Chapter 1

Dempeter later regretted his share in _Critical Strictures_ on the ground that neither he nor his collaborators could have written a tragedy nearly so good. _The Critical Review_, in which Mallet himself sometimes wrote, characterized the pamphlet as "the crude efforts of envy, petulance, and self-conceit." "There being thus three epithets," says Boswell, "we, the three authours, had a humourous contention how each should be appropriated."[8] _The Monthly Review_ was hardly less severe. It conceived the author of _Critical Structures_ to be either a personal enemy of Mallet's or else a bitter enemy of Mallet's country, prejudiced against everything Scotch. The reviewer could not but look upon this author "as a man of more abilities than honesty, as the want of candour is certainly a species of dishonesty."[9]

It was natural to infer that _Critical Strictures_ was motivated by prejudice against Scotland. It appeared in the days of Wilkes's _North Briton_ and shortly after Charles Churchill's _Prophecy of Famine_, that is, at the height of the violent anti-Scotch feeling which the opponents of Bute (a Scotsman by birth) had stirred up and were exploiting in order to force him out of office. But the critics might have remembered that the most savage criticism of any Scot generally comes from other Scots who think he has not remained Scotch enough; as witness, by what new appears to be retributive justice, the general Scots dislike of Boswell himself. At any rate, the pamphlet was the production, not of one Englishman imbued with a hatred of all things Scots, but of three warmly patriotic Scotsmen.

_Critical Strictures_ is the merest of trifles, but at least three reasons can be given for publishing a facsimile of it. Scholars on occasion need to be able to read all the productions of great authors no matter how trifling, and this one is excessively rare; so rare, indeed, that few of Boswell's editors have been able to get a sight of it. It makes a pleasant and useful footnote to _Boswell's London Journal, 1762-1765_, a work now being widely read, or at least widely circulated. And it contains a remark or two that should be of interest to historians of English drama in the middle of the eighteenth century.

Mr. C. Beecher Hogan has given me expert assistance in writing two of the notes.

The copy of _Critical Strictures_ used for making this reproduction was given to the Library of Yale University by Professor Chauncey B. Tinker.

Frederick A. Pottle Yale University.

NOTES TO THE INTRODUCTION

1. _Boswell's London Journal, 1762-1763_, ed. F.A. Pottle, McGraw-Hill Book Co. (New York), William Heinemann (London), 1950, p. 152, quoted with permission of the McGraw-Hill Book Co. This edition (which will hereafter be referred to as LJ) prints the journal in a standardized and modernized text. In the passage above quoted I have restored the ampersands and capitals of Boswell's manuscript.

2. See F.A. Pottle, _The Literary Career of James Boswell_, Clarendon Press, 1929, pp. 6, 12.

3. "The Life of Mallet," in _Lives of the Poets_.

4. James Boswell's _Life of Samuel Johnson_, ed. G.B. Hill and L.F. Powell, Clarendon Press, 6 vols., 1934-1950, i. 268. (Hereafter referred to as _Life_.)

5. Douce MS 193, 93^v, quoted with permission of the Curators of the Bodleian Library.

6. LJ, pp. 154-155, 162, 163-164, 172, partly paraphrased, partly quoted.

7. John Genest, _Some Account of the English Stage from ... 1660 to 1830_, 10 vols., Bath, 1832, v.12-13.

8. _Life_, i. 409 _n._ 1; _The Critical Review_, xv (Feb. 1763). 160.

9. _The Monthly Review_. xxviii (Jan. 1763). 68, written by the editor, Ralph Griffiths (B.C. Nangle, _The Monthly Review, First Series 1749-1789_, Clarendon Press, 1934, p. 84, no. 995).

* * * * *

CRITICAL STRICTURES ON THE New TRAGEDY OF ELVIRA, WRITTEN BY Mr. DAVID MALLOCH.

LONDON: Printed for W. FLEXNEY, near Gray's Inn, Holborn. MDCCLXIII.

