Wide as the country he could cover was, he is always coming back to his favourite topic, which can only be described as life; how it is lived and how it ought to be; life as a spectacle and life as a moral and social problem. That by itself makes a sufficiently varied field for talk. But real as his variety was, it is still not the most remarkable thing about his talk. Where he surpa.s.sed all men was in the readiness with which he could put what he possessed to use. Speaking of the extraordinary quickness with which he "flew upon" any argument, Boswell once said to Sir Joshua, "he has no formal preparation, no flourishing with the sword; he is through your body in an instant." Sometimes he condescended to achieve this by mere rudeness, as once when, being hard pressed in an argument about the pa.s.sions, he said, "Sir, {162} there is one pa.s.sion I advise you to be careful of. When you have drunk that gla.s.s don't drink another." But the notion, which one hears occasionally expressed, that his princ.i.p.al argumentative weapon was rudeness is an entire mistake. Every impartial reader of Boswell will admit that the rudeness of his retorts where it exists is entirely swallowed up and forgotten in their aptness, ingenuity and wit. He was rude sometimes, no doubt; as, for instance, to the unfortunate young man who went to him for advice as to whether he should marry, and got for an answer, "Sir, I would advise no man to marry who is not likely to propagate understanding." But, human nature being what it is, sympathy for the victim is in such cases commonly extinguished in delighted admiration of the punishment. That will be still more whole-hearted when the victim is obviously a bore, like the gentleman who annoyed Johnson by persisting in spite of discouragement in an argument about the future life of brutes, till at last he gave the fatal opportunity by asking, "with a serious metaphysical pensive face," "But, really, sir, when we see a very sensible dog, we don't know what to think of him;" to which Johnson, "rolling with joy at the thought which beamed in his eye," replied, "True, sir, and when we see a very foolish {163} fellow, we don't know what to think of _him_."

Conversation would be a weariness of the flesh if one might never answer a fool according to his folly: and such answers are not to be called rude when the rudeness, if such there be, is only one ingredient in a compound of which the princ.i.p.al parts are humour and felicity.

And, of course, even this measure of rudeness is only present occasionally, while the amazing exactness of felicity seldom fails.

Who does not envy the readiness of mind which instantly provided him with the exact a.n.a.logy which he used to crush Boswell's plea for the Methodist undergraduates expelled from Oxford in 1768? "But was it not hard, sir, to expel them, for I am told they were good beings?" "I believe they might be good beings: but they were not fit to be in the University of Oxford. A cow is a very good animal in the field; but we turn her out of a garden." Note that, as usual with Johnson,--and that is the astonishing thing--the ill.u.s.tration, however far-fetched, is not merely humorous but exactly to the point. Plenty of men can compose such retorts at leisure: the unique Johnsonian gift was that he had them at his instant command. Or take one other ill.u.s.tration; a compliment this time, and one of the swiftest as well as happiest on record. Mrs. Siddons came to see him the {164} year before he died, and when she entered his room there was no chair for her. Another man would have been embarra.s.sed by such a circ.u.mstance combined with such a visitor. Not so Johnson, who turned the difficulty into a triumph by simply saying with a smile, "Madam, you who so often occasion a want of seats to other people, will the more readily excuse the want of one yourself."

The third great quality of Johnson's talk is its style. His command of language was such as that he seems never to have been at a loss; never to have fumbled, or hesitated, or fallen back upon the second best word; he saw instantly the point he wanted to make, and was instantly ready with the best words in which to make it. It was said of him that all his talk could be written down and printed without a correction.

That would, indeed, be double-edged praise to give to most men: but with Johnson it is absolutely true without being in the least damaging.

For his talk is always talk, not writing or preaching; and it is always his own. That dictum of Horace which he and Wilkes discussed at the famous dinner at Dilly's, _Difficile est proprie communia dicere_, gives the exact praise of Johnson as a talker. There are few things more difficult than to put the truths of common sense in {165} such a way as to make them your own. To do so is one of the privileges of the masters of style. Few people have had more of it than Johnson. His prose, spoken or written, is altogether wanting in some of the greatest elements of style: it has no music, no mystery, no gift of suggestion, very little of the higher sort of imagination, nothing at all of what we have been taught to call the Celtic side of the English mind. But in this particular power of making the old new, and the commonplace individual, Johnson is among the great masters. And he shows it in his talk even more than in his writings. All that he says has that supreme mark of style; it cannot be translated without loss. The only indisputable proof of an author possessing style is his being unquotable except in his own words. If a paraphrase will do he may have learning, wisdom, profundity, what you will, but style he has not.

