Samuel Johnson Part 8

This singular mannerism appears in his earliest writings; it is most marked at the time of the _Rambler_; whilst in the _Lives of the Poets_, although I think that the trick of inversion has become commoner, the other peculiarities have been so far softened as (in my judgment, at least), to be inoffensive. It is perhaps needless to give examples of a tendency which marks almost every page of his writing. A pa.s.sage or two from the _Rambler_ may ill.u.s.trate the quality of the style, and the oddity of the effect produced, when it is applied to topics of a trivial kind. The author of the _Rambler_ is supposed to receive a remonstrance upon his excessive gravity from the lively Flirtilla, who wishes him to write in defence of masquerades. Conscious of his own incapacity, he applies to a man of "high reputation in gay life;" who, on the fifth perusal of Flirtilla's letter breaks into a rapture, and declares that he is ready to devote himself to her service. Here is part of the apostrophe put into the mouth of this brilliant rake. "Behold, Flirtilla, at thy feet a man grown gray in the study of those n.o.ble arts by which right and wrong may be confounded; by which reason may be blinded, when we have a mind to escape from her inspection, and caprice and appet.i.te instated in uncontrolled command and boundless dominion!

Such a casuist may surely engage with certainty of success in vindication of an entertainment which in an instant gives confidence to the timorous and kindles ardour in the cold, an entertainment where the vigilance of jealousy has so often been clouded, and the virgin is set free from the necessity of languishing in silence; where all the outworks of chast.i.ty are at once demolished; where the heart is laid open without a blush; where bashfulness may survive virtue, and no wish is crushed under the frown of modesty."

Here is another pa.s.sage, in which Johnson is speaking upon a topic more within his proper province; and which contains sound sense under its weight of words. A man, he says, who reads a printed book, is often contented to be pleased without critical examination. "But," he adds, "if the same man be called to consider the merit of a production yet unpublished, he brings an imagination heated with objections to pa.s.sages which he has never yet heard; he invokes all the powers of criticism, and stores his memory with Taste and Grace, Purity and Delicacy, Manners and Unities, sounds which having been once uttered by those that understood them, have been since re-echoed without meaning, and kept up to the disturbance of the world by constant repercussion from one c.o.xcomb to another. He considers himself as obliged to show by some proof of his abilities, that he is not consulted to no purpose, and therefore watches every opening for objection, and looks round for every opportunity to propose some specious alteration. Such opportunities a very small degree of sagacity will enable him to find, for in every work of imagination, the disposition of parts, the insertion of incidents, and use of decorations may be varied in a thousand ways with equal propriety; and, as in things nearly equal that will always seem best to every man which he himself produces, the critic, whose business is only to propose without the care of execution, can never want the satisfaction of believing that he has suggested very important improvements, nor the power of enforcing his advice by arguments, which, as they appear convincing to himself, either his kindness or his vanity will press obstinately and importunately, without suspicion that he may possibly judge too hastily in favour of his own advice or inquiry whether the advantage of the new scheme be proportionate to the labour."

We may still notice a "repercussion" of words from one c.o.xcomb to another; though somehow the words have been changed or translated.

Johnson's style is characteristic of the individual and of the epoch.

The preceding generation had exhibited the final triumph of common sense over the pedantry of a decaying scholasticism. The movements represented by Locke's philosophy, by the rationalizing school in theology, and by the so-called cla.s.sicism of Pope and his followers, are different phases of the same impulse. The quality valued above all others in philosophy, literature, and art was clear, bright, common sense. To expel the mystery which had served as a cloak for charlatans was the great aim of the time, and the method was to appeal from the professors of exploded technicalities to the judgment of cultivated men of the world. Berkeley places his Utopia in happy climes,--

Where nature guides, and virtue rules, _Where men shall not impose for truth and sense The pedantry of courts and schools_.

Simplicity, clearness, directness are, therefore, the great virtues of thought and style. Berkeley, Addison, Pope, and Swift are the great models of such excellence in various departments of literature.

In the succeeding generation we become aware of a certain leaven of dissatisfaction with the aesthetic and intellectual code thus inherited.

