part of the eleventh Book, and The Funeral of Memnon, from the thirteenth Book.

He likewise performed an entire Translation of AEsop's Fables.

Subjoined to the Fair Circassian are several Poems addressed to Sylvia; Naked Truth, from the second Book of Ovid's Fastorum; Heathen Priestcraft, from the first Book of Ovid's Fastorum; A Midsummer's Wish; and an Ode on Florinda, seen while she was Bathing. He is also author of a curious work, in one Volume Octavo, entitled Scripture Politics: being a view of the original constitution, and subsequent revolutions in the government of that people, out of whom the Saviour of the World was to arise: As it is contained in the Bible.

In consequence of his strong attachment to the Whig interest, he was made archdeacon of Salop 1732, and chaplain in ordinary to his present Majesty.

As late as the year 1750, Dr. Croxall published a poem called The Royal Manual, in the preface to which he endeavours to shew, that it was composed by Mr. Andrew Marvel, and found amongst his MSS. but the proprietor declares, that it was written by Dr. Croxall himself. This was the last of his performances, for he died the year following, in a pretty advanced age. His abilities, as a poet, we cannot better display, than by the specimen we are about to quote.

On FLORINDA, Seen while she was Bathing.

Twas summer, and the clear resplendent moon Shedding far o'er the plains her full-orb'd light, Among the lesser stars distinctly shone, Despoiling of its gloom the scanty night, When, walking forth, a lonely path I took Nigh the fair border of a purling brook.

Sweet and refreshing was the midnight air, Whose gentle motions hush'd the silent grove; Silent, unless when prick'd with wakeful care Philomel warbled out her tale of love: While blooming flowers, which in the meadows grew, O'er all the place their blended odours threw.

Just by, the limpid river's crystal wave, Its eddies gilt with Phoebe's silver ray, Still as it flow'd a glittering lustre gave With glancing gleams that emulate the day; Yet oh! not half so bright as those that rise Where young Florinda bends her smiling eyes.

Whatever pleasing views my senses meet, Her intermingled charms improve the theme; The warbling birds, the flow'rs that breath so sweet, And the soft surface of the dimpled stream, Resembling in the nymph some lovely part, With pleasures more exalted seize my heart.

Rapt in these thoughts I negligently rov'd, Imagin'd transports all my soul employ, When the delightful voice of her I lov'd Sent thro' the Shades a sound of real joy. Confus'd it came, with giggling laughter mixt, And echo from the banks reply'd betwixt.

Inspir'd with hope, upborn with light desire, To the dear place my ready footsteps tend. Quick, as when kindling trails of active fire Up to their native firmament ascend: There shrouded in the briers unseen I stood, And thro' the leaves survey'd the neighb'ring flood.

Florinda, with two sister nymphs, undrest, Within the channel of the cooly tide, By bathing sought to sooth her virgin breast, Nor could the night her dazzling beauties hide; Her features, glowing with eternal bloom, Darted, like Hesper, thro' the dusky gloom.

Her hair bound backward in a spiral wreath Her upper beauties to my sight betray'd; The happy stream concealing those beneath, Around her waste with circling waters play'd; Who, while the fair one on his bosom sported, Her dainty limbs with liquid kisses courted.

A thousand Cupids with their infant arms Swam padling in the current here and there; Some, with smiles innocent, remarked the charms Of the regardless undesigning fair; Some, with their little Eben bows full-bended, And levell'd shafts, the naked girl defended.

Her eyes, her lips, her breasts exactly round, Of lilly hue, unnumber'd arrows sent; Which to my heart an easy passage found, Thrill'd in my bones, and thro' my marrow went: Some bubbling upward thro' the water came, Prepar'd by fancy to augment my flame.

Ah love! how ill I bore thy pleasing pain? For while the tempting scene so near I view'd, A fierce impatience throb'd in every vein, Discretion fled and reason lay subdu'd; My blood beat high, and with its trembling made A strange commotion in the rustling shade.

Fear seiz'd the tim'rous Naiads, all aghast Their boding spirits at the omen sink, Their eyes they wildly on each other cast, And meditate to gain the farther brink; When in I plung'd, resolving to asswage In the cool gulph love's importuning rage.

Ah, stay Florinda (so I meant to speak) Let not from love the loveliest object fly! But ere I spoke, a loud combining squeak From shrilling voices pierc'd the distant sky: When straight, as each was their peculiar care, Th' immortal pow'rs to bring relief prepare.

A golden cloud descended from above, Like that which whilom hung on Ida's brow, Where Juno, Pallas, and the queen of love, As then to Paris, were conspicuous now. Each goddess seiz'd her fav'rite charge, and threw Around her limbs a robe of azure hue.

But Venus, who with pity saw my flame Kindled by her own Amorer so bright, Approv'd in private what she seem'd to blame, And bless'd me with a vision of delight: Careless she dropt Florinda's veil aside, That nothing might her choicest beauties hide.

I saw Elysium and the milky way Fair-opening to the shades beneath her breast; In Venus' lap the struggling wanton lay, And, while she strove to hide, reveal'd the rest. A mole, embrown'd with no unseemly grace, Grew near, embellishing the sacred place.

So pleas'd I view'd, as one fatigu'd with heat, Who near at hand beholds a shady bower, Joyful, in hope-amidst the kind retreat To shun the day-star in his noon-tide hour; Or as when parch'd with droughty thirst he spies A mossy grot whence purest waters rise.

So I Florinda—but beheld in vain: Like Tantalus, who in the realms below Sees blushing fruits, which to increase his pain, When he attempts to eat, his taste forego. O Venus! give me more, or let me drink Of Lethe's fountain, and forget to think.

* * * * *

The Revd. Mr. CHRISTOPHER PITT,

The celebrated translator of Virgil, was born in the year 1699. He received his early education in the college near Winchester; and in 1719 was removed from thence to new college in Oxford. When he had studied there four years, he was preferred to the living of Pimperne in Dorsetshire, by his friend and relation, Mr. George Pitt; which he held during the remaining part of his life. While he was at the university, he possessed the affection and esteem of all who knew him; and was particularly distinguished by that great poet Dr. Young, who so much admired the early displays of his genius, that with an engaging familiarity he used to call him his son.

Amongst the first of Mr. Pitt's performances which saw the light, were a panegyric on lord Stanhope, and a poem on the Plague of Marseilles: But he had two large Folio's of MS. Poems, very fairly written out, while he was a school-boy, which at the time of election were delivered to the examiners. One of these volumes contained an entire translation of Lucan; and the other consisted of Miscellaneous pieces. Mr. Pitt's Lucan has never been published; perhaps from the consideration of its being the production of his early life, or from a consciousness of its not equalling the translation of that author by Rowe, who executed this talk in the meridian of his genius. Several of his other pieces were published afterwards, in his volume of Miscellaneous Poems.

The ingenious writer of the Student hath obliged the world by inferring in that work several original pieces by Mr. Pitt; whose name is prefixed to them.

Next to his beautiful Translation of Virgil, Mr. Pitt gained the greatest reputation by rendering into English, Vida's Art of Poetry, which he has executed with the strictest attention to the author's sense, with the utmost elegance of versification, and without suffering the noble spirit of the original to be lost in his translation.

This amiable poet died in the year 1748, without leaving one enemy behind him. On his tombstone were engraved these words,

"He lived innocent, and died beloved."

Mr. Auditor Benson, who in a pamphlet of his writing, has treated Dryden's translation of Virgil with great contempt, was yet charmed with that by Mr. Pitt, and found in it some beauties, of which he was fond even to a degree of enthusiasm. Alliteration is one of those beauties Mr. Benson so much admired, and in praise of which he has a long dissertation in his letters on translated verse. He once took an opportunity, in conversation with Mr. Pitt, to magnify that beauty, and to compliment him upon it. Mr. Pitt thought this article far less considerable than Mr. Benson did; but says he, 'since you are so fond of alliteration, the following couplet upon Cardinal Woolsey will not displease you,

'Begot by butchers, but by bishops bred, How high his honour holds his haughty head.

Benson was no doubt charmed to hear his favourite grace in poetry so beautifully exemplified, which it certainly is, without any affectation or stiffness. Waller thought this a beauty; and Dryden was very fond of it. Some late writers, under the notion of imitating these two great versifiers in this point, run into downright affectation, and are guilty of the most improper and ridiculous expressions, provided there be but an alliteration. It is very remarkable, that an affectation of this beauty is ridiculed by Shakespear, in Love's Labour Lost, Act II. where the Pedant Holofernes says,

I will something affect the letter, for it argues facility.— The praiseful princess pierced, and prickt.—

Mr. Upton, in his letter concerning Spencer, observes, that alliteration is ridiculed too in Chaucer, in a passage which every reader does not understand.

