almost wholly changed by Mallet, and brought upon the stage at Drury
Lane in 1751, but with no great success. Mallet, in a familiar
conversation with Garrick, discoursing of the diligence which he was
then exerting upon the "Life of Marlborough," let him know 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.

The long retardation of the life of the Duke of Marlborough shows,
with strong conviction, how little confidence can be placed on
posthumous renown. When he died, it was soon determined that his
story should be delivered to posterity; and the papers supposed to
contain the necessary information were delivered to Lord Molesworth,
who had been his favourite in Flanders. When Molesworth died, the
same papers were transferred with the same design to Sir Richard
Steele, who, in some of his exigencies, put them in pawn. They
remained with the old duchess, who in her will assigned the task to
Glover and Mallet, with a reward of a thousand pounds, and a
prohibition to insert any verses. Glover rejected, I suppose, with
disdain, the legacy, and devolved the whole work upon Mallet; who
had from the late Duke of Marlborough a pension to promote his
industry, and who talked of the discoveries which he had made; but
left not, when he died, any historical labours behind him. While he
was in the Prince's service he published Mustapha with a prologue by
Thomson, not mean, but far inferior to that which he had received