own there. I mentioned my having that morning introduced to Mr. Garrick, Count Neni, a Flemish nobleman of great rank and fortune, to whom Garrick talked of Abel Drugger as a small part; and related, with pleasant vanity, that a Frenchman who had seen him in one of his low characters, exclaimed, 'Comment! je ne crois pas. Ce n'est pas Monsieur Garrick, ce grand homme!' Garrick added, with an appearance of grave recollection, 'If I were to begin life again, I think I should not play these low characters.' Upon which I observed, 'Sir, you would be in the wrong; for your great excellence is your variety of playing, your representing so well characters so very different.' JOHNSON: 'Garrick, sir, was not in earnest in what he said; for, to be sure, his peculiar excellence is his variety; and, perhaps there is not any one character which has not been as well acted by somebody else, as he could do it.' BOSWELL: Why then, sir, did he talk so?' JOHNSON: 'Why, sir, to make you answer as you did.' BOSWELL: 'I don't know, sir; he seemed to dip deep into his mind for the reflection.' JOHNSON: 'He had not far to dip, sir: he had said the same thing, probably, twenty times before.'

Of a nobleman raised at a very early period to high office, he said, 'His parts, sir, are pretty well for a Lord; but would not be distinguished in a man who had nothing else but his parts.'1

A journey to Italy was still in his thoughts. He said, 'A man who has not been in Italy is always conscious of an inferiority, from his not having seen what it is expected a man should see. The grand object of

1 [Lord Shelburne.-A. B.]

travelling is to see the shores of the Mediterranean. On those shores were the four great Empires of the world; the Assyrian, the Persian, the Grecian, and the Roman. All our religion, almost all our law, almost all our arts, almost all that sets us above savages, has come to us from the shores of the Mediterranean.' The General observed that 'The Mediterranean would be a noble subject for a poem.'

We talked of translation. I said I could not define it, nor could I think of a similitude to illustrate it; but that it appeared to me the translation of poetry could be only imitation. JOHNSON: "You may translate books of science exactly. You may also translate history, in so far as it is not embellished with oratory, which is poetical. Poetry, indeed, cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language, if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.'

A gentleman maintained that the art of printing had hurt real learning, by disseminating idle writings. JOHNSON: Sir, if it had not been for the art of printing, we should now have no learning at all; for books would have perished faster than they could have been transcribed.' This observation seems not just, considering for how many ages books were preserved by writing alone.

The same gentleman maintained that a general diffusion of knowledge among a people was a disadvantage, for it made the vulgar rise above their

humble sphere. JOHNSON: 'Sir, while knowledge is a distinction, those who are possessed of it will naturally rise above those who are not. Merely to read and write was a distinction at first; but we see when reading and writing have become general, the common people keep their stations. And so, were higher attainments to become general, the effect would be the same.'

'Goldsmith (he said) referred everything to vanity; his virtues, and his vices too, were from that motive. He was not a social man. He never exchanged mind with you.'

We spent the evening at Mr. Hoole's. Mr. Mickle, the excellent translator of the Lusiad, was there. I have preserved little of the conversation of this evening. Dr. Johnson said, 'Thomson had a true poetical genius, the power of viewing everything in a poetical light. His fault is such a cloud of words sometimes that the sense can hardly peep through. Shiels, who compiled Cibber's Lives of the Poets, was one day sitting with me. I took down Thomson, and read aloud a large portion of him, and then asked,—Is not this fine? Shiels having expressed the highest admiration, "Well, sir (said I), I have omitted every other line."'

I related a dispute between Goldsmith and Mr. Robert Dodsley, one day when they and I were dining at Tom Davies's, in 1762. Goldsmith asserted that there was no poetry produced in this age. Dodsley appealed to his own collection, and maintained that though you could not find a palace like Dryden's 'Ode on St. Cecilia's Day,' you had villages composed of very pretty houses; and he mentioned

particularly 'The Spleen.' JOHNSON: 'I think Dodsley gave up the question. He and Goldsmith said the same thing; only he said it in a softer manner than Goldsmith did; for he acknowledged that there was no poetry, nothing that towered above the common mark. You may find wit and humour in verse, and yet no poetry. "Hubidras" has a profusion of these; yet it is not to be reckoned a poem. "The Spleen," in Dodsley's collection, on which you say he chiefly rested, is not poetry.' BoswELL: 'Does not Gray's poetry, sir, tower above the common mark?' JOHNSON: Yes, sir; but we must attend to the difference between what men in general cannot do if they would, and what every man may do if he would. Sixteenstring Jack towered above the common mark.' BOSWELL: "Then, sir, what is poetry?' JOHNSON : 'Why, sir, it is much easier to say what it is not. We all know what light is; but it is not easy to tell what it is.'

On Friday, April 12, I dined with him at our friend Tom Davies's, where we met Mr. Cradock of Leicestershire, author of Zobeide, a tragedy; a very pleasing gentleman, to whom my friend Dr. Farmer's very excellent Essay on the Learning of Shakespeare is addressed; and Dr. Harwood, who has written and published various works, particularly a fantastical translation of the New Testament, in modern phrase, and with a Socinian twist.

I introduced Aristotle's doctrine in his Art of Poetry of the κάθαρσις τῶν παθημάτων, the purging of the

1 A noted highwayman, who after having been several times tried and acquitted, was at last hanged. He was remarkable for foppery in his dress, and particularly for wearing a bunch of sixteen strings at the knees of his breeches.

passions,' as the purpose of tragedy. 'But how are the passions to be purged by terror and pity?' (said I, with an assumed air of ignorance, to incite him to talk, for which it was often necessary to employ some address). JOHNSON: Why, sir, you are to consider what is the meaning of purging in the original sense. It is to expel impurities from the human body. The mind is subject to the same imperfection. The passions are the greatest movers of human actions; but they are mixed with such impurities that it is necessary they should be purged or refined by means of terror and pity. For instance, ambition is a noble passion; but by seeing upon the stage that a man who is so excessively ambitious as to raise himself by injustice, is punished, we are terrified at the fatal consequences of such a passion. In the same manner a certain degree of resentment is necessary; but if we see that a man carries it too far, we pity the object of it, and are taught to moderate that passion.' My record upon this occasion does great injustice to Johnson's expression, which was so forcible and brilliant, that Mr. Cradock whispered to me, 'O that his words were written in a book!'

I observed the great defect of the tragedy of Othello was that it had not a moral; for that no man could resist the circumstances of suspicion which were artfully suggested to Othello's mind. JOHNSON: 'In the first place, sir, we learn from Othello this very useful moral, not to make an unequal match; in the second place, we learn not to yield too readily to suspicion. The handkerchief is merely a trick, though a very pretty trick; but there are no other circumstances of reasonable suspicion, except what is related by Iago