The Gallery of Portraits: with Memoirs. Volume 7 (of 7)Malkin, Arthur Thomas
History
The Gallery of Portraits: with Memoirs. Volume 7 (of 7)
Malkin, Arthur Thomas
Biography
That his labour in composing this work was not severe, may be inferred
from the variety of literary employments in which, during its progress,
he found time and inclination to engage: among which we may select for
mention the imitation of Juvenal’s tenth satire, entitled Vanity of
Human Wishes, and the periodical paper called the Rambler, which was
published twice a week, from March 20, 1750, to March 17, 1752. Of the
whole series, according to Boswell, only four papers, and a part of a
fifth, were contributed by other pens: and it is remarkable, considering
the general gravity of the subjects, and the elaboration of the style,
that most of them were struck off at a heat, when constitutional
indolence could procrastinate no longer, without even being read over
before they were printed. The circulation of the work was small; for its
merits, which lie chiefly in moral instruction and literary criticism,
were of too grave a cast to ensure favour: the lighter parts, and the
attempts at humour, are the least successful. But its popularity
increased as the author’s fame rose, and fashion recommended his
grandiloquent style; and before his death it went through numerous
editions in a collected form.
In 1756 he issued proposals for an edition of Shakspeare, a scheme which
he had contemplated as long back as 1745, when he published
Miscellaneous Observations on the Tragedy of Macbeth. He promised to
complete it before Christmas, 1757, but it did not appear until October,
1765. Imperfectly versed in the antiquities, literature, and language of
the Elizabethan era, the source from which almost all valuable comment
on our early dramatists has been drawn, he has done little to elucidate
difficulties or correct errors. His preface has been esteemed among the
most valuable of his critical essays. But the perusal of his notes, and
especially of his summary criticisms on the several plays, will confirm
Garrick’s judgment as to his sensibility, and show that he wanted that
delicate perception and deep knowledge of the workings of the passions
which were necessary to the adequate fulfilment of his most difficult
task.
Public-domain text, read in full here on John Shaqi.
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