1750] ADDISON AND JOHNSON COMPARED

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justly, the style of Addison as nerveless and feeble, because it has not the strength and energy of that of Johnson. Their prose may be balanced like the poetry of Dryden and Pope. Both are excellent, though in different ways. Addison writes with the ease of a gentleman. His readers fancy that a wise and accomplished companion is talking to them; so that he insinuates his sentiments and taste into their minds by an imperceptible influence. Johnson writes like a teacher. He dictates to his readers as if from an academical chair. They attend with awe and admiration; and his precepts are impressed upon them by his commanding eloquence. Addison's style, like a light wine, pleases everybody from the first. Johnson's, like a liquor of more body, seems too strong at first, but, by degrees, is highly relished; and such is the melody of his periods, so much do they captivate the ear, and seize upon the attention, that there is scarcely any writer, however inconsiderable, who does not aim, in some degree, at the same species of excellence. But let us not ungratefully undervalue that beautiful style, which has pleasingly conveyed to us much instruction and entertainment. Though comparatively weak, opposed to Johnson's Herculean vigour, let us not call it positively feeble. Let us remember the character of his style, as given by Johnson himself: 'What he attempted, he performed; he is never feeble, and he did not wish to be energetick; he is never rapid, and he never stagnates. His sentences have neither studied amplitude, nor affected brevity: his periods, though not diligently rounded, are voluble and easy. Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison 1.'

Though The Rambler was not concluded till the year 1752, I shall, under this year, say all that I have to observe upon it. Some of the translations of the mottos by himself are admirably done. He acknowledges to have received 'elegant translations' of many of them from Mr. James Elphinston; and some are very happily translated by a Mr. F. Lewis, of whom I never heard more, except that Johnson thus described him to Mr. Malone: 'Sir, he lived in London, and

1 I shall probably, in another work, maintain the merit of Addison's poetry, which has been very unjustly depreciated.

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THE LAST RAMBLER

[1750 hung loose upon society.' The concluding paper of his Rambler is at once dignified and pathetick. I cannot, however, but wish that he had not ended it with an unnecessary Greek verse, translated also into an English couplet. It is too much like the conceit of those dramatick poets, who used to conclude each act with a rhyme; and the expression in the first line of his couplet, 'Celestial powers,' though proper in Pagan poetry, is ill suited to Christianity, with 'a conformity' to which he consoles himself. How much better would it have been, to have ended with the prose sentence 'I shall never envy the honours which wit and learning obtain in any other cause, if I can be numbered among the writers who have given ardour to virtue, and confidence to truth.'

His friend, Dr. Birch, being now engaged in preparing an edition of Ralegh's smaller pieces, Dr. Johnson wrote the following letter to that gentleman :

'TO DR. BIRCH.

'SIR, Gough-square, May 12, 1750. Knowing that you are now preparing to favour the publick with a new edition of Ralegh's miscellaneous pieces, I have taken the liberty to send you a Manuscript, which fell by chance within my notice. I perceive no proofs of forgery in my examination of it; and the owner tells me, that as he has heard, the handwriting is Sir Walter's. If you should find reason to conclude it genuine, it will be a kindness to the owner, a blind person, to recommend it to the booksellers. I am, Sir, your most humble servant, 'SAM. JOHNSON.'

His just abhorrence of Milton's political notions was ever strong. But this did not prevent his warm admiration of Milton's great poetical merit, to which he has done illustrious justice, beyond all who have written upon the subject. And this year he not only wrote a Prologue, which was spoken by Mr. Garrick before the acting of Comus at Drury-lane theatre, for the benefit of Milton's grand-daughter, but took a very zealous interest in the success of the charity. On the day preceding the performance, he published the following letter in the General Advertiser,' addressed to the printer of that paper:

1 Mrs. Williams is probably the person meant.

1750]

MILTON'S GRAND-DAUGHTER

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'SIR, That a certain degree of reputation is acquired merely by approving the works of genius, and testifying a regard to the memory of authours, is a truth too evident to be denied; and therefore to ensure a participation of fame with a celebrated poet, many who would, perhaps, have contributed to starve him when alive, have heaped expensive pageants upon his grave.

It must, indeed, be confessed, that this method of becoming known to posterity with honour, is peculiar to the great, or at least to the wealthy; but an opportunity now offers for almost every individual to secure the praise of paying a just regard to the illustrious dead, united with the pleasure of doing good to the living. To assist industrious indigence, struggling with distress and debilitated by age, is a display of virtue, and an acquisition of happiness and honour.

'Whoever, then, would be thought capable of pleasure in reading the works of our incomparable Milton, and not so destitute of gratitude as to refuse to lay out a trifle in rational and elegant entertainment, for the benefit of his living remains, for the exercise of their own virtue, the increase of their reputation, and the pleasing consciousness of doing good, should appear at Drury-lane theatre to-morrow, April 5, when Comus will be performed for the benefit of Mrs. Elizabeth Foster, grand-daughter to the author, and the only surviving branch of his family.

