In 1721 appeared "The Revenge," by far the most powerful of his tragedies. Its great fault lies in its likeness to Othello: its great praise is, that, though it imitates and challenges comparison with that Shakspearean masterpiece, it has not been utterly sunk and eclipsed before it. As a play, we think it decidedly second-rate; the plot is not artistically managed, and the means by which jealousy is excited in the mind of Alonzo, are a very poor and shabby copy of those in Shakspeare. Zanga has been called a "vulgar caricature of Iago;" he is so in part, perhaps, but Young has abated the vulgarity of the imitation by endowing his hero with a wild and native vein of poetry. Iago is a subtler, colder fiend than Zanga, and indulges more in sneers and in smut than in declamation. Zanga's speeches exhaust the rhetoric of revenge. Iago has nothing but intellect, wit, and malignity. Zanga has an imagination worthy of the hot and lion-peopled land of his birth. Iago, after his detection, sinks into obstinate silence; he stiffens into the statue of a demon. Zanga dies, using lofty imagery. Indeed, "The Revenge" owes all its interest to the flames of poetic genius which burst out at every pore of its otherwise coarse and copied structure. It was dedicated to Wharton, with whom Young continued to be intimate; whom he taught to speak good Latin _in the space of six weeks_; and who lent him money to reimburse him for the expenses of an unsuccessful attempt to get into Parliament. This was in 1721; the place was Cirencester. The election, however, was contested, and fortunately, perhaps, both for Young and the world, he was unsuccessful. Had he gained the seat, he had very probably, "Though born for the universe, narrow'd his mind, And to party given up what was meant for mankind;" and what comparison between a series of eloquent, forgotten speeches, and the starry, ever-burning splendours of the "Night Thoughts"?