Style is the expression of an individual, appearing once and only once in the world; it is Keats or Carlyle or Swinburne: it never has been and never will be anybody else.

Its presence in Johnson is painfully brought home to any one who tries to quote his good things without the a.s.sistance of a very accurate verbal memory. Even when he says such a thing as "This is wretched stuff, sir," the words manage to have style because {166} they express his convictions in a way which is his, and no one else's. This is taking it at its lowest, of course; when we go a little further and take a sentence like the famous remark about Ossian, "Sir, a man might write such stuff for ever if he would abandon his mind to it," the sting in the word "abandon" is the sort of thing which other people devise at their desks, but which Johnson has ready on his lips for immediate use. So again, he seems to have been able not only to find the most telling word in a moment, but to put his thought in the most telling shape. Many people then and since disliked and disapproved of Bolingbroke. But has there ever, then or at any other time, been a man who could find such language for his disapproval as Johnson? "Sir, he was a scoundrel and a coward: a scoundrel, for charging a blunderbuss against religion and morality: a coward, because he had not resolution to fire it off himself, but left half-a-crown to a beggarly Scotchman to draw the trigger after his death." It is at once as devastating as a volcano and as neat as a formal garden. So, in a smaller way, is his criticism of a smaller man. Dr. Adams, talking of Newton, Bishop of Bristol, whom Johnson disliked, once said, "I believe his _Dissertations on the Prophecies_ is his great {167} work," Johnson's instant answer was, "Why, sir, it is Tom's great work; but how far it is great, or how much of it is Tom's, are other questions." How mercilessly perfect! A thousand years of preparation could not have put it more shortly or more effectively. It both does the business in hand and gives expression to himself; nor is there in it a superfluous syllable; all of which is, again, another way of saying that it has style. And he did not need the stimulus of personal feeling to give him this energy of speech. The same gift is seen when he "_communia dicit_," when he is uttering some general reflection, the common wisdom of mankind. Moliere said, "Je prends mon bien ou je le trouve."

Johnson might have used the same words with a slightly different meaning. He excelled all men in recoining the gold of common sense in his own mind. All the world has said "humanum est errare": but the saying is newborn when Johnson clinches an argument with, "No, sir; a fallible being will fail somewhere." So on a hundred other commonplaces of discussion one may find him, all through Boswell's pages, adding that una.n.a.lysable something of himself in word or thought which makes the ancient dry bones stir again to life. "It is better to live rich than to die rich"; "no man is a hypocrite in his {168} pleasures"; "it is the business of a wise man to be happy"; "he that runs against time has an antagonist not subject to casualties"; "the great excellence of a writer is to put into his book as much as his book will hold"; "there are few ways in which a man can be more innocently employed than in getting money"; "no woman is the worse for sense and knowledge"; but "supposing a wife to be of a studious or argumentative turn it would be very troublesome; for instance--if a woman should continually dwell upon the subject of the Arian heresy"; "a man should keep his friendship always in repair"; "to cultivate kindness is a valuable part of the business of life"; "every man is to take existence on the terms on which it is given to him"; "the man who talks to unburden his mind is the man to delight you"; "No, sir, let fanciful men do as they will, depend upon it it is difficult to disturb the system of life."