The supremacy of common sense, the superlative importance of clearness, is still fully acknowledged, but there is a growing undertone of dissent in form and substance. Attempts are made to restore philosophical conceptions a.s.sailed by Locke and his followers; the rationalism, of the deistic or semi-deistic writers is declared to be superficial; their optimistic theories disregard the dark side of nature, and provide no sufficient utterance for the sadness caused by the contemplation of human suffering; and the polished monotony of Pope's verses begins to fall upon those who shall tread in his steps. Some daring sceptics are even inquiring whether he is a poet at all. And simultaneously, though Addison is still a kind of sacred model, the best prose writers are beginning to aim at a more complex structure of sentence, fitted for the expression of a wider range of thought and emotion.

Johnson, though no conscious revolutionist, shares this growing discontent. The _Spectator_ is written in the language of the drawing-room and the coffee-house. Nothing is ever said which might not pa.s.s in conversation between a couple of "wits," with, at most, some graceful indulgence in pa.s.sing moods of solemn or tender sentiment.

Johnson, though devoted to society in his own way, was anything but a producer of small talk. Society meant to him an escape from the gloom which beset him whenever he was abandoned to his thoughts. Neither his education nor the manners acquired in Grub Street had qualified him to be an observer of those lighter foibles which were touched by Addison with so dexterous a hand. When he ventures upon such topics he flounders dreadfully, and rather reminds us of an artist who should attempt to paint miniatures with a mop. No man, indeed, took more of interest in what is called the science of human nature; and, when roused by the stimulus of argument, he could talk, as has been shown, with almost unrivalled vigour and point. But his favourite topics are the deeper springs of character, rather than superficial peculiarities; and his vigorous sayings are concentrated essence of strong sense and deep feeling, not dainty epigrams or graceful embodiments of delicate observation. Johnson was not, like some contemporary antiquarians, a systematic student of the English literature of the preceding centuries, but he had a strong affection for some of its chief masterpieces.

Burton's _Anatomy of Melancholy_ was, he declared, the only book which ever got him out of bed two hours sooner than he wished. Sir Thomas Browne was another congenial writer, who is supposed to have had some influence upon his style. He never seems to have directly imitated any one, though some nonsense has been talked about his "forming a style;"

but it is probable that he felt a closer affinity to those old scholars, with their elaborate and ornate language and their deep and solemn tone of sentiment, than to the brilliant but comparatively superficial writers of Queen Anne's time. He was, one may say, a scholar of the old type, forced by circ.u.mstances upon the world, but always retaining a sympathy for the scholar's life and temper. Accordingly, his style acquired something of the old elaboration, though the attempt to conform to the canons of a later age renders the structure disagreeably monotonous. His tendency to pomposity is not redeemed by the _navete_ and spontaneity of his masters.

The inferiority of Johnson's written to his spoken utterances is indicative of his divided life. There are moments at which his writing takes the terse, vigorous tone of his talk. In his letters, such as those to Chesterfield and Macpherson and in occasional pa.s.sages of his pamphlets, we see that he could be pithy enough when he chose to descend from his Latinized abstractions to good concrete English; but that is only when he becomes excited. His face when in repose, we are told, appeared to be almost imbecile; he was constantly sunk in reveries, from which he was only roused by a challenge to conversation. In his writings, for the most part, we seem to be listening to the reverie rather than the talk; we are overhearing a soliloquy in his study, not a vigorous discussion over the twentieth cup of tea; he is not fairly put upon his mettle, and is content to expound without enforcing. We seem to see a man, heavy-eyed, ponderous in his gestures, like some huge mechanism which grinds out a ponderous tissue of verbiage as heavy as it is certainly solid.