The Ploughman's Tale is written, in some measure, in imitation of Pierce's Ploughman's Visions; and runs chiefly upon some one letter, or at least many stanza's have this affected iteration, as

A full sterne striefe is stirr'd now,— For some be grete grown on grounde.

When the Parson therefore in his order comes to tell his tale, which reflected on the clergy, he says,

—I am a southern man, I cannot jest, rum, ram, riff, by letter, And God wote, rime hold I but little better.

Ever since the publication of Mr. Pitt's version of the Aeneid, the learned world has been divided concerning the just proportion of merit, which ought to be ascribed to it. Some have made no scruple in defiance of the authority of a name, to prefer it to Dryden's, both in exactness, as to his author's sense, and even in the charms of poetry. This perhaps, will be best discovered by producing a few shining passages of the Aeneid, translated by these two great masters.

In biographical writing, the first and most essential principal is candour, which no reverence for the memory of the dead, nor affection for the virtues of the living should violate. The impartiality which we have endeavoured to observe through this work, obliges us to declare, that so far as our judgment may be trusted, the latter poet has done most justice to Virgil; that he mines in Pitt with a lustre, which Dryden wanted not power, but leisure to bestow; and a reader, from Pitt's version, will both acquire a more intimate knowledge of Virgil's meaning, and a more exalted idea of his abilities.—Let not this detract from the high representations we have endeavoured in some other places to make of Dryden. When he undertook Virgil, he was stooping with age, oppressed with wants, and conflicting with infirmities. In this situation, it was no wonder that much of his vigour was lost; and we ought rather to admire the amazing force of genius, which was so little depressed under all these calamities, than industriously to dwell on his imperfections.

Mr. Spence in one of his chapters on Allegory, in his Polymetis, has endeavoured to shew, how very little our poets have understood the allegories of the antients, even in their translations of them; and has instanced Mr. Dryden's translation of the Aeneid, as he thought him one of our most celebrated poets. The mistakes are very numerous, and some of them unaccountably gross. Upon this, says Mr. Warton, "I was desirous to examine Mr. Pitt's translation of the same passages; and was surprized to find near fifty instances which Mr. Spence has given of Dryden's mistakes of that kind, when Mr. Pitt had not fallen into above three or four." Mr. Warton then produces some instances, which we shall not here transcribe, as it will be more entertaining to our readers to have a few of the most shining passages compared, in which there is the highest room for rising to a blaze of poetry.

There are few strokes in the whole Aeneid, which have been more admired than Virgil's description of the Lake of Avernus, Book VI.

Spelunca alta fuit, vastoque immanis hiatu, Scrupea, tuta lacu nigro, nemorumque tenebris; Quam super haud ullae poterant impune volantes. Tendere iter pennis; talis sese halitus atris, Faucibus effundens supera ad convexa ferebat: Unde locum Graii dixerunt nomine Aornon. Quatuor hic primum nigrantes terga juvencos Constituit, frontique invergit vina sacerdos; Et, summas carpens media inter cornua setas, Ignibus imponit sacris libarmina prima, Voce vocans Hecaten, caeloque ereboque potentem.

DRYDEN.

Deep was the cave; and downward as it went, From the wide mouth, a rocky wide descent; And here th'access a gloomy grove defends; And there th'innavigable lake extends. O'er whose unhappy waters, void of light, No bird presumes to steer his airy flight; Such deadly stenches from the depth arise, And steaming sulphur that infects the skies. From hence the Grecian bards their legends make, And give the name Aornus to the lake. Four fable bullocks in the yoke untaught, For sacrifice, the pious hero brought. The priestess pours the wine betwixt their horns: Then cuts the curling hair, that first oblation burns, Invoking Hecate hither to repair; (A powerful name in hell and upper air.)

PITT.

Deep, deep, a cavern lies, devoid of light, All rough with rocks, and horrible to sight; Its dreadful mouth is fenc'd with sable floods, And the brown horrors of surrounding woods. From its black jaws such baleful vapours rise, Blot the bright day, and blast the golden skies, That not a bird can stretch her pinions there, Thro' the thick poisons, and incumber'd air, But struck by death, her flagging pinions cease; And hence Aornus was it call'd by Greece. Hither the priestess, four black heifers led, Between their horns the hallow'd wine she shed; From their high front the topmost hairs she drew, And in the flames the first oblations threw. Then calls on potent Hecate, renown'd In Heav'n above, and Erebus profound.

The next instance we shall produce, in which, as in the former, Mr. Pitt has greatly exceeded Dryden, is taken from Virgil's description of Elysium, which says Dr. Trap is so charming, that it is almost Elysium to read it.

His demum exactis, perfecto munere divae, Devenere locos laetos, & amoena vireta Fortunatorum nemorum, sedesque beatas. Largior hic campos aether & lumine vestit Purpureo; solemque suum, sua sidera norunt. Pars in gramineis exercent membra palaestris, Contendunt ludo, & fulva luctanter arena: Pars pedibus plaudunt choreas, & carmina dicunt. Necnon Threicius longa cum veste sacerdos Obloquitur numeris septem discrimina vocum: Jamque eadem digitis, jam pectine pulsat eburno.

PITT.

These rites compleat, they reach the flow'ry plains, The verdant groves, where endless pleasure reigns. Here glowing AEther shoots a purple ray, And o'er the region pours a double day. From sky to sky th'unwearied splendour runs, And nobler planets roll round brighter suns. Some wrestle on the sands, and some in play And games heroic pass the hours away. Those raise the song divine, and these advance In measur'd steps to form the solemn dance. There Orpheus graceful in his long attire, In seven divisions strikes the sounding lyre; Across the chords the quivering quill he flings, Or with his flying fingers sweeps the strings.

DRYDEN.

These holy rites perform'd, they took their way, Where long extended plains of pleasure lay. The verdant fields with those of heav'n may vie; With AEther veiled, and a purple sky: The blissful seats of happy souls below; Stars of their own, and their own suns they know. Their airy limbs in sports they exercise, And on the green contend the wrestlers prize. Some in heroic verse divinely sing, Others in artful measures lead the ring. The Thracian bard surrounded by the rest, There stands conspicuous in his flowing vest. His flying fingers, and harmonious quill, Strike seven distinguish'd notes, and seven at once they fill.

In the celebrated description of the swiftness of Camilla in the VIIth Aeneid, which Virgil has laboured with so much industry, Dryden is more equal to Pitt than in the foregoing instances, tho' we think even in this he falls short of him.

Illa vel intactae segetis per summa volaret Gramina, nec teneras curfu laesisset aristas: Vel mare per medium, fluctu suspensa tumenti Ferret iter; celeres nec tingeret aequore plantas.

DRYDEN.

—The fierce virago fought,— Outstrip'd the winds, in speed upon the plain, Flew o'er the fields, nor hurt the bearded grain: She swept the seas, and as she skim'd along, Her flying feet, unbath'd, on billows hung.

PITT.

She led the rapid race, and left behind, The flagging floods, and pinions of the wind; Lightly she flies along the level plain, Nor hurts the tender grass, nor bends the golden grain; Or o'er the swelling surge suspended sweeps, And smoothly skims unbath'd along the deeps.

We shall produce one passage of a very different kind from the former, that the reader may have the pleasure of making the comparison. This is the celebrated simile in the XIth Book, when the fiery eagerness of Turnus panting for the battle, is resembled to that of a Steed; which is perhaps one of the most picturesque beauties in the whole Aeneid.

Qualis, ubi abruptis fugit praesepia vinc'lis, Tandem liber equus, campoque potitus aperto; Aut ille in pastus armentaque tendit equarum, Aut assuetus aquae perfundi flumine noto Emicat; arrectisque fremit cervicibus alte Luxurians, luduntque jubae per colla, per armos.

DRYDEN.

Freed from his keepers, thus with broken reins, The wanton courser prances o'er the plains: Or in the pride of youth, o'erleaps the mounds, And snuffs the females in forbidden grounds. Or seeks his wat'ring in the well-known flood, To quench his thirst, and cool his fiery blood: He swims luxuriant in the liquid plain; And o'er his shoulders flows his waving main. He neighs, he snorts, he bears his head on high; Before his ample chest, the frothy waters fly.

PITT.

So the gay pamper'd steed with loosen'd reins, Breaks from the stall, and pours along the plains; With large smooth strokes he rushes to the flood, Bathes his bright sides, and cools his fiery blood; Neighs as he flies, and tossing high his head, Snuffs the fair females in the distant mead; At every motion o'er his neck reclin'd, Plays his redundant main, and dances in the wind.

