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+The Project Gutenberg EBook of Critical Strictures on the New Tragedy of
+Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch (1763)
+
+Author: James Boswell, Andrew Erskine and George Dempster
+
+Release Date: May 18, 2005 [EBook #15857]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRITICAL STRICTURES ***
+
+
+
+
+Produced by David Starner, Clare Boothby and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+         The Augustan Reprint Society
+
+JAMES BOSWELL, ANDREW ERSKINE, and GEORGE DEMPSTER
+
+_Critical Strictures on the New Tragedy of Elvira,
+        Written by Mr. David Malloch_
+
+                    (1763)
+
+
+
+   With an Introduction by Frederick A. Pottle
+
+
+              Publication Number 35
+
+
+
+                  Los Angeles
+    William Andrews Clark Memorial Library
+           University of California
+                     1952
+
+
+
+       *       *       *       *       *
+
+
+GENERAL EDITORS
+
+  H. RICHARD ARCHER, _Clark Memorial Library_
+  RICHARD C. BOYS, _University of Michigan_
+  ROBERT S. KINSMAN, _University of California, Los Angeles_
+  JOHN LOFTIS, _University of California, Los Angeles_
+
+ASSISTANT EDITOR
+
+  W. EARL BRITTON, _University of Michigan_
+
+ADVISORY EDITORS
+
+  EMMETT L. AVERY, _State College of Washington_
+  BENJAMIN BOYCE, _Duke University_
+  LOUIS BREDVOLD, _University of Michigan_
+  JAMES L. CLIFFORD, _Columbia University_
+  ARTHUR FRIEDMAN, _University of Chicago_
+  EDWARD NILES HOOKER, _University of California, Los Angeles_
+  LOUIS A. LANDA, _Princeton University_
+  SAMUEL H. MONK, _University of Minnesota_
+  ERNEST MOSSNER, _University of Texas_
+  JAMES SUTHERLAND, _University College, London_
+  H.T. SWEDENBERG, JR., _University of California, Los Angeles_
+
+CORRESPONDING SECRETARY
+
+  EDNA C. DAVIS, _Clark Memorial Library_
+
+
+       *       *       *       *       *
+
+
+INTRODUCTION
+
+"WEDNESDAY 19 JANUARY [1763]. This was a day eagerly expected by Dempster,
+Erskine, and I, as it was fixed as the period of our gratifying a whim
+proposed by me: which was that on the first day of the new Tragedy called
+_Elvira's_ being acted, we three should walk from the one end of
+London to the other, dine at Dolly's, & be in the Theatre at night; & as
+the Play would probably be bad, and as Mr. David Malloch, the Author, who
+has changed his name to David Mallet, Esq., was an arrant Puppy, we
+determined to exert ourselves in damning it."[1]
+
+George Dempster, aged thirty, a Scots lawyer who by putting his fortune
+under severe strain had been elected Member of Parliament for the Forfar
+and Fife burghs, was in London in his official capacity. Andrew Erskine,
+aged twenty-two, younger son of an impoverished Scots earl, was waiting in
+London till the regiment in which he held a lieutenant's commission should
+be "broke," following the Peace. James Boswell, heir to the considerable
+estate of Auchinleck in Ayrshire, also aged twenty-two, had come to London
+in the previous November in an attempt to secure a commission in the Foot
+Guards. Dempster, Erskine, and Boswell had constituted themselves a
+triumvirate of wit in Edinburgh as early as the summer of 1761, and had
+already made more than one joint appearance in print.[2]
+
+David Mallet, now in his late fifties, was also a Scotsman. "It was
+remarked of him," wrote Dr. Johnson many years later, "that he was the
+only Scot whom Scotchmen did not commend."[3] Scotsmen considered him a
+renegade. They felt that he had repudiated his country in changing his
+distinctively Scots name, perhaps also in learning to speak English so
+well that Johnson had never been able to catch him in a Scotch accent.
+They would have been willing to forget his humble origins if he had not
+shown that he was ashamed of them himself. But when he allowed himself to
+assume arrogant manners and to style himself "Esq." (a kind of behavior
+especially offensive to genuine men of family, like our trio), they chose
+to remember, and to remind the world, that he was the son of a tenant
+farmer (a Macgregor, at that), that as a boy he had been willing to run
+errands and to deliver legs of mutton, and that for a time in his youth he
+had held the menial post of Janitor in the High School of Edinburgh.
+
+It was not merely the Scots who had their knives out for Mallet. He was
+generally unpopular, apparently for adequate reasons. He had accepted a
+large sum of money from the Duchess of Marlborough to write a life of the
+Duke, of which he never penned a line, though he pretended for years that
+he was worn out by his labors in connection with it. He courted Pope,
+accepted kindnesses from him, and then attacked him after he was dead. He
+published Bolingbroke's posthumous infidelities, causing Johnson to remark
+that Bolingbroke had charged "a blunderbuss against religion and morality"
+and had "left half a crown to a beggarly Scotchman, to draw the trigger
+after his death."[4] His behavior towards the memory of his friend and
+collaborator Thomson was thought to be less than candid. He had written a
+discreditable party pamphlet at the instigation of the Earl of Hardwicke
+against the unfortunate Admiral Byng, and had then deserted Hardwicke for
+the Earl of Bute, who had found him a sinecure of £300 a year. And even as
+early as 1763 people were saying that he was really not the author of the
+fine ballad _William and Margaret_ which he had published as his own.
+
+Boswell, at least, had meditated an attack on Mallet before _Critical
+Strictures_ was written. In the large manuscript collection of his
+verses preserved in the Bodleian Library are two scraps of an unpublished
+satire imitating Churchill's _Rosciad_ (1761), to be entitled _The
+Turnspitiad_, a canine contest of which Mallet is the hero:
+
+    If dogg'rel rhimes have aught to do with dog,
+    If kitchen smoak resembles fog,
+    If changing sides from Hardwick to Lord B--t
+    Can with a turnspit's turning humour suit,
+    If to write verse immeasurably low,
+    Which Malloch's verse does so compleatly show,
+    Deserve the preference--Malloch, take the wheel,
+    Nor quit it till you bring as _gude a Chiel_![5]
+
+And the decision to damn _Elvira_ was made in advance of the
+performance, as we have seen.