The substance corresponds to the style. Johnson has something in common with the fashionable pessimism of modern times. No sentimentalist of to-day could be more convinced that life is in the main miserable. It was his favourite theory, according to Mrs. Thrale, that all human action was prompted by the "vacuity of life." Men act solely in the hope of escaping from themselves. Evil, as a follower of Schopenhauer would a.s.sert, is the positive, and good merely the negative of evil. All desire is at bottom an attempt to escape from pain. The doctrine neither resulted from, nor generated, a philosophical theory in Johnson's case, and was in the main a generalization of his own experience. Not the less, the aim of most of his writing is to express this sentiment in one form or other. He differs, indeed, from most modern sentimentalists, in having the most hearty contempt for useless whining. If he dwells upon human misery, it is because he feels that it is as futile to join with the optimist in ignoring, as with the pessimist in howling over the evil. We are in a sad world, full of pain, but we have to make the best of it. Stubborn patience and hard work are the sole remedies, or rather the sole means of temporary escape. Much of the _Rambler_ is occupied with variations upon this theme, and expresses the kind of dogged resolution with which he would have us plod through this weary world.

Take for example this pa.s.sage:--"The controversy about the reality of external evils is now at an end. That life has many miseries, and that those miseries are sometimes at least equal to all the powers of fort.i.tude is now universally confessed; and, therefore, it is useful to consider not only how we may escape them, but by what means those which either the accidents of affairs or the infirmities of nature must bring upon us may be mitigated and lightened, and how we may make those hours less wretched which the condition of our present existence will not allow to be very happy.

"The cure for the greatest part of human miseries is not radical, but palliative. Infelicity is involved in corporeal nature, and interwoven with our being; all attempts, therefore, to decline it wholly are useless and vain; the armies of pain send their arrows against us on every side, the choice is only between those which are more or less sharp, or tinged with poison of greater or less malignity; and the strongest armour which reason can supply will only blunt their points, but cannot repel them.

"The great remedy which Heaven has put in our hands is patience, by which, though we cannot lessen the torments of the body, we can in a great measure preserve the peace of the mind, and shall suffer only the natural and genuine force of an evil, without heightening its acrimony or prolonging its effects."

It is hardly desirable for a moralist to aim at originality in his precepts. We must be content if he enforces old truths in such a manner as to convince us of the depth and sincerity of his feeling. Johnson, it must be confessed, rather abuses the moralist's privilege of being commonplace. He descants not unfrequently upon propositions so trite that even the most earnest enforcement can give them little interest.

With all drawbacks, however, the moralizing is the best part of the _Rambler_. Many of the papers follow the precedent set by Addison in the _Spectator_, but without Addison's felicity. Like Addison, he indulges in allegory, which, in his hands, becomes unendurably frigid and clumsy; he tries light social satire, and is fain to confess that we can spy a beard under the m.u.f.fler of his feminine characters; he treats us to criticism which, like Addison's, goes upon exploded principles, but unlike Addison's, is apt to be almost wilfully outrageous. His odd remarks upon Milton's versification are the worst example of this weakness. The result is what one might expect from the attempt of a writer without an ear to sit in judgment upon the greatest master of harmony in the language.

These defects have consigned the _Rambler_ to the dustiest shelves of libraries, and account for the wonder expressed by such a critic as M.

Taine at the English love of Johnson. Certainly if that love were nourished, as he seems to fancy, by a.s.siduous study of the _Rambler_, it would be a curious phenomenon. And yet with all its faults, the reader who can plod through its pages will at least feel respect for the author. It is not unworthy of the man whose great lesson is "clear your mind of cant;"[1] who felt most deeply the misery of the world, but from the bottom of his heart despised querulous and sentimental complaints on one side, and optimist gla.s.ses upon the other. To him, as to some others of his temperament, the affectation of looking at the bright side of things seems to have presented itself as the bitterest of mockeries; and nothing would tempt him to let fine words pa.s.s themselves off for genuine sense. Here are some remarks upon the vanity in which some authors seek for consolation, which may ill.u.s.trate this love of realities and conclude our quotations from the _Rambler_.

[Footnote 1: Of this well-known sentiment it may be said, as of some other familiar quotations, that its direct meaning has been slightly modified in use. The emphasis is changed. Johnson's words were "Clear your _mind_ of cant. You may talk as other people do; you may say to a man, sir, I am your humble servant; you are _not_ his most humble servant.... You may _talk_ in this manner; it is a mode of talking in society; but don't _think_ foolishly."]