The man who thinks, as Taine thought, that sayings of this sort are mere commonplaces, will never understand Johnson: he may give up the attempt at once. The true commonplace is like the money of a spendthrift heir: his guineas come and go without his ever thinking for a moment where they came from or whither they go. But Johnson's commonplaces had been consciously earned and were {169} deliberately spent; he had made them himself, and when he handed them on to others he handed himself on with them. Taine may perhaps be excused; for it may require some knowledge of English to be sure of detecting the personal flavour Johnson gave to his generalizations: but the Englishman who misses it shows that he has mistaken the ornaments of literature for its essence and exposes himself to the same criticism as a man who cannot recognize a genius unless he is eccentric. Johnson could break out in conversation as well as in his books into a n.o.ble eloquence all his own; such a phrase as "poisoning the sources of eternal truth," rises spontaneously to his lips when his indignation is aroused. His free language disdained to be confined within any park palings of pedantry. Some of his most characteristic utterances owe their flavour to combining the language of the schools with the language of the tavern: as when he said of that strange inmate of his house, Miss Carmichael, "Poll is a stupid s.l.u.t. I had some hopes of her at first: but when I talked to her tightly and closely I could make nothing of her; she was wiggle waggle, and I could never persuade her to be categorical." He was the very antipodes of a retailer of other men's thoughts in other men's words: {170} every chapter of Boswell brings its evidence of Johnsonian eloquence, of Johnsonian quaintness, raciness, and abundance, of the surprising flights of his fancy, of the inexhaustible ingenuity of his arguments and ill.u.s.trations. No talk the world has ever heard is less like the talk of a commonplace man.

Yet the supreme quality of it is not the ingenuity or the oddness or the wit: it is the thing Taine missed, the sovereign sanity of the Johnsonian common sense. Bagehot once said that it was the business of the English Prime Minister to have more common sense than any man.

Johnson is the Prime Minister of literature; or perhaps, rather, of life. Not indeed for a time of revolution. For that we should have to go to some one less unwilling to "disturb the system of life." But for ordinary times, and in the vast majority of matters all times are ordinary, Johnson is the man. The Prime Minister is not the whole of the body politic, of course: and there are purposes for which we need people with more turn than Johnson for starting and pressing new ideas: but these will come best from below the gangway; and they will be none the worse in the end for having had to undergo the formidable criticism of a Prime Minister whose first article of faith is that the King's government must be carried on. The {171} slow-moving centrality of Johnson's mind, not to be diverted by any far-looking whimsies from the daily problem of how life was to be lived, is not the least important of the qualities that have given him his unique position in the respect and affection of the English race.

CHAPTER V

JOHNSON'S WORKS

In his lifetime Johnson was chiefly thought of as a great writer.

To-day we think of him chiefly as a great man. That is the measure of Boswell's genius: no other biographer of a great writer has unconsciously and unintentionally thrown his hero's own works into the shade. Scott will always have a hundred times as many readers as Lockhart, and Macaulay as Trevelyan. But in this, as in some other ways, Boswell's involuntary greatness has upset the balance of truth.

Johnson's writings are now much less read than they deserve to be. For this there are a variety of causes. Fourteen years before he died, William Wordsworth was born at c.o.c.kermouth; and fourteen years after his death Wordsworth and Coleridge published the volume which, more perhaps than any {172} other, started English literature on its great voyage into seas unsailed and unimagined by Johnson. The triumph of the Romantic movement inevitably brought with it the depreciation of the prophet of common sense in literature and in life. The great forces in the literature of the next seventy or eighty years were: in poetry, Wordsworth, Coleridge, Scott, Byron, Sh.e.l.ley, Keats; in prose, Scott, and then later on, Carlyle and Ruskin; every single one of them providing a wine by no means to be put into Johnsonian bottles.

Johnson, even more than other men in the eighteenth century, was abstract and general in his habit of mind and expression. The men of the new age were just the opposite; they were concrete and particular, lovers of detail and circ.u.mstance. The note of his writings had been common sense and rugged veracity; the dominant notes of theirs were picturesqueness, eloquence, emotion, even sentimentalism. Both the exaggerated hopes and the exaggerated fears aroused by the French Revolution disinclined their victims to listen to the middling sanity of Johnson. The hopes built themselves fancy castles of equality and fraternity which instinctively shrunk from the broadsides of Johnsonian ridicule. The fears hid themselves in caves of mediaeval reaction and did not care to expose their eyes {173} to the smarting daylight of Johnsonian common sense. His appeal had always been to argument: the new appeal was at worst to sentiment, at best to history for which Johnson was too true to his century to care anything. When Voltaire writes an article on monasticism, he has nothing to say about how it arose and developed; he neither knows nor cares anything about that.