(Price Sixpence.)

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Advertisement.[A]

We have followed the Authority of Sir _David Dalrymple_, and Mr. _Samuel Johnson_, in the Orthography of Mr. _Malloch_'s Name; as we imagine the Decision of these Gentlemen will have more weight in the World of Letters, than even that of the said Mr. _Malloch_ himself.

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CRITICAL STRICTURES, &c.

In our Strictures on the Tragedy of _Elvira_, we shall not hasten all at once into the midst of Things, according to the Rules of Epic Poetry; Heroic Poems and Remarks on New Plays, are things so essentially different, that they ought not to be written by the same Rules. Had Mr. _Malloch_ been aware of these Distinctions in writing, which surely are not very nice, he probably would have discovered that Scenes admirably adapted for forming a Burlesque Tragedy, would never succeed in forming a serious Drama. In the Prologue the Author informs us, that the Preliminaries of Peace are signed, and the War now over and he humbly hopes, as we have spared the _French_, we will spare his Tragedy. But as the Principles of Restitution seem at present strong in this Nation, before we extend our Mercy to him, we insist that in imitation of his Superiors, he shall restore every thing valuable he has plunder'd from the _French_ during the Course of his sad and tedious Composition.

In the first Scene of this Tragedy a Gentleman who has been abroad, during the Wars, requests his Friend to acquaint him with what has past at Court in the time of his Absence. We were equally surprized and delighted with this new Method of informing the Spectators of the Transactions prior to the Commencement of the Play; nothing can be more natural, for we imagine the Art of conveying Letters by Post was at that time undiscovered. We must indeed acknowledge, that during the time of the Roman Empire Letters were transmitted with the utmost Celerity from one Part to another of those immense Dominions; but we also know, that after the Subversion of that State by the Incursions of the _Goths_ and _Vandals_, the first Act of Cruelty committed by these Barbarians was murdering all the Post-Boys in cold Blood: In like manner as our inhuman _Edward_ upon his compleating the Conquest of _Wales_ ordered all the Bards to be put to Death, amongst the Number of which had Mr. _Malloch_ been included we had not now been tortured with his execrable Tragedy. Novelty of the same kind with this we have mentioned runs thro' the whole Play, almost every Scene being an Interview and a _tête a tête_. The King wants to see his Son, the Queen wants to see _Elvira_, _Elvira_ wants to see the King, and so on thro' the Five Acts.

No new Thoughts or Sentiments are to be found in this Performance, we meet only with old ones absurdly expressed. _Dryden_ said that _Ben Johnson_ was every where to be traced in the Snow of the Ancients. We may say that _Malloch_ is every where to be traced in the Puddle of the Moderns. Instead of selecting the Beauties, he has pick'd out whatever is despicable in _Shakespeare_, _Otway_, _Dryden_, and _Rowe_, like a Pick-Pocket who dives for Handkerchiefs, not for Gold; and contents himself with what he finds in our Great Coat Pocket, without attempting our Watch or your Purse. Tho' Mr. _Malloch_ may only mean to borrow, yet as he possesses no Fund of Original Genius from whence he can pay his Debts, borrowing, we are afraid is an inadequate Expression, the harsher one of stealing we must therefore, tho' reluctantly, substitute in its room. In the Prologue he acknowledges himself a Culprit, but as the Loss of what he has pilfered is insignificant to the Owners, we shall bring him in guilty only of Petty Larcenary: We believe he has been driven, like poor People in this severe Weather by dire Necessity, to such dishonest Shifts.