+
+Having failed, in spite of shrill-sounding catcalls, to persuade the
+audience at Drury Lane to damn the play, our trio went to supper at the
+house of Erskine's sister, Lady Betty Macfarlane, in Leicester Street, and
+there found themselves so fertile in sallies of humour, wit, and satire on
+Mallet and his play that they determined to meet again and throw their
+sallies into order. Accordingly, they dined at Lady Betty's next day (20
+January). After dinner Erskine produced a draft of their observations
+thrown into pamphlet size, they all three corrected it, Boswell copied it
+out, and they drove immediately in Lady Betty's coach to the shop of
+William Flexney, Churchill's publisher, and persuaded him to undertake the
+publication. Next day Boswell repented of the scurrility of what they had
+written and got Dempster to go with him to retrieve the copy. Erskine at
+first was sulky, but finally consented to help revise it again. It went
+back to Flexney in a day or two, and was published on 27 January.[6]
+
+_Elvira_ was essentially a translation or adaptation of Lamotte-Houdar's
+French tragedy _Inès de Castro_, a piece published forty years
+before, but the English audience of 1763 saw in it a compliment to the
+King of Portugal, whose cause against Spain Great Britain had espoused
+towards the end of the Seven Years' War. The preliminaries of peace had
+already been signed, but the spirit of belligerency had not subsided; so
+that the making of the only odious person in the play (the Queen) a
+Spaniard, and having it end with a declaration of war against Spain, could
+not fail to please a patriotic audience. Since nobody reads _Elvira_
+any more, I shall venture to give an expanded version of Genest's outline
+of the plot, in order to make the comments in Critical Strictures more
+intelligible:
+
+Don Pedro [son of Alonzo IV, King of Portugal] and Elvira [maid of honour
+to the Queen, who is the King's second wife, and is mother of the King of
+Spain] are privately married--the King insists that his son should marry
+Almeyda [the Queen's daughter, sister to the King of Spain]--he
+acknowledges his love for Elvira--she is committed to the custody of the
+Queen--Don Pedro takes up arms to rescue Elvira--he forces his way into
+the palace--she blames him for his rashness--the King enters, and Don
+Pedro throws away his sword--Don Pedro is first confined to his apartment,
+and then condemned to death--Almeyda, who is in love with Don Pedro, does
+her utmost to save him--she prevails on the King to give Elvira an
+audience--Elvira avows her marriage, and produces her two children--the
+King pardons his son--Elvira dies, having been poisoned by the Queen--Don
+Pedro offers to kill himself, but is prevented by his father.[7]
+
+The play had a respectable run, in spite of its colliding with the
+Half-Price Riots, but contemporary accounts appear to indicate that it
+was not highly thought of by the judicious. I extract the following terse
+criticism from a letter in the _St. James's Chronicle_ for 20 January,
+the day after the play opened:
+
+  _A Brief Criticism on the New Tragedy of Elvira_
+
+        Act I. Indifferent.
+
+        Act II. Something better.
+
+        Act III. MIDDLING.
+
+        Act IV. Execrable.
+
+        Act V. Very Tolerable.
+
+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.)
+
+
+
+       *       *       *       *       *
+
+
+
+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.
+
+
+       *       *       *       *       *
+
+
+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_
+
+
+       *       *       *       *       *
+
+
+
+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).
+
+
+       *       *       *       *       *
+
+
+William Andrews Clark Memorial Library: University of California
+
+THE AUGUSTAN REPRINT SOCIETY
+
+_General Editors_
+
+H. RICHARD ARCHER
+    William Andrews Clark Memorial Library
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+The Society exists to make available inexpensive reprints (usually
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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.
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+End of the Project Gutenberg EBook of Critical Strictures on the New Tragedy
+of Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
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+<title>The Project Gutenberg eBook of Critical Strictures on the New Tragedy of Elvira,
+       Written by Mr. David Malloch,
+    by James Boswell, Andrew Erskine, and George Dempster.
+</title>
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+<pre>
+
+The Project Gutenberg EBook of Critical Strictures on the New Tragedy of
+Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch (1763)
+
+Author: James Boswell, Andrew Erskine and George Dempster
+
+Release Date: May 18, 2005 [EBook #15857]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRITICAL STRICTURES ***
+
+
+
+
+Produced by David Starner, Clare Boothby and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h3>
+         The Augustan Reprint Society
+</h3>
+<h1>
+    JAMES BOSWELL, ANDREW ERSKINE, and GEORGE DEMPSTER
+</h1>
+<h1>
+<i>Critical Strictures on the New Tragedy of Elvira,
+       Written by Mr. David Malloch</i>
+
+                    (1763)
+</h1>
+<h2>
+   With an Introduction by Frederick A. Pottle
+</h2>
+<h3>
+              Publication Number 35
+</h3>
+<h3>
+                  Los Angeles<br />
+    William Andrews Clark Memorial Library<br />
+           University of California<br />
+                     1952
+</h3>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<h3>
+GENERAL EDITORS
+</h3>
+<center>
+    H. RICHARD ARCHER, <i>Clark Memorial Library</i><br />
+    RICHARD C. BOYS, <i>University of Michigan</i><br />
+    ROBERT S. KINSMAN, <i>University of California, Los Angeles</i><br />
+    JOHN LOFTIS, <i>University of California, Los Angeles</i><br />
+</center>
+<h3>
+    ASSISTANT EDITOR
+</h3>
+<center>
+    W. EARL BRITTON, <i>University of Michigan</i>
+</center>
+<h3>
+ADVISORY EDITORS
+</h3>
+<center>
+    EMMETT L. AVERY, <i>State College of Washington</i><br />
+    BENJAMIN BOYCE, <i>Duke University</i><br />
+    LOUIS BREDVOLD, <i>University of Michigan</i><br />
+    JAMES L. CLIFFORD, <i>Columbia University</i><br />
+    ARTHUR FRIEDMAN, <i>University of Chicago</i><br />
+    EDWARD NILES HOOKER, <i>University of California, Los Angeles</i><br />
+    LOUIS A. LANDA, <i>Princeton University</i><br />
+    SAMUEL H. MONK, <i>University of Minnesota</i><br />
+    ERNEST MOSSNER, <i>University of Texas</i><br />
+    JAMES SUTHERLAND, <i>University College, London</i><br />
+    H.T. SWEDENBERG, JR., <i>University of California, Los Angeles</i><br />
+</center>
+<h3>
+CORRESPONDING SECRETARY
+</h3>
+<center>
+    EDNA C. DAVIS, <i>Clark Memorial Library</i>
+</center>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h2>
+    INTRODUCTION
+</h2>
+<p>
+    "WEDNESDAY 19 JANUARY [1763]. This was a day eagerly expected by Dempster,
+    Erskine, and I, as it was fixed as the period of our gratifying a whim
+    proposed by me: which was that on the first day of the new Tragedy called
+    <i>Elvira's</i> being acted, we three should walk from the one end of
+    London to the other, dine at Dolly's, &amp; be in the Theatre at night; &amp; as
+    the Play would probably be bad, and as Mr. David Malloch, the Author, who
+    has changed his name to David Mallet, Esq., was an arrant Puppy, we
+    determined to exert ourselves in damning it."<a name="marker-1" href="#note-1"><small><sup>[1]</sup></small></a>
+</p>
+<p>
+    George Dempster, aged thirty, a Scots lawyer who by putting his fortune
+    under severe strain had been elected Member of Parliament for the Forfar
+    and Fife burghs, was in London in his official capacity. Andrew Erskine,
+    aged twenty-two, younger son of an impoverished Scots earl, was waiting in
+    London till the regiment in which he held a lieutenant's commission should
+    be "broke," following the Peace. James Boswell, heir to the considerable
+    estate of Auchinleck in Ayrshire, also aged twenty-two, had come to London
+    in the previous November in an attempt to secure a commission in the Foot
+    Guards. Dempster, Erskine, and Boswell had constituted themselves a
+    triumvirate of wit in Edinburgh as early as the summer of 1761, and had
+    already made more than one joint appearance in print.<a name="marker-2" href="#note-2"><small><sup>[2]</sup></small></a>
+</p>
+<p>
+    David Mallet, now in his late fifties, was also a Scotsman. "It was
+    remarked of him," wrote Dr. Johnson many years later, "that he was the
+    only Scot whom Scotchmen did not commend."<a name="marker-3" href="#note-3"><small><sup>[3]</sup></small></a> Scotsmen considered him a
+    renegade. They felt that he had repudiated his country in changing his
+    distinctively Scots name, perhaps also in learning to speak English so
+    well that Johnson had never been able to catch him in a Scotch accent.