For him it is, like everything else, a thing to be judged in a court of abstract rationality, altogether independent of time and circ.u.mstance, and as such he has no difficulty in dismissing it with brilliant and witty contempt without telling us anything about what it actually is or was. It was this unhistorical spirit which, as Burke rightly preached, was the most fatal element in the French Revolution. But the French are not to be blamed alone for an intellectual atmosphere which was then universal in Europe. Little as Johnson would have liked the a.s.sociation, it must be admitted that he was in his way as pure and unhistorical a rationalist as Voltaire and the Encyclopaedists; and that it was inevitable that the reaction in favour of history which Burke set in motion would tell against him as well as against them.

Against the discovery that things can neither be rightly judged nor wisely reformed except by examining how they came to be what they {174} are, the whole eighteenth century, and in it Johnson as well as Rousseau and Voltaire, stands naked. And the abstract rationalizing of that century was soon to have another enemy in alliance with history, the new force of science. Nothing has been more fatal to the arbitrary despotism of mere reason than the idea of development, of evolution.

Directly it is seen that all life exhibits itself in stages it becomes obvious that the dry light of reason will not provide the materials for true judgment until it has been coloured by a sympathetic insight into the conditions of the particular stage under discussion.

All these things, then, were against Johnson. Alike to the new Liberalism ever more and more drenched in sentiment, to the new Conservatism ever more and more looking for a base in history, to Romanticism in literature with its stir, colour and emotion, to science with its new studies and new methods, the works of Johnson almost inevitably appeared as the dry bones of a dead age. He had laughed at the Romans: and behold the Romans had played a great part in the greatest of Revolutions. He had laughed at "n.o.ble prospects" and behold the world was gone after them, and his, "Who _can_ like the Highlands?" was drowned in the poetry of Scott and Byron, and made {175} to appear narrow and vulgar in the presence of Wordsworth. Only in one field did any great change take place likely to be favourable to Johnson's influence. The religious and ecclesiastical revival which was so conspicuous in England during the first half of the nineteenth century was naturally inclined to exalt Johnson as the only strong Churchman, and almost the only definite Christian among the great writers of the eighteenth century. The fact, too, that the most conspicuous centre of the revival was Oxford, where Johnson's name had always been affectionately remembered, helped to send its votaries back to him. But this alliance could not be more than partial. The Oxford Movement soon degenerated into Mediaevalism and Ritualism, and no man was less fitted than Johnson to be the prophet of either. The genius of common sense was the very last leader their devotees could wish for.

And as the revival became increasingly a reaction, relying more and more on supposed precedent and less on the essential reason of things, it inevitably got further away from Johnson who cared everything for reason and nothing at all for dubious history.

But it was not merely the changes that came over the general mind of the nation that went against Johnson; it was still more the revolution in his own special branch of literature. {176} He was the last great English critic who treated poets, not as great men to be under stood, but as school-boys to be corrected. He still applied, as the French have always done, a preordained standard to the work he was discussing, and declared it correct or not according to that test. The new criticism inaugurated by Coleridge aimed at interpretation rather than at magisterial regulation; and no one will now revert to the old. We never now find an English critic writing such notes, common till lately in France, as "cela n'est pas francais," "cela ne se dit pas," "il faut ecrire"--such and such a phrase, and not the phrase used by the poet receiving chastis.e.m.e.nt. But Johnson does conclude his plays of Shakespeare with such remarks as: "The conduct of this play is deficient." "The pa.s.sions are directed to their true end." "In this play are some pa.s.sages which ought not to have been exhibited, as we are told they were, to a maiden Queen." The substance of these comments may often be just, but for us their tone is altogether wrong.

We no longer think that a critic, even if he be Johnson, should distribute praise or blame to poets, even of much less importance than Shakespeare, with the confident a.s.surance of a school-master looking over a boy's exercise. Johnson's manner, {177} then, as a critic was against him with the nineteenth century. But so also was his matter.

The poetry he really believed in was that of what the nineteenth century came to regard as the age of prose. Of his three great _Lives_ we feel that those of Dryden and Pope express the pleasure he spontaneously and unconsciously felt, while that of Milton is a reluctant tribute extorted from him by a genius he could not resist.

