page_title: Samuel Johnson
section_title: Literary criticism
hierarchical_section_title: Samuel Johnson / Literary criticism
caption_attribution_description: Apollo and the muses, inflicting penance on Dr Pomposo, round Parnassus' (Samuel Johnson), by James Gillray (died 1815), published 1783. See source website for additional information. This set of images was gathered by User:Dcoetzee from the National Portrait Gallery, London website using a special tool. All images in this batch have been confirmed as author died before 1939 according to the official death date listed by the NPG.
context_page_description: Samuel Johnson, often referred to as Dr Johnson, was an English writer who made lasting contributions to English literature as a poet, playwright, essayist, moralist, literary critic, biographer, editor, and lexicographer. Religiously, he was a devout Anglican, and politically a committed Tory. The Oxford Dictionary of National Biography describes Johnson as "arguably the most distinguished man of letters in English history". He is the subject of James Boswell's The Life of Samuel Johnson, described by Walter Jackson Bate as "the most famous single work of biographical art in the whole of literature".
  Born in Lichfield, Staffordshire, Johnson attended Pembroke College, Oxford, for just over a year, but a lack of funds forced him to leave. After working as a teacher, he moved to London, where he began to write for The Gentleman's Magazine. His early works include the biography Life of Mr Richard Savage, the poems London and The Vanity of Human Wishes, and the play Irene.
  After nine years of work, Johnson's A Dictionary of the English Language was published in 1755.
context_section_description: Johnson's works, especially his Lives of the Poets series, describe various features of excellent writing. He believed that the best poetry relied on contemporary language, and he disliked the use of decorative or purposefully archaic language. He was suspicious of the poetic language used by Milton, whose blank verse he believed would inspire many bad imitations. Also, Johnson opposed the poetic language of his contemporary Thomas Gray. His greatest complaint was that obscure allusions found in works like Milton's Lycidas were overused; he preferred poetry that could be easily read and understood. In addition to his views on language, Johnson believed that a good poem incorporated new and unique imagery.
  In his smaller poetic works, Johnson relied on short lines and filled his work with a feeling of empathy, which possibly influenced Housman's poetic style. In London, his first imitation of Juvenal, Johnson uses the poetic form to express his political opinion and, as befits a young writer, approaches the topic in a playful and almost joyous manner. However, his second imitation, The Vanity of Human Wishes, is completely different; the language remains simple, but the poem is more complicated and difficult to read because Johnson is trying to describe complex Christian ethics. These Christian values are not unique to the poem, but contain views expressed in most of Johnson's works. In particular, Johnson emphasises God's infinite love and shows that happiness can be attained through virtuous action.
  When it came to biography, Johnson disagreed with Plutarch's use of biography to praise and to teach morality. Instead, Johnson believed in portraying the biographical subjects accurately and including any negative aspects of their lives. Because his insistence on accuracy in biography was little short of revolutionary, Johnson had to struggle against a society that was unwilling to accept biographical details that could be viewed as tarnishing a reputation; this became the subject of Rambler 60. Furthermore, Johnson believed that biography should not be limited to the most famous and that the lives of lesser individuals, too, were significant; thus in his Lives of the Poets he chose both great and lesser poets. In all his biographies he insisted on including what others would have considered trivial details to fully describe the lives of his subjects. Johnson considered the genre of autobiography and diaries, including his own, as one having the most significance; in Idler 84 he explains how a writer of an autobiography would be the least likely to distort his own life.
  Johnson's thoughts on biography and on poetry coalesced in his understanding of what would make a good critic. His works were dominated with his intent to use them for literary criticism. This was especially true of his Dictionary of which he wrote: "I lately published a Dictionary like those compiled by the academies of Italy and France, for the use of such as aspire to exactness of criticism, or elegance of style". Although a smaller edition of his Dictionary became the standard household dictionary, Johnson's original Dictionary was an academic tool that examined how words were used, especially in literary works. To achieve this purpose, Johnson included quotations from Bacon, Hooker, Milton, Shakespeare, Spenser, and many others from what he considered to be the most important literary fields: natural science, philosophy, poetry, and theology. These quotations and usages were all compared and carefully studied in the Dictionary so that a reader could understand what words in literary works meant in context.
  Johnson did not attempt to create schools of theories to analyse the aesthetics of literature. Instead, he used his criticism for the practical purpose of helping others to better read and understand literature. When it came to Shakespeare's plays, Johnson emphasised the role of the reader in understanding language: "If Shakespeare has difficulties above other writers, it is to be imputed to the nature of his work, which required the use of common col
caption: A caricature of Johnson by James Gillray mocking him for his literary criticism; he is shown doing penance for Apollo and the Muses with Mount Parnassus in the background.
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