In this Play the Author has introduced a Rebellion unparalleled in any History, Ancient or Modern. He raises his Rebellions as a skilful Gardener does his Mushrooms, in a Moment; and like an artful Nurse, he lulls in a Moment the fretful Child asleep. The Prince enters an Appartment of the Palace with a drawn Sword; this forms the Rebellion. The King enters the same Appartment without a drawn Sword. This quashes the Rebellion. How to credit this Story, or to pardon this poetical Licence, we are greatly at a Loss; for we know in the Year 1745 three thousand Mountaineers actually appeared at _Derby_. _Cataline_, we are credibly informed, had a Gang of at least a Dozen stout Fellows; and it is pretty certain that _Bedemar_, when going to inslave _Venice_, had provided Pistols and Battle Powder for more than fifteen fighting Men. We are almost tempted to think, that Mr. _Malloch_ gets his Rebellions ready made, like his _Scotch_ Tobacco, cut and dry, at the Sign of the Valiant Highlander.

Our great Author possesses, in its utmost Perfection, the happy Art of uniting rival Ladies, and of setting at Variance a virtuous Father and Son. How intimate his Acquaintance with Human Nature! How deep his Knowledge of the Passions! No less exquisite and refined in his Morality, like a true Disciple of Lord _Bolingbroke_, he unites Vice and Virtue most lovingly together; witness this memorable Line of the King's, addressed to _Elvira_;

_'Midst all your Guilt I must admire your Virtue._

Let us invert this Line,

'Midst all your Virtue I must abhor your Guilt.

Let us parody it;

O Mr. _David Malloch_! 'midst all your Dullness I must admire your Genius.

We heard it once asserted by _David Hume_, Esq;[B] that Mr. _Malloch_ was destitute of the Pathetic. In this Observation however we beg leave to differ with him. In the fourth Act the whole Board of Portuguese Privy Counsellors are melted into Tears. The Trial of the Prince moves the Hearts of those Monsters of Iniquity, those Members of Inquisition, when the less humane Audience are in Danger, from the Tediousness of two insipid Harangues of falling fast asleep. This majestic Scene is too exactly copied from a Trial at the _Old Bailey_, to have even the Merit of Originality. And indeed it is to the Lenity of the King of _Portugal_ that we owe by far the greater Part of this amazing Play. The good Man lets his rebellious Subjects out of Prison to chat with him, when a wiser Monarch would have kept them close confined in _Newgate_. The incomparable Action of that universal Genius Mr. _Garrick_ alone, saved this Act from the Damnation it deserved. Had not he, like a second _Æneas_, carried the old doating and decrepid Father on his Back, he must have lain by the Way. Tho' we must observe another Character in this Play seemed better suited to the Impetuosity and Fire of this Actor. We could not but smile at the Humour of a merry Wag in the Pit, who at the Conclusion of one of the most tiresome Pleadings, with some Degree of Impatience and Emotion called out, _Encore, encore_.

In the fifth Act we were melted with the Sight of two young Children which the King embraced, which the Prince embraced, which _Elvira_ embraced. Mr. _Addison_ in the 44th No. of the _Spectator_, has some Remarks so judicious and lively on the Practice of introducing Children on the Stage, that we must beg leave to transcribe the Passage.

"A disconsolate Mother with a Child in her Hand, has frequently drawn Compassion from the Audience, and has therefore gained a Place in several Tragedies; a modern Writer who observed how this had taken in other Plays, being resolved to double the Distress, and melt his Audience twice as much as those before him had done, brought a Princess on the Stage with a little Boy in one Hand, and a Girl in the other. A third Poet being resolved to out-write all his Predecessors, a few Years ago introduced three Children with great Success; and as I am informed a young Gentleman who is fully determined to break the most obdurate Heart, has a Tragedy by him where the first Person that appears on the Stage is an afflicted Widow, in her mourning Weeds, with half a dozen fatherless Children attending her, like those that usually hang about the Figure of Charity. Thus several Incidents that are beautiful in a good Writer become ridiculous by falling into the Hands of a bad one."

We would suggest to Mr. _Malloch_ the useful Hint of introducing in some of his future Productions, the whole Foundling Hospital, which with a well painted Scene of the Edifice itself would certainly call forth the warmest Tears of Pity, and the bitterest Emotions of Distress; especially when we consider that many of the Parents of these unfortunate Babes would probably be Spectators of this interesting Scene.