Among the few poets in his long list for whom the nineteenth century cared much are Gray and Collins; and of Collins he says almost nothing in the way of admiration, and of Gray very little. Even when he wrote of Shakespeare, to whom he paid a tribute that will long outlive those of blind idolatry, what he praised is not what seemed greatest to the lovers of poetry in the next generation. A critic who found "no nice discriminations of character in Macbeth," and defended Tate's "happy family" ending of Lear, was not unnaturally dismissed or ignored by those who had sat at the feet of Coleridge or Lamb.

There is still one other thing which told against him. No one influenced the course of English literature in the nineteenth century so much as Wordsworth. And Wordsworth was a determined reformer not only of the matter of poetry but of its very language. {178} He overstated his demands and did not get his ideas clear to his own mind, as may be seen by the fact that he instinctively recoiled from applying the whole of them in his own poetical practice. But he plainly advocated two things as essential parts of his reform; poetry was to go back for its subject to the primary universal facts of human life, and it was to use as far as possible the language actually used by plain men in speaking to each other. Both these demands had to submit to modification; but both profoundly influenced the subsequent development of English poetry: and both were, as Wordsworth knew, opposed to the teaching and practice of Johnson. The return to simplicity involved a preference for such poetry as Percy's Ballads which Johnson had ridiculed, and a distaste for the poetry of the town which Johnson admired. And both in the famous _Preface_ and in the _Appendix_ and _Essay Supplementary_ added to it Wordsworth refers to Johnson and seems to recognize him as the most dangerous authority with whom he has to contend. In that contest Wordsworth was on the whole decidedly victorious; and to that extent again Johnson was discredited. Nor was it the language of poetry only which was affected. Under the influences which Wordsworth, Scott and Byron set {179} moving, the old colourless, abstract, professedly cla.s.sical language was supplanted even in prose. The new prose was enriched by a hundred qualities of music, colour and suggestion, at which the prose of the eighteenth century had never aimed. Those who had enjoyed the easy grace of Lamb, the swift lightnings of Carlyle, the eloquence, playfulness and tenderness of Ruskin, the lucid suavity of Newman, were sure to conclude in their haste that the prose of Johnson was a thing pompous, empty and dull.

But against all these indictments a reaction has now begun. Like other reactions its first utterances are apt to be extravagant. In literature as in politics those who at last take their courage in their hands and defy the established opinion are obliged to shout to keep their spirits up. So Sir Walter Raleigh, whose _Six Essays_ at once put the position of Johnson on a new footing, has allowed himself to say of some sentences from _The Rambler_ that they are "prose which will not suffer much by comparison with the best in the language."

But, apart from these inevitable over-statements of defiance, what he has said about Johnson is unanswered and unanswerable. And at last it is able to fall upon a soil prepared for it. In all directions the Gothic movement, which was so inevitably {180} unfavourable to the fame of Johnson, has crumbled and collapsed. A counter movement seems to be in progress. The cla.s.sical revival in architecture is extending into other fields and though no one wishes to undo the poetic achievement of the nineteenth century, every one has come to wish to understand that of the eighteenth. We shall never again think that Dryden and Pope had the essence of poetry in them to the same extent, as, for instance, Wordsworth or Sh.e.l.ley; but neither shall we ever again treat them with the superficial and ignorant contempt which was not uncommon twenty or thirty years ago. The twentieth century is not so confident as its predecessor that the poetry and criticism of the eighteenth may safely be ignored.

If, then, we are not to ignore Johnson's writing, what are we to remember? In a sketch like this the point of view to be taken is that of the man with a general interest in English letters, not that of the specialist in the eighteenth century, or indeed, that of any specialist at all. Well, then, first of all Johnson wrote verses which though not great poetry have some fine qualities. They are, like so much of the verse of that century, chiefly "good sense put into good metre." That is what Twining, the Aristotelian critic, said of them when Johnson died. He had a much {181} finer sense of poetry than Johnson, and he was perfectly right in this criticism. But it is a loss and not a gain that, since Wordsworth gave us such a high conception of what poetry should be, we have ceased to take pleasure in good verses simply for their own sake. In the eighteenth century a new volume of verse became at once the talk of the town and every cultivated person read it. Now we have allowed poetry to become a thing so esoteric in its exaltation that only the poetically minded can read it. Neither the _Excursion_ nor the _Epipsychidion_ could possibly be read by the great public.