'N.B. There will be a new prologue on the occasion, written by the authour of Irene, and spoken by Mr. Garrick ; and, by particular desire, there will be added to the Masque a dramatick satire, called Lethe, in which Mr. Garrick will perform.'

1751: ÆTAT. 42.]-IN 1751 we are to consider him as carrying on both his Dictionary and Rambler. But he also wrote The Life of Cheynel,* in the miscellany called The Student; and the Reverend Dr. Douglas having, with uncommon acuteness, clearly detected a gross forgery and imposition upon the publick by William Lauder, a Scotch schoolmaster, who had, with equal impudence and ingenuity, represented Milton as a plagiary from certain modern Latin poets, Johnson, who had been so far imposed upon as to

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JOHNSON TRICKED BY LAUDER

[1751

furnish a Preface and Postscript to his work, now dictated a letter for Lauder, addressed to Dr. Douglas, acknowledging his fraud in terms of suitable contrition 1.

This extraordinary attempt of Lauder was no sudden effort. He had brooded over it for many years and to this hour it is uncertain what his principal motive was, unless it were a vain notion of his superiority, in being able, by whatever means, to deceive mankind. To effect this, he produced certain passages from Grotius, Masenius, and others, which had a faint resemblance to some parts of the Paradise Lost. In these he interpolated some fragments of Hog's Latin translation of that poem, alledging that the mass thus fabricated was the archetype from which Milton copied. These fabrications he published from time to time in the Gentleman's Magazine; and, exulting in his fancied success, he in 1750 ventured to collect them into a pamphlet, entitled An Essay on Milton's Use and Imitation of the Moderns in his Paradise Lost. To this pamphlet Johnson wrote a Preface, in full persuasion of Lauder's honesty, and a Postscript recommending, in the most persuasive terms, a subscription for the relief of a grand-daughter of Milton, of whom he thus speaks:

It is yet in the power of a great people to reward the poet whose name they boast, and from their alliance to whose genius, they claim some kind of superiority to every other nation of the earth; that poet, whose works may possibly be read when every other monument of British greatness shall be obliterated; to reward him, not with pictures or

1 Lest there should be any person, at any future period, absurd enough to suspect that Johnson was a partaker in Lauder's fraud, or had any knowledge of it, when he assisted him with his masterly pen, it is proper here to quote the words of Dr. Douglas, now Bishop of Salisbury, at the time when he detected the imposition. 'It is to be hoped, nay it is er pected, that the elegant and nervous writer, whose judicious sentiments and inimitable style point out the authour of Lauder's Preface and Postscript, will no longer allow one to plume himself with his feathers, who appeareth so little to deserve [his] assistance: an assistance which I am persuaded would never have been communicated, had there been the least suspicion of those facts which I have been the instrument of convey ing to the world in these sheets.' Milton no Plagiary, 2nd edit. p. 78. And his Lordship has been pleased now to authorise me to say, in the strongest manner, that there is no ground whatever for any unfavourable reflection against Dr. Johnson, who expressed the strongest indignation against Lauder.

1751) HIS ADMIRATION OF MILTON

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with medals, which, if he sees, he sees with contempt, but with tokens of gratitude, which he, perhaps, may even now consider as not unworthy of an immortal spirit.'

Surely this is inconsistent with ' enmity towards Milton,' which Sir John Hawkins imputes to Johnson upon this occasion, adding,

'I could all along observe that Johnson seemed to approve not only of the design, but of the argument; and seemed to exult in a persuasion, that the reputation of Milton was likely to suffer by this discovery. That he was not privy to the imposture, I am well persuaded; but that he wished well to the argument, may be inferred from the Preface, which indubitably was written by Johnson.'

6

Is it possible for any man of clear judgement to suppose that Johnson, who so nobly praised the poetical excellence of Milton in a Postscript to this very discovery,' as he then supposed it, could, at the same time, exult in a persuasion that the great poet's reputation was likely to suffer by it? This is an inconsistency of which Johnson was incapable; nor can any thing more be fairly inferred from the Preface, than that Johnson, who was alike distinguished for ardent curiosity and love of truth, was pleased with an investigation by which both were gratified. That he was actuated by these motives, and certainly by no unworthy desire to depreciate our great epick poet, is evident from his own words; for, after mentioning the general zeal of men of genius and literature to advance the honour, and distinguish the beauties of Paradise Lost,' he says,

'Among the inquiries to which this ardour of criticism has naturally given occasion, none is more obscure in itself, or more worthy of rational curiosity, than a retrospect of the progress of this mighty genius in the construction of his work; a view of the fabrick gradually rising, perhaps, from small beginnings, till its foundation rests in the centre, and its turrets sparkle in the skies; to trace back the structure through all its varieties, to the simplicity of its first plan; to find what was first projected, whence the scheme was taken, how it was improved, by what assistance it was executed, and from what stores the materials were collected; whether its founder dug them from the quarries of Nature, or demolished other buildings to embellish his own.'