The Conclusion of the Piece is as abrupt as the other Parts of it are absurd. We should be much at a Loss to guess by whom the Poison is administered to _Elvira_, were we not aided in our Conjectures by the shrewd Suspicions which the King, tho' otherwise a very loving Husband, seems to entertain of his Wife. Upon my regreting that her Majesty, if guilty, should escape without poetical Justice at least, a Gentleman who sat behind me, a Friend as I supposed of the Author, assured me her Punishment was reserved for the Farce, which for that Purpose was, contrary to Custom, added to the Play.[C]

Though in general this Tragedy is colder than the most extreme Parts of _Nova Zembla_,[D] yet we now and then feel a Warmth, but it is such a Warmth or Glow rather, as is sometimes produced by the Handling of Snow.

Bad as this Play is, yet will the Author have the Profits of his Three Nights: Few on the First Night having either Taste or Spirit to express their Disapprobation. Like the Rascals who plundered _Lisbon_ after the Earthquake, Mr. _David Malloch_ will extract Guineas out of Rubbish.

We shall now give, in a few Words, the Quintessence of this Play. Monarchs ought to be just. Heroes are bad Men. Husbands ought to die for their Wives, Wives for their Husbands. We ought to govern our Passions. And the Sun shines on all alike. A few of these new Remarks form the Sum total of this contemptible Piece.

After the Play we were entertained with an Epilogue fraught with Humour, and spoken with Spirit. There was a Simile of a Bundle of Twigs formed into a Rod, which seemed to convey a delicate Allusion to Mr. _Malloch_'s original Profession,[E] and some of the Lines contained an exquisite and severe Criticism on the Play itself.

Amidst all the harshness inspired by a real Feeling of the Dulness of the Composition itself, it would be unjust not to bestow the highest Applause on the principal Performers, by the Energy of whose Action even Dulness was sometimes rendered respectable. We were sorry to find such great Talents so very ill employed. The melting Tones of a _Cibber_ should make every Eye stream with Tears. _Pritchard_ should always elevate. _Garrick_ give Strength and Majesty to the Scene. Let us soften at the keen Distress of a _Belvidera_; let our Souls rise with the Dignity of an _Elizabeth_; let us tremble at the wild Madness of a _Lear_;[F] but let us not Yawn at the Stupidity of uninteresting Characters.

_FINIS_

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NOTES ON _CRITICAL STRICTURES_

[Footnote A: (P. 5) Advertisement. Johnson's dictum first appeared in the abridgment of his dictionary, 1756, under _Alias_, which he defined as "A Latin word signifying otherwise; as Mallet _alias_ Mallock; that is, _otherwise_ Mallock." In four places in his _Memorials and Letters Relating to the History of Britain in the Reign of James the First_ (1762) Dalrymple had given Mallet "his real name"; he had repented after the sheets were printed and had inserted a corrigendum, "For Malloch, r. Mallet," which only made matters worse. See _The Yale Edition of Horace Walpole's Correspondence_, iv. 78 _n._ 17. Dalrymple chided the authors of _Critical Strictures_ gently for using his name, and said he was sorry for having thus yielded to a private pique (LJ, p. 190 _n._ 6). But the matter remained of interest to him, for as late as 1783 he sent Johnson a copy of one of Mallet's earliest productions, the title-page of which bore the name in its original spelling (_Life_, iv. 216-217; see also _Private Papers of James Boswell ... in the Collection of ... R.H. Isham_, ed. Geoffrey Scott and F.A. Pottle, 18 vols., Privately Printed, 1928-1934, xv. 208).]

