man may be awed and brought in faith to the acceptance of that salvation by which he rises above the fear of dissolution, experiences at length a blessed resurrection, and is happy for ever in the contemplation and enjoyment of his Saviour. The thought and style are unequal. Splendid declamation fills many a page, though it is usually mixed or followed up with close, bold, and grappling appeal. The pointed antitheses may be set off against the diluting amplifications. What is original is far more than a compensation for what reminds one of Pope or Milton. The argument, always powerful, is sometimes rather ingenious than solid; and several descriptions border on hyperbole and extravagance. The lines are occasionally rugged, but the work has been always and deservedly popular, as well from its theme as for his treatment of it; and Young's muse, with her skulls and stars, her cross and her crown, has no rival, and has had no successor. The "Centaur not Fabulous," written in prose, was published in 1758, and lashes the infidelity of the age, or "the life in vogue," in a keen, sarcastic, stern, and sententious style. His "Thoughts on Original Composition" came out in 1759, and was addressed to Richardson the novelist, one of his most intimate friends. Though written when he was approaching fourscore, it shows little falling off in mental power, and certainly "breaks through the frozen obstructions of age, and care's incumbent cloud." But his "Resignation," published in 1762, at the request of the widow of Admiral Boscawen, was a last feeble effort, in rhyme too, though he had praised blank verse as verse "unfallen, uncurst." In the same year he published an edition of his works in four volumes, 12mo, in which he did not include several of his smaller pieces; and in his will he desired his executors to burn his manuscripts, adding in a codicil the legacy of £1000 to his housekeeper, with the dying entreaty that his papers should be all destroyed. The aged poet expired on the 12th of April, 1765, retaining his faculties to the last, though he had been for some years disabled from active service in his parish. Dr. Young's private life was in harmony with his sacred profession, though a different account is given of his earlier career when at the university, and devoted only to literature and the drama. His manners are said to have been easy and cheerful when he was in society, though he was prone to melancholy when alone. His favourite walk was in the churchyard; and amidst the gloomy and tender associations of the scene, he mentally elaborated the finest parts of his great poem. His latter years were made unhappy by a dominant housekeeper, and clouded by the misconduct of his only son Frederic, whom he refused to see on his deathbed, but to whom he ultimately sent his forgiveness, and whom he also made his heir. It has been often said that he was the sceptical and profligate Lorenzo of the "Night Thoughts;" but the supposition is utterly baseless, as Croft, in his Biography inserted among Johnson's Lives of the Poets, has shown; for the poet's son was only about eight years old when the sketch of the ideal Lorenzo was made and published. In the midst of his solemn and cynical meditations, and farewells to ambition. Young was far from being unworldly in character; he was ever courting the great in his numerous dedications, and often complaining of neglect and disappointment. He received no ecclesiastical promotion, though he had some right to expect it. Some trace his disappointment to his politics, and to his attachment to the party of the prince of Wales; others to some sermon he had preached at court; and others to a pension given him by Walpole; the story being that when he was spoken of to the king, the surly royal answer was wont to be —"He has a pension." He solicited preferment when on the verge of the grave, and was made, through the influence of Archbishop Seeker, clerk of the closet to the princess dowager of Wales. The name of Dr. Young ranks high among English poets; and though he cannot be compared with the "first three," his place is conspicuous among the bards whose genius has drawn impulse and life from Christianity, and who, under its pure and benign inspiration, have given themselves to the promotion of piety and virtue.—J. E.
YOUNG, John, was a mezzotinto engraver of some ability, who flourished at the end of the last and early part of the present century. His best print is from Mortimer's picture of the "Great Fight between Broughton and Stevenson." Young is now chiefly remembered by his series of outline etchings of the Stafford, Grosvenor, Angerstein, Miles, and Leicester galleries (4to, 1820, &c.), which, though the etchings are often incorrect in drawing, and the descriptions superficial, are handy and useful works of reference. Young was engraver in mezzotinto to the king, and for several years keeper of the British institution. He died on the 7th of March, 1825.—J. T—e.
