From Chaucer to Tennyson: With Twenty-Nine Portraits and Selections from Thirty AuthorsBeers, Henry A. (Henry Augustin)
History
From Chaucer to Tennyson: With Twenty-Nine Portraits and Selections from Thirty Authors
Beers, Henry A. (Henry Augustin)
English literature -- History and criticism
Mitre Tavern, going back to do it, if he skipped one by chance. Though
bearish in his manners and arrogant in dispute, especially when talking
"for victory," Johnson had a large and tender heart. He loved his ugly,
old wife--twenty-one years his senior--and he had his house full of
unfortunates--a blind woman, an invalid surgeon, a destitute widow, a
negro servant--whom he supported for many years, and bore with all their
ill-humors patiently.
Among Johnson's numerous writings the ones best entitled to remembrance
are, perhaps, his _Dictionary of the English Language_, 1755; his moral
tale, _Rasselas_, 1759; the introduction to his edition of Shakspere,
1765, and his _Lives of the Poets_, 1781. Johnson wrote a sonorous,
cadenced prose, full of big Latin words and balanced clauses. Here is a
sentence, for example, from his _Visit to the Hebrides_: "We were now
treading that illustrious island which was once the luminary of the
Caledonian regions, whence savage clans and roving barbarians derived
the benefits of knowledge and the blessings of religion. To abstract the
mind from all local emotion would be impossible, if it were endeavored,
and would be foolish, if it were possible." The difference between his
colloquial style and his book style is well illustrated in the instance
cited by Macaulay. Speaking of Villiers's _Rehearsal_, Johnson said, "It
has not wit enough to keep it sweet;" then paused and added--translating
English into Johnsonese--"it has not vitality sufficient to preserve it
from putrefaction." There is more of this in Johnson's _Rambler_ and
_Idler_ papers than in his latest work, the _Lives of the Poets_. In
this he showed himself a sound and judicious critic, though with
decided limitations. His understanding was solid, but he was a thorough
classicist, and his taste in poetry was formed on Pope. He was unjust to
Milton and to his own contemporaries, Gray, Collins, Shenstone, and
Dyer. He had no sense of the higher and subtler graces of romantic
poetry, and he had a comical indifference to the "beauties of nature."
When Boswell once ventured to remark that poor Scotland had, at least,
some "noble wild prospects," the doctor replied that the noblest
prospect a Scotchman ever saw was the road that led to London.
Public-domain text, read in full here on John Shaqi.
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