From the above specimens, our readers may determine for themselves to whose translation they would give the preference. Critics, like historians, should divest themselves of prejudice: they should never be misguided by the authority of a great name, nor yield that tribute to prescription, which is only due to merit. Mr. Pitt, no doubt, had many advantages above Dryden in this arduous province: As he was later in the attempt, he had consequently the version of Dryden to improve upon. He saw the errors of that great poet, and avoided them; he discovered his beauties, and improved upon them; and as he was not impelled by necessity, he had leisure to revise, correct, and finish his excellent work.

The Revd. and ingenious Mr. Joseph Warton has given to the world a compleat edition of Virgil's works made English. The Aeneid by Mr. Pitt: The Eclogues, Georgics, and notes on the whole, by himself; with some new observations by Mr. Holdsworth, Mr. Spence, and others. This is the compleatest English dress, in which Virgil ever appeared. It is enriched with a dissertation on the VIth Book of the Aeneid, by Warburton. On the Shield of Aeneas, by Mr. William Whitehead. On the Character of Japis, by the late Dr. Atterbury bishop of Rochester; and three Essays on Pastoral, Didactic, and Epic Poetry, by Mr. Warton.

* * * * *

Mr. HAMMOND.

This Gentleman, known to the world by the Love Elegies, which some years after his death were published by the Earl of Chesterfield, was the son of a Turkey merchant, in the city of London. We cannot ascertain where he received his education; but it does not appear that he was at any of the universities. Mr. Hammond was early preferred to a place about the person of the late Prince of Wales, which he held till an unfortunate accident stript him of his reason, or at least so affected his imagination, that his senses were greatly disordered. The unhappy cause of his calamity was a passion he entertained for one Miss Dashwood, which proved unsuccessful. Upon this occasion it was that he wrote his Love Elegies, which have been much celebrated for their tenderness. The lady either could not return his passion with a reciprocal fondness, or entertained too ambitious views to settle her affections upon him, which he himself in some of his Elegies seems to hint; for he frequently mentions her passion for gold and splendour, and justly treats it as very unworthy a fair one's bosom. The chief beauty of these Elegies certainly consists in their being written by a man who intimately felt the subject; for they are more the language of the heart than of the head. They have warmth, but little poetry, and Mr. Hammond seems to have been one of those poets, who are made so by love, not by nature.

Mr. Hammond died in the year 1743, in the thirty-first year of his age, at Stow, the seat of his kind patron, the lord Cobham, who honoured him with a particular intimacy. The editor of Mr. Hammond's Elegies observes, that he composed them before he was 21 years of age; a period, says he, when fancy and imagination commonly riot at the expence of judgment and correctness. He was sincere in his love, as in his friendship; he wrote to his mistress, as he spoke to his friends, nothing but the true genuine sentiments of his heart. Tibullus seems to have been the model our author judiciously preferred to Ovid; the former writing directly from the heart to the heart, the latter too often yielding and addressing himself to the imagination.

As a specimen of Mr. Hammond's turn for Elegiac Poetry, we shall quote his third Elegy, in which he upbraids and threatens the avarice of Neaera, and resolves to quit her.

Should Jove descend in floods of liquid ore, And golden torrents stream from every part, That craving bosom still would heave for more, Not all the Gods cou'd satisfy thy heart.

But may thy folly, which can thus disdain My honest love, the mighty wrong repay, May midnight-fire involve thy sordid gain, And on the shining heaps of rapine prey.

May all the youths, like me, by love deceiv'd, Not quench the ruin, but applaud the doom, And when thou dy'st, may not one heart be griev'd: May not one tear bedew the lonely tomb.

But the deserving, tender, gen'rous maid, Whose only care is her poor lover's mind, Tho' ruthless age may bid her beauty fade, In every friend to love, a friend shall find.

And when the lamp of life will burn no more, When dead, she seems as in a gentle sleep, The pitying neighbour shall her loss deplore; And round the bier assembled lovers weep.

With flow'ry garlands, each revolving year Shall strow the grave, where truth and softness rest, Then home returning drop the pious tear, And bid the turff lie easy on her breast.

* * * * *

Mr. JOHN BANKS.

This poet was the son of Mr. John Banks of Sunning in Berkshire, in which place he was born in 1709. His father dying while our author was very young, the care of his education devolved upon an uncle in law, who placed him at a private school, under the tuition of one Mr. Belpene, an Anabaptist. This schoolmaster, so far from encouraging young Banks to make a great progress in classical learning, exerted his influence with his relations to have him taken from school, and represented him as incapable of receiving much erudition. This conduct in Mr. Belpene proceeded from an early jealousy imbibed against this young man, who, so far from being dull, as the school-master represented him, possessed extraordinary parts, of which he gave very early proofs.

Mr. Belpene was perhaps afraid, that as soon as Mr. Banks mould finish his education, he would be preferred to him as minister to the congregation of Anabaptists, which place he enjoyed, independent of his school. The remonstrances of Mr. Belpene prevailed with Mr. Banks's uncle, who took him from school, and put him apprentice to a Weaver at Reading. Before the expiration of the apprenticeship, Mr. Banks had the misfortune to break his arm, and by that accident was disqualified from pursuing the employment to which he was bred. How early Mr. Banks began to write we cannot determine, but probably the first sallies of his wit were directed against this school-master, by whom he was injuriously treated, and by whose unwarrantable jealousy his education, in some measure, was ruined. Our author, by the accident already mentioned, being rendered unfit to obtain a livelihood, by any mechanical employment, was in a situation deplorable enough. His uncle was either unable, or unwilling to assist him, or, perhaps, as the relation between them was only collateral, he had not a sufficient degree of tenderness for him, to make any efforts in his favour. In this perplexity of our young poet's affairs, ten pounds were left him by a relation, which he very oeconomically improved to the best advantage. He came to London, and purchasing a parcel of old books, he set up a stall in Spital-Fields.

Much about this time Stephen Duck, who had wrote a poem called The Thresher, reaped very great advantages from it, and was caressed by persons in power, who, in imitation of the Royal patroness, heaped favours upon him, perhaps more on account of the extraordinary regard Queen Caroline had shewn him, than any opinion of his merit. Mr. Banks considered that the success of Mr. Duck was certainly owing to the peculiarity of his circumstances, and that the novelty of a thresher writing verses, was the genuine cause of his being taken notice of, and not any intrinsic excellence in the verses themselves. This reflexion inspired him with a resolution of making an effort of the same kind; but as curiosity was no more to be excited by novelty, the attempt was without success. He wrote, in imitation of The Thresher, The Weaver's Miscellany, which failed producing the intended effect, and, 'tis said, never was reckoned by Mr. Banks himself as any way worthy of particular distinction. His business of selling books upon a stall becoming disagreeable to him, as it demanded a constant and uncomfortable attendance, he quitted that way of life, and was received into the shop of one Mr. Montague a bookbinder, and bookseller, whom he served some time as a journeyman. During the time he lived with Mr. Montague, he employed his leisure hours in composing several poems, which were now swelled to such a number, that he might sollicit a subscription for them with a good grace. He had taken care to improve his acquaintance, and as he had a power of distinguishing his company, he found his interest higher in the world than he had imagined. He addressed a poem to Mr. Pope, which he transmitted to that gentleman, with a copy of his proposals inclosed. Mr. Pope answered his letter, and the civilities contained in it, by subscribing for two setts of his poems, and 'tis said he wrote to Mr. Banks the following compliment,

'May this put money in your purse: For, friend, believe me, I've seen worse.'

The publication of these poems, while they, no doubt, enhanced his interest, added likewise something to his reputation; and quitting his employment at Mr. Montague's, he made an effort to live by writing only. He engaged in a large work in folio, entitled, The Life of Christ, which was very acceptable to the public, and was executed with much piety and precision.

Mr. Banks's next prose work, of any considerable length, was A Critical Review of the Life of Oliver Cromwell. We have already taken notice that he received his education among the Anabaptists, and consequently was attached to those principles, and a favourer of that kind of constitution which Cromwell, in the first period of his power, meant to establish. Of the many Lives of this great man, with which the biography of this nation has been augmented, perhaps not one is written with a true dispassionate candour. Men are divided in their sentiments concerning the measures which, at that critical AEra, were pursued by contending factions. The writers, who have undertaken to review those unhappy times, have rather struggled to defend a party, to which they may have been swayed by education or interest, than, by stripping themselves of all partiality, to dive to the bottom of contentions in search of truth. The heats of the Civil War produced such animosities, that the fervour which then prevailed, communicated itself to posterity, and, though at the distance of a hundred years, has not yet subsided. It will be no wonder then if Mr. Banks's Review is not found altogether impartial. He has, in many cases, very successfully defended Cromwell; he has yielded his conduct, in others, to the just censure of the world. But were a Whig and a Tory to read this book, the former would pronounce him a champion for liberty, and the latter would declare him a subverter of truth, an enemy to monarchy, and a friend to that chaos which Oliver introduced.

