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

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СКАЧАТЬ formal, even to ridicule; and are well denominated by the names which he has given them as Misella[660], Zozima, Properantia, Rhodoclia.

      [Page 224: The styles of addison and Johnson. A.D. 1750.]

      It has of late been the fashion to compare the style of Addison and Johnson, and to depreciate, I think very unjustly, the style of Addison as nerveless and feeble[661], because it has not the strength and energy of that of Johnson. Their prose may be balanced like the poetry of Dryden and Pope. Both are excellent, though in different ways. Addison writes with the ease of a gentleman. His readers fancy that a wise and accomplished companion is talking to them; so that he insinuates his sentiments and taste into their minds by an imperceptible influence. Johnson writes like a teacher. He dictates to his readers as if from an academical chair. They attend with awe and admiration; and his precepts are impressed upon them by his commanding eloquence. Addison’s style, like a light wine, pleases everybody from the first. Johnson’s, like a liquor of more body, seems too strong at first, but, by degrees, is highly relished; and such is the melody of his periods, so much do they captivate the ear, and seize upon the attention, that there is scarcely any writer, however inconsiderable, who does not aim, in some degree, at the same species of excellence. But let us not ungratefully undervalue that beautiful style, which has pleasingly conveyed to us much instruction and entertainment. Though comparatively weak, opposed to Johnson’s Herculean vigour, let us not call it positively feeble. Let us remember the character of his style, as given by Johnson himself[662]: ‘What he attempted, he performed; he is never feeble, and he did not wish to be energetick; he is never rapid, and he never stagnates. His sentences have neither studied amplitude, nor affected brevity: his periods, though not diligently rounded, are voluble and easy[663]. Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison[664].’

      [Page 225: Boswell’s projected works. Ætat 41.]

      [Page 226: The last Rambler. A.D. 1750.]

      Though the Rambler was not concluded till the year 1752, I shall, under this year, say all that I have to observe upon it. Some of the translations of the mottos by himself are admirably done. He acknowledges to have received ‘elegant translations’ of many of them from Mr. James Elphinston; and some are very happily translated by a Mr. F. Lewis[665], of whom I never heard more, except that Johnson thus described him to Mr. Malone: ‘Sir, he lived in London, and hung loose upon society.’ The concluding paper of his Rambler is at once dignified and pathetick. I cannot, however, but wish that he had not ended it with an unnecessary Greek verse, translated also into an English couplet[666]. It is too much like the conceit of those dramatick poets, who used to conclude each act with a rhyme; and the expression in the first line of his couplet, ‘Celestial powers‘, though proper in Pagan poetry, is ill suited to Christianity, with ‘a conformity[667]’ to which he consoles himself. How much better would it have been, to have ended with the prose sentence ‘I shall never envy the honours which wit and learning obtain in any other cause, if I can be numbered among the writers who have given ardour to virtue, and confidence to truth[668].’

      His friend, Dr. Birch, being now engaged in preparing an edition of Ralegh’s smaller pieces, Dr. Johnson wrote the following letter to that gentleman:

      ‘To DR. BIRCH.

      ‘Gough-square, May 12, 1750.

      ‘SIR,

      ‘Knowing that you are now preparing to favour the publick with a new edition of Ralegh’s[669] miscellaneous pieces, I have taken the liberty to send you a Manuscript, which fell by chance within my notice. I perceive no proofs of forgery in my examination of it; and the owner tells me, that as he[670] has heard, the handwriting is Sir Walter’s. If you should find reason to conclude it genuine, it will be a kindness to the owner, a blind person[671], to recommend it to the booksellers. I am, Sir,

      ‘Your most humble servant,

      ‘SAM. JOHNSON.’

      [Page 227: Milton’s grand-daughter. Ætat 41.]

      [Page 228: Lauder’s imposition. A.D. 1751.]

      His just abhorrence of Milton’s political notions was ever strong. But this did not prevent his warm admiration of Milton’s great poetical merit, to which he has done illustrious justice, beyond all who have written upon the subject. And this year he not only wrote a Prologue, which was spoken by Mr. Garrick before the acting of Comus at Drury-lane theatre, for the benefit of Milton’s grand-daughter, but took a very zealous interest in the success of the charity[672]. On the day preceding the performance, he published the following letter in the ‘General Advertiser,’ addressed to the printer of that paper:

      ‘SIR,

      ‘That a certain degree of reputation is acquired merely by approving the works of genius, and testifying a regard to the memory of authours, is a truth too evident to be denied; and therefore to ensure a participation of fame with a celebrated poet, many who would, perhaps, have contributed to starve him when alive, have heaped expensive pageants upon his grave[673].

      ‘It must, indeed, be confessed, that this method of becoming known to posterity with honour, is peculiar to the great, or at least to the wealthy; but an opportunity now offers for almost every individual to secure the praise of paying a just regard to the illustrious dead, united with the pleasure of doing good to the living. To assist industrious indigence, struggling with distress and debilitated by age, is a display of virtue, and an acquisition of happiness and honour.

      ‘Whoever, then, would be thought capable of pleasure in reading the works of our incomparable Milton, and not so destitute of gratitude as to refuse to lay out a trifle in rational and elegant entertainment, for the benefit of his living remains, for the exercise of their own virtue, the increase of their reputation, and the pleasing consciousness of doing good, should appear at Drury-lane theatre to-morrow, April 5, when Comus will be performed for the benefit of Mrs. Elizabeth Foster, grand-daughter to the author, and the only surviving branch of his family.

      ‘N.B. There will be a new prologue on the occasion, written by the author of _Irene[674], and spoken by Mr. Garrick; and, by particular desire, there will be added to the Masque a dramatick satire, called Lethe, in which Mr. Garrick will perform.’

      [Page 229: Douglas’s MILTON NO PLAGIARY. Ætat 42.]

      1751: ÆTAT. 42.—In 1751[675] we are to consider him as carrying on both his Dictionary and Rambler. But he also wrote The Life of Cheynel[676],[*] in the miscellany called The Student; and the Reverend Dr. Douglas having, with uncommon acuteness, clearly detected a gross forgery and imposition upon the publick by William Lauder, a Scotch schoolmaster, who had, with equal impudence and ingenuity, represented Milton as a plagiary from certain modern Latin poets, Johnson, who had been so far imposed upon as to furnish a Preface and Postscript to his work, now dictated a letter for Lauder, addressed to Dr. Douglas, acknowledging his fraud in terms of suitable contrition.[677]

      [Page 230: Johnson tricked by Lander. A.D. 1751.]

      This extraordinary attempt of Lauder was no sudden effort. He had brooded over it for many years: and to this hour it is uncertain what his principal motive was, unless it were a vain notion of his superiority, in being able, by whatever means, to deceive mankind. To effect this, he produced certain passages from Grotius, Masenius, and others, which had a faint resemblance to some parts of the Paradise Lost. In these he interpolated some fragments of Hog’s Latin translation СКАЧАТЬ