Life of Samuel Johnson, Vol. I — Part 14

The necessary expense of preparing a work of such magnitude for the press, must have been a considerable deduction from the price stipulated to be paid for the copy-right.

I understand that nothing was allowed by the booksellers on that account; and I remember his telling me, that a large portion of it having by mistake been written upon both sides of the paper, so as to be inconvenient for the compositor, it cost him twenty pounds to have it transcribed upon one side only.

[Page 190: The Ivy Lane Club.

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1748. ] [Page 191: Mr. John Hawkins, an attorney.

Ætat 39. ] He is now to be considered as 'tugging at his oar[557],' as engaged in a steady continued course of occupation, sufficient to employ all his time for some years; and which was the best preventive of that constitutional melancholy which was ever lurking about him, ready to trouble his quiet.

But his enlarged and lively mind could not be satisfied without more diversity of employment, and the pleasure of animated relaxation[558].

He therefore not only exerted his talents in occasional composition very different from Lexicography, but formed a club in Ivy-lane, Paternoster-row, with a view to enjoy literary discussion, and amuse his evening hours.

The members associated with him in this little society were his beloved friend Dr. Richard Bathurst[559], Mr. Hawkesworth[560], afterwards well known by his writings, Mr. John Hawkins, an attorney[561], and a few others of different professions[562].

[Page 192: The Vision of Theodore.

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1749. ] In the _Gentleman's Magazine_ for May of this year he wrote a 'Life of Roscommon,'[*] with Notes, which he afterwards much improved, indented the notes into text, and inserted it amongst his _Lives of the English Poets_.

Mr. Dodsley this year brought out his _Preceptor_, one of the most valuable books for the improvement of young minds that has appeared in any language; and to this meritorious work Johnson furnished 'The Preface,'[*] containing a general sketch of the book, with a short and perspicuous recommendation of each article; as also, 'The Vision of Theodore the Hermit, found in his Cell,'[*] a most beautiful allegory of human life, under the figure of ascending the mountain of Existence.

The Bishop of Dromore heard Dr. Johnson say, that he thought this was the best thing he ever wrote[563].

1749: ÆTAT.

40. --In January, 1749, he published _The Vanity of Human Wishes, being the Tenth Satire of Juvenal imitated_[564].

He, I believe, composed it the preceding year[565].

Mrs. Johnson, for the sake of country air, had lodgings at Hampstead, to which he resorted occasionally, and there the greatest part, if not the whole, of this _Imitation_ was written[566].

The fervid rapidity with which it was produced, is scarcely credible.

I have heard him say, that he composed seventy lines of it in one day, without putting one of them upon paper till they were finished[567].

[Page 193: The payment of poets.

] I remember when I once regretted to him that he had not given us more of Juvenal's _Satires_, he said he probably should give more, for he had them all in his head; by which I understood that he had the originals and correspondent allusions floating in his mind, which he could, when he pleased, embody and render permanent without much labour.

Some of them, however, he observed were too gross for imitation.

The profits of a single poem, however excellent, appear to have been very small in the last reign, compared with what a publication of the same size has since been known to yield.

I have mentioned, upon Johnson's own authority, that for his _London_ he had only ten guineas;

and now, after his fame was established, he got for his _Vanity of Human Wishes_ but five guineas more, as is proved by an authentick document in my possession[568].

It will be observed, that he reserves to himself the right of printing one edition of this satire, which was his practice upon occasion of the sale of all his writings; it being his fixed intention to publish at some period, for his own profit, a complete collection of his works[569].

His _Vanity of Human Wishes_ has less of common life, but more of a philosophick dignity than his _London_.

More readers, therefore, will be delighted with the pointed spirit of _London_, than with the profound reflection of _The Vanity of Human Wishes_[570].

Garrick, for instance, observed in his sprightly manner, with more vivacity than regard to just discrimination, as is usual with wits, 'When Johnson lived much with the Herveys, and saw a good deal of what was passing in life, he wrote his _London_, which is lively and easy.

When he became more retired, he gave us his _Vanity of Human Wishes_, which is as hard as Greek.

Had he gone on to imitate another satire, it would have been as hard as Hebrew[571].'

[Page 194: Lydiat's life.

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1749. ] But _The Vanity of Human Wishes_ is, in the opinion of the best judges, as high an effort of ethick poetry as any language can shew.

The instances of variety of disappointment are chosen so judiciously and painted so strongly, that, the moment they are read, they bring conviction to every thinking mind.

That of the scholar must have depressed the too sanguine expectations of many an ambitious student[572].

That of the warrior, Charles of Sweden, is, I think, as highly finished a picture as can possibly be conceived.

[Page 195: The conclusion of Johnson's poem.

Ætat 40. ] Were all the other excellencies of this poem annihilated, it must ever have our grateful reverence from its noble conclusion; in which we are consoled with the assurance that happiness may be attained, if we 'apply our hearts[573]' to piety: 'Where then shall hope and fear their objects find?

Shall dull suspense corrupt the stagnant mind?

Must helpless man, in ignorance sedate, Roll darkling down the torrent of his fate?

Shall no dislike alarm, no wishes rise, No cries attempt the mercy of the skies?

Enthusiast[574], cease; petitions yet remain, Which Heav'n may hear, nor deem Religion vain.

Still raise for good the supplicating voice, But leave to Heaven the measure and the choice.

Safe in His hand, whose eye discerns afar The secret ambush of a specious pray'r;

Implore His aid, in His decisions rest, Secure whate'er He gives He gives the best.

