when the cause was removed. The contents of Dodsley's Public Register were original letters and essays, in prose and verse: records of literature: the substance of the parliamentary debates, with news foreign and domestic, and advertisements relating to books. The original essays were contributed by his friends, and many of them probably by himself. It proceeded as far as the twenty-fourth number, when the editor thought proper to stop. He urges in his farewell address" the additional expense he was at in stamping it, and the ungenerous usage he met with from one of the proprietors of a certain monthly pamphlet, who prevailed with most of the common newspapers not to advertise it."

In 1745, he wrote a little poetical piece called Rex et Pontifex, which he meant as an attempt to introduce a new species of pantomime upon the stage. It was not, however, received by any of the theatres, and probably was considered only as a political effusion for a temporary purpose.

In 1746, he projected another periodical work, entitled, The Museum, or The literary and historical Register, published every fortnight, in an octavo size. Of this concern he had only a fourth share, the rest being the property of Messrs. Longman, Shewell, Hitch, and Rivington. It extended to three volumes, and contains a greater variety of original essays of real merit than any similar undertaking within our memory; nor will this be doubted, when it is added that among the contributors were Spence, Horace Walpole, the two Wartons, Akenside, Lowth, Smart, Gilbert Cooper, William Whitehead, Merrick, and Campbell. This last wrote those political papers which he afterwards collected, enlarged, and published under the title of The present State of Europe.

In 1748 our author published a work of yet greater popularity and acknowledged value in the instruction of youth, his Preceptor, to which some of the parties just mentioned contributed. Dr. Johnson furnished the preface, and the Vision of Theodore the Hermit. In the beginning of the following year Dodsley purchased Johnson's Vanity of Human Wishes, for the small sum of fifteen guineas, but Johnson reserved the right of printing one edition. It is a better proof of Dodsley's enterprising spirit that he was the first who suggested the scheme of the English Dictionary, upon which Dr. Johnson was at this time employed: and is supposed to have procured some hints from Pope, among whose friends a scheme of this kind had been long entertained. Pope, however, did not live to see the excellent prospectus which Johnson published in 1747.

In 1748, Dodsley collected together in one volume his dramatic pieces, under the modest title of Trifles. On the peace of Aix-la-Chapelle, he wrote The Triumph of Peace, a Masque, which was set to music by Dr. Arne, and performed at Drury-lane in 1748-9. Of this I have not been able to procure an entire copy.

In 1750, he published a small volume, unlike any of his former attempts, entitled "The Economy of Human Life, translated from an Indian Manuscript, written by an ancient Bramin; to which is prefixed, an Account of the Manner in which the said Manuscript was discovered. In a Letter from an English Gentleman, now residing in China, to the Earl of *****.' Whether from modesty, fear, or merely a trick of trade, Dodsley affected to be only the publisher of this work, and persisted in his disguise for some time. Conjecture gave it to the earl of Chesterfield, and not quite so absurdly as Mrs. Teresa Constantia

Phillips complimented that nobleman on being author of the Whole Duty of Man. Chesterfield had a friendship for Dodsley, and would not contradict a report which rendered the sale of the Economy both rapid and extensive. The critics, however, in the Monthly Review and Gentleman's Magazine, were not to be deceived.

It would be unnecessary to say much on the merit of a piece which is so well known. During its early popularity it occasioned many imitations, the principal of which were, The Second Part of the Economy of Human Life-The Economy of Female Life-The Economy of the Sexes; and the Economy of a Winter's Day, an humorous burlesque. Dodsley's Economy, however, outlived these temporary efforts, and continued to be praised and read as the production of lørd Chesterfield. The real author, although he might secretly appropriate this praše to himself, was perhaps not very well pleased to find that he seldom was suspec.ed to have deserved it.

His next production appears to have occupied his thoughts and leisure hours for a considerable time. This was a poem, intended to be comprised in three books, treating of Agriculture, Commerce, and Arts. Of these, by way of experiment, he published the first, under the general title of Public Virtue, in 1754, but it did not meet with such encouragement as to induce him to complete his design. It is written in blank verse, to which his ear was not very well attuned; yet with many imperfections, this poem has likewise many beauties. He appears to have contemplated rural scenery with the eye of a poet. In the didactic part he fails as others have failed before him who wished to convey mechanical instruction with solemn pomp, and would invoke the heroic Muse to tell what an unlettered fariner knows better. To console himself for the cool reception of this work, he told Dr. Johnson that " public virtue was not a subject to interest the age."

