Boswell's Life of Johnson

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Title: Life of Johnson Abridged and Edited, with an Introduction by Charles Grosvenor Osgood
Author: James Boswell
Editor: Charles Grosvenor Osgood
Release Date: May 12, 2006 [EBook #1564]
Language: English
Character set encoding: ASCII
*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF JOHNSON ***
Produced by Donald Lainson
BOSWELL'S LIFE OF JOHNSON
By James Boswell
Abridged and edited, with an introduction
In making this abridgement of Boswell's Life of Johnson I have omitted most of Boswell's criticisms,
comments, and notes, all of Johnson's opinions in legal cases, most of the letters, and parts of the conversation
dealing with matters which were of greater importance in Boswell's day than now. I have kept in mind an old
habit, common enough, I dare say, among its devotees, of opening the book of random, and reading wherever
the eye falls upon a passage of especial interest. All such passages, I hope, have been retained, and enough of
the whole book to illustrate all the phases of Johnson's mind and of his time which Boswell observed.
Loyal Johnsonians may look upon such a book with a measure of scorn. I could not have made it, had I not
believed that it would be the means of drawing new readers to Boswell, and eventually of finding for them in
the complete work what many have already found--days and years of growing enlightenment and happy
companionship, and an innocent refuge from the cares and perturbations of life.
Princeton, June 28, 1917.
INTRODUCTION
Phillips Brooks once told the boys at Exeter that in reading biography three men meet one another in close
intimacy--the subject of the biography, the author, and the reader. Of the three the most interesting is, of
course, the man about whom the book is written. The most privileged is the reader, who is thus allowed to live
familiarly with an eminent man. Least regarded of the three is the author. It is his part to introduce the others,
and to develop between them an acquaintance, perhaps a friendship, while he, though ever busy and
solicitous, withdraws into the background.
Some think that Boswell, in his Life of Johnson, did not sufficiently realize his duty of self-effacement. He is
too much in evidence, too bustling, too anxious that his own opinion, though comparatively unimportant,
should get a hearing. In general, Boswell's faults are easily noticed, and have been too much talked about. He
was morbid, restless, self-conscious, vain, insinuating; and, poor fellow, he died a drunkard. But the essential
Boswell, the skilful and devoted artist, is almost unrecognized. As the creator of the Life of Johnson he is
almost as much effaced as is Homer in the Odyssey. He is indeed so closely concealed that the reader suspects
no art at all. Boswell's performance looks easy enough--merely the more or less coherent stringing together of
a mass of memoranda. Nevertheless it was rare and difficult, as is the highest achievement in art. Boswell is
primarily the artist, and he has created one of the great masterpieces of the world.* He created nothing else,
though his head was continually filling itself with literary schemes that came to nought. But into his Life of
Johnson he poured all his artistic energies, as Milton poured his into Paradise Lost, and Vergil his into the
Aneid.

• Here I include his Journal of a Tour of the Hebrides as essentially a part of the Life. The Journal of a Tour in
  Corsica is but a propaedeutic study.
  First, Boswell had the industry and the devotion to his task of an artist. Twenty years and more he labored in
  collecting his material. He speaks frankly of his methods. He recorded the talk of Johnson and his associates
  partly by a rough shorthand of his own, partly by an exceptional memory, which he carefully trained for this
  very purpose. 'O for shorthand to take this down!' said he to Mrs. Thrale as they listened to Johnson; and she
  replied: 'You'll carry it all in your head; a long head is as good as shorthand.' Miss Hannah More recalls a gay
  meeting at the Garricks', in Johnson's absence, when Boswell was bold enough to match his skill with no other
  than Garrick himself in an imitation of Johnson. Though Garrick was more successful in his Johnsonian
  recitation of poetry, Boswell won in reproducing his familiar conversation. He lost no time in perfecting his
  notes both mental and stenographic, and sat up many a night followed by a day of headache, to write them in
  final form, that none of the freshness and glow might fade. The sheer labor of this process, not to mention the
  difficulty, can be measured only by one who attempts a similar feat. Let him try to report the best
  conversation of a lively evening, following its course, preserving its point, differentiating sharply the traits of
  the participants, keeping the style, idiom, and exact words of each. Let him reject all parts of it, however
  diverting, of which the charm and force will evaporate with the occasion, and retain only that which will be as
  amusing, significant, and lively as ever at the end of one hundred, or, for all that we can see, one thousand
  years. He will then, in some measure, realize the difficulty of Boswell's performance. When his work
  appeared Boswell himself said: 'The stretch of mind and prompt assiduity by which so many conversations are
  preserved, I myself, at some distance of time, contemplate with wonder.'
