There is one great and notable instance in our annals which ought once and for all to dispose of the idea that there is anything weak or unmanly in finding fear a constant temptation, and that is the case of Dr. Johnson. Dr. Johnson holds his supreme station as the "figure" par excellence of English life for a number of reasons. His robustness, his wit, his reverence for established things, his secret piety are all contributory causes; but the chief of all causes is that the proportion in which these things were mixed is congenial to the British mind. The Englishman likes a man who is deeply serious without being in the least a prig; a man who is tender-hearted without being sentimental; he likes a rather combative nature, and enjoys repartee more than he enjoys humour. The Englishman values good sense above almost all qualities; by a sensible man he means a man with a clear judgment of right and wrong, a man who is not taken in by pretences nor gulled by rhetoric; a man who can instinctively see what is important and what is unimportant. But of course the chief external reason, apart from the character of Johnson himself, for his supremacy of fame, is that his memory is enshrined in an incomparable biography. It shows the strange ineptness of Englishmen for literary and artistic criticism, their incapacity for judging a work of art on its own merits, their singular habit of allowing their disapprobation of a man's private character to depreciate his work, that an acknowledged critic like Macaulay could waste time in carefully considering whether Boswell was more fool or more knave, and triumphantly announce that he produced a good book by accident. Probably Boswell did not realise how matchless a biographer he was, though he was not disposed to belittle his own performances. But his unbridled interest in the smallest details, his power of hero-worship, his amazing style, his perception, his astonishing memory and the training he gave it, his superb dramatic faculty, which enabled him to arrange his other characters around the main figure, and to subordinate them all to his central emphasis--all these qualities are undeniable. Moreover he was himself the most perfect foil and contrast to Johnson that could be imagined, while he possessed in a unique degree the power of both stimulating and provoking his hero to animation and to wrath. Boswell may not have known what an artist he was, but he is probably one of the best literary artists who has ever lived.