Mr. Banks, by his early principles, was, no doubt, biassed to the Whig interest, and, perhaps, it may be true, that in tracing the actions of Cromwell, he may have dwelt with a kind of increasing pleasure on the bright side of his character, and but slightly hinted at those facts on which the other party fasten, when they mean to traduce him as a parricide and an usurper. But supposing the allegation to be true, Mr. Banks, in this particular, has only discovered the common failing of humanity: prejudice and partiality being blemishes from which the mind of man, perhaps, can never be entirely purged.

Towards the latter end of Mr. Banks's life, he was employed in writing two weekly news-papers, the Old England, and the Westminster Journals. Those papers treated chiefly on the politics of the times, and the trade and navigation of England. They were carried on by our author, without offence to any party, with an honest regard to the public interest, and in the same kind of spirit, that works of that sort generally are. These papers are yet continued by other hands.

Mr. Banks had from nature very considerable abilities, and his poems deservedly hold the second rank. They are printed in two volumes 8vo. Besides the poems contained in these volumes, there are several other poetical pieces of his scattered in news-papers, and other periodical works to which he was an occasional contributer. He had the talent of relating a tale humorously in verse, and his graver poems have both force of thinking, and elegance of numbers to recommend them.

Towards the spring of the year 1751 Mr. Banks, who had long been in a very indifferent state of health, visibly declined. His disorder was of a nervous sort, which he bore with great patience, and even with a chearful resignation. This spring proved fatal to him; he died on the 19th of April at his house at Islington, where he had lived several years in easy circumstances, by the produce of his pen, without leaving one enemy behind him.

Mr. Banks was a man of real good nature, of an easy benevolent disposition, and his friends ever esteemed him as a most agreeable companion. He had none of the petulance, which too frequently renders men of genius unacceptable to their acquaintance. He was of so composed a temper, that he was seldom known to be in a passion, and he wore a perpetual chearfulness in his countenance. He was rather bashful, than forward; his address did not qualify him for gay company, and though he possessed a very extensive knowledge of things, yet, as he had not much grace of delivery, or elegance of manner, he could not make so good a figure in conversation, as many persons of his knowledge, with a happier appearance. Of all authors Mr. Banks was the farthest removed from envy or malevolence. As he could not bear the least whisper of detraction, so he was never heard to express uneasiness at the growing reputation of another; nor was he ever engaged in literacy contests. We shall conclude this article in the words of lord Clarendon. 'He that lives such a life, need be less anxious at how short warning it is taken from him [1].'

[1] See lord Clarendon's character of the lord Falkland.

* * * * *

Mrs. LAETITIA PILKINGTON.

This unfortunate poetess, the circumstances of whose life, written by herself, have lately entertained the public, was born in the year 1712. She was the daughter of Dr. Van Lewen, a gentleman of Dutch extraction, who settled in Dublin. Her mother was descended of an ancient and honourable family, who have frequently intermarried with the nobility.

Mrs. Pilkington, from her earliest infancy, had a strong disposition to letters, and particularly to poetry. All her leisure hours were dedicated to the muses; from a reader she quickly became a writer, and, as Mr. Pope expresses it,

'She lisp'd in numbers, for the numbers came.'

Her performances were considered as extraordinary for her years, and drew upon her the admiration of many, who found more pleasure in her conversation, than that of girls generally affords. In consequence of a poetical genius, and an engaging sprightliness peculiar to her, she had many wooers, some of whom seriously addressed her, while others meant no more than the common gallantries of young people. After the usual ceremony of a courtship, she became the wife of Mr. Matthew Pilkington, a gentleman in holy orders, and well known in the poetical world by his volume of Miscellanies, revised by dean Swift. As we have few materials for Mrs. Pilkington's life, beside those furnished by herself in her Memoirs published in 1749, our readers must depend upon her veracity for some facts which we may be obliged to mention, upon her sole authority.

Our poetess, says she, had not been long married, e'er Mr. Pilkington became jealous, not of her person, but her understanding. She was applauded by dean Swift, and many other persons of taste; every compliment that was paid her, gave a mortal stab to his peace. Behold the difference between the lover and the husband! When Mr. Pilkington courted her, he was not more enamoured of her person, than her poetry, he shewed her verses to every body in the enthusiasm of admiration: but now he was become a husband, it was a kind of treason for a wife to pretend to literary accomplishments.

It is certainly true, that when a woman happens to have more understanding than her husband, she should be very industrious to conceal it; but it is like wise true, that the natural vanity of the sex is difficult to check, and the vanity of a poet still more difficult: wit in a female mind can no more cease to sparkle, than she who possesses it, can cease to speak. Mr. Pilkington began to view her with scornful, yet with jealous eyes, and in this situation, nothing but misery was likely to be their lot. While these jealousies subsisted, Mr. Pilkington, contrary to the advice of his friends, went into England, in order to serve as chaplain to alderman Barber during his mayoralty of the city of London.

While he remained in London, and having the strange humour of loving his wife best at a distance, he wrote her a very kind letter, in which he informed her, that her verses were like herself, full of elegance and beauty[1]; that Mr. Pope and others, to whom he had shewn them, longed to see the writer, and that he heartily wished her in London. This letter set her heart on flame. London has very attractive charms to most young people, and it cannot be much wondered at if Mrs. Pilkington should take the only opportunity she was ever likely to have, of gratifying her curiosity: which however proved fatal to her; for though we cannot find, that during this visit to London, her conduct was the least reproachable, yet, upon her return to Ireland, she underwent a violent persecution of tongues. They who envied her abilities, fastened now upon her morals; they were industrious to trace the motives of her going to London; her behaviour while she was there; and insinuated suspicions against her chastity. These detracters were chiefly of her own sex, who supplied by the bitterest malice what they wanted in power.

Not long after this an accident happened, which threw Mrs. Pilkington's affairs into the utmost confusion. Her father was stabbed, as she has related, by an accident, but many people in Dublin believe, by his own wife, though some say, by his own hand. Upon this melancholy occasion, Mrs. Pilkington has given an account of her father, which places her in a very amiable light. She discovered for him the most filial tenderness; she watched round his bed, and seems to have been the only relation then about him, who deserved his blessing. From the death of her father her sufferings begin, and the subsequent part of her life is a continued series of misfortunes.

Mr. Pilkington having now no expectation of a fortune by her, threw off all reserve in his behaviour to her. While Mrs. Pilkington was in the country for her health, his dislike of her seems to have encreased, and, perhaps, he resolved to get rid of his wife at any rate: nor was he long waiting for an occasion of parting with her. The story of their separation may be found at large in her Memoirs. The substance is, that she was so indiscreet as to permit a gentleman to be found in her bed-chamber at an unseasonable hour; for which she makes this apology. 'Lovers of learning I am sure will pardon me, as I solemnly declare, it was the attractive charms of a new book, which the gentleman would not lend me, but consented to stay till I read it through, that was the sole motive of my detaining him.' This indeed is a poor evasion; and as Mrs. Pilkington has said no more in favour of her innocence, they must have great charity indeed with whom she can stand exculpated.

While the gentleman was with her, the servants let in twelve men at the kitchen window, who, though they might, as she avers, have opened the chamber door, chose rather to break it to pieces, and took both her and the gentleman prisoners. Her husband now told her, that she must turn out of doors; and taking hold of her hand, made a present of it to the gentleman, who could not in honour refuse to take her, especially as his own liberty was to be procured upon no other terms. It being then two o'clock in the morning, and not knowing where to steer, she went home with her gallant: but she sincerely assures us, that neither of them entertained a thought of any thing like love, but sat like statues 'till break of day.

The gentleman who was found with her, was obliged to fly, leaving a letter and five guineas inclosed in it for her. She then took a lodging in some obscure street, where she was persecuted by infamous women, who were panders to men of fortune.