All the world could and did read Pope's _Epistles_ and Goldsmith's _Traveller_. It may have been worth while to pay the price for the new greatness of poetry that came in with the nineteenth century; but it is at any rate right to remember that there was a price, and that it has had to be paid. It may be that some day we shall be able again to take pleasure in well-turned verses without losing our appreciation of higher things. Good verse is, really, a delightful thing even when it is not great poetry, and we are too apt now-a-days to forget that verse has one great inherent advantage over prose, that it impresses itself on the memory as no prose can. We can all quote scores of lines from Pope, though we {182} may not know who it is whom we are quoting. That is the pleasure of art. And if the lines, as often, utter the voice of good sense in morals or politics, it is its accidental utility also.

Johnson has, of course, little of Pope's amazing dexterity, wit and finish. But he has some qualities of which Pope had nothing or not very much. In his verse, as everywhere else, he shows a sense of the real issues of things quite out of the reach of a well-to-do wit living in his library, like Pope; what he writes may be in form an imitation of Juvenal, but it is in essence a picture of life and often of his own life.

How large a part of the business of poetry consists in giving new expression to the old truths of experience, is known to all the great poets and seen in their practice. Johnson can do this with a force that refuses to be forgotten.

"But few there are whom hours like these await, Who set unclouded in the gulfs of fate.

From Lydia's monarch should the search descend, By Solon cautioned to regard his end, In life's last scene what prodigies surprise, Fears of the brave and follies of the wise!

From Marlborough's eyes the streams of dotage flow, And Swift expires a driveller and a show."

Such lines almost challenge Pope on his own {183} ground, meeting his rapier-like dexterity of neatness with heavy sword-strokes of sincerity and strength. But here, as in the prose, the true Johnsonian excellence is best seen when he is in the confessional.

"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 reversed for thee-- Deign on the pa.s.sing world to turn thine eyes, And pause awhile from Letters to be wise; There mark what ills the scholar's life a.s.sail, Toil, envy, want, the patron, and the gaol."

There, and in such lines as the stanza on Levett--

"His virtues walked their narrow round, Nor made a pause, nor left a void; And sure the Eternal Master found The single talent well employed,"

one hears the authentic unique voice of Johnson; not that of a great poet but of a real man to whom it is always worth while to listen, and not least when he puts his thoughts into the pointed shape of verse.

Still, of course, prose and not verse is his natural medium. And here a word should be said about that prose style of his which had an immense vogue for a time and plainly {184} influenced most of the writers of his own and the following generation, even men so great as Gibbon and the young Ruskin, and women so brilliant as f.a.n.n.y Burney.

Then a reaction came and it was generally denounced as pompous, empty and verbose. After the Revolution people gave up wearing wigs, and with the pa.s.sing of wigs and buckle-shoes there came a dislike of the dignified deportment of the eighteenth century in weightier matters than costume. Now Johnson, whatever he did at other times, was commonly inclined to put on his wig before he took up his pen. His elaborate and ant.i.thetical phrases are apt to go into pairs like people in a Court procession, and seem at first sight to belong altogether to what we should call an artificial as well as a ceremonious age. His style is the exact opposite of Dryden's, of which he said that, having "no prominent or discriminative characters," it "could not easily be imitated either seriously or ludicrously." Johnson's could be, and often was, imitated in both spirits. Even in his lifetime, when it was most admired, it was already parodied. Goldsmith was talking once of the art of writing fables, and of the necessity, if your fable be about "little fishes," of making them talk like "little fishes"; Johnson laughed: upon which Goldsmith said, "Why, Dr. Johnson, {185} this is not so easy as you seem to think: for if you were to make little fishes talk, they would talk like whales." That was the weak spot in Johnson on which the wits and critics seized at once: there is a good deal of misplaced magniloquence in his writings. When the sage in _Ra.s.selas_ says, "I have missed the endearing elegance of female friendship, and the happy commerce of domestic tenderness," we now feel at once that the simple and natural thought gains nothing and loses much by this heavy pomp of abstract eloquence. So when Johnson wants to say in the eleventh _Idler_ that it is wrong and absurd to let our spirits depend on the weather, he makes his reader laugh or yawn, rather than listen, by the ill-timed elaboration of his phrases: "to call upon the sun for peace and gaiety, or deprecate the clouds lest sorrow should overwhelm us, is the cowardice of idleness, and the idolatry of folly." So much must be admitted. Johnson is often turgid and pompous, often grandiose with an artificial and undesired grandiloquence. No one, however, who has read his prose works will pretend that this is a fair account of his ordinary style. You may read many _Ramblers_ in succession and scarcely find a marked instance of it; and, as every one knows, his last, longest and pleasantest work, the _Lives of the Poets_, is almost free from it. All through {186} his life one can trace a kind of progress as he gradually shakes off these mannerisms, and writes as easily as he talked. They are most conspicuous in _The Rambler_ and _Ra.s.selas_. But even there, through all the heaviness, born perhaps of the too obvious desire to instruct and improve, we get more than occasional suggestions of the trenchant force which we most a.s.sociate with the pages of Boswell.

