Analysis
Samuel Johnson, a towering figure in English literature, crafted works that continue to resonate for their insightful exploration of human nature and society. His poetry, particularly London and The Vanity of Human Wishes, speaks to enduring human struggles, while his prose, exemplified by the biography of Richard Savage and the philosophical tale Rasselas, delves into moral inquiry and the search for happiness. Through his deft use of language and imagery, Johnson's works invite readers to reflect on the complexities of the human condition.
Samuel Johnson's Major Poetic Works
Johnson’s poetic oeuvre includes two significant works: London and The Vanity of Human Wishes. Beyond these, he wrote the play Irene, poems in Latin, assorted English verse, and translations of Greek and Latin texts. London, the most popular of his poems during his lifetime, is noted for its clear language and straightforward imagery, making it accessible to modern audiences. Both London and The Vanity of Human Wishes are imitations of the satires of Juvenal, a Roman poet, with The Vanity of Human Wishes often considered Johnson’s poetic masterpiece for its dense imagery and complex ideas.
London: A Satire on Urban Life
Johnson composed his poems largely in his mind before putting them to paper, a method he employed in crafting London. Written on large sheets in two columns—one for drafts and the other for revisions—this poem aligns with the Augustan tradition, reflecting influences from figures like Alexander Pope. Modeled on Juvenal’s third satire, London critiques the city’s moral decay, paralleling Juvenal's critique of Rome. Unlike a mere translation, Johnson’s work incorporates his Christian perspective, attributing the vices of his time to a neglect of spiritual values. He crafts a vivid portrait of London’s social ills through iambic pentameter couplets, condemning the city’s corruption and lack of virtue with sharp, lively language.
Set in rhyming iambic pentameter couplets, London is characterized by a lively language and rapid flow of ideas. Johnson believed that blank verse needed strong imagery to be sustained, or else it required clear structure and rhyme. He follows the model established by Pope, with heroic couplets that vividly express the poem’s condemnations:
"By numbers here from shame or censure free,
All crimes are safe, but hated poverty.
This, only this, the rigid law pursues,
This, only this, provokes the snarling muse."
In London, Johnson paints a bleak picture of a city rife with crime and corruption. The speaker, Thales, plans to escape to Wales, seeking peace away from the city’s chaos. Some scholars assert Thales represents Richard Savage, though evidence is inconclusive. The debate over Thales' true identity highlights broader issues in Johnsonian criticism, as critics often project Johnson's later views onto his earlier works. Despite criticisms of insincerity, London reflects the youthful Johnson’s rebellion and dissatisfaction with the state of the city.
The Vanity of Human Wishes: Johnson’s Poetic Masterpiece
Written during his middle years, The Vanity of Human Wishes reflects Johnson’s continued interest in Juvenalian satire, specifically the tenth satire, which critiques society's inability to discern its true needs. Johnson transforms Juvenal’s themes into a Christian ethos, critiquing humanity’s pursuit of material success over spiritual fulfillment. The poem illustrates how the pursuit of earthly gains leads to disillusionment, with Johnson’s imagery spanning across time and geography, capturing the universality of human folly.
Throughout nearly 350 lines, Johnson offers examples of those who fail in their pursuit of wealth, power, and pleasure, underscoring the futility of these endeavors. Despite its often grim tone, the poem ultimately offers hope through divine guidance:
"Unnumber’d suppliants crowd Preferment’s gate,
Athirst for wealth, and burning to...
(This entire section contains 1325 words.)
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be great,
Delusive Fortune hears th’ incessant call,
They mount, they shine, evaporate, and fall."
Johnson counters stoic resignation with a call to turn to God for contentment, arguing that true wisdom comes from divine love, patience, and faith, offering solace amid life’s vanity. His poetic skill shines in marrying complex themes with the elegance of the heroic couplet, crafting a profound meditation on human ambition and divine providence.
Irene: A Play of Intrigue
Irene, Johnson’s dramatic work, was first begun during his teaching days and premiered under David Garrick in 1749. Based on Richard Knolles’s Generall Historie of the Turkes, the play centers on Mahomet, a Turkish sultan, and his love for Irene, a Greek Christian. The play’s intrigue and strong plot are its strengths, though its blank verse has been criticized for lacking vigor. Despite its initial financial success, Irene was not a critical triumph, though it showcases Johnson’s narrative abilities and character insights, particularly in the portrayal of Irene’s spiritual struggle.
Prologues, Epitaphs, and Elegies
Johnson’s minor verse, including prologues, epitaphs, and elegies, displays his poetic versatility. His Prologue Spoken at the Opening of the Theatre in Drury-Lane (1747) discusses the merits of drama, while his epitaphs and elegies often evoke deep pathos. "Epitaph on Hogarth" and "On the Death of Dr. Robert Levet" highlight Johnson’s ability to evoke emotion and portray life’s complexities. The latter poem, a heartfelt elegy, immortalizes his friend Levet with a poignant reflection on life’s virtues and sacrifices.
Wit and Humor
While Johnson’s poetry often grapples with serious themes, it also reveals his sharp wit and humor. His playful "A Short Song of Congratulation" humorously critiques John Lade’s potential squandering of his inheritance, showcasing Johnson’s keen observational skills and satirical edge. Although such lighter verse was primarily intended for friends rather than public consumption, it exemplifies Johnson’s talent for wit and humor, contrasting with the more somber tones of his major works.
Critical Responses to Johnson’s Poetry
Johnson’s poetic reputation has fluctuated with changing critical tastes. Romantic and Victorian critics often dismissed his work for its perceived lack of spontaneity and image-driven emotion, favoring lyrical poetry over satire. However, recent critics have rediscovered the merits of Johnson’s prosody, particularly his ability to convey profound insights into the human condition. The Vanity of Human Wishes and London are now recognized as significant contributions to world literature, underscoring Johnson’s enduring importance as a poet.
Johnson as a Prose Writer and Critic
In addition to his poetry, Johnson’s prose work, particularly in literary criticism, has left a lasting impact. Known for his sincerity and vigor, Johnson engages readers with his lucid and muscular prose style. Although his vocabulary can be abstract and his sentences long, Johnson’s writing is never condescending, as he seeks to elevate his readers to his own level of understanding. He incorporates concrete analogies and examples, providing moral and social context to his arguments.
Johnson’s sympathy for the downtrodden and his pursuit of truth are evident in his writings, from essays in The Rambler addressing social justice issues to his investigative work exposing frauds like the Cock Lane Ghost. His critical judgments, though sometimes differing from mainstream opinion, are grounded in reasoned arguments, as seen in his critique of Milton’s "Lycidas" for its use of pastoral imagery in a Christian context.
Rasselas: A Philosophical Tale
Johnson’s most famous work, Rasselas, explores the pursuit of happiness through the journey of its titular prince. Written quickly to cover funeral expenses for his mother, the tale examines the futility of seeking happiness in worldly pursuits. Rasselas’s quest, alongside his sister Nekayah and their guide Imlac, traverses various modes of life, ultimately concluding that earthly happiness is elusive.
Set in a stylized Eastern context, Rasselas is not a novel in the conventional sense but an apologue, using fictional episodes to illustrate moral truths. The characters, while not deeply individualized, represent universal human experiences. Imlac, the wise guide, embodies Johnson’s voice, offering insights into the limitations of human endeavors and the hope found in eternal values. The tale's conclusion, where nothing is resolved, reinforces the theme of the vanity of human wishes, paralleling Johnson’s earlier poetic works.