In the mean time Mr. Pilkington carried on a vigorous prosecution against her in the Spiritual Court; during which, as she says, he solemnly declared, he would allow her a maintainance, if she never gave him any opposition: but no sooner had he obtained a separation, than he retracted every word he had said on that subject. Upon this she was advised to lodge an appeal, and as every one whom he consulted, assured him he would be cast, he made a proposal of giving her a small annuity, and thirty pounds[2] in money; which, in regard to her children, she chose to accept, rather than ruin their father. She was with child at the time of her separation, and when her labour came on, the woman where she lodged insisted upon doubling her rent: whereupon she was obliged to write petitionary letters, which were not always successful.

Having passed the pains and peril of childbirth, she begged of Mr. Pilkington to send her some money to carry her to England; who, in hopes of getting rid of her, sent her nine pounds. She was the more desirous to leave Ireland, as she found her character sinking every day with the public. When she was on board the yacht, a gentleman of figure in the gay world took an opportunity of making love to her, which she rejected with some indignation. 'Had I (said she) accepted the offers he made me, poverty had never approached me. I dined with him at Parkgate, and I hope virtue will be rewarded; for though I had but five guineas in the world to carry me to London, I yet possessed chastity enough to refuse fifty for a night's lodging, and that too from a handsome well-bred man. I shall scarcely ever forget his words to me, as they seemed almost prophetic. "Well, madam, said he, you do not know London; you will be undone there." "Why, sir, said I, I hope you don't imagine I will go into a bad course of life?" "No, madam, said he, but I think you will sit in your chamber and starve;" which, upon my word, I have been pretty near doing; and, but that the Almighty raised me one worthy friend, good old Mr. Cibber, to whose humanity I am indebted, under God, both for liberty and life, I had been quite lost.'

When Mrs. Pilkington arrived in London, her conduct was the reverse of what prudence would have dictated. She wanted to get into favour with the great, and, for that purpose, took a lodging in St. James's Street, at a guinea a week; upon no other prospect of living, than what might arise from some poems she intended to publish by subscription. In this place she attracted the notice of the company frequenting White's Chocolate-House; and her story, by means of Mr. Cibber, was made known to persons of the first distinction, who, upon his recommendation, were kind to her.

Her acquaintance with Mr. Cibber began by a present she made him of The Trial of Constancy, a poem of hers, which Mr. Dodsley published. Mr. Cibber, upon this, visited her, and, ever after, with the most unwearied zeal, promoted her interest. The reader cannot expect that we should swell this volume by a minute relation of all the incidents which happened to her, while she continued a poetical mendicant. She has not, without pride, related all the little tattle which passed between her and persons of distinction, who, through the abundance of their idleness, thought proper to trifle an hour with her.

Her virtue seems now to have been in a declining state; at least, her behaviour was such, that a man, must have extraordinary faith, who can think her innocent. She has told us, in the second volume of her Memoirs, that she received from a noble person a present of fifty pounds. This, she says, was the ordeal, or fiery trial; youth, beauty, nobility of birth, attacking at once the most desolate person in the world. However, we find her soon after this thrown into great distress, and making various applications to persons of distinction for subscriptions to her poems. Such as favoured her by subscribing, she has repaid with most lavish encomiums, and those that withheld that proof of their bounty, she has sacrificed to her resentment, by exhibiting them in the most hideous light her imagination could form.

From the general account of her characters, this observation results, That such as she has stigmatized for want of charity, ought rather to be censured for want of decency. There might be many reasons, why a person benevolent in his nature, might yet refuse to subscribe to her; but, in general, such as refused, did it (as she says) in a rude manner, and she was more piqued at their deficiency in complaisance to her, than their want of generosity. Complaisance is easily shewn; it may be done without expence; it often procures admirers, and can never make an enemy. On the other hand, benevolence itself, accompanied with a bad grace, may lay us under obligations, but can never command our affection. It is said of King Charles I. that he bestowed his bounty with so bad a grace, that he disobliged more by giving, than his son by refusing; and we have heard of a gentleman of great parts, who went to Newgate with a greater satisfaction, as the judge who committed him accompanied the sentence with an apology and a compliment, than he received from his releasment by another, who, in extending the King's mercy to him, allayed the Royal clemency by severe invectives against the gentleman's conduct.

We must avoid entering into a detail of the many addresses, disappointments and encouragements, which she met with in her attendance upon the great: her characters are naturally, sometimes justly, and often strikingly, exhibited. The incidents of her life while she remained in London were not very important, though she has related them with all the advantage they can admit of. They are such as commonly happen to poets in distress, though it does not often fall out, that the insolence of wealth meets with such a bold return as this lady has given it. There is a spirit of keenness, and freedom runs through her book, she spares no man because he is great by his station, or famous by his abilities. Some knowledge of the world may be gained from reading her Memoirs; the different humours of mankind she has shewn to the life, and whatever was ridiculous in the characters she met with, is exposed in very lively terms.

The next scene which opens in Mrs. Pilkington's life, is the prison of the Marshalsea. The horrors and miseries of this jail she has pathetically described, in such a manner as should affect the heart of every rigid creditor. In favour of her fellow-prisoners, she wrote a very moving memorial, which, we are told, excited the legislative power to grant an Act of Grace for them. After our poetess had remained nine weeks in this prison, she was at last released by the goodness of Mr. Cibber, from whose representation of her distress, no less than sixteen dukes contributed a guinea apiece towards her enlargement. When this news was brought her, she fainted away with excess of joy. Some time after she had tasted liberty, she began to be weary of that continued attendance upon the great; and therefore was resolved, if ever she was again favoured with a competent sum, to turn it into trade, and quit the precarious life of a poetical mendicant. Mr. Cibber had five guineas in reserve for her, which, with ten more she received from the duke of Marlborough, enabled her to take a shop in St. James's Street, which she filled with pamphlets and prints, as being a business better suited to her taste and abilities, than any other. Her adventures, while she remained a shopkeeper, are not extremely important. She has neglected to inform us how long she continued behind the counter, but has told us, however, that by the liberality of her friends, and the bounty of her subscribers, she was set above want, and that the autumn of her days was like to be spent in peace and serenity.

But whatever were her prospects, she lived not long to enjoy the comforts of competence, for on the 29th of August, 1750, a few years after the publication of her second volume, she died at Dublin, in the thirty ninth year of her age.

Considered as a writer, she holds no mean rank. She was the author of The Turkish Court, or The London Apprentice, acted at the theatre in Caple-street, Dublin, 1748, but never printed. This piece was poorly performed, otherwise it promised to have given great satisfaction. The first act of her tragedy of the Roman Father, is no ill specimen of her talents that way, and throughout her Memoirs there are scattered many beautiful little pieces, written with a true spirit of poetry, though under all the disadvantages that wit can suffer. Her memory seems to have been amazingly great, of which her being able to repeat almost all Shakespear is an astonishing instance.

One of the prettiest of her poetical performances, is the following Address to the reverend Dr. Hales, with whom she became acquainted at the house of captain Mead, near Hampton-Court.

To the Revd. Dr. HALES.

Hail, holy sage! whose comprehensive mind, Not to this narrow spot of earth confin'd, Thro' num'rous worlds can nature's laws explore, Where none but Newton ever trod before; And, guided by philosophy divine, See thro' his works th'Almighty Maker shine: Whether you trace him thro' yon rolling spheres, Where, crown'd with boundless glory, he appears; Or in the orient sun's resplendent rays, His setting lustre, or his noon-tide blaze, New wonders still thy curious search attend, Begun on earth, in highest Heav'n to end. O! while thou dost those God-like works pursue, What thanks, from human-kind to thee are due! Whose error, doubt, and darkness, you remove, And charm down knowledge from her throne above. Nature to thee her choicest secrets yields, Unlocks her springs, and opens all her fields; Shews the rich treasure that her breast contains, In azure fountains, or enamell'd plains; Each healing stream, each plant of virtuous use, To thee their medicinal pow'rs produce. Pining disease and anguish wing their flight, And rosy health renews us to delight.

When you, with art, the animal dissect, And, with the microscopic aid, inspect [Transcriber's note: 'microsopic' in original] Where, from the heart, unnumbered rivers glide, And faithful back return their purple tide; How fine the mechanism, by thee display'd! How wonderful is ev'ry creature made! Vessels, too small for sight, the fluids strain, Concoct, digest, assimilate, sustain; In deep attention, and surprize, we gaze, And to life's author, raptur'd, pour out praise.

What beauties dost thou open to the sight, Untwisting all the golden threads of light! Each parent colour tracing to its source, Distinct they live, obedient to thy force! Nought from thy penetration is conceal'd, And light, himself, shines to thy soul reveal'd.