"My curiosity," said Ra.s.selas, "does not very strongly lead me to survey piles of stone, or mounds of earth; my business is with man. I came hither not to measure fragments of temples, or trace choaked aqueducts, but to look upon the various scenes of the present world. . . . To judge rightly of the present we must oppose it to the past; for all judgment is comparative, and of the future nothing can be known."

There is nothing here of the intimacy and charm which, as Dryden and Cowley had already shown, and Johnson himself was occasionally to show in his last years, a plain prose may possess; but of the lucidity and force which are its most necessary characteristics never prose exhibited more. Those who know their Boswell will catch in the pa.s.sage a pleasant foretaste of the outburst to Thrale when he wanted Johnson to contrast {187} French and English scenery: "Never heed such nonsense, sir; a blade of gra.s.s is always a blade of gra.s.s, whether in one country or another; let us, if we _do_ talk, talk about something; men and women are my subjects of inquiry: let us see how these differ from those we have left behind."

This natural trenchancy gets freer play, of course, in the talk than in the writings. But it is in them all from the first, even in _Ra.s.selas_, even in _The Rambler_. "The same actions performed by different hands produce different effects, and, instead of rating the man by his performances we rate too frequently the performances by the man. . . . Benefits which are received as gifts from wealth are exacted as debts from indigence; and he that in a high station is celebrated for superfluous goodness would in a meaner condition have barely been confessed to have done his duty."

It is not necessary to multiply citations. What is found even in _The Rambler_, which he himself in later years found "too wordy," is found much more abundantly in the Dictionary and the _Shakespeare_; and as he grows old, and, with age and authority, increasingly indifferent to criticism and increasingly confident in his own judgment, there gradually comes an ease and familiarity which without {188} diminishing the perfect lucidity of the phrases adds sometimes to the old contemptuous force, and occasionally brings a new intimacy and indulgence. The writing becomes gradually more like the talk. n.o.body in his earlier work was ever quite so unceremoniously kicked downstairs as Wilkes was in _The False Alarm_.

"All wrong ought to be rectified. If Mr. Wilkes is deprived of a lawful seat, both he and his electors have reason to complain, but it will not be easily found why, among the innumerable wrongs of which a great part of mankind are hourly complaining, the whole care of the publick should be transferred to Mr. Wilkes and the freeholders of Middles.e.x, who might all sink into non-existence without any other effect than that there would be room made for a new rabble and a new retailer of sedition and obscenity."