  He was indefatigable in hunting up and consulting all who had known parts or aspects of Johnson's life which
  to him were inaccessible. He mentions all told more than fifty names of men and women whom he consulted
  for information, to which number many others should be added of those who gave him nothing that he could
  use. 'I have sometimes been obliged to run half over London, in order to fix a date correctly.' He agonized
  over his work with the true devotion of an artist: 'You cannot imagine,' he says, 'what labor, what perplexity,
  what vexation I have endured in arranging a prodigious multiplicity of materials, in supplying omissions, in
  searching for papers buried in different masses, and all this besides the exertion of composing and polishing.'
  He despairs of making his picture vivid or full enough, and of ever realizing his preconception of his
  masterpiece.
  Boswell's devotion to his work appears in even more extraordinary ways. Throughout he repeatedly offers
  himself as a victim to illustrate his great friend's wit, ill-humor, wisdom, affection, or goodness. He never
  spares himself, except now and then to assume a somewhat diaphanous anonymity. Without regard for his
  own dignity, he exhibits himself as humiliated, or drunken, or hypochondriac, or inquisitive, or resorting to
  petty subterfuge--anything for the accomplishment of his one main purpose. 'Nay, Sir,' said Johnson, 'it was
  not the wine that made your head ache, but the sense that I put into it.' 'What, Sir,' asks the hapless Boswell,
  'will sense make the head ache?' 'Yes, Sir, when it is not used to it.'
  Boswell is also the artist in his regard for truth. In him it was a passion. Again and again he insists upon his
  authenticity. He developed an infallible gust and unerring relish of what was genuinely Johnsonian in speech,
  writing, or action; and his own account leads to the inference that he discarded, as worthless, masses of
  diverting material which would have tempted a less scrupulous writer beyond resistance. 'I observed to him,'
  said Boswell, 'that there were very few of his friends so accurate as that I could venture to put down in writing
  what they told me as his sayings.' The faithfulness of his portrait, even to the minutest details, is his
  unremitting care, and he subjects all contributed material to the sternest criticism.
  Industry and love of truth alone will not make the artist. With only these Boswell might have been merely a
  tireless transcriber. But he had besides a keen sense of artistic values. This appears partly in the unity of his
  vast work. Though it was years in the making, though the details that demanded his attention were countless,
  yet they all centre consistently in one figure, and are so focused upon it, that one can hardly open the book at
  random to a line which has not its direct bearing upon the one subject of the work. Nor is the unity of the book
  that of an undeviating narrative in chronological order of one man's life; it grows rather out of a single
  dominating personality exhibited in all the vicissitudes of a manifold career. Boswell often speaks of his work
  as a painting, a portrait, and of single incidents as pictures or scenes in a drama. His eye is keen for contrasts,
  for picturesque moments, for dramatic action. While it is always the same Johnson whom he makes the central
  figure, he studies to shift the background, the interlocutors, the light and shade, in search of new revelations
  and effects. He presents a succession of many scenes, exquisitely wrought, of Johnson amid widely various
  settings of Eighteenth-Century England. And subject and setting are so closely allied that each borrows charm
  and emphasis from the other. Let the devoted reader of Boswell ask himself what glamor would fade from the
  church of St. Clement Danes, from the Mitre, from Fleet Street, the Oxford coach, and Lichfield, if the burly