'About three years [after] afterwards.
[Did not much want] was in no great need of improvement.
But his prosperity did not last long [was clouded by that which took away all his powers of enjoying either profit or pleasure, the death of his wife, whom he is said to have lamented with such sorrow, as hastened his end[190].] His end, whatever was the cause, was now approaching.
In the Hermit, the [composition] narrative, as it is less airy, is less pleasing.'
In the Life of BLACKMORE, we find that writer's reputation generously cleared by Johnson from the cloud of prejudice which the malignity of contemporary wits had raised around it[191]. In this spirited exertion of justice, he has been imitated by Sir Joshua Reynolds, in his praise of the architecture of Vanburgh[192].
We trace Johnson's own character in his observations on Blackmore's 'magnanimity as an authour.' 'The incessant attacks of his enemies, whether serious or merry, are never discovered to have disturbed his quiet, or to have lessened his confidence in himself.' Johnson, I recollect, once told me, laughing heartily, that he understood it had been said of him, 'He appears not to feel; but when he is alone, depend upon it, he suffers sadly.' I am as certain as I can be of any man's real sentiments, that he enjoyed the perpetual shower of little hostile arrows as evidences of his fame.
Various Readings in the Life of BLACKMORE.
To [set] engage poetry [on the side] in the cause of virtue.
He likewise [established] enforced the truth of Revelation.
[Kindness] benevolence was ashamed to favour.
His practice, which was once [very extensive] invidiously great. There is scarcely any distemper of dreadful name [of] which he has not [shewn] taught his reader how [it is to be opposed] to oppose.
Of this [contemptuous] indecent arrogance.
[He wrote] but produced likewise a work of a different kind.
At least [written] compiled with integrity.
Faults which many tongues [were desirous] would have made haste to publish.
But though he [had not] could not boast of much critical knowledge.
He [used] waited for no felicities of fancy.
Or had ever elevated his [mind] views to that ideal perfection which every [mind] genius born to excel is condemned always to pursue and never overtake.
The [first great] fundamental principle of wisdom and of virtue.'
Various Readings in the Life of PHILIPS.
'His dreaded [rival] antagonist Pope.
They [have not often much] are not loaded with thought.
In his translations from Pindar, he [will not be denied to have reached] found the art of reaching all the obscurity of the Theban bard.'
Various Readings in the Life of CONGREVE.
'Congreve's conversation must surely have been at least equally pleasing with his writings.
It apparently [requires] pre-supposes a familiar knowledge of many characters.
Reciprocation of [similes] conceits.
The dialogue is quick and [various] sparkling.
Love for Love; a comedy [more drawn from life] of nearer alliance to life.
The general character of his miscellanies is, that they shew little wit and [no] little virtue.
[Perhaps] certainly he had not the fire requisite for the higher species of lyrick poetry.'
Various Readings in the Life of TICKELL.
'[Longed] long wished to peruse it.
At the [accession] arrival of King George.
Fiction [unnaturally] unskilfully compounded of Grecian deities and Gothick fairies.'
Various Readings in the Life of AKENSIDE.
'For [another] a different purpose.
[A furious] an unnecessary and outrageous zeal.
[Something which] what he called and thought liberty.
A [favourer of innovation] lover of contradiction.
Warburton's [censure] objections.
His rage [for liberty] of patriotism.
Mr. Dyson with [a zeal] an ardour of friendship.'
In the Life of LYTTELTON, Johnson seems to have been not favourably disposed towards that nobleman[193]. Mrs. Thrale suggests that he was offended by Molly Aston's[194] preference of his Lordship to him[195]. I can by no means join in the censure bestowed by Johnson on his Lordship, whom he calls 'poor Lyttelton,' for returning thanks to the Critical Reviewers for having 'kindly commended' his Dialogues of the Dead. Such 'acknowledgements (says my friend) never can be proper, since they must be paid either for flattery or for justice.' In my opinion, the most upright man, who has been tried on a false accusation, may, when he is acquitted, make a bow to his jury. And when those who are so much the arbiters of literary merit, as in a considerable degree to influence the publick opinion, review an authour's work, placido lumine[196], when I am afraid mankind in general are better pleased with severity, he may surely express a grateful sense of their civility[197].
Various Readings in the Life of LYTTELTON.
'He solaced [himself] his grief by writing a long poem to her memory.
The production rather [of a mind that means well than thinks vigorously] as it seems of leisure than of study, rather effusions than compositions.