+    They would have been willing to forget his humble origins if he had not
+    shown that he was ashamed of them himself. But when he allowed himself to
+    assume arrogant manners and to style himself "Esq." (a kind of behavior
+    especially offensive to genuine men of family, like our trio), they chose
+    to remember, and to remind the world, that he was the son of a tenant
+    farmer (a Macgregor, at that), that as a boy he had been willing to run
+    errands and to deliver legs of mutton, and that for a time in his youth he
+    had held the menial post of Janitor in the High School of Edinburgh.
+</p>
+<p>
+    It was not merely the Scots who had their knives out for Mallet. He was
+    generally unpopular, apparently for adequate reasons. He had accepted a
+    large sum of money from the Duchess of Marlborough to write a life of the
+    Duke, of which he never penned a line, though he pretended for years that
+    he was worn out by his labors in connection with it. He courted Pope,
+    accepted kindnesses from him, and then attacked him after he was dead. He
+    published Bolingbroke's posthumous infidelities, causing Johnson to remark
+    that Bolingbroke had charged "a blunderbuss against religion and morality"
+    and had "left half a crown to a beggarly Scotchman, to draw the trigger
+    after his death."<a name="marker-4" href="#note-4"><small><sup>[4]</sup></small></a> His behavior towards the memory of his friend and
+    collaborator Thomson was thought to be less than candid. He had written a
+    discreditable party pamphlet at the instigation of the Earl of Hardwicke
+    against the unfortunate Admiral Byng, and had then deserted Hardwicke for
+    the Earl of Bute, who had found him a sinecure of &pound;300 a year. And even as
+    early as 1763 people were saying that he was really not the author of the
+    fine ballad <i>William and Margaret</i> which he had published as his own.
+</p>
+<p>
+    Boswell, at least, had meditated an attack on Mallet before <i>Critical
+    Strictures</i> was written. In the large manuscript collection of his
+    verses preserved in the Bodleian Library are two scraps of an unpublished
+    satire imitating Churchill's <i>Rosciad</i> (1761), to be entitled <i>The
+    Turnspitiad</i>, a canine contest of which Mallet is the hero:
+</p>
+<div class="poem"><div class="stanza">
+<span>If dogg'rel rhimes have aught to do with dog,<br /></span>
+<span>If kitchen smoak resembles fog,<br /></span>
+<span>If changing sides from Hardwick to Lord B&mdash;t<br /></span>
+<span>Can with a turnspit's turning humour suit,<br /></span>
+<span>If to write verse immeasurably low,<br /></span>
+<span>Which Malloch's verse does so compleatly show,<br /></span>
+<span>Deserve the preference&mdash;Malloch, take the wheel,<br /></span>
+<span>Nor quit it till you bring as <i>gude a Chiel</i>!<a name="marker-5" href="#note-5"><small><sup>[5]</sup></small></a><br /></span></div></div>
+
+<p>
+    And the decision to damn <i>Elvira</i> was made in advance of the
+    performance, as we have seen.
+</p>
+<p>
+    Having failed, in spite of shrill-sounding catcalls, to persuade the
+    audience at Drury Lane to damn the play, our trio went to supper at the
+    house of Erskine's sister, Lady Betty Macfarlane, in Leicester Street, and
+    there found themselves so fertile in sallies of humour, wit, and satire on
+    Mallet and his play that they determined to meet again and throw their
+    sallies into order. Accordingly, they dined at Lady Betty's next day (20
+    January). After dinner Erskine produced a draft of their observations
+    thrown into pamphlet size, they all three corrected it, Boswell copied it
+    out, and they drove immediately in Lady Betty's coach to the shop of
+    William Flexney, Churchill's publisher, and persuaded him to undertake the
+    publication. Next day Boswell repented of the scurrility of what they had
+    written and got Dempster to go with him to retrieve the copy. Erskine at
+    first was sulky, but finally consented to help revise it again. It went
+    back to Flexney in a day or two, and was published on 27 January.<a name="marker-6" href="#note-6"><small><sup>[6]</sup></small></a>
+</p>
+<p>
+    <i>Elvira</i> was essentially a translation or adaptation of Lamotte-Houdar's
+    French tragedy <i>In&#232;s de Castro</i>, a piece published forty years
+    before, but the English audience of 1763 saw in it a compliment to the
+    King of Portugal, whose cause against Spain Great Britain had espoused
+    towards the end of the Seven Years' War. The preliminaries of peace had
+    already been signed, but the spirit of belligerency had not subsided; so
+    that the making of the only odious person in the play (the Queen) a
+    Spaniard, and having it end with a declaration of war against Spain, could
+    not fail to please a patriotic audience. Since nobody reads <i>Elvira</i>
+    any more, I shall venture to give an expanded version of Genest's outline
+    of the plot, in order to make the comments in Critical Strictures more
+    intelligible:
+</p>
+<p>
+    Don Pedro [son of Alonzo IV, King of Portugal] and Elvira [maid of honour
+    to the Queen, who is the King's second wife, and is mother of the King of
+    Spain] are privately married&mdash;the King insists that his son should marry
+    Almeyda [the Queen's daughter, sister to the King of Spain]&mdash;he
+    acknowledges his love for Elvira&mdash;she is committed to the custody of the
+    Queen&mdash;Don Pedro takes up arms to rescue Elvira&mdash;he forces his way into
+    the palace&mdash;she blames him for his rashness&mdash;the King enters, and Don
+    Pedro throws away his sword&mdash;Don Pedro is first confined to his apartment,
+    and then condemned to death&mdash;Almeyda, who is in love with Don Pedro, does
+    her utmost to save him&mdash;she prevails on the King to give Elvira an