So when the sacred writings you display, And on the mental eye shed purer day; In radiant colours truth array'd we see, Confess her charms, and guided up by thee; Soaring sublime, on contemplation's wings, The fountain seek, whence truth eternal springs. Fain would I wake the consecrated lyre, And sing the sentiments thou didst inspire! But find my strength unequal to a theme, Which asks a Milton's, or a Seraph's flame! If, thro' weak words, one ray of reason shine, Thine was the thought, the errors only mine. Yet may these numbers to thy soul impart The humble incense of a grateful heart. Trifles, with God himself, acceptance find, If offer'd with sincerity of mind; Then, like the Deity, indulgence shew, Thou, most like him, of all his works below.

FOOTNOTES: [1] An extravagant compliment; for Mrs. Pilkington was far from being a beauty.

[2] Of which, she says, she received only 15 l.

* * * * *

Mr. THOMAS SOUTHERN.

This eminent poet was born in Dublin, on the year of the Restoration of Charles the IId. and received his early education at the university there. In the 18th year of his age, he quitted Ireland, and as his intention was to pursue a lucrative profession, he entered himself in the Middle-Temple. But the natural vivacity of his mind overcoming considerations of advantage, he quitted that state of life, and entered into the more agreeable service of the Muses[1].

The first dramatic performance of Mr. Southern, his Persian Prince, or Loyal Brother, was acted in the year 1682. The story is taken from Thamas Prince of Persia, a Novel; and the scene is laid in Ispahan in Persia. This play was introduced at a time when the Tory interest was triumphant in England, and the character of the Loyal brother was no doubt intended to compliment James Duke of York, who afterwards rewarded the poet for his service. To this Tragedy Mr. Dryden wrote the Prologue and Epilogue, which furnished Mr. Southern with an opportunity of saying in his dedication, 'That the Laureat's own pen secured me, maintaining the out-works, while I lay safe entrenched within his lines; and malice, ill-nature, and censure were forced to grin at a distance.'

The Prologue is a continued invective against the Whigs, and whether considered as a party libel, or an induction to a new play, is in every respect unworthy of the great hand that wrote it. His next play was a Comedy, called the Disappointment, or the Mother in Fashion, performed in the year 1684.—After the accession of king James the IId to the throne, when the duke of Monmouth made an unfortunate attempt upon his uncle's crown, Mr. Southern went into the army, in the regiment of foot raised by the lord Ferrers, afterwards commanded by the duke of Berwick; and he had three commissions, viz. ensign, lieutenant, and captain, under King James, in that regiment.

During the reign of this prince, in the year before the Revolution, he wrote a Tragedy called the Spartan Dame, which however was not acted till the year 1721. The subject is taken from the Life of Agis in Plutarch, where the character of Chelonis, between the duties of a wife and daughter was thought to have a near resemblance to that of King William's Queen Mary. 'I began this play, says Mr. Southern, a year before the Revolution, and near four acts written without any view. Many things interfering with those times, I laid by what I had written for seventeen years: I shewed it then to the late duke of Devonshire, who was in every regard a judge; he told me he saw no reason why it might not have been acted the year of the Revolution: I then finished it, and as I thought cut out the exceptionable parts, but could not get it acted, not being able to persuade myself to the cutting off those limbs, which I thought essential to the strength and life of it. But since I found it must pine in obscurity without it, I consented to the operation, and after the amputation of every line, very near to the number of 400, it stands on its own legs still, and by the favour of the town, and indulging assistance of friends, has come successfully forward on the stage.' This play was inimitably acted. Mr. Booth, Mr. Wilks, Mr. Cibber, Mr. Mills, sen. Mrs. Oldfield, and Mrs. Porter, all performed in it, in their heighth of reputation, and the full vigour of their powers.

Mr. Southern acknowledges in his preface to this play, that the last scene of the third Act, was almost all written by the honourable John Stafford, father to the earl of Stafford. Mr. Southern has likewise acknowledged, that he received from the bookseller, as a price for this play, 150 l. which at that time was very extraordinary. He was the first who raised the advantage of play writing to a second and third night, which Mr. Pope mentions in the following manner,

—Southern born to raise, The price of Prologues and of Plays.

The reputation which Mr. Dryden gained by the many Prologues he wrote, induced the players to be sollicitous to have one of his to speak, which were generally well received by the public. Mr. Dryden's price for a Prologue had usually been five guineas, with which sum Mr. Southern presented him when he received from him a Prologue for one of his plays. Mr. Dryden returned the money, and said to him; 'Young man this is too little, I must have ten guineas.' Mr. Southern on this observ'd, that his usual price was five guineas. Yes answered Dryden, it has been so, but the players have hitherto had my labours too cheap; for the future I must have ten guineas [2].

Mr. Southern was industrious to draw all imaginable profits from his poetical labours. Mr. Dryden once took occasion to ask him how much he got by one of his plays; to which he answered, that he was really ashamed to inform him. But Mr. Dryden being a little importunate to know, he plainly told him, that by his last play he cleared seven hundred pounds; which appeared astonishing to Mr. Dryden, as he himself had never been able to acquire more than one hundred by any of his most successful pieces. The secret is, Mr. Southern was not beneath the drudgery of sollicitation, and often sold his tickets at a very high price, by making applications to persons of distinction: a degree of servility which perhaps Mr. Dryden thought was much beneath the dignity of a poet; and too much in the character of an under-player.

That Mr. Dryden entertained a very high opinion of our author's abilities, appears from his many expressions of kindness towards him. He has prefixed a copy of verses to a Comedy of his, called the Wife's Excuse, acted in the year 1692, with very indifferent success: Of this Comedy, Mr. Dryden had so high an opinion, that he bequeathed to our poet, the care of writing half the last act of his Tragedy of Cleomenes, 'Which, says Mr. Southern, when it comes into the world will appear to be so considerable a trust, that all the town will pardon me for defending this play, that preferred me to it.'

Our author continued from time to time to entertain the public with his dramatic pieces, the greatest part of which met with the success they deserved. The night on which his Innocent Adultery was first acted, which is perhaps the most moving play in any language; a gentleman took occasion to ask Mr. Dryden, what was his opinion of Southern's genius? to which that great poet replied, 'That he thought him such another poet as Otway.' When this reply was communicated to Mr. Southern, he considered it as a very great compliment, having no ambition to be thought a more considerable poet than Otway was.

Of our author's Comedies, none are in possession of the stage, nor perhaps deserve to be so; for in that province he is less excellent than in Tragedy. The present Laureat, who is perhaps one of the best judges of Comedy now living, being asked his opinion by a gentleman, of Southern's comic dialogue, answered, That it might be denominated Whip-Syllabub, that is, flashy and light, but indurable; and as it is without the Sal Atticum of wit, can never much delight the intelligent part of the audience.

The most finished, and the most pathetic of Mr. Southern's plays, in the opinion of the critics, is his Oroonoko, or the Royal Slave. This drama is built upon a true story, related by Mrs. Behn, in a Novel; and has so much the greater influence on the audience, as they are sensible that the representation is no fiction. In this piece, Mr. Southern has touched the tender passions with so much skill, that it will perhaps be injurious to his memory to say of him, that he is second to Otway. Besides the tender and delicate strokes of passion, there are many shining and manly sentiments in Oroonoko; and one of the greatest genius's of the present age, has often observed, that in the most celebrated play of Shakespear, so many striking thoughts, and such a glow of animated poetry cannot be furnished. This play is so often acted, and admired, that any illustration of its beauties here, would be entirely superfluous. His play of The Fatal Marriage, or The Innocent Adultery, met with deserved success; the affecting incidents, and interesting tale in the tragic part, sufficiently compensate for the low, trifling, comic part; and when the character of Isabella is acted, as we have seen it, by Mrs. Porter, and Mrs. Woffington, the ladies seldom fail to sympathise in grief.

Mr. Southern died on the 26th of May, in the year 1746, in the 86th year of his age; the latter part of which he spent in a peaceful serenity, having by his commission as a soldier, and the profits of his dramatic works, acquired a handsome fortune; and being an exact oeconomist, he improved what fortune he gained, to the best advantage: He enjoyed the longest life of all our poets, and died the richest of them, a very few excepted.

A gentleman whose authority we have already quoted, had likewise informed us, that Mr. Southern lived for the last ten years of his life in Westminster, and attended very constant at divine service in the Abbey, being particularly fond of church music. He never staid within doors while in health, two days together, having such a circle of acquaintance of the best rank, that he constantly dined with one or other, by a kind of rotation.

FOOTNOTES:

[1] Jacob.

[2] From the information of a gentleman personally acquainted with Mr. Southern, who desires to have his name conceal'd.