[Footnote B: (P. 15) "We heard it once asserted by _David Hume_, Esq." On 4 November 1762, in Hume's house in James's Court, Edinburgh. "Mr. Mallet has written bad Tragedies because he is deficient in the pathetic, and hence it is doubted if he is the Author of _William and Margaret_. Mr. Hume said he knew people who had seen it before Mallet was born. Erskine gave another proof, viz. that he has written _Edwin and Emma_, a Ballad in the same stile, not near so good." See _Private Papers_ (as in the note preceding this), i. 126-127, or the Limited Edition of _Boswell's London Journal, 1762-1763_, McGraw-Hill and Heinemann, 1951, p. 101. Hume protested vigorously, though with good humor, at this breach of confidence, and Boswell wrote a flippant reply (LJ, pp. 206-207, 208-209).]

[Footnote C: (P. 20) "... her Punishment was reserved for the Farce, which for that Purpose was, contrary to Custom, added to the Play." Stock plays were always followed by an afterpiece, but the afterpiece was in most cases omitted during the first run of a new play. For example, Mrs. Sheridan's _Discovery_ opened 3 February 1763 and ran for ten nights before an afterpiece was added. The afterpieces presented with _Elvira_ up to 27 January were as follows: 19 January, _The Male Coquette_ (Garrick); 20 January, _High Life Below Stairs_ (Townley); 21 January, _Old Maid_ (Murphy); 22 January, _Catharine and Petruchio_ (Garrick's adaptation of Shakespeare's _Taming of the Shrew_); 24 January, _High Life Below Stairs_; 26 January, _Catharine and Petruchio_; 27 January, _Edgar and Emmeline_ (Hawkesworth). But Mrs. Pritchard, who played the Queen in _Elvira_, seems not to have appeared in any of these afterpieces, and no one of them contains a queen (Dougald MacMillan, _Drury Lane Calendar_, 1747-1776, Clarendon Press, 1938, pp. 94, 217, 239, 260, 282, 297). Furthermore, if the jest could be understood only with reference to a particular farce, that farce would surely have been named. This is no doubt a case where less is meant than meets the ear. The authors are merely saying that Mallet's play is badly constructed, and is so ridiculous generally that no one will know when the tragedy ends and the farce begins.]

[Footnote D: (P. 21) "Though in general this Tragedy is colder than the most extreme Parts of _Nova Zembla_ ..." This is perhaps the only passage in _Critical Strictures_ that can be attributed with certainty to one of the three authors. The remark is Dempster's, and had been made some time before Elvira was presented; in fact, he had applied it originally to Johnson's _Irene_. See LJ, pp. 69, 306.]

[Footnote E: (P. 22) "... a Simile of a Bundle of Twigs formed into a Rod ... Mr. _Malloch_'s original Profession ..." Garrick's epilogue to _Elvira_ contains the following lines:

A single critick will not frown, look big, Harmless and pliant as a single twig, But crouded _here_ they change, and 'tis not odd, For twigs when bundled up, become a rod.

One of Mallet's duties, when he was janitor of the High School of Edinburgh, had been to assist in the floggings, either by applying the instrument of punishment himself (see LJ, p. 209) or by lifting the boys up on his back at the command of _tollatur_ and exposing the proper portion of their anatomy to the master's birch (John Ramsay, _Scotland and Scotsmen in the Eighteenth Century_, Blackwood, Edinburgh and London, 1888, i. 24 _n_.)]

[Footnote F: (Pp. 23-24) "... keen Distress of a _Belvidera_,... Dignity of an _Elizabeth_;... wild Madness of a _Lear_." The authors are listing what they conceive to be the most impressive tragic roles of Mrs. Cibber, Mrs. Pritchard, and Garrick, who played respectively Elvira, the Queen, and the King in _Elvira_. Belvidera in Otway's _Venice Preserved_ was by all accounts one of Mrs. Cibber's best parts. It had been assigned to her in the majority of the Drury Lane performances since 1747, and she had appeared in it as recently as 16 November 1762. Mrs. Pritchard had played Queen Elizabeth in all the Drury Lane performances (1755-1760) of _The Earl of Essex_ by Henry Jones and of the play of the same name by Henry Brooke (1761-), but had appeared in neither role more recently than 30 December 1761. A role of Elizabeth which she had presented more recently (18 December 1762) and had been appearing regularly in since 1748 was the Queen Elizabeth of Shakespeare's _Richard III_ as altered by Cibber. It is probably this last named Elizabeth that the authors of _Critical Strictures_ had in mind. The choice is unusual, critics generally having considered Lady Macbeth to be her finest tragic role. Garrick had played Lear on 31 December 1762 (_Drury Lane Calendar_, as above, pp. 237-238, 268, 313-315, 338).]

