The Life of Samuel Johnson - James Boswell [92]
Irene, considered as a poem, is intitled to the praise of superiour excellence. 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.b 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,’ 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.
When asked how he felt upon the ill success of his tragedy, he replied, ‘Like the Monument;’78 meaning that he continued firm and unmoved as that column. And let it be remembered, as an admonition to the genus irritabile79 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: ‘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.’
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. 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.’ 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. 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. 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.’
1750: ætat. 41.] – In 1750 he came forth in the character for which he was eminently qualified, a majestick teacher of moral and religious wisdom. The vehicle which he chose was that of a periodical paper, which he knew had been, upon former occasions, employed with great success. The Tatler, Spectator, and Guardian, were the last of the kind published in England, which had stood the test of a long trial; and such an interval had now elapsed since their publication, as made him justly think that, to many of his readers, this form of instruction would, in some degree, have the advantage of novelty. A few days before the first of his Essays came out, there started another competitor for fame in the same form, under the title of The Tatler Revived, which I believe was ‘born but to die.’ Johnson was, I think, not very happy in the choice of his title, The Rambler, which certainly is not suited to a series of grave and moral discourses; which the Italians have literally, but ludicrously, translated by Il Vagabondo; and which