A history of English literature

by Edward Albert

SAMUEL JOHNSON (1709–84)

1. His Life. Johnson has a faithful chronicler in Boswell, whose Life of Johnson makes us intimate with its subject to a degree rare in literature. But even the prying zeal of Boswell could not extort many facts regarding the great man’s early life. Johnson was born at Lichfield, the son of a bookseller, whose pronounced Tory views he inherited and steadfastly maintained. From his birth he was afflicted with a malignant skin-disease (for which he was unsuccessfully “touched” by Queen Anne) which all through his life affected his sight and hearing, and caused many of the physical peculiarities that astonished and amused the friends of his later years. After being privately educated, he proceeded to Oxford, where he experienced the miseries and indignities that are the lot of a poor scholar cursed with a powerful and aspiring mind. Leaving the university, he tried school-teaching, with no success; married a woman twenty years older than himself; and then in 1737 went to London and threw himself into the squalors and allurements of Grub Street.

In his Essay on Johnson Macaulay has given an arresting description of the miseries endured by the denizens of Grub Street; and in this case even the natural exaggeration of Macaulay is not quite misplaced. We know next to nothing regarding the life of Johnson during this early period. It is certain that it was wretched enough to cause the sturdy old fellow, in after years, to glance at this period of his life with a shudder of loathing, and to quench the curiosity of Boswell with ultra-Johnsonian vehemence. Very slowly he won his way out of the gutter, fighting every step with bitter tenacity; for, as he puts it in his poem of London, with all the outstanding emphasis of capitals, SLOW RISES WORTH BY POVERTY OPPRESSED. From the obscure position of a publisher’s hack he became a poet of some note by the publication of London (1738), which was noticed by Pope; his Dictionary (1747–55) advanced his fame; then somewhat incomprehensibly he appears in the limelight as one of the literary dictators of London, surrounded by a circle of brilliant men. In 1762 he received a pension from the State, and the last twenty years of his life were passed in the manner most acceptable to him: dawdling, visiting, conversing, yet living with a gigantic vitality that made his fellows wonder.

It is in these latter years that we find him imperishably figured in the pages of Boswell. All his tricks of humor—his bearishness, his gruff goodwill, his silent and secret benevolences; his physical aberrations—his guzzlings, his grunts, his grimaces, his puffings and wallowings; his puerile superstitions; his deep and beautiful piety; his Tory prejudices, so often enormously vocal; his masterful and unsleeping common sense; the devouring immensity of his conversational powers: we find all these set out in The Life of Doctor Johnson.

2. His Poetry. He wrote little poetry, and none of it, though it has much merit, can be called first-class. His first poem, London (1738), written in the heroic couplet, is of great and somber power. It depicts the vanities and the sins of city life viewed from the depressing standpoint of an embittered and penurious poet. His only other longish poem is The Vanity of Human Wishes (1749). The poem, in imitation of the Tenth Satire of Juvenal, transfers to the activities of mankind in general the gloomy convictions raised ten years earlier by the spectacle of London. The meter is the same as in London, and there is the same bleak pessimism, but the weight and power of the emotion, the tremendous conviction and the stern immobility of the author, give the work a great value. There are many individual lines of solemn grandeur. The following passage shows all he has to offer to the young aspirant to literary fame:

When first the college rolls receive his name,

The young enthusiast quits his ease for fame;

Resistless burns the fever of renown,

Caught from the strong contagion of the gown.

O’er Bodley’s dome his future labours spread,

And Bacon’s mansion trembles o’er his head.

Are these thy views? Proceed, illustrious youth,

And Virtue guard thee to the throne of Truth!

Yet, should thy soul indulge the generous heat

Till captive Science yields her last retreat;

Should Reason guide thee with her brightest ray,

And pour on misty Doubt resistless day;

Should no false kindness lure to loose delight,

Nor praise relax, nor difficulty fright;

Should tempting Novelty thy cell refrain,

And Sloth effuse her opiate fumes in vain;

Should Beauty blunt on fops her fatal dart,

Nor claim the triumph of a letter’d heart;

Should no disease thy torpid veins invade,

Nor Melancholy’s phantoms haunt thy shade;

Yet hope not life from grief or danger free,

Nor think the doom of man revers’d for thee:

Deign on the passing world to turn thine eyes,

And pause awhile from letters, to be wise;

There mark what ills the scholar’s life assail,

Toil, envy, want, the patron, and the jail.

