Content. Introduction. Chapter. I. Samuel Johnson and his biography

2.2. The edition of Shakespeare of Samuel Johnson.

The pension Johnson had received in 1762 had freed him from the necessity of writing for a living, but it had not released him from his obligation to complete the Shakespeare edition, for which he had taken money from subscribers. His long delay in bringing that project to fruition provoked some satiric notice from the poet Charles Churchill:The edition finally appeared in eight volumes in 1765. Johnson edited and annotated the text and wrote a preface, which is his greatest work of literary criticism. As editor and annotator he sought to establish the text, freed from later corruptions, and to explain diction that by then had become obsolete and obscure. Johnson’s approach was to immerse himself in the books Shakespeare had read—his extensive reading for his Dictionary eased this task—and to examine the early editions as well as those of his 18th-century predecessors. His annotations are often shrewd, though his admiration reveals at times different concerns from those of some of his contemporaries and of later scholars.In his “Preface” Johnson addressed several critical issues. For one, he vigorously defends Shakespeare against charges of failing to adhere to the Neoclassical doctrine of the dramatic unities of time, place, and action. Johnson alertly observes that time and place are subservient to the mind: since the audience does not confound stage action with reality, it has no trouble with a shift in scene from Rome to Alexandria. Some critics had made similar points before, but Johnson’s defense was decisive. He also questions the need for purity of dramatic genre. In defending Shakespearian tragicomedy against detractors, he asserts that “there is always an appeal open from criticism to nature.” Echoing Hamlet, Johnson claims that Shakespeare merits praise, above all, as “the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” He goes on to say that “in the writings of other poets a character is too often an individual: in those of Shakespeare it is commonly a species” and that “Shakespeare has no heroes; his scenes are occupied only by men.” These comments inveigh against the rigid notions of decorum upheld by critics, such as Voltaire, who would not allow kings to be drunkards or senators to be buffoons. Johnson’s concern for “general nature” means that he is not much interested in accidental traits of a character, such as the “Romanness” of Julius Caesar or Brutus, but in traits that are common to all humanity.