+    audience&mdash;Elvira avows her marriage, and produces her two children&mdash;the
+    King pardons his son&mdash;Elvira dies, having been poisoned by the Queen&mdash;Don
+    Pedro offers to kill himself, but is prevented by his father.<a name="marker-7" href="#note-7"><small><sup>[7]</sup></small></a>
+</p>
+<p>
+    The play had a respectable run, in spite of its colliding with the
+    Half-Price Riots, but contemporary accounts appear to indicate that it
+    was not highly thought of by the judicious. I extract the following terse
+    criticism from a letter in the <i>St. James's Chronicle</i> for 20
+    January, the day after the play opened:
+</p>
+<div class="blockquot"><p>
+  <i>A Brief Criticism on the New Tragedy of Elvira</i></p>
+<p>
+        Act I. Indifferent.<br />
+
+        Act II. Something better.<br />
+
+        Act III. MIDDLING.<br />
+
+        Act IV. Execrable.<br />
+
+        Act V. Very Tolerable.<br />
+</p></div>
+<p>
+    Dempeter later regretted his share in <i>Critical Strictures</i> on the
+    ground that neither he nor his collaborators could have written a tragedy
+    nearly so good. <i>The Critical Review</i>, 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."<a name="marker-8" href="#note-8"><small><sup>[8]</sup></small></a> <i>The Monthly Review</i> was hardly less
+    severe. It conceived the author of <i>Critical Structures</i> 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."<a name="marker-9" href="#note-9"><small><sup>[9]</sup></small></a>
+</p>
+<p>
+    It was natural to infer that <i>Critical Strictures</i> was motivated by
+    prejudice against Scotland. It appeared in the days of Wilkes's <i>North
+    Briton</i> and shortly after Charles Churchill's <i>Prophecy of
+    Famine</i>, 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.
+</p>
+<p>
+    <i>Critical Strictures</i> 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 <i>Boswell's London Journal,
+    1762-1765</i>, 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.
+</p>
+<p>
+    Mr. C. Beecher Hogan has given me expert assistance in writing two of the
+    notes.
+</p>
+<p>
+    The copy of <i>Critical Strictures</i> used for making this reproduction
+    was given to the Library of Yale University by Professor Chauncey B.
+    Tinker.
+</p>
+<p>
+    Frederick A. Pottle
+    Yale University.
+</p>
+<a name="2HNOT2"><!-- H2 anchor --></a>
+
+<p>&nbsp;</p>
+<h2>
+    NOTES TO THE INTRODUCTION
+</h2>
+<div class="footnote"><p><a name="note-1"></a><a href="#marker-1"><span class="label">[1]</span></a>
+<i>Boswell's London Journal, 1762-1763</i>, 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.</p></div>
+
+<div class="footnote"><p><a name="note-2"></a><a href="#marker-2"><span class="label">[2]</span></a>
+See F.A. Pottle, <i>The Literary Career of James Boswell</i>, Clarendon
+    Press, 1929, pp. 6, 12.</p></div>
+
+<div class="footnote"><p><a name="note-3"></a><a href="#marker-3"><span class="label">[3]</span></a>
+"The Life of Mallet," in <i>Lives of the Poets</i>.</p></div>
+
+<div class="footnote"><p><a name="note-4"></a><a href="#marker-4"><span class="label">[4]</span></a>
+James Boswell's <i>Life of Samuel Johnson</i>, ed. G.B. Hill and L.F.
+    Powell, Clarendon Press, 6 vols., 1934-1950, i. 268. (Hereafter referred
+    to as <i>Life</i>.)</p></div>
+
+<div class="footnote"><p><a name="note-5"></a><a href="#marker-5"><span class="label">[5]</span></a>
+Douce MS 193, 93<sup>v</sup>, quoted with permission of the Curators of the
+    Bodleian Library.</p></div>
+
+<div class="footnote"><p><a name="note-6"></a><a href="#marker-6"><span class="label">[6]</span></a>
+LJ, pp. 154-155, 162, 163-164, 172, partly paraphrased, partly quoted.</p></div>
+
+<div class="footnote"><p><a name="note-7"></a><a href="#marker-7"><span class="label">[7]</span></a>
+John Genest, <i>Some Account of the English Stage from ... 1660 to
+    1830</i>, 10 vols., Bath, 1832, v.12-13.</p></div>
+
+<div class="footnote"><p><a name="note-8"></a><a href="#marker-8"><span class="label">[8]</span></a>
+<i>Life</i>, i. 409 <i>n.</i> 1; <i>The Critical Review</i>, xv (Feb. 1763). 160.</p></div>
+
+<div class="footnote"><p><a name="note-9"></a><a href="#marker-9"><span class="label">[9]</span></a>
+<i>The Monthly Review</i>. xxviii (Jan. 1763). 68, written by the
+    editor, Ralph Griffiths (B.C. Nangle, <i>The Monthly Review, First Series
+    1749-1789</i>, Clarendon Press, 1934, p. 84, no. 995).</p></div>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+
+<h1>
+                   CRITICAL<br />
+                  STRICTURES<br />
+                    ON THE<br />
+                 New TRAGEDY<br />
+                      OF<br />
+                    ELVIRA,<br />
+                  WRITTEN BY<br />
+              Mr. DAVID MALLOCH.<br />
+</h1>
+<h3>
+                    LONDON:<br />
+Printed for W. FLEXNEY, near Gray's Inn, Holborn.<br />
+                  MDCCLXIII.<br />
+
+              (Price Sixpence.)<br />
+</h3>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<h3>
+    Advertisement.<a name="marker-a" href="#note-a"><small><sup>[A]</sup></small></a>
+</h3>
+<p>&nbsp;</p>
+<p>
+    We have followed the Authority of Sir <i>David Dalrymple</i>, and Mr.
+    <i>Samuel Johnson</i>, in the Orthography of Mr. <i>Malloch</i>'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. <i>Malloch</i> himself.
+</p>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<h2>
+    CRITICAL
+    STRICTURES, &amp;c.
+</h2>
+<p>&nbsp;</p>
+<p>
+    In our Strictures on the Tragedy of <i>Elvira</i>, 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.
+    <i>Malloch</i> 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 <i>French</i>, 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
+    <i>French</i> during the Course of his sad and tedious Composition.