"By such acts of voluntary delusion does every man endeavour to conceal his own unimportance from himself. It is long before we are convinced of the small proportion which every individual bears to the collective body of mankind; or learn how few can be interested in the fortune of any single man; how little vacancy is left in the world for any new object of attention; to how small extent the brightest blaze of merit can be spread amidst the mists of business and of folly; and how soon it is clouded by the intervention of other novelties. Not only the writer of books, but the commander of armies, and the deliverer of nations, will easily outlive all noisy and popular reputation: he may be celebrated for a time by the public voice, but his actions and his name will soon be considered as remote and unaffecting, and be rarely mentioned but by those whose alliance gives them some vanity to gratify by frequent commemoration. It seems not to be sufficiently considered how little renown can be admitted in the world. Mankind are kept perpetually busy by their fears or desires, and have not more leisure from their own affairs than to acquaint themselves with the accidents of the current day. Engaged in contriving some refuge from calamity, or in shortening their way to some new possession, they seldom suffer their thoughts to wander to the past or future; none but a few solitary students have leisure to inquire into the claims of ancient heroes or sages; and names which hoped to range over kingdoms and continents shrink at last into cloisters and colleges. Nor is it certain that even of these dark and narrow habitations, these last retreats of fame, the possession will be long kept. Of men devoted to literature very few extend their views beyond some particular science, and the greater part seldom inquire, even in their own profession, for any authors but those whom the present mode of study happens to force upon their notice; they desire not to fill their minds with unfashionable knowledge, but contentedly resign to oblivion those books which they now find censured or neglected."

The most remarkable of Johnson's utterances upon his favourite topic of the Vanity of Human Wishes is the story of _Ra.s.selas_. The plan of the book is simple, and recalls certain parts of Voltaire's simultaneous but incomparably more brilliant attack upon Optimism in _Candide_. There is supposed to be a happy valley in Abyssinia where the royal princes are confined in total seclusion, but with ample supplies for every conceivable want. Ra.s.selas, who has been thus educated, becomes curious as to the outside world, and at last makes his escape with his sister, her attendant, and the ancient sage and poet, Imlac. Under Imlac's guidance they survey life and manners in various stations; they make the acquaintance of philosophers, statesmen, men of the world, and recluses; they discuss the results of their experience pretty much in the style of the _Rambler_; they agree to p.r.o.nounce the sentence "Vanity of Vanities!" and finally, in a "conclusion where nothing is concluded,"

they resolve to return to the happy valley. The book is little more than a set of essays upon life, with just story enough to hold it together.

It is wanting in those brilliant flashes of epigram, which ill.u.s.trate Voltaire's pages so as to blind some readers to its real force of sentiment, and yet it leaves a peculiar and powerful impression upon the reader.

The general tone may be collected from a few pa.s.sages. Here is a fragment, the conclusion of which is perhaps the most familiar of quotations from Johnson's writings. Imlac in narrating his life describes his attempts to become a poet.

"The business of a poet," said Imlac, "is to examine not the individual, but the species; to remark general properties and large appearances; he does not number the streaks of the tulip or describe the different shades in the verdure of the forest. He is to exhibit in his portraits of nature such prominent and striking features as recall the original to every mind; and must neglect the minute discriminations which one may have remarked, and another have neglected for those characteristics which are alike obvious to vigilance and carelessness."

"But the knowledge of nature is only half the task of a poet; he must be acquainted likewise with all the modes of life. His character requires that he estimate the happiness and misery of every condition; observe the power of all the pa.s.sions in all their combinations, and know the changes of the human mind as they are modified by various inst.i.tutions, and accidental influences of climate or custom, from the sprightliness of infancy to the despondency of decrepitude. He must divest himself of the prejudices of his age or country; he must consider right and wrong in their abstracted and invariable state; he must disregard present laws and opinions, and rise to general and transcendental truths, which will always be the same; he must therefore content himself with the slow progress of his name; contemn the applause of his own time, and commit his claims to the justice of posterity. He must write as the interpreter of nature and the legislator of mankind, and consider himself as presiding over the thoughts and manners of future generations, as a being superior to time and place.

"His labours are not yet at an end; he must know many languages and many sciences; and that his style may be worthy of his thoughts, must by incessant practice familiarize to himself every delicacy of speech and grace of harmony."