See nations, slowly wise, and meanly just,

To buried merit raise the tardy bust.

If dreams yet flatter, once again attend,

Hear Lydiat’s life and Galileo’s end.

3. His Drama. When he first came to London in 1737 he brought the manuscript, in part, of Irene, a solemn and ponderous tragedy. In 1749, through the heroic exertions of his old pupil David Garrick, who was then manager of Drury Lane Theatre, it was given a hearing, and had a run of nine nights. Even Johnson’s best friends had to admit that it was no success, and it then utterly disappeared, taking with it Johnson’s sole claim to dramatic merit.

4. His Prose. Any claim that Johnson has to be called a first-rate writer must be based on the merit of his prose; but even his prose is small in bulk and strangely unsatisfying in kind. His earliest effort was contributed to Cave’s Gentleman’s Magazine, and comprised Parliamentary reporting, in which he fabricated the speeches of the legislators, to the great benefit of the legislators. Various hack-work followed; and then in 1747 he planned, and in eight years produced, his Dictionary. He also wrote The Rambler (1750–52) and The Idler (1758–60), which were periodicals in the manner of The Spectator, without the ease and variety of their original. To these he regularly contributed essays, which were quite popular in their day, though to modern notions they would be the reverse of acceptable. They treat mainly of abstract subjects, and are expressed in an extremely cumbrous style which soon came to be known as Johnsonese. This type of prose style is marked by a Latinized vocabulary, long and balanced sentences, and an abstract mode of expression. The passage given below illustrates these mannerisms, as well as a kind of elephantine skittishness with which Johnson was sometimes afflicted:

Another cause of the gaiety and sprightliness of the dwellers in garrets is probably the increase of that vertiginous motion, with which we are carried round by the diurnal revolution of the earth. The power of agitation upon the spirits is well known; every man has felt his heart lightened in a rapid vehicle, or on a galloping horse; and nothing is plainer, than that he who towers to the fifth story is whirled through more space by every circumrotation than another that grovels upon the ground-floor. The nations between the tropics are known to be fiery, inconstant, inventive, and fanciful; because, living at the utmost length of the earth’s diameter, they are carried about with more swiftness than those whom nature has placed nearer to the poles; and therefore, as it becomes a wise man to struggle with the inconveniences of his country, whenever celerity and acuteness are requisite, we must actuate our languor by taking a few turns round the centre in a garret.

The Rambler

He wrote Rasselas (1759) in order to pay for his mother’s funeral. It was meant to be a philosophical novel, but it is really a number of Rambler essays, written in Johnsonese, and strung together with the personality of an inquiring young prince called Rasselas. It is hardly a novel at all; the tale carries little interest, the characters are rudimentary, and there are many long, dull discussions. In the book, however, there are abundant shrewd comments and much of Johnson’s somber clarity of vision.

His later years were almost unproductive of literary work. Yet he kept himself deeply interested in the events of the day. For instance, he started a violent quarrel with Macpherson, whose Ossian had startled the literary world. We give a letter that Johnson wrote to the Scotsman, which shows that he sometimes wrote as he spoke—crisply, clearly, and scathingly:

Mr James Macpherson,

I have received your foolish and impudent letter. Any violence offered me I shall do my best to repel; and what I cannot do for myself, the law shall do for me. I hope I shall never be deterred from detecting what I think a cheat by the menaces of a ruffian.

What would you have me retract? I thought your book an imposture: I think it an imposture still. For this opinion I have given my reasons to the public, which I here dare you to refute. Your rage I defy. Your abilities, since your Homer, are not so formidable; and what I hear of your morals inclines me to pay regard not to what you shall say, but to what you shall prove. You may print this if you will.

Sam. Johnson

His Journey to the Western Islands of Scotland (1774), a travel book, shows the faculty of narrative, and contains passages of great skill. His last work of any consequence was The Lives of the Poets (1779–81), a series of prefaces to a collection of poetical works. They are the best specimens of Johnson’s criticism, which is virile and sagacious, though it is influenced by the emotions of the classical school of Pope.

Thus when we come to estimate the value of his work we must arrive at the conclusion that the towering eminence which he held among really able men was due rather to the personality of the man than to the outstanding genius of the writer. Moreover, it is important to observe that he founded no school and left no literary following. He is the last of the old generation.