* * * * *

The Revd. Mr. JAMES MILLER.

This gentleman was born in the year 1703. He was the son of a clergyman, who possessed two considerable livings in Dorsetshire[1]. He received his education at Wadham-College in Oxford, and while he was resident in that university he composed part of his famous Comedy called the Humours of Oxford, acted in the year 1729, by the particular recommendation of Mrs. Oldfield.

This piece, as it was a lively representation of the follies and vices of the students of that place, procured the author many enemies.

Mr. Miller was designed by his relations to be bred to business, which he declined, not being able to endure the servile drudgery it demanded. He no sooner quitted the university than he entered into holy orders, and was immediately preferred to be lecturer in Trinity-College in Conduit-Street, and preacher of Roehampton-Chapel. These livings were too inconsiderable to afford a genteel subsistence, and therefore it may be supposed he had recourse to dramatic writing to encrease his finances. This kind of composition, however, being reckoned by some very foreign to his profession, if not inconsistent with it, was thought to have retarded his preferment in the church. Mr. Miller was likewise attached to the High-Church interest, a circumstance in the times in which he lived, not very favourable to preferment. He was so honest however in these principles, that upon a large offer being made him by the agents for the ministry in the time of a general opposition, he had virtue sufficient to withstand the temptation, though his circumstances at that time were far from being easy. Mr. Miller often confessed to some of his friends, that this was the fiery trial of his constancy. He had received by his wife a very genteel fortune, and a tenderness for her had almost overcome his resolutions; but he recovered again to his former firmness, when upon hinting to his wife, the terms upon which preferment might be procured, she rejected them with indignation; and he became ashamed of his own wavering. This was an instance of honour, few of which are to be met with in the Lives of the Poets, who have been too generally of a time-serving temper, and too pliant to all the follies and vices of their age. But though Mr. Miller would not purchase preferment upon the terms of writing for the ministry, he was content to stipulate, never to write against them, which proposal they rejected in their turn.

About a year before Mr. Miller's death, which happened in 1743, he was presented by Mr. Cary of Dorsetshire, to the profitable living of Upsun, his father had before possess'd, but which this worthy man lived not long to enjoy; nor had he ever an opportunity of making that provision for his family he so much sollicited; and which he even disdained to do at the expence of his honour.

Mr. Miller's dramatic works are,

I. Humours of Oxford, which we have already mentioned.

II. The Mother-in-Law, or the Doctor the Disease; a Comedy, 1733.

III. The Man of Taste, a Comedy; acted in the year 1736, which had a run of 30 nights[2].

IV. Universal Passion, a Comedy, 1736.

V. Art and Nature, a Comedy, 1737.

VI. The Coffee-House, a Farce, 1737.

VII. An Hospital for Fools, a Farce, 1739.

VIII. The Picture, or Cuckold in Conceit.

IX. Mahomet the Impostor, a Tragedy; during the run of this play the author died.

X. Joseph and his Brethren; a sacred Drama.

Mr. Miller was author of many occasional pieces in poetry, of which his Harlequin Horace is the most considerable. This Satire is dedicated to Mr. Rich, the present manager of Covent-Garden Theatre, in which with an ironical severity he lashes that gentleman, in consequence of some offence Mr. Rich had given him.

Mr. Miller likewise published a volume of Sermons, all written with a distinguished air of piety, and a becoming zeal for the interest of true religion; and was principally concerned in the translation of Moliere's comedies, published by Watts.

Our author left behind him a son, whose profession is that of a sea surgeon. Proposals for publishing his Poems have been inserted in the Gentleman's Magazine, with a specimen, which does him honour. The profits of this subscription, are to be appropriated to his mother, whom he chiefly supported, an amiable instance of filial piety.

FOOTNOTES:

[1] The account of this gentleman is taken from the information of his widow.

[2] These two pieces were brought on the stage, without the author's name being known; which, probably, not a little contributed to their success; the care of the rehearsals being left to Mr. Theo. Cibber, who played the characters of the Man of Taste, and Squire Headpiece.

* * * * *

Mr. NICHOLAS AMHURST.

This gentleman, well known to the world, by the share he had in the celebrated anti-court paper called The Craftsman, was born in Marden in Kent, but in what year we cannot be certain. Mr. Amhurst's grandfather was a clergyman, under whose protection and care he received his education at Merchant-Taylors school. Having received there the rudiments of learning, he was removed to St. John's College, Oxford, from which, on account of the libertinism of his principles, and some offence he gave to the head of that college, it appears, he was ejected. We can give no other account of this affair, than what is drawn from Mr. Amhurst's dedication of his poems to Dr. Delaune, President of St. John's College in Oxford. This dedication abounds with mirth and pleasantry, in which he rallies the Dr. with very pungent irony, and hints at the causes of his disgrace in that famous college. In page 10, of his dedication, he says,

'You'll pardon me, good sir, if I think it necessary for your honour to mention the many heinous crimes for which I was brought to shame. None were indeed publicly alledged against me at that time, because it might as well be done afterwards; sure old Englishmen can never forget that there is such a thing as hanging a man for it, and trying him afterwards: so fared it with me; my prosecutors first proved me, by an undeniable argument, to be no fellow of St. John's College, and then to be—the Lord knows what.

'My indictment may be collected out of the faithful annals of common fame, which run thus,

'Advices from Oxford say, that on the 29th of June, 1719, one Nicholas Amhurst of St. John's College was expelled for the following reasons;

'Imprimis, For loving foreign turnips and Presbyterian bishops.

'Item, For ingratitude to his benefactor, that spotless martyr, Sir William Laud.

'Item, For believing that steeples and organs are not necessary to salvation.

'Item, For preaching without orders, and praying without a commission.

'Item, For lampooning priestcraft and petticoatcraft.

'Item, For not lampooning the government and the revolution.

'Item, For prying into secret history.

'My natural modesty will not permit me, like other apologists, to Vindicate myself in any one particular, the whole charge is so artfully drawn up, that no reasonable person would ever think the better of me, should I justify myself 'till doomsday.' Towards the close of the dedication, he takes occasion to complain of some severities used against him, at the time of his being excluded the college. 'But I must complain of one thing, whether reasonable or not, let the world judge. When I was voted out of your college, and the nusance was thereby removed, I thought the resentments of the holy ones would have proceeded no further; I am sure the cause of virtue and sound religion I was thought to offend, required no more; nor could it be of any possible advantage to the church, to descend to my private affairs, and stir up my creditors in the university to take hold of me at a disadvantage, before I could get any money returned; but there are some persons in the world, who think nothing unjust or inhuman in the prosecution of their implacable revenge.'

It is probable, that upon this misfortune happening to our author, he repaired to the capital, there to retrieve his ruined affairs. We find him engaged deeply in the Craftsman, when that paper was in its meridian, and when it was more read and attended to than any political paper ever published in England, on account of the assistance given to it by some of the most illustrious and important characters of the nation. It is said, that ten thousand of that paper have been sold in one day.

The Miscellanies of Mr. Amhurst, the greatest part of which were written at the university, consist chiefly of poems sacred and profane, original, paraphrased, imitated, and translated; tales, epigrams, epistles, love-verses, elegies, and satires. The Miscellany begins with a beautiful paraphrase on the Mosaic Account of the Creation; and ends with a very humorous tale upon the discovery of that useful utensil, A Bottle-Screw.

Mr. Amhurst died of a fever at Twickenham, April 27, 1742. Our poet had a great enmity to the exorbitant demands, and domineering spirit of the High-Church clergy, which he discovers by a poem of his, called, The convocation, in five cantos; a kind of satire against all the writers, who shewed themselves enemies of the bishop of Bangor. He translated The Resurrection, and some other of Mr. Addison's Latin pieces.

He wrote an epistle (with a petition in it) to Sir John Blount, Bart. one of the directors of the South-Sea Company, 1726.

Oculus Britanniae, an Heroi-panegyrical Poem, on the University of Oxford, 8vo. 1724.

In a poem of Mr. Amhurst's, called, An Epistle from the Princess Sobiesky to the Chevalier de St. George, he has the following nervous lines, strongly expressive of the passion of love.

Relentless walls and bolts obstruct my way, And, guards as careless, and as deaf as they; Or to my James thro' whirlwinds I would, go, Thro' burning deserts, and o'er alps of snow, Pass spacious roaring, oceans undismay'd, And think the mighty dangers well repaid.

* * * * *

Mr. GEORGE LILLO.