About this time, he established, in conjunction with Moore, a periodical paper entitled The World, a name which Dodsley is allowed to have suggested after the other partners had perplexed themselves in vain for a proper one. Lord Lyttelton, although no contributor himself, used his influence with his friends for that purpose, and Dodsley procured papers from many of his friends and customers. One paper only, No. 32, is acknowledged to come from his own pen. By undertaking to pay Moore a stipulated sum for each paper, whether contributed by that writer, or sent by volunteers, Dodsley secured to himself the copyright, and was amply repaid, not only by its sale in single numbers, but by the many editions printed in volumes. When it was concluded in 1756, he obtained permission of the principal writers to insert their names, which gave it an additional interest with the public. A few chose, at that time, to remain concealed, who have since been discovered, and some are yet unknown. Chesterfield and Horace Walpole were known at the time of publication.

In 1758, Dodsley wrote Melpomene, or the Regions of Terrour and Pity, an Ode, but concealed his being the author, and employed Mrs. Cooper as his publisher. The consequence was that this ode, in which it is universally acknowledged that there are many sublime passages, was attributed to some promising young man, whom years and cultivation would lead to a high rank among poets. Mary Cooper, who was also the publisher of the World, lived in Paternoster-row, and appears to have been frequently employed in this capacity

by Dodsley and others, when they did not choose that their names should appear to the first edition of any work.

In the same year, Dodsley produced his tragedy of Cleone, at Covent-garden theatre. This is said to have been rejected by Garrick with some degree of contempt, principally because there was not a character in it adapted to the display of his talents: and when it was performed for the first time at the rival theatre, he endeavoured to diminish its attraction by appearing the same night in a new character at Drury-lane. The efforts of jealousy are sometimes so ridiculous, as to make it difficult to be believed that they are seriously intended. Garrick's more than ridiculous conduct on this occasion is thus related by Davies:

"Mr. Garrick, though he had rejected Cleone with great marks of contempt, and termed it a cruel, bloody, and unnatural play; yet he was extremely apprehensive that the public would be of a diferent opinion, and he prepared to meet its first appearance at Covent-garden with all his strength. He had for some time applied himself to the study of Marplot in the Busy Body, and was determined to oppose this character (which he was sure the town would be eager to see) to the tragedy of Dodsley. When Cleone was advertised, Marplot was announced against it. The friends of the tragedy vere alarmed, and deferred the representation by advertising it to a farther date. Mr. Garrick immediately postponed the Busy Body. However, after a few dodging manœuvres of this kind, Cleone and the Busy Body were acted on the sane night: and though it was a kind of up-hill labour to bring the people of fashion to side against a new character of Mr. Garrick, yet there was a very handsome show of very fashionable folks at Cleone. The manager made a sort of merit of his not acting on Dodsley's henefit night: but it must be confessed by those who esteemed Garrick most, that his conduct in the whole dispute was unustifiable, and that he treated a worthy man and an old acquaintance with severty and unkindness. Many reasons were assigned for his particular conduct or this occasion: it is possible that his judgment was really against the play. I remember to have heard Mr. Dodsley declare, that after Mr. Garrick had given back his play with a positive refusal to act it, he afterwards sent for Cleone once more, with a full intention to give it a re-examination, and a solem promise to act it, if the tragedy, on a further perusal, should appear to deserve it. However, the result of his critical attention to the real merit of the piece was a confirmed disapprobation.

"It was conjectured, with some probability, that his obstinacy in persisting to reject this play was owing to the inferiority of the part assigned him, when compared with that of Cleone. Mrs. Cibber in that part would have certainly eclipsed all the other characters in the tragedy "."

Notwithstanding this malicious opposition, Cleone was played with great suceess for many nights, although the company at Covent-garden, with the exception of Mrs. Bellamy, were in no reputation as tragedians. How powerfully the author has contrived to excite the passions of terrour and pity, was lately seen, when this tragedy was revived by Mrs. Siddons. Its effect was so painful, and indignation at the villany of Glanville and Ragozin approached so near to abhorrence, that the

play could not be endured. There are, indeed, in this piece many highly-wrought scenes; and the madness of Cleone deserves to rank among the most pathetic attempts to convey an idea of the ruins of an amiable and innocent mind. For Garrick's opinion we can have little respect, and I am inclined to think he was not sincere in giving it. If the play was unfit for the stage, why should he oppose its having a trial where the performers were so inferior to his own company, that he might conclude they would accelerate its condemnation? But, independently of those secret motives, which Garick poorly concealed, we find that at this time his accustomed knowledge of stage effect seems to have been totally suspended, for he rejected Murphy's Orphan of China, in which, when he was afterwards compelled to act, he appeared to the greatest advantage; and likewise the celebrated tragedy of Douglas, by which he lost one of the most popular plays of modern times, and was obliged" to act two of the same author's tragedies, Agis, and the Siege of Aquileia, which are deservedly consigned to oblivion. In his ungenerous conduct towards Dodsley he had another mortification to encounter. His Marplot so little answered his own, or the public expectation, that he was soon under the necessity of discontinuing it.