YOUNG, Matthew, Bishop of Clonfert, a prelate of varied accomplishment, specially skilled in the mathematical and physical sciences, was born in 1750 in the county of Roscommon. Educated at Trinity college, Dublin, he became a fellow of it in 1775, and entered the church. An association of students for purposes of mutual improvement, of which he was a principal member, developed itself by degrees into the Royal Irish Academy, to the Transactions of which he was a contributor of papers, among them a valuable one on the velocities of effluent fluids. He had published in 1784 his "Essay on the Phenomena of Sounds and Musical Strings," when in 1786 he was appointed professor of natural philosophy, and his lectures were far superior to any that had ever before been delivered on physics in the university of Dublin; a sort of skeleton of them was published in 1803, after his death, as "An Analysis of the Principles of Natural Philosophy." For his scientific and literary merits solely he was appointed bishop of Clonfert. He died in November, 1800. He left unpublished a work on "The Method of Prime and Ultimate Ratios, illustrated by a commentary on the first two books of the Principia," on which, before his elevation to the see of Clonfert, he had been long engaged. He had also been preparing a new version of the Psalms, for which purpose, it is said, he had mastered Syriac. He learned Irish, and spent a summer in Scotland that he might better understand the Ossianic controversy. The Transactions of the Royal Academy of Ireland contain a paper by him with a collection of ancient Gaelic poems. Of his other contributions to that work there is a list, with a memoir of himself, in vol. lxx. of the Gentleman's Magazine.—F. E.
YOUNG, Patrick, the seventeenth century scholar, who Latinized his name into Patricius Junius, was born at Seaton in Haddingtonshire, and was the son of Sir Peter Young, who had been with George Buchanan co-preceptor of James VI. After studying at the university of St. Andrews, he visited England, studied at Oxford, entered the English church, and through patronage and his own merits became in time curator of the Royal library. He was a great Greek and a good Latin scholar, and assisted Reid in executing the Latin translation of King James' works. When the celebrated Codex Alexandrinus reached the Royal library. Young examined it carefully, and intended to have printed a facsimile of it. He did actually print in 1643, as a specimen, one of the first chapter of Genesis. His annotations, down to the fifteenth chapter of Numbers, for his contemplated edition of the Codex, were published in vol. vi. of Walton's Polyglott. Of other memorials of his scholarship, the chief, perhaps, is his edition of the two epistles of Clemens Romanus, also, from the Alexandrian manuscript, and published in 1633. He was deprived of his librarianship by the civil war, and retiring to the house of a son-in-law at Bromfield in Essex, died there in 1652.—F. E.
YOUNG, Sir Peter, a learned Scotchman, was born at Dundee in 1544. His father was a merchant of Edinburgh; his mother was a daughter of Scrimgeour of Glasswell, who was descended from the Scrimgeours of Dudhope, constables of Dundee, and hereditary standard-bearers of Scotland. Young was educated at Geneva and Lausanne, and was honoured with the friendship of the learned Beza, to whom he was introduced by his uncle, Henry Scrimgeour. Returning to Scotland in 1569, Young was appointed co-tutor, along with Buchanan, of the young king of Scotland, James VI. He was much more of a courtier than his stern colleague, who made the youthful prince pay the penalty of his own faults; while Young, when the royal task was not suitably performed, inflicted the floggings which James had deserved upon the unfortunate whipping boy, who by virtue of his office, was doomed to undergo the corporal punishment which his royal master might chance to incur. As might have been expected, the accommodating pedagogue ingratiated himself into the favour of his pupil, and when James assumed the reins of government. Young became a member of the privy council, and was made royal almoner—an office which he retained till his death. In 1586 he was sent ambassador to Frederick II. of Denmark, to conduct the negotiations respecting the possession of the Orkney islands. Two years later he was despatched again to the Danish court for the purpose of reporting on the personal appearance, manners, and character of the king's daughters, and afterwards attended James on his voyage to Denmark in 1589 to bring home his bride. Young was one of the Octavians, as the eight com-