* * * * *

PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY

FIRST YEAR (1946-47)

Numbers 1-4 out of print.

5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700) and _Essay on Heroic Poetry_ (1693).

6. _Representation of the Impiety and Immorality of the Stage_ (1704) and _Some Thoughts Concerning the Stage_ (1704).

SECOND YEAR (1947-1948)

7. John Gay's _The Present State of Wit_ (1711); and a section on Wit from _The English Theophrastus_ (1702).

8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).

9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).

10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, etc._ (1744).

11. Thomas Purney's _Discourse on the Pastoral_ (1717).

12. Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch.

THIRD YEAR (1948-1949)

13. Sir John Falstaff (pseud.), _The Theatre_ (1720).

14. Edward Moore's _The Gamester_ (1753).

15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ (1712); and Arthur Mainwaring's _The British Academy_ (1712).

16. Nevil Payne's _Fatal Jealousy_(1673).

17. Nicholas Rowe's _Some Account of the Life of Mr. William Shakespeare_ (1709).

18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); and Aaron Hill's Preface to _The Creation_ (1720).

FOURTH YEAR (1949-1950)

19. Susanna Centlivre's _The Busie Body_ (1709).

20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).

21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ (1754).

22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two _Rambler_ papers (1750).

23. John Dryden's _His Majesties Declaration Defended_ (1681).

24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which from Settled Principles is Rendered the Grounds for Choosing and Rejecting Epigrams_, translated by J.V. Cunningham.

FIFTH YEAR (1950-51)

25. Thomas Baker's _The Fine Lady's Airs_ (1709).

26. Charles Macklin's _The Man of the World_ (1792).

27. Frances Reynolds' _An Enquiry Concerning the Principles of Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785).

28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A Panegyric to Charles the Second_ (1661).

29. Daniel Defoe's _A Vindication of the Press_ (1718).

30. Essays on Taste from John Gilbert Cooper's _Letters Concerning Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ (1770).

31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); and _The Eton College Manuscript_.

32. Prefaces to Fiction; Georges de Scudéry's Preface to _Ibrahim_ (1674), etc.

33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725).

34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785).

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William Andrews Clark Memorial Library: University of California

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Publications for the sixth year [1951-1952]

(At least six items, most of them from the following list, will be reprinted.)

THOMAS GRAY: _An Elegy Wrote in a Country Church Yard_ (1751). Introduction by George Sherburn.

JAMES BOSWELL, ANDREW ERSKINE, and GEORGE DEMPSTER: _Critical Strictures on the New Tragedy of Elvira_ (1763). Introduction by Frederick A. Pottle.

_An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). Introduction by James A. Work.

HENRY GALLY: _A Critical Essay on Characteristic Writing_ (1725). Introduction by Alexander Chorney.

[JOHN PHILLIPS]: _Satyr Against Hypocrits_ (1655). Introduction by Leon Howard.

_Prefaces to Fiction_. Selected and with an Introduction by Benjamin Boyce.

THOMAS TYERS: _A Biographical Sketch of Dr. Samuel Johnson_ ([1785]). Introduction by Gerald Dennis Meyer.

Publications for the first five years (with the exception of NOS. 1-4, which are out of print) are available at the rate of $3.00 a year. Prices for individual numbers may be obtained by writing to the Society.

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