THE LIFE OF SAMUEL JOHNSON - All 6 Volumes in One Edition. James Boswell

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      [Page 197: The Epilogue to IRENE. Ætat 40.]

      Dr. Adams was present the first night of the representation of Irene, and gave me the following account: ‘Before the curtain drew up, there were catcalls whistling, which alarmed Johnson’s friends. The Prologue, which was written by himself in a manly strain, soothed the audience[578], and the play went off tolerably, till it came to the conclusion, when Mrs. Pritchard[579], the heroine of the piece, was to be strangled upon the stage, and was to speak two lines with the bow-string round her neck. The audience cried out “Murder! Murder[580]!” She several times attempted to speak; but in vain. At last she was obliged to go off the stage alive.’ This passage was afterwards struck out, and she was carried off to be put to death behind the scenes, as the play now has it[581]. The Epilogue, as Johnson informed me, was written by Sir William Yonge[582]. I know not how his play came to be thus graced by the pen of a person then so eminent in the political world.

      Notwithstanding all the support of such performers as Garrick, Barry, Mrs. Cibber, Mrs. Pritchard, and every advantage of dress and decoration, the tragedy of Irene did not please the publick[583]. Mr. Garrick’s zeal carried it through for nine nights[584], so that the authour had his three nights’ profits; and from a receipt signed by him, now in the hands of Mr. James Dodsley, it appears that his friend Mr. Robert Dodsley gave him one hundred pounds for the copy, with his usual reservation of the right of one edition[585].

      [Page 198: IRENE as a poem. A.D. 1749.]

      [Page 199: Johnson no tragedy-writer. Ætat 40.]

      Irene, considered as a poem, is intitled to the praise of superiour excellence[586]. Analysed into parts, it will furnish a rich store of noble sentiments, fine imagery, and beautiful language; but it is deficient in pathos, in that delicate power of touching the human feelings, which is the principal end of the drama[587]. Indeed Garrick has complained to me, that Johnson not only had not the faculty of producing the impressions of tragedy, but that he had not the sensibility to perceive them. His great friend Mr. Walmsley’s prediction, that he would ‘turn out a fine tragedy-writer[588],’ was, therefore, ill-founded. Johnson was wise enough to be convinced that he had not the talents necessary to write successfully for the stage, and never made another attempt in that species of composition[589].

      [Page 200: Deference for the general opinion. A.D. 1749.]

      When asked how he felt upon the ill success of his tragedy, he replied, ‘Like the Monument[590];’ meaning that he continued firm and unmoved as that column. And let it be remembered, as an admonition to the genus irritabile[591] of dramatick writers, that this great man, instead of peevishly complaining of the bad taste of the town, submitted to its decision without a murmur. He had, indeed, upon all occasions, a great deference for the general opinion[592]: ‘A man (said he) who writes a book, thinks himself wiser or wittier than the rest of mankind; he supposes that he can instruct or amuse them, and the publick to whom he appeals, must, after all, be the judges of his pretensions.’

      [Page 201: Johnson in the Green Room. Ætat 41.]

      On occasion of his play being brought upon the stage, Johnson had a fancy that as a dramatick authour his dress should be more gay than what he ordinarily wore; he therefore appeared behind the scenes, and even in one of the side boxes, in a scarlet waistcoat, with rich gold lace, and a gold-laced hat[593]. He humourously observed to Mr. Langton, that ‘when in that dress he could not treat people with the same ease as when in his usual plain clothes[594].’ Dress indeed, we must allow, has more effect even upon strong minds than one should suppose, without having had the experience of it. His necessary attendance while his play was in rehearsal, and during its performance, brought him acquainted with many of the performers of both sexes, which produced a more favourable opinion of their profession than he had harshly expressed in his Life of Savage[595]. With some of them he kept up an acquaintance as long as he and they lived, and was ever ready to shew them acts of kindness. He for a considerable time used to frequent the Green Room, and seemed to take delight in dissipating his gloom, by mixing in the sprightly chit-chat of the motley circle then to be found there[596]. Mr. David Hume related to me from Mr. Garrick, that Johnson at last denied himself this amusement, from considerations of rigid virtue; saying, ‘I’ll come no more behind your scenes, David; for the silk stockings and white bosoms of your actresses excite my amorous propensities.’

      [Page 202: The Rambler. A.D. 1750.]

      1750: ÆTAT. 41.—In 1750 he came forth in the character for which he was eminently qualified, a majestick teacher of moral and religious wisdom. The vehicle which he chose was that of a periodical paper, which he knew had been, upon former occasions, employed with great success. The Tatler, Spectator, and Guardian, were the last of the kind published in England, which had stood the test of a long trial[597]; and such an interval had now elapsed since their publication, as made him justly think that, to many of his readers, this form of instruction would, in some degree, have the advantage of novelty. A few days before the first of his Essays came out, there started another competitor for fame in the same form, under the title of _The Tatler Revived[598], which I believe was ‘born but to die[599].’ Johnson was, I think, not very happy in the choice of his title, The Rambler, which certainly is not suited to a series of grave and moral discourses; which the Italians have literally, but ludicrously translated by Il Vagabondo[600]; and which has been lately assumed as the denomination of a vehicle of licentious tales, The Rambler’s Magazine. He gave Sir Joshua Reynolds the following account of its getting this name: ‘What must be done, Sir, will be done. When I was to begin publishing that paper, I was at a loss how to name it. I sat down at night upon my bedside, and resolved that I would not go to sleep till I had fixed its title. The Rambler seemed the best that occurred, and I took it[601].’

      With what devout and conscientious sentiments this paper was undertaken, is evidenced by the following prayer, which he composed and offered up on the occasion: ‘Almighty GOD, the giver of all good things, without whose help all labour is ineffectual, and without whose grace all wisdom is folly; grant, I beseech Thee, that in this undertaking[602] thy Holy Spirit may not be with-held from me, but that I may promote thy glory, and the salvation of myself and others: grant this, O LORD, for the sake of thy son JESUS CHRIST. Amen[603].’

      [Page 203: Revision of The Rambler. Ætat 41.]

      The first paper of the Rambler was published on Tuesday the 20th of March, 1750; and its authour was enabled to continue it, without interruption, every Tuesday and Friday, till Saturday the 17th of March, 1752[604], on which day it closed. This is a strong confirmation of the truth of a remark of his, which I have had occasion to quote elsewhere[605], that ‘a man may write at any time, if he will set himself doggedly to it[606];’ for, notwithstanding his constitutional indolence, his depression of spirits, and his labour in carrying on his Dictionary, he answered the stated calls of the press twice a week from the stores of his mind, during all that time; having received no assistance, except four billets in No. 10, by Miss Mulso, now Mrs. Chapone[607]; No. 30, by Mrs. Catharine Talbot[608]; No. 97, by Mr. Samuel Richardson, whom he describes in an introductory note as ‘An author who has enlarged the knowledge of human nature, and taught the passions to move at the command of virtue;’ and Nos. 44 and 100 by Mrs. Elizabeth Carter.

      [Page 204: Johnson’s rapid composition. A.D. 1750.]

      Posterity will be astonished when they are told, upon the authority of Johnson himself, that many of these discourses, which we should suppose had been laboured with all the slow attention of literary leisure, were written in haste as the moment pressed, without even being read over by him before they were printed[609]. It can be accounted for only in this way; that by reading and meditation, and a very close inspection of life, he had accumulated a great fund of miscellaneous knowledge, which, by a peculiar promptitude of mind, СКАЧАТЬ