+</p>
+<p>
+    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 <i>Goths</i> and <i>Vandals</i>, the
+    first Act of Cruelty committed by these Barbarians was murdering all the
+    Post-Boys in cold Blood: In like manner as our inhuman <i>Edward</i> upon
+    his compleating the Conquest of <i>Wales</i> ordered all the Bards to be
+    put to Death, amongst the Number of which had Mr. <i>Malloch</i> 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 <i>t&#234;te a t&#234;te</i>. The King
+    wants to see his Son, the Queen wants to see <i>Elvira</i>, <i>Elvira</i>
+    wants to see the King, and so on thro' the Five Acts.
+</p>
+<p>
+    No new Thoughts or Sentiments are to be found in this Performance, we meet
+    only with old ones absurdly expressed. <i>Dryden</i> said that <i>Ben
+    Johnson</i> was every where to be traced in the Snow of the Ancients. We
+    may say that <i>Malloch</i> 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 <i>Shakespeare</i>, <i>Otway</i>, <i>Dryden</i>, and <i>Rowe</i>,
+    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. <i>Malloch</i> 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.
+</p>
+<p>
+    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 <i>Derby</i>. <i>Cataline</i>, we are credibly informed, had a
+    Gang of at least a Dozen stout Fellows; and it is pretty certain that
+    <i>Bedemar</i>, when going to inslave <i>Venice</i>, had provided Pistols
+    and Battle Powder for more than fifteen fighting Men. We are almost
+    tempted to think, that Mr. <i>Malloch</i> gets his Rebellions ready made,
+    like his <i>Scotch</i> Tobacco, cut and dry, at the Sign of the Valiant
+    Highlander.
+</p>
+<p>
+    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 <i>Bolingbroke</i>, he unites Vice and Virtue
+    most lovingly together; witness this memorable Line of the King's,
+    addressed to <i>Elvira</i>;
+</p>
+<div class="blockquot"><p>
+    <i>'Midst all your Guilt I must admire your Virtue.</i>
+</p></div>
+<p>
+    Let us invert this Line,
+</p>
+<div class="blockquot"><p>
+    'Midst all your Virtue I must abhor your Guilt.
+</p></div>
+<p>
+    Let us parody it;
+</p>
+<div class="blockquot"><p>
+    O Mr. <i>David Malloch</i>! 'midst all your Dullness I must admire
+        your Genius.
+</p></div>
+<p>
+    We heard it once asserted by <i>David Hume</i>, Esq;<a name="marker-b" href="#note-b"><small><sup>[B]</sup></small></a> that Mr.
+    <i>Malloch</i> 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 <i>Old Bailey</i>, to have
+    even the Merit of Originality. And indeed it is to the Lenity of the King
+    of <i>Portugal</i> 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
+    <i>Newgate</i>. The incomparable Action of that universal Genius Mr.
+    <i>Garrick</i> alone, saved this Act from the Damnation it deserved. Had
+    not he, like a second <i>&AElig;neas</i>, 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, <i>Encore, encore</i>.
+</p>
+<p>
+    In the fifth Act we were melted with the Sight of two young Children which
+    the King embraced, which the Prince embraced, which <i>Elvira</i>
+    embraced. Mr. <i>Addison</i> in the 44th No. of the <i>Spectator</i>, 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.
+</p>
+<p>
+    "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."
+</p>
+<p>
+    We would suggest to Mr. <i>Malloch</i> 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.
+</p>
+<p>
+    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 <i>Elvira</i>, 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.<a name="marker-c" href="#note-c"><small><sup>[C]</sup></small></a>
+</p>
+<p>
+    Though in general this Tragedy is colder than the most extreme Parts of
+    <i>Nova Zembla</i>,<a name="marker-d" href="#note-d"><small><sup>[D]</sup></small></a> 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.
+</p>
+<p>
+    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 <i>Lisbon</i> after
+    the Earthquake, Mr. <i>David Malloch</i> will extract Guineas out of
+    Rubbish.
+</p>
+<p>
+    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.
+</p>
+<p>
+    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.
+    <i>Malloch</i>'s original Profession,<a name="marker-e" href="#note-e"><small><sup>[E]</sup></small></a> and some of the Lines contained an
+    exquisite and severe Criticism on the Play itself.
+</p>
+<p>
+    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 <i>Cibber</i> should
+    make every Eye stream with Tears. <i>Pritchard</i> should always elevate.
+    <i>Garrick</i> give Strength and Majesty to the Scene. Let us soften at
+    the keen Distress of a <i>Belvidera</i>; let our Souls rise with the
+    Dignity of an <i>Elizabeth</i>; let us tremble at the wild Madness of a
+    <i>Lear</i>;<a name="marker-f" href="#note-f"><small><sup>[F]</sup></small></a> but let us not Yawn at the Stupidity of uninteresting
+    Characters.
+</p>
+<p>&nbsp;</p>
+<h2>
+                  <i>FINIS</i>
+</h2>
+<p>&nbsp;</p>
+<h2>
+    NOTES ON <i>CRITICAL STRICTURES</i>
+</h2>
+<p>&nbsp;</p>
+<div class="footnote"><p><a name="note-a"></a><a href="#marker-a"><span class="label">[A]</span></a>
+    (P. 5) Advertisement. Johnson's dictum first appeared in the abridgment of
+    his dictionary, 1756, under <i>Alias</i>, which he defined as "A Latin
+    word signifying otherwise; as Mallet <i>alias</i> Mallock; that is,
+    <i>otherwise</i> Mallock." In four places in his <i>Memorials and Letters
+    Relating to the History of Britain in the Reign of James the First</i>
+    (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 <i>The Yale Edition of Horace
+    Walpole's Correspondence</i>, iv. 78 <i>n.</i> 17. Dalrymple chided the
+    authors of <i>Critical Strictures</i> gently for using his name, and said
+    he was sorry for having thus yielded to a private pique (LJ, p. 190
+    <i>n.</i> 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 (<i>Life</i>,
+    iv. 216-217; see also <i>Private Papers of James Boswell ... in the
+    Collection of ... R.H. Isham</i>, ed. Geoffrey Scott and F.A. Pottle, 18
+    vols., Privately Printed, 1928-1934, xv. 208).
+</p></div>
+
+<div class="footnote"><p><a name="note-b"></a><a href="#marker-b"><span class="label">[B]</span></a>
+    (P. 15) "We heard it once asserted by <i>David Hume</i>, 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 <i>William and Margaret</i>.
+    Mr. Hume said he knew people who had seen it before Mallet was born.