This is the old power of invective indulged now with the reckless indifference of a man who is talking among friends, knows his power and enjoys using it. But the ease of his later manner more commonly takes the form of a redoubled directness in his old appeal to universal experience, or that of these natural indulgences of old age, anecdote and autobiography. Take, for instance, the first volume of his _Lives_. It is not only full {189} of such admirable generalizations as that in which he sums up the case for a literary as against a mathematical or scientific education: "The truth is that the knowledge of external nature and the sciences which that knowledge requires or includes are not the great or the frequent business of the human mind. . . . We are perpetually moralists: we are geometricians only by chance"; or that in which he expresses his contempt for Dryden exchanging Billingsgate with Settle: "Minds are not levelled in their powers, but when they are first levelled in their desires"; or the pregnant commonplace with which he prefaces his derision of the artificial love-poems which Cowley thought it necessary to address to an imaginary mistress: "It is surely not difficult, in the solitude of a college or in the bustle of the world, to find useful studies and serious employment." This is the Johnson his readers had known from the beginning. What is newer are the personal touches sprinkled all over the book. Here he will bring in a fact about his friend, Sir Joshua Reynolds; there he will give a piece of information derived from "my father, an old bookseller." He who studied life and manners before all things loves to record the personal habits of his poets and to try their writings rather by the tests of life than {190} of criticism. He was, perhaps, the first great critic to take the seeming trifles of daily life out of the hands of gossips and anecdote-mongers, and give them their due place in the study of a great man. All this necessarily gave him something of the colloquial ease of the writer of recollections. Nothing could be simpler than his style when he tells us of Milton that "when he first rose he heard a chapter in the Hebrew Bible and then studied till twelve; then took some exercise for an hour; then dined; then played on the organ, and sang, or heard another sing; then studied; to six; then entertained his visitors till eight; then supped, and after a pipe of tobacco and a gla.s.s of water went to bed." On which his comment is characteristic and plainly autobiographical. "So is his life described; but this even tenour appears attainable only in colleges. He that lives in the world will sometimes have the succession of his practice broken and confused.

Visitors, of whom Milton is represented to have had great numbers, will come and stay unseasonably: business, of which every man has some, must be done when others will do it." This may still have about it something of the style of a school-master, but of a school-master who teaches the art of living, not without having learnt by experience the difficulty of practising it.

{191}

So we may trace the gradual diminution, but never the entire disappearance, of the excessive "deportment" which is the best known feature of Johnson's style. Of another feature often found in it by hostile critics less need be said because it is not really there at all. Johnson is frequently accused of verbosity. If that word means merely pomposity it has already been discussed. If it means, as it should mean, the use of superfluous words adding nothing to the sense, few authors are so seldom guilty of it as Johnson. There are many good writers, Scott, for instance, and the authors of the Book of Common Prayer, in whom a hurried reader might frequently omit half a phrase without depriving his hearers of an ounce of meaning. But you cannot do that with Johnson. Words that add neither information nor argument to what has gone before are exceptionally rare in him. Take his style at its worst. "It is therefore to me a severe aggravation of a calamity, when it is such as in the common opinion will not justify the acerbity of exclamation, or support the solemnity of vocal grief."

Heavier writing there could scarcely be. But every word has its duty to do. The supposed speaker has been saying that he is, like Sancho Panza, quite unable to suffer in silence; and he adds {192} that this makes many a misfortune harder for him to bear than it need be: for it may arise from an injury which other people think too trifling to justify any open expression of anger, or from an accident that may seem to them so petty that they will not endure any serious lamentation about it. Johnson's way of saying this is pompous and rather absurd; but it is not verbose. So when he says that he knows nothing of Mallet except "what is supplied by the unauthorized loquacity of common fame,"

it is possible to dislike the phrase; it is not possible to deny that the words are as full of meaning as words can be.

The fact is that Johnson's style has the merits and defects of scholarship. He knows, as a scholar will, how every word came upon the paper, consequently he seldom uses language which is either empty or inexact; but with the scholar's accuracy he has also the scholar's pride. The dignity of literature was constantly in his mind as he wrote; and he did not always write the better for it. Books in his day and in his eyes were still rather solemn things to be kept above the linguistic level of conversation. Dryden and Addison had already begun to make the great discovery that the best prose style has no conscious air of literature about it; but the new doctrine had not reached the {193} ma.s.s either of writers or readers. And it never completely reached Johnson. He himself once accidentally gave one of the best definitions of the new style when he said of Shakespeare's comic dialogue that it was gathered from that kind of conversation which is "above grossness and below refinement." And at the end of his life he even occasionally produced some good specimens of it. But, taking his work as a whole, it must be admitted that he could rarely bring himself to be "below refinement," the refinement not of the drawing-room but of the library. In what he says he is always a man; in the way he says it he is nearly always too visibly an author. Those who have eyes to see and the will to look never fail of finding the man; but the author stares them in the face.

His prose works may be divided into two cla.s.ses, those in which he is primarily a moralist, and those in which he is primarily a critic.