light. The disastrous affair of Minorca, at the commencement of the war of 1756, had rendered the ministry unpopular. Mallet was employed to divert the public odium, and turn it upon the unfortunate Admiral Byng. For this purpose he wrote a paper under the character of A Plain Man, in which the disgrace brought upon the British arms in the affair of Minorca, was entirely imputed to the cowardice of the admiral. It was circulated with great industry. How cruelly it effected its purpose need not be told. Byng is now universally considered to have been offered up as a victim to the popular clamour which was thus raised against him, rather than from actual demerit in his conduct. "The price of blood," says Dr Johnson, with fearful but just severity, "was a pension which Mallet retained till his death." He continued to exercise his talent for poetical composition, and published a collection of his works, dedicated to great patrons. At the beginning of the reign of George III., when lord Bute was placed in power, Mallet, who never let an opportunity slip for serving his own interests, enlisted under the ministerial banners, and offered a two-fold service to the cause, by his Truth in Rhyme, and a tragedy called Elvira, imitated from La Motte, and applicable to the politics of the day. His reward was, the place of keeper of the book of entries for the port of London. The Critical Review of that period praised the tragedy in the highest degree; but it is asserted that Mallet had the superintendence of that publication, and was the critic of his own works. On the death of the celebrated duchess of Marlborough, in 1744, it was found by her will, that she left to Mr Glover, the author of Leonidas, and Mr Mallet, jointly, the sum of £1,000, on condition that they drew up, from the family papers, a History of the Life of the Great Duke. The legacy, however, was found to be clogged with so many unpleasant restrictions, that Glover, with the true independence of a man of genius, declined any share in the onerous task. Mallet, who never was troubled by any misgiving of conscience, accepted the legacy, under all stipulations, and was put in possession of the papers necessary for proceeding with the work. The second duke of Marlborough, in order to stimulate his industry, added, in the most liberal manner, an annual pension to the legacy. Mallet pretended all along, that he was deeply engaged in forwarding the work for publication, and in a dedication to his Grace, of a collection of his poems, he spoke of having soon the honour of dedicating to him the life of his illustrious predecessor. But, on the death of Mallet, not a vestige of any such work could be found, nor did it appear, that, after all the money he had received, he had even written a line of it. While he continued to delude his patron and friends, with the expectation of seeing his great work appear, he made the imposition subservient to his interest in many ways. In a familiar conversation with Garrick, and boasting of the diligence which he was then exerting upon the Life of Marlborough, he hinted, that in the series of great men quickly to be exhibited, he should find a niche for the hero of the theatre. Garrick professed to wonder by what artifice he could be introduced, but Mallet let him know, that by a dexterous anticipation, he should fix him in a conspicuous place. "Mr Mallet," says Garrick, in his gratitude of exultation, "have you left off to write for the stage?" Mallet then confessed that he had a drama in his hands—Garrick promised to act it, and Alfred was produced.
Mallet, finding his health in a declining state, went, accompanied by his wife, to the south of France, for the benefit of a change of air, but after some time, finding no improvement, he returned to England, where he died on the 21st April, 1765. Dr Johnson says, "His stature was diminutive, but he was regularly formed. His appearance, till he grew corpulent, was agreeable, and he suffered it to want no recommendation that dress could give it." His second