+    Erskine gave another proof, viz. that he has written <i>Edwin and
+    Emma</i>, a Ballad in the same stile, not near so good." See <i>Private
+    Papers</i> (as in the note preceding this), i. 126-127, or the Limited
+    Edition of <i>Boswell's London Journal, 1762-1763</i>, 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).
+</p></div>
+
+<div class="footnote"><p><a name="note-c"></a><a href="#marker-c"><span class="label">[C]</span></a>
+    (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
+    <i>Discovery</i> opened 3 February 1763 and ran for ten nights before an
+    afterpiece was added. The afterpieces presented with <i>Elvira</i> up to
+    27 January were as follows: 19 January, <i>The Male Coquette</i> (Garrick);
+    20 January, <i>High Life Below Stairs</i> (Townley); 21 January, <i>Old
+    Maid</i> (Murphy); 22 January, <i>Catharine and Petruchio</i> (Garrick's
+    adaptation of Shakespeare's <i>Taming of the Shrew</i>; 24 January, <i>High
+    Life Below Stairs</i>; 26 January, <i>Catharine and Petruchio</i>; 27
+    January, <i>Edgar and Emmeline</i> (Hawkesworth). But Mrs. Pritchard, who
+    played the Queen in <i>Elvira</i>, seems not to have appeared in any of
+    these afterpieces, and no one of them contains a queen (Dougald MacMillan,
+    <i>Drury Lane Calendar</i>, 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.
+</p></div>
+
+<div class="footnote"><p><a name="note-d"></a><a href="#marker-d"><span class="label">[D]</span></a>
+    (P. 21) "Though in general this Tragedy is colder than the most extreme
+    Parts of <i>Nova Zembla</i> ..." This is perhaps the only passage in
+    <i>Critical Strictures</i> 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 <i>Irene</i>. See LJ, pp. 69, 306.
+</p></div>
+
+<div class="footnote"><p><a name="note-e"></a><a href="#marker-e"><span class="label">[E]</span></a>
+    (P. 22) "... a Simile of a Bundle of Twigs formed into a Rod ... Mr.
+    <i>Malloch</i>'s original Profession ..." Garrick's epilogue to
+    <i>Elvira</i> contains the following lines:
+</p>
+<div class="poem"><div class="stanza">
+    <span>A single critick will not frown, look big,<br /></span>
+    <span>Harmless and pliant as a single twig,<br /></span>
+    <span>But crouded <i>here</i> they change, and 'tis not odd,<br /></span>
+    <span>For twigs when bundled up, become a rod.<br /></span>
+</div></div>
+<p>
+    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 <i>tollatur</i> and exposing the proper
+    portion of their anatomy to the master's birch (John Ramsay, <i>Scotland
+    and Scotsmen in the Eighteenth Century</i>, Blackwood, Edinburgh and
+    London, 1888, i. 24 <i>n</i>.)
+</p></div>
+
+<div class="footnote"><p><a name="note-f"></a><a href="#marker-f"><span class="label">[F]</span></a>
+    (Pp. 23-24) "... keen Distress of a <i>Belvidera</i>,... Dignity of an
+    <i>Elizabeth</i>;... wild Madness of a <i>Lear</i>." 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 <i>Elvira</i>. Belvidera in Otway's <i>Venice Preserved</i>
+    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 <i>The Earl of Essex</i> 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
+    <i>Richard III</i> as altered by Cibber. It is probably this last named
+    Elizabeth that the authors of <i>Critical Strictures</i> 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
+    (<i>Drury Lane Calendar</i>, as above, pp. 237-238, 268, 313-315, 338).
+</p></div>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<h2>
+    PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+</h2>
+<h3>
+    FIRST YEAR (1946-47)
+</h3>
+<p>
+    Numbers 1-4 out of print.
+</p>
+<p>
+    5. Samuel Wesley's <i>Epistle to a Friend Concerning Poetry</i> (1700) and
+    <i>Essay on Heroic Poetry</i> (1693).
+</p>
+<p>
+    6. <i>Representation of the Impiety and Immorality of the Stage</i> (1704)
+    and <i>Some Thoughts Concerning the Stage</i> (1704).
+</p>
+<h3>
+    SECOND YEAR (1947-1948)
+</h3>
+<p>
+    7. John Gay's <i>The Present State of Wit</i> (1711); and a section on Wit
+    from <i>The English Theophrastus</i> (1702).
+</p>
+<p>
+    8. Rapin's <i>De Carmine Pastorali</i>, translated by Creech (1684).
+</p>
+<p>
+    9. T. Hanmer's (?) <i>Some Remarks on the Tragedy of Hamlet</i> (1736).
+</p>
+<p>
+    10. Corbyn Morris' <i>Essay towards Fixing the True Standards of Wit,
+    etc.</i> (1744).
+</p>
+<p>
+    11. Thomas Purney's <i>Discourse on the Pastoral</i> (1717).
+</p>
+<p>
+    12. Essays on the Stage, selected, with an Introduction by Joseph Wood
+    Krutch.
+</p>
+<h3>
+    THIRD YEAR (1948-1949)
+</h3>
+<p>
+    13. Sir John Falstaff (pseud.), <i>The Theatre</i> (1720).
+</p>
+<p>
+    14. Edward Moore's <i>The Gamester</i> (1753).
+</p>
+<p>
+    15. John Oldmixon's <i>Reflections on Dr. Swift's Letter to Harley</i>
+    (1712); and Arthur Mainwaring's <i>The British Academy</i> (1712).
+</p>
+<p>
+    16. Nevil Payne's <i>Fatal Jealousy</i>(1673).
+</p>
+<p>
+    17. Nicholas Rowe's <i>Some Account of the Life of Mr. William
+    Shakespeare</i> (1709).
+</p>
+<p>
+    18. "Of Genius," in <i>The Occasional Paper</i>, Vol. III, No. 10 (1719);
+    and Aaron Hill's Preface to <i>The Creation</i> (1720).
+</p>
+<h3>
+    FOURTH YEAR (1949-1950)
+</h3>
+<p>
+    19. Susanna Centlivre's <i>The Busie Body</i> (1709).
+</p>
+<p>
+    20. Lewis Theobold's <i>Preface to The Works of Shakespeare</i> (1734).
+</p>
+<p>
+    21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela</i>
+    (1754).
+</p>
+<p>
+    22. Samuel Johnson's <i>The Vanity of Human Wishes</i> (1749) and Two
+    <i>Rambler</i> papers (1750).
+</p>
+<p>
+    23. John Dryden's <i>His Majesties Declaration Defended</i> (1681).
+</p>
+<p>
+    24. Pierre Nicole's <i>An Essay on True and Apparent Beauty in Which from
+    Settled Principles is Rendered the Grounds for Choosing and Rejecting
+    Epigrams</i>, translated by J.V. Cunningham.