Imlac now felt the enthusiastic fit and was proceeding to aggrandize his profession, when the prince cried out, "Enough, thou hast convinced me that no human being can ever be a poet."

Indeed, Johnson's conception of poetry is not the one which is now fashionable, and which would rather seem to imply that philosophical power and moral sensibility are so far disqualifications to the true poet.

Here, again, is a view of the superfine system of moral philosophy. A meeting of learned men is discussing the ever-recurring problem of happiness, and one of them speaks as follows:--

"The way to be happy is to live according to nature, in obedience to that universal and unalterable law with which every heart is originally impressed; which is not written on it by precept, but engraven by destiny, not instilled by education, but infused at our nativity. He that lives according to nature will suffer nothing from the delusions of hope, or importunities of desire; he will receive and reject with equability of temper, and act or suffer as the reason of things shall alternately prescribe. Other men may amuse themselves with subtle definitions or intricate ratiocinations. Let him learn to be wise by easier means: let him observe the hind of the forest, and the linnet of the grove; let him consider the life of animals whose motions are regulated by instinct; they obey their guide and are happy.

"Let us, therefore, at length cease to dispute, and learn to live; throw away the inc.u.mbrance of precepts, which they who utter them with so much pride and pomp do not understand, and carry with us this simple and intelligible maxim, that deviation from nature is deviation from happiness."

The prince modestly inquires what is the precise meaning of the advice just given.

"When I find young men so humble and so docile," said the philosopher, "I can deny them no information which my studies have enabled me to afford. To live according to nature, is to act always with due regard to the fitness arising from the relations and qualities of causes and effects, to concur with the great and unchangeable scheme of universal felicity; to co-operate with the general disposition and tendency of the present system of things.

"The prince soon found that this was one of the sages, whom he should understand less as he heard him longer."

Here, finally, is a characteristic reflection upon the right mode of meeting sorrow.

"The state of a mind oppressed with a sudden calamity," said Imlac, "is like that of the fabulous inhabitants of the new created earth, who, when the first night came upon them, supposed that day would never return. When the clouds of sorrow gather over us, we see nothing beyond them, nor can imagine how they will be dispelled; yet a new day succeeded to the night, and sorrow is never long without a dawn of ease.

But as they who restrain themselves from receiving comfort, do as the savages would have done, had they put out their eyes when it was dark.

Our minds, like our bodies, are in continual flux; something is hourly lost, and something acquired. To lose much at once is inconvenient to either, but while the vital powers remain uninjured, nature will find the means of reparation.

"Distance has the same effect on the mind as on the eye, and while we glide along the stream of time, whatever we leave behind us is always lessening, and that which we approach increasing in magnitude. Do not suffer life to stagnate; it will grow muddy for want of motion; commit yourself again to the current of the world; Pekuah will vanish by degrees; you will meet in your way some other favourite, or learn to diffuse yourself in general conversation."

In one respect _Ra.s.selas_ is curiously contrasted with _Candide_.

Voltaire's story is aimed at the doctrine of theological optimism, and, whether that doctrine be well or ill understood, has therefore an openly sceptical tendency. Johnson, to whom nothing could be more abhorrent than an alliance with any a.s.sailant of orthodoxy, draws no inference from his pessimism. He is content to state the fact of human misery without perplexing himself with the resulting problem as to the final cause of human existence. If the question had been explicitly brought before him, he would, doubtless, have replied that the mystery was insoluble. To answer either in the sceptical or the optimistic sense was equally presumptuous. Johnson's religious beliefs in fact were not such as to suggest that kind of comfort which is to be obtained by explaining away the existence of evil. If he, too, would have said that in some sense all must be for the best in a world ruled by a perfect Creator, the sense must be one which would allow of the eternal misery of indefinite mult.i.tudes of his creatures.

But, in truth, it was characteristic of Johnson to turn away his mind from such topics. He was interested in ethical speculations, but on the practical side, in the application to life, not in the philosophy on which it might be grounded. In that direction, he could see nothing but a "milking of the bull"--a fruitless or rather a pernicious waste of intellect. An intense conviction of the supreme importance of a moral guidance in this difficult world, made him abhor any rash inquiries by which the basis of existing authority might be endangered.