Was by profession a jeweller. He was born in London, on the 4th of Feb. 1693. He lived, as we are informed, near Moorgate, in the same neighbourhood where he received his birth, and where he was always esteemed as a person of unblemished character. 'Tis said, he was educated in the principles of the dissenters: be that as it will, his morals brought no disgrace on any sect or party. Indeed his principal attachment was to the muses.

His first piece, brought on the stage, was a Ballad Opera, called Sylvia; or, The Country Burial; performed at the Theatre Royal in Lincoln's-Inn Fields, but with no extraordinary success, in the year 1730. The year following he brought his play, called The London Merchant; or, The True Story of George Barnwell, to Mr. Cibber junior; (then manager of the summer company, at the Theatre Royal in Drury-Lane) who originally played the part of Barnwell.—The author was not then known. As this was almost a new species of tragedy, wrote on a very uncommon subject, he rather chose it should take its fate in the summer, than run the more hazardous fate of encountering the winter criticks. The old ballad of George Barnwell (on which the story was founded) was on this occasion reprinted, and many thousands sold in one day. Many gaily-disposed spirits brought the ballad with them to the play, intending to make their pleasant remarks (as some afterwards owned) and ludicrous comparisons between the antient ditty and the modern drama. But the play was very carefully got up, and universally allowed to be well performed. The piece was thought to be well conducted, and the subject well managed, and the diction proper and natural; never low, and very rarely swelling above the characters that spoke. Mr. Pope, among other persons, distinguished by their rank, or particular publick merit, had the curiosity to attend the performance, and commended the actors, and the author; and remarked, if the latter had erred through the whole play, it was only in a few places, where he had unawares led himself into a poetical luxuriancy, affecting to be too elevated for the simplicity of the subject. But the play, in general, spoke so much to the heart, that the gay persons before mentioned confessed, they were drawn in to drop their ballads, and pull out their handkerchiefs. It met with uncommon success; for it was acted above twenty times in the summer season to great audiences; was frequently bespoke by some eminent merchants and citizens, who much approved its moral tendency: and, in the winter following, was acted often to crowded houses: And all the royal family, at several different times, honoured it with their appearance. It gained reputation, and brought money to the poet, the managers, and the performers. Mr. Cibber, jun. not only gave the author his usual profits of his third days, &c. but procured him a benefit-night in the winter season, which turned out greatly to his advantage; so that he had four benefit-nights in all for that piece; by the profits whereof, and his copy-money, he gained several hundred pounds. It continued a stock-play in Drury-Lane Theatre till Mr. Cibber left that house, and went to the Theatre in Covent-Garden. It was often acted in the Christmas and Easter holidays, and judged a proper entertainment for the apprentices, &c. as being a more instructive, moral, and cautionary drama, than many pieces that had been usually exhibited on those days, with little but farce and ribaldry to recommend them.

A few years after, he brought out his play of The Christian Hero at the Theatre Royal in Drury-Lane.

And another Tragedy called Elmerick.

His tragedy of three acts, called Fatal Curiosity, founded on an old English story, was acted with success at the Hay-Market, in 1737.

He wrote another tragedy, never yet acted, called Arden of Feversham.

He was a man of strict morals, great good-nature, and sound sense, with an uncommon share of modesty.

He died Sept. 3. 1739. and was buried in the vault of Shoreditch church.

* * * * *

Mr. CHARLES JOHNSON.

Mr. Charles Johnson was designed for the law; but being an admirer of the muses, turned his thoughts to dramatic writing; and luckily being an intimate of Mr. Wilks, by the assistance of his friendship, Mr. Johnson had several plays acted, some of which met with success. He was a constant attendant at Will's and Button's coffee houses, which were the resort of most of the men of taste and literature, during the reigns of queen Anne and king George the first. Among these he contracted intimacy enough to intitle him to their patronage, &c on his benefit-nights; by which means he lived (with oeconomy) genteelly. At last he married a young widow, with a tolerable fortune, and set up a tavern in Bow-street, which he quitted on his wife's dying, and lived privately on the small remainder of his fortune.

He died about the year 1744. His parts were not very brilliant; but his behaviour was generally thought inoffensive; yet he escaped not the satire of Mr. Pope, who has been pleased to immortalize him in his Dunciad.

His dramatic pieces are,

1. The Gentleman Cully, a Comedy: acted at the Theatre-Royal, Covent-Garden, 1702.

2. Fortune in her Wits, a Comedy; 1705. It is a very indifferent translation of Mr. Cowley's Naufragium Joculare.

3. The Force of Friendship, a Tragedy, 1710.

4. Love in a Chest, a Farce, 1710.

5. The Wife's Relief; or, the Husband's Cure; a Comedy. It is chiefly borrowed from Shirley's Gamester, 1711.

6. The Successful Pirate, a Tragi-Comedy, 1712.

7. The Generous Husband; or, the Coffee-house Politician; a Comedy, 1713.

8. The Country Lasses; or, the Custom of the Manor; a Comedy, 1714.

9. Love and Liberty; a Tragedy, 1715.

10. The Victim; a Tragedy, 1715.

11. The Sultaness; a Tragedy, 1717.

12. The Cobler of Preston; a Farce of two Acts, 1717.

13. Love in a Forest; a Comedy, 1721. Taken from Shakespear's Comedy, As you like it.

14. The Masquerade; a Comedy, 1723.

15. The Village Opera, 1728.

16. The Ephesian Matron; a Farce of one Act, 1730.

17. Celia; or, the Perjured Lovers; a Tragedy, 1732.

* * * * *

PHILIP FROWDE, Esq;

This elegant poet was the son of a gentleman who had been post-master-general in the reign of queen Anne. Where our author received his earliest instructions in literature we cannot ascertain; but, at a proper time of life, he was sent to the university of Oxford, where he had the honour of being particularly distinguished by Mr. Addison, who took him under his immediate protection. While he remained at that university, he became author of several poetical performances; some of which, in Latin, were sufficiently elegant and pure, to intitle them to a place in the Musae Anglicanae, published by Mr. Addison; an honour so much the more distinguished, as the purity of the Latin poems contained in that collection, furnished the first hint to Boileau of the greatness of the British genius. That celebrated critick of France entertained a mean opinion of the English poets, till he occasionally read the Musae Anglicanae; and then he was persuaded that they who could write with so much elegance in a dead language, must greatly excel in that which was native to them.

Mr. Frowde has likewise obliged the publick with two tragedies; the Fall of Saguntum, dedicated to sir Robert Walpole; and Philotas, addressed to the earl of Chesterfield. The first of these performances, so far as we are able to judge, has higher merit than the last. The story is more important, being the destruction of a powerful city, than the fall of a single hero; the incidents rising out of this great event are likewise of a very interesting nature, and the scenes in many places are not without passion, though justly subject to a very general criticism, that they are written with too little. Mr. Frowde has been industrious in this play to conclude his acts with similes, which however exceptionable for being too long and tedious for the situations of the characters who utter them, yet are generally just and beautiful. At the end of the first act he has the following simile upon sedition:

Sedition, thou art up; and, in the ferment, To what may not the madding populace, Gathered together for they scarce know what, Now loud proclaiming their late, whisper'd grief, Be wrought at length? Perhaps to yield the city. Thus where the Alps their airy ridge extend, Gently at first the melting snows descend; From the broad slopes, with murm'ring lapse they glide In soft meanders, down the mountain's side; But lower fall'n streams, with each other crost, From rock to rock impetuously are tost, 'Till in the Rhone's capacious bed they're lost. United there, roll rapidly away, And roaring, reach, o'er rugged rocks, the sea.

In the third act, the poet, by the mouth of a Roman hero, gives the following concise definition of true courage.

True courage is not, where fermenting spirits Mount in a troubled and unruly stream; The soul's its proper seat; and reason there Presiding, guides its cool or warmer motions.

The representation of besiegers driven back by the impetuosity of the inhabitants, after they had entered a gate of the city, is strongly pictured by the following simile.

Imagine to thyself a swarm of bees Driv'n to their hive by some impending storm, Which, at its little pest, in clustering heaps, And climbing o'er each other's backs they enter. Such was the people's flight, and such their haste To gain the gate.

We have observed, that Mr. Frowde's other tragedy, called Philotas, was addressed to the earl of Chesterfield; and in the dedication he takes care to inform his lordship, that it had obtained his private approbation, before it appeared on the stage. At the time of its being acted, lord Chesterfield was then embassador to the states-general, and consequently he was deprived of his patron's countenance during the representation. As to the fate of this play, he informs his lordship, it was very particular: "And I hope (says he) it will not be imputed as vanity to me, when I explain my meaning in an expression of Juvenal, Laudatur & al-get." But from what cause this misfortune attended it, we cannot take upon us to say.