+</p>
+<h3>
+    FIFTH YEAR (1950-51)
+</h3>
+<p>
+    25. Thomas Baker's <i>The Fine Lady's Airs</i> (1709).
+</p>
+<p>
+    26. Charles Macklin's <i>The Man of the World</i> (1792).
+</p>
+<p>
+    27. Frances Reynolds' <i>An Enquiry Concerning the Principles of Taste,
+    and of the Origin of Our Ideas of Beauty, etc.</i> (1785).
+</p>
+<p>
+    28. John Evelyn's <i>An Apologie for the Royal Party</i> (1659); and <i>A
+    Panegyric to Charles the Second</i> (1661).
+</p>
+<p>
+    29. Daniel Defoe's <i>A Vindication of the Press</i> (1718).
+</p>
+<p>
+    30. Essays on Taste from John Gilbert Cooper's <i>Letters Concerning
+    Taste</i>, 3rd edition (1757), &amp; John Armstrong's <i>Miscellanies</i>
+    (1770).
+</p>
+<p>
+    31. Thomas Gray's <i>An Elegy Wrote in a Country Church Yard</i> (1751);
+    and <i>The Eton College Manuscript</i>.
+</p>
+<p>
+    32. Prefaces to Fiction; Georges de Scud&#233;ry's Preface to <i>Ibrahim</i>
+    (1674), etc.
+</p>
+<p>
+    33. Henry Gally's <i>A Critical Essay</i> on Characteristic-Writings
+    (1725).
+</p>
+<p>
+    34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785).
+</p>
+<p>&nbsp;</p>
+<hr>
+<p>&nbsp;</p>
+<center>
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+    Introduction by George Sherburn.
+</p>
+<p>
+    JAMES BOSWELL, ANDREW ERSKINE, and GEORGE DEMPSTER: <i>Critical Strictures
+    on the New Tragedy of Elvira</i> (1763). Introduction by Frederick A.
+    Pottle.
+</p>
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+of Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
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+The Project Gutenberg EBook of Critical Strictures on the New Tragedy of
+Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch (1763)
+
+Author: James Boswell, Andrew Erskine and George Dempster
+
+Release Date: May 18, 2005 [EBook #15857]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRITICAL STRICTURES ***
+
+
+
+
+Produced by David Starner, Clare Boothby and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+         The Augustan Reprint Society
+
+JAMES BOSWELL, ANDREW ERSKINE, and GEORGE DEMPSTER
+
+_Critical Strictures on the New Tragedy of Elvira,
+        Written by Mr. David Malloch_
+
+                    (1763)
+
+
+
+   With an Introduction by Frederick A. Pottle
+
+
+              Publication Number 35
+
+
+
+                  Los Angeles
+    William Andrews Clark Memorial Library
+           University of California
+                     1952
+
+
+
+       *       *       *       *       *
+
+
+GENERAL EDITORS
+
+  H. RICHARD ARCHER, _Clark Memorial Library_
+  RICHARD C. BOYS, _University of Michigan_
+  ROBERT S. KINSMAN, _University of California, Los Angeles_
+  JOHN LOFTIS, _University of California, Los Angeles_
+
+ASSISTANT EDITOR
+
+  W. EARL BRITTON, _University of Michigan_
+
+ADVISORY EDITORS
+
+  EMMETT L. AVERY, _State College of Washington_
+  BENJAMIN BOYCE, _Duke University_
+  LOUIS BREDVOLD, _University of Michigan_
+  JAMES L. CLIFFORD, _Columbia University_
+  ARTHUR FRIEDMAN, _University of Chicago_
+  EDWARD NILES HOOKER, _University of California, Los Angeles_
+  LOUIS A. LANDA, _Princeton University_
+  SAMUEL H. MONK, _University of Minnesota_
+  ERNEST MOSSNER, _University of Texas_
+  JAMES SUTHERLAND, _University College, London_
+  H.T. SWEDENBERG, JR., _University of California, Los Angeles_
+
+CORRESPONDING SECRETARY
+
+  EDNA C. DAVIS, _Clark Memorial Library_
+
+
+       *       *       *       *       *
+
+
+INTRODUCTION
+
+"WEDNESDAY 19 JANUARY [1763]. This was a day eagerly expected by Dempster,
+Erskine, and I, as it was fixed as the period of our gratifying a whim
+proposed by me: which was that on the first day of the new Tragedy called
+_Elvira's_ being acted, we three should walk from the one end of
+London to the other, dine at Dolly's, & be in the Theatre at night; & as
+the Play would probably be bad, and as Mr. David Malloch, the Author, who
+has changed his name to David Mallet, Esq., was an arrant Puppy, we
+determined to exert ourselves in damning it."[1]
+
+George Dempster, aged thirty, a Scots lawyer who by putting his fortune
+under severe strain had been elected Member of Parliament for the Forfar
+and Fife burghs, was in London in his official capacity. Andrew Erskine,
+aged twenty-two, younger son of an impoverished Scots earl, was waiting in
+London till the regiment in which he held a lieutenant's commission should
+be "broke," following the Peace. James Boswell, heir to the considerable
+estate of Auchinleck in Ayrshire, also aged twenty-two, had come to London
+in the previous November in an attempt to secure a commission in the Foot
+Guards. Dempster, Erskine, and Boswell had constituted themselves a
+triumvirate of wit in Edinburgh as early as the summer of 1761, and had
+already made more than one joint appearance in print.[2]
+
+David Mallet, now in his late fifties, was also a Scotsman. "It was
+remarked of him," wrote Dr. Johnson many years later, "that he was the
+only Scot whom Scotchmen did not commend."[3] Scotsmen considered him a
+renegade. They felt that he had repudiated his country in changing his
+distinctively Scots name, perhaps also in learning to speak English so
+well that Johnson had never been able to catch him in a Scotch accent.
+They would have been willing to forget his humble origins if he had not
+shown that he was ashamed of them himself. But when he allowed himself to
+assume arrogant manners and to style himself "Esq." (a kind of behavior
+especially offensive to genuine men of family, like our trio), they chose
+to remember, and to remind the world, that he was the son of a tenant
+farmer (a Macgregor, at that), that as a boy he had been willing to run
+errands and to deliver legs of mutton, and that for a time in his youth he
+had held the menial post of Janitor in the High School of Edinburgh.