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The prologue to Cleone was written by Melmoth, and the epilogue by Shenstone. Dodsley omitted about thirty lines of the latter, and substituted twelve or fourteen of his own; but restored the eplogue as originally written, in the fourth edition, at which it arrived in less than a year. Such was the avidity of the public, occasioned probably, in a grea measure, by the opposition given to the performance of the play, that two thousand copies were sold on the first day of publication.

It remains to be added, that Pope, when very young, had attempted a tragedy on the same subject, which he afterwards burnt, as he informed Dodsley when the latter sent him his Cleone, in its first state, requesting his advice. Pope encouraged him to bring it out, but wished he would extend the plan to the accustomed number of five acts. Dodsley aced with sufficient caution in keeping his piece rather more than "nine years," and then submitted it to lord Chesterfield, and other friends, who encouraged him o offer it to the stage, and supported it when produced. Dr. Johnson was likewse among those who praised its pathetic effect, and declared that "if Otway had written it, no other of his pieces would have been remembered." Dodsley, to whom this was told, said very justly, "that it was too much."

This was an important year (1758) to our author in another respect. He now published the first volume of the Annual Register, projected in concert with the illustrious Edmund Burke, who is supposed to have contributed very liberally to its success. This work was in all its departments so ably conducted, that although he printed a large impression, he and his successor were frequently obliged to reprint the early volumes. Its value as an useful and convenient record of public affairs was so universally felt, that every inquirer into the history of his country must wish it had been begun sooner. Dodsley, however, did not live to enjoy its highest state of popularity; but some years after his death it became irregular in its times of publication, and the general disappointment which such neglect occasioned gave rise, in the year 1780, to another work of the same kind, under the name of the New Annual Register. This for many years was a powerful, rival,

until the unhappy era of the French revolution, when the principles adopted in the New Register gave disgust to those who had been accustomed to the old; and the mind, if not the hand of Burke, appearing again in the latter, it resumed, and still maintains, its former reputation, under the management of Messrs Rivingtons, who succceeded the late James Dodsley in the property.

In 1760, our author published his Select Fables of Esop and other Fabulists, in three books, which added very considerably to his reputation, although he was 'more indebted than has been generally supposed to his learned customers, many of whom seem to have taken a pleasure in promoting all his schemes. The Essay on Fable, prefixed to this collection, is ascribed to Dodsley by the author of his life in the Biographia. Dodsley probably drew the outline of the Essay, but Shenstone produced it in the shape we now find it. In Shenstone's CI. Letter to Mr. Greaves, he says, "I could not understand by Mr. Dodsley's last letter to me that he had any sort of intention to publish his Fables this winter. Presuming upon this delay, and having neither had the leisure nor the frame of mind fit to take his Preface into consideration, I have hitherto deferred to do so. La Motte's discourse on Fables is a most excellent performance, containing, as appears to me, all that need be said upon the subject, and this expressed with all imaginable elegance and perspicuity. I believe I shall advise our friend (Dodsley) to make more ample use of this dissertation." But in letter CIII. he says more expressly, "Our friend Dodsley, I presume, as sent you a book of his Fables before this time. What merit I have there is in the Essay: in the Original Fables, although I can hardly claim a single fable as my own, and in the Index, which I caused to be thrown into the form of morals, and which are almost wholly mine." This account is confirmed by the correspondence between Dodsley and Shenstone, in Hull's Select Letters, 2 vols. 8vo. 1778.

When, after selling two thousand copies of this excellent collection within a few months, Dodsley was preparing a new edition, Shenstone informs us that Mr. Spence offered to write the life afresh; and Spence, Burke, Lowth, and Melmoth, advised him to discard Italics. Such particulars may appear so uninteresting as to require an apology; but they add something to the history of books, which is a study of importance as well as of pleasure, and they show the very high respect in which our author was held. Here we have Shenstone, Spence, Burke, Lowth, and Melmoth, clubbing their opinions to promote his interest, by improving the merit of a work, which, however unjustly, many persons of their established character would have thought beneath their notice.

On the death of Shenstone, in the beginning of the year 1763, Dodsley endeavoured to repay the debt of gratitude, by publishing a very beautiful edition of the works of that poet, to which he prefixed a short account of his life and writings; a character, written with much affection; a Description of the Leasowes, &c.

Among other of Dodsley's publications, may be enumerated his Fugitive Pieces, in two volumes, written by Spence, lord Whitworth, Burke, Clubbe, Hay, Cooper, Hill, and others: London and its Environs, 6 vols. 8vo. in which he was assisted by Horace Walpole, who procured the lists of paintings: England Illustrated, 2 vols. 4to. His collection of Poems, in 6 vols. 8vo. 'the last edition of which was edited by Mr. Isaac Reed in 1782, with biographical notes; and his collection of Old Plays, in 12 vols. 8vo. a second edition of which was published in 1780 by the same editor. During the publication of his poems in separate volumes, he solicited and obtained original pieces from most of his literary friends. Sce Hull's Select Letters, passim.——————C.