Yet when the sense of sacred presence fires, And strong devotion to the skies aspires, Pour forth thy fervours for a healthful mind, Obedient passions, and a will resign'd;

For love, which scarce collective man can fill, For patience, sovereign o'er transmuted ill;

For faith, which panting for a happier seat, Counts death kind Nature's signal for retreat.

These goods for man the laws of Heaven ordain, These goods He grants, who grants the power to gain;

With these celestial wisdom calms the mind, And makes the happiness she does not find.'

[Page 196: IRENE on the stage.

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1749. ] Garrick being now vested with theatrical power by being manager of Drury-lane theatre, he kindly and generously made use of it to bring out Johnson's tragedy, which had been long kept back for want of encouragement.

But in this benevolent purpose he met with no small difficulty from the temper of Johnson, which could not brook that a drama which he had formed with much study, and had been obliged to keep more than the nine years of Horace[575], should be revised and altered at the pleasure of an actor[576].

Yet Garrick knew well, that without some alterations it would not be fit for the stage.

A violent dispute having ensued between them, Garrick applied to the Reverend Dr. Taylor to interpose.

Johnson was at first very obstinate.

'Sir, (said he) the fellow wants me to make Mahomet run mad, that he may have an opportunity of tossing his hands and kicking his heels[577].'

He was, however, at last, with difficulty, prevailed on to comply with Garrick's wishes, so as to allow of some changes; but still there were not enough.

[Page 197: The Epilogue to IRENE.

Ætat 40. ] Dr. Adams was present the first night of the representation of _Irene_, and gave me the following account: 'Before the curtain drew up, there were catcalls whistling, which alarmed Johnson's friends.

The Prologue, which was written by himself in a manly strain, soothed the audience[578], and the play went off tolerably, till it came to the conclusion, when Mrs. Pritchard[579], the heroine of the piece, was to be strangled upon the stage, and was to speak two lines with the bow-string round her neck.

The audience cried out "_Murder!

Murder_[580]!"

She several times attempted to speak; but in vain.

At last she was obliged to go off the stage alive.'

This passage was afterwards struck out, and she was carried off to be put to death behind the scenes, as the play now has it[581].

The Epilogue, as Johnson informed me, was written by Sir William Yonge[582].

I know not how his play came to be thus graced by the pen of a person then so eminent in the political world.

Notwithstanding all the support of such performers as Garrick, Barry, Mrs. Cibber, Mrs. Pritchard, and every advantage of dress and decoration, the tragedy of _Irene_ did not please the publick[583].

Mr. Garrick's zeal carried it through for nine nights[584], so that the authour had his three nights' profits; and from a receipt signed by him, now in the hands of Mr. James Dodsley, it appears that his friend Mr. Robert Dodsley gave him one hundred pounds for the copy, with his usual reservation of the right of one edition[585].

[Page 198: IRENE as a poem.

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1749. ] [Page 199: Johnson no tragedy-writer.

Ætat 40. ] _Irene_, considered as a poem, is intitled to the praise of superiour excellence[586].

Analysed into parts, it will furnish a rich store of noble sentiments, fine imagery, and beautiful language; but it is deficient in pathos, in that delicate power of touching the human feelings, which is the principal end of the drama[587].

Indeed Garrick has complained to me, that Johnson not only had not the faculty of producing the impressions of tragedy, but that he had not the sensibility to perceive them.

His great friend Mr. Walmsley's prediction, that he would 'turn out a fine tragedy-writer[588],' was, therefore, ill-founded.

Johnson was wise enough to be convinced that he had not the talents necessary to write successfully for the stage, and never made another attempt in that species of composition[589].

[Page 200: Deference for the general opinion.

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1749. ] When asked how he felt upon the ill success of his tragedy, he replied, 'Like the Monument[590];' meaning that he continued firm and unmoved as that column.

And let it be remembered, as an admonition to the _genus irritabile_[591] of dramatick writers, that this great man, instead of peevishly complaining of the bad taste of the town, submitted to its decision without a murmur.

He had, indeed, upon all occasions, a great deference for the general opinion[592]: 'A man (said he) who writes a book, thinks himself wiser or wittier than the rest of mankind; he supposes that he can instruct or amuse them, and the publick to whom he appeals, must, after all, be the judges of his pretensions.'

[Page 201: Johnson in the Green Room.

Ætat 41. ] On occasion of his play being brought upon the stage, Johnson had a fancy that as a dramatick authour his dress should be more gay than what he ordinarily wore; he therefore appeared behind the scenes, and even in one of the side boxes, in a scarlet waistcoat, with rich gold lace, and a gold-laced hat[593].

He humourously observed to Mr. Langton, that 'when in that dress he could not treat people with the same ease as when in his usual plain clothes[594].'

Dress indeed, we must allow, has more effect even upon strong minds than one should suppose, without having had the experience of it.

His necessary attendance while his play was in rehearsal, and during its performance, brought him acquainted with many of the performers of both sexes, which produced a more favourable opinion of their profession than he had harshly expressed in his _Life of Savage_[595].

With some of them he kept up an acquaintance as long as he and they lived, and was ever ready to shew them acts of kindness.

He for a considerable time used to frequent the _Green Room_, and seemed to take delight in dissipating his gloom, by mixing in the sprightly chit-chat of the motley circle then to be found there[596].

Mr. David Hume related to me from Mr. Garrick, that Johnson at last denied himself this amusement, from considerations of rigid virtue; saying, 'I'll come no more behind your scenes, David; for the silk stockings and white bosoms of your actresses excite my amorous propensities.'