+
+It was not merely the Scots who had their knives out for Mallet. He was
+generally unpopular, apparently for adequate reasons. He had accepted a
+large sum of money from the Duchess of Marlborough to write a life of the
+Duke, of which he never penned a line, though he pretended for years that
+he was worn out by his labors in connection with it. He courted Pope,
+accepted kindnesses from him, and then attacked him after he was dead. He
+published Bolingbroke's posthumous infidelities, causing Johnson to remark
+that Bolingbroke had charged "a blunderbuss against religion and morality"
+and had "left half a crown to a beggarly Scotchman, to draw the trigger
+after his death."[4] His behavior towards the memory of his friend and
+collaborator Thomson was thought to be less than candid. He had written a
+discreditable party pamphlet at the instigation of the Earl of Hardwicke
+against the unfortunate Admiral Byng, and had then deserted Hardwicke for
+the Earl of Bute, who had found him a sinecure of L300 a year. And even as
+early as 1763 people were saying that he was really not the author of the
+fine ballad _William and Margaret_ which he had published as his own.
+
+Boswell, at least, had meditated an attack on Mallet before _Critical
+Strictures_ was written. In the large manuscript collection of his
+verses preserved in the Bodleian Library are two scraps of an unpublished
+satire imitating Churchill's _Rosciad_ (1761), to be entitled _The
+Turnspitiad_, a canine contest of which Mallet is the hero:
+
+    If dogg'rel rhimes have aught to do with dog,
+    If kitchen smoak resembles fog,
+    If changing sides from Hardwick to Lord B--t
+    Can with a turnspit's turning humour suit,
+    If to write verse immeasurably low,
+    Which Malloch's verse does so compleatly show,
+    Deserve the preference--Malloch, take the wheel,
+    Nor quit it till you bring as _gude a Chiel_![5]
+
+And the decision to damn _Elvira_ was made in advance of the
+performance, as we have seen.
+
+Having failed, in spite of shrill-sounding catcalls, to persuade the
+audience at Drury Lane to damn the play, our trio went to supper at the
+house of Erskine's sister, Lady Betty Macfarlane, in Leicester Street, and
+there found themselves so fertile in sallies of humour, wit, and satire on
+Mallet and his play that they determined to meet again and throw their
+sallies into order. Accordingly, they dined at Lady Betty's next day (20
+January). After dinner Erskine produced a draft of their observations
+thrown into pamphlet size, they all three corrected it, Boswell copied it
+out, and they drove immediately in Lady Betty's coach to the shop of
+William Flexney, Churchill's publisher, and persuaded him to undertake the
+publication. Next day Boswell repented of the scurrility of what they had
+written and got Dempster to go with him to retrieve the copy. Erskine at
+first was sulky, but finally consented to help revise it again. It went
+back to Flexney in a day or two, and was published on 27 January.[6]
+
+_Elvira_ was essentially a translation or adaptation of Lamotte-Houdar's
+French tragedy _Ines de Castro_, a piece published forty years
+before, but the English audience of 1763 saw in it a compliment to the
+King of Portugal, whose cause against Spain Great Britain had espoused
+towards the end of the Seven Years' War. The preliminaries of peace had
+already been signed, but the spirit of belligerency had not subsided; so
+that the making of the only odious person in the play (the Queen) a
+Spaniard, and having it end with a declaration of war against Spain, could
+not fail to please a patriotic audience. Since nobody reads _Elvira_
+any more, I shall venture to give an expanded version of Genest's outline
+of the plot, in order to make the comments in Critical Strictures more
+intelligible:
+
+Don Pedro [son of Alonzo IV, King of Portugal] and Elvira [maid of honour
+to the Queen, who is the King's second wife, and is mother of the King of
+Spain] are privately married--the King insists that his son should marry
+Almeyda [the Queen's daughter, sister to the King of Spain]--he
+acknowledges his love for Elvira--she is committed to the custody of the
+Queen--Don Pedro takes up arms to rescue Elvira--he forces his way into
+the palace--she blames him for his rashness--the King enters, and Don
+Pedro throws away his sword--Don Pedro is first confined to his apartment,
+and then condemned to death--Almeyda, who is in love with Don Pedro, does
+her utmost to save him--she prevails on the King to give Elvira an
+audience--Elvira avows her marriage, and produces her two children--the
+King pardons his son--Elvira dies, having been poisoned by the Queen--Don
+Pedro offers to kill himself, but is prevented by his father.[7]
+
+The play had a respectable run, in spite of its colliding with the
+Half-Price Riots, but contemporary accounts appear to indicate that it
+was not highly thought of by the judicious. I extract the following terse
+criticism from a letter in the _St. James's Chronicle_ for 20 January,
+the day after the play opened:
+
+  _A Brief Criticism on the New Tragedy of Elvira_
+
+        Act I. Indifferent.
+
+        Act II. Something better.
+
+        Act III. MIDDLING.
+
+        Act IV. Execrable.
+
+        Act V. Very Tolerable.
+
+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.)
+
+
+
+       *       *       *       *       *
+
+
+
+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.
+
+
+       *       *       *       *       *
+
+
+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 _tete a tete_.
+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
+_AEneas_, 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_
+
+
+       *       *       *       *       *
+
+
+
+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 Scudery'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).
+
+
+       *       *       *       *       *
+
+
+William Andrews Clark Memorial Library: University of California
+
+THE AUGUSTAN REPRINT SOCIETY
+
+_General Editors_
+
+H. RICHARD ARCHER
+    William Andrews Clark Memorial Library
+E.N. HOOKER
+    University of California, Los Angeles
+R.C. BOYS
+    University of Michigan
+JOHN LOFTIS
+    University of California, Los Angeles
+
+The Society exists to make available inexpensive reprints (usually
+facsimile reproductions) of rare seventeenth and eighteenth century works.
+The editorial policy of the Society continues unchanged. As in the past,
+the editors welcome suggestions concerning publications. All income of the
+Society is devoted to defraying cost of publication and mailing.
+
+All correspondence concerning subscriptions in the United States and
+Canada should be addressed to the William Andrews Clark Memorial Library,
+2205 West Adams Boulevard, Los Angeles 18, California. Correspondence
+concerning editorial matters may be addressed to any of the general
+editors. The membership fee is $3.00 a year for subscribers in the United
+States and Canada and 15/- for subscribers in Great Britain and Europe.
+British and European subscribers should address B.H. Blackwell, Broad
+Street, Oxford, England.
+
+       *       *       *       *       *
+
+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.
+
+       *       *       *       *       *
+
+THE AUGUSTAN REPRINT SOCIETY
+_WILLIAM ANDREWS CLARK MEMORIAL LIBRARY_
+2205 WEST ADAMS BOULEVARD, LOS ANGELES 18, CALIFORNIA
+
+Make check or money order payable to THE REGENTS OF THE UNIVERSITY OF
+CALIFORNIA.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Critical Strictures on the New Tragedy
+of Elvira, Written by Mr. David Malloch (1763), by James Boswell, Andrew Erskine and George Dempster
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