This sentiment is involved in many of those prejudices which have been so much, and in some sense justifiably ridiculed. Man has been wretched and foolish since the race began, and will be till it ends; one chorus of lamentation has ever been rising, in countless dialects but with a single meaning; the plausible schemes of philosophers give no solution to the everlasting riddle; the nostrums of politicians touch only the surface of the deeply-rooted evil; it is folly to be querulous, and as silly to fancy that men are growing worse, as that they are much better than they used to be. The evils under which we suffer are not skin-deep, to be eradicated by changing the old physicians for new quacks. What is to be done under such conditions, but to hold fast as vigorously as we can to the rules of life and faith which have served our ancestors, and which, whatever their justifications, are at least the only consolation, because they supply the only guidance through this labyrinth of troubles? Macaulay has ridiculed Johnson for what he takes to be the ludicrous inconsistency of his intense political prejudice, combined with his a.s.sertion of the indifference of all forms of government.

"If," says Macaulay, "the difference between two forms of government be not worth half a guinea, it is not easy to see how Whiggism can be viler than Toryism, or the Crown can have too little power." The answer is surely obvious. Whiggism is vile, according to the doctor's phrase, because Whiggism is a "negation of all principle;" it is in his view, not so much the preference of one form to another, as an attack upon the vital condition of all government. He called Burke a "bottomless Whig"

in this sense, implying that Whiggism meant anarchy; and in the next generation a good many people were led, rightly or wrongly, to agree with him by the experience of the French revolution.

This dogged conservatism has both its value and its grotesque side. When Johnson came to write political pamphlets in his later years, and to deal with subjects little familiar to his mind, the results were grotesque enough. Loving authority, and holding one authority to be as good as another, he defended with uncompromising zeal the most preposterous and tyrannical measures. The pamphlets against the Wilkite agitators and the American rebels are little more than a huge "rhinoceros" snort of contempt against all who are fools enough or wicked enough to promote war and disturbance in order to change one form of authority for another. Here is a characteristic pa.s.sage, giving his view of the value of such demonstrators:--

"The progress of a pet.i.tion is well known. An ejected placeman goes down to his county or his borough, tells his friends of his inability to serve them and his const.i.tuents, of the corruption of the government.

His friends readily understand that he who can get nothing, will have nothing to give. They agree to proclaim a meeting. Meat and drink are plentifully provided, a crowd is easily brought together, and those who think that they know the reason of the meeting undertake to tell those who know it not. Ale and clamour unite their powers; the crowd, condensed and heated, begins to ferment with the leaven of sedition. All see a thousand evils, though they cannot show them, and grow impatient for a remedy, though they know not what.

"A speech is then made by the Cicero of the day; he says much and suppresses more, and credit is equally given to what he tells and what he conceals. The pet.i.tion is heard and universally approved. Those who are sober enough to write, add their names, and the rest would sign it if they could.

"Every man goes home and tells his neighbour of the glories of the day; how he was consulted, and what he advised; how he was invited into the great room, where his lordship caressed him by his name; how he was caressed by Sir Francis, Sir Joseph, and Sir George; how he ate turtle and venison, and drank unanimity to the three brothers.

"The poor loiterer, whose shop had confined him or whose wife had locked him up, hears the tale of luxury with envy, and at last inquires what was their pet.i.tion. Of the pet.i.tion nothing is remembered by the narrator, but that it spoke much of fears and apprehensions and something very alarming, but that he is sure it is against the government.

"The other is convinced that it must be right, and wishes he had been there, for he loves wine and venison, and resolves as long as he lives to be against the government.

"The pet.i.tion is then handed from town to town, and from house to house; and wherever it comes, the inhabitants flock together that they may see that which must be sent to the king. Names are easily collected. One man signs because he hates the papists; another because he has vowed destruction to the turnpikes; one because it will vex the parson; another because he owes his landlord nothing; one because he is rich; another because he is poor; one to show that he is not afraid; and another to show that he can write."