lives of his subject by Milton's nephew, Edward Phillips, by Anthony Wood in 'Athenæ Oxonienses,' by Toland, by Elijah Fenton, by Richardson, Dr Birch, and Bishop Newton, and he mentions other authorities. And in the 'Addison he cites Tickell, Steele, Budgell, Swift, Dr Warton, and others. In writing many of the Lives he had beside him in MS. Spence's 'Observations, Anecdotes, and Characters of Books and Men.' He drew, then, from written sources, but not exhaustively; indeed, in the original advertisement he admits the likelihood of error, and apologises for defects. But there were unwritten sources which none could tap so well as Johnson-his knowledge of human life and of the human heart, and his acquaintance with many a tradition of Grub Street. He had thought and spoken on literature as none of his day had done: and the thinking bears fruit in excellent reflections, while the speech lends him a readier utterance and lighter style. THE VALUE OF THE LIVES. What is the value of the 'Lives of the Poets'? It has many claims. Judged by style alone, it is a great work. The facts are often incorrect and the criticisms wrong, but the English is good. It is Johnson's last work, in some respects his best. The most readable of his works, it is certainly all the more charming that its ease and clearness echo the brilliancy of his conversation, and that it is illuminated by well-told tales; for without the Lives the history of literature would have been poorer by many a good story. tioned. Then there is the human interest already men The subtle reflections on human life imparts a perennial value to these Lives: under Johnson's magic wand they rise from the particular to the universal, from what was true in the eighteenth century to what is true for all time. But the work is most valuable viewed as the great document of eighteenth-century criticism. In its own day it was an epoch-making work, because no such body of criticism had ever before issued from one man's brain. There can be no better historical introduc- • tion to the study of English poetry than Johnson's Lives, no better way of appreciating the romantic spirit of modern literature than to understand the most representative criticism of the eighteenth century. It is long since Matthew Arnold pronounced the best of the Lives to be so many points de repère, so many "natural centres, by returning to which we can always find our way again." Among the classics of criticism the Lives of the Poets' will always rank as one of the greatest. Much is antiquated, because we wear no spectacles of the eighteenth century, and because we see so much the more clearly for Johnson's pioneer work. It is no insult to the old doctor to disagree with his criticisms; for criticisms age with time, and insincere acceptance of his pronouncements would be the falsest of testimonies to his memory. Yet much is permanent in his pregnant reflections and strong common-sense. To disparage his criticism overmuch is to sit ungratefully in judgment upon him. Here, too, as in all great works, we must show reverence. In the Lives the greatest names are unquestionably those chosen by Matthew Arnold for his Six Chief Lives' Milton, Dryden, Swift, Addison, Pope, and Gray. But they are not all of equal worth. Johnson's best Lives are those of Dryden and Pope-naturally so; for these were the two poets who wielded the most powerful influence on the eighteenth century. The 'Milton,' faulty and unfair though it be, is quite the most interesting of all the Lives: it is a great man's study of another great man; and it brings us even more than the other Lives do, close to the personality of Johnson himself, with his fierce hatred of Milton's religious and political views, his lack of sympathy with some aspects, and his whole-hearted admiration for other aspects of Milton's genius. The 'Addison' is an entertaining life, marked by shrewd judgment and charity of feeling. Disliking Addison for his politics, as Cunningham points out, Johnson yet loved him for his humour, his exquisite English, and his moral tendency. The two lives contained in this edition are of especial significance in the history of letters, - Milton as the greatest poet of the second half of the seventeenth century, Addison as the greatest essayist of the first half of the eighteenth century. The poorest of the Lives is that of Gray : Johnson was quite unable to appreciate the romantic element in his poetry. It is significant that the fresh note in English poetry, sounded by Thomson and Collins, is entirely lost upon this critic. Johnson's own favourite was the Life of Cowley; and that must always be important for its critique on the "Metaphysical" Poets. But there are many names on the list that mean nothing now except to the professed student of e literature how many know even by name Stepney, Pomfret, Walsh, Smith, Duke, King, Yalden, Broome, Pitt, and others of the company? Most will read with surprise that "perhaps no composition in our language has been oftener perused than Pomfret's 'Choice,'" or that Walsh was thought by Dryden "the best critic in the nation." RECEPTION. "the Johnson's work had its admirers from the first. Coming from the literary dictator of the day, it compelled respect. Boswell considered the Lives richest, most beautiful, and indeed most perfect production of Johnson's pen," and uttered the prophecy, "This is the work which of all Dr Johnson's writings will perhaps be read most generally and with most pleasure." But attacks were not wanting. Disappointment was freely expressed with his treatment of Thomson, Collins, and Gray; and most especially was he assailed for his bitterness towards Milton. "I could thrash his old jacket," exclaimed Cowper, "till I made his pension jingle in his pocket." But outcry did not daunt Johnson he simply declared, "I have given my opinion sincerely. Let them show where they think : me wrong." CHRONOLOGICAL TABLE OF JOHNSON'S LIFE AND TIMES. 1709. Born at Lichfield, September 18; son of a bookseller. 1709. Steele and Addison, the 'Tatler.' 1711. Pope, 'Essay on Criticism.' Addison and Steele, the 'Spectator.' Hume born. 1712. Pope, the 'Messiah.' 1716. Lichfield grammar-school. 1716. Garrick and Gray born. 1719. Defoe, 'Robinson Crusoe,' Part I. Addison died. 1724. Sent to Stourbridge school. 1724. Swift, 'Drapier Letters.' 1726. Thomson, 'Winter.' Swift, 'Gulliver's Travels.' 1728. Entered at Pembroke College, Oxford (October), age nine teen. 1728. Goldsmith born. 1729. Leaves the university (December), but, according to Boswell, in autumn 1731. 1729. Law, 'Serious Call.' Pope, 'Dunciad' (earlier form). Burke born; Steele died. 1731. Death of his father. 1732. Usher in school at Market-Bosworth, Leicestershire. 1732. Pope, Essay on Man,' I, and II. 1733. In Birmingham. Translates Lobo's 'Voyage to Abyssinia.' 1734. In Lichfield again. Writes to Cave, asking literary work. 1735. Marries Mrs Porter, widow of a Birmingham tradesman, July 9 (age twenty-five). 1735. Pope, 'Epistles.' 1736. Starts private school at Edial, near Lichfield. 1737. Goes to London with David Garrick in March (age twentyseven). Begins writing for Cave's 'Gentleman's Maga zine.' 1737. Shenstone, Schoolmistress.' Gibbon born. 1738. Publishes 'London,' a poem. Draws Pope's attention. 1740-42. Edits Cave's Parliamentary Reports under title, The Senate of Lilliput.' |