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Adventurer 058 [No. 58: Presumption of modern criticism censured...] |
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Title: Adventurer 058 [No. 58: Presumption of modern criticism censured...] Author: Samuel Johnson [More Titles by Johnson] Adventurer No. 58. Saturday, May 25, 1753. Damnant quod non intelligunt. They condemn what they do not understand.
The reflection of every man who reads this passage will suggest to him the difference between the practice of Socrates, and that of modern criticks: Socrates, who had, by long observation upon himself and others, discovered the weakness of the strongest, and the dimness of the most enlightened intellect, was afraid to decide hastily in his own favour, or to conclude that an author had written without meaning, because he could not immediately catch his ideas; he knew that the faults of books are often more justly imputable to the reader, who sometimes wants attention, and sometimes penetration; whose understanding is often obstructed by prejudice, and often dissipated by remissness; who comes sometimes to a new study, unfurnished with knowledge previously necessary; and finds difficulties insuperable, for want of ardour sufficient to encounter them. Obscurity and clearness are relative terms: to some readers scarce any book is easy, to others not many are difficult: and surely they, whom neither any exuberant praise bestowed by others, nor any eminent conquests over stubborn problems, have entitled to exalt themselves above the common orders of mankind, might condescend to imitate the candour of Socrates; and where they find incontestable proofs of superior genius, be content to think that there is justness in the connexion which they cannot trace, and cogency in the reasoning which they cannot comprehend. This diffidence is never more reasonable than in the perusal of the authors of antiquity; of those whose works have been the delight of ages, and transmitted as the great inheritance of mankind from one generation to another: surely, no man can, without the utmost arrogance, imagine that he brings any superiority of understanding to the perusal of these books which have been preserved in the devastation of cities, and snatched up from the wreck of nations; which those who fled before barbarians have been careful to carry off in the hurry of migration, and of which barbarians have repented the destruction. If in books thus made venerable by the uniform attestation of successive ages, any passages shall appear unworthy of that praise which they have formerly received, let us not immediately determine, that they owed their reputation to dulness or bigotry; but suspect at least that our ancestors had some reasons for their opinions, and that our ignorance of those reasons makes us differ from them. It often happens that an author's reputation is endangered in succeeding times, by that which raised the loudest applause among his contemporaries: nothing is read with greater pleasure than allusions to recent facts, reigning opinions, or present controversies; but when facts are forgotten, and controversies extinguished, these favourite touches lose all their graces; and the author in his descent to posterity must be left to the mercy of chance, without any power of ascertaining the memory of those things, to which he owed his luckiest thoughts and his kindest reception. On such occasions, every reader should remember the diffidence of Socrates, and repair by his candour the injuries of time: he should impute the seeming defects of his author to some chasm of intelligence, and suppose that the sense which is now weak was once forcible, and the expression which is now dubious formerly determinate. How much the mutilation of ancient history has taken away from the beauty of poetical performances, may be conjectured from the light which a lucky commentator sometimes effuses, by the recovery of an incident that had been long forgotten: thus, in the third book of Horace, Juno's denunciations against, those that should presume to raise again the walls of Troy, could for many ages please only by splendid images and swelling language, of which no man discovered the use or propriety, till Le Fevre, by showing on what occasion the Ode was written, changed wonder to rational delight. Many passages yet undoubtedly remain in the same author, which an exacter knowledge of the incidents of his time would clear from objections. Among these I have always numbered the following lines: Stronger than thunder's winged force,
The conscious husband bids her rise,
The flame of his genius in other parts, though somewhat dimmed by time, is not totally eclipsed; his address and judgment yet appear, though much of the spirit and vigour of his sentiment is lost: this has happened in the twentieth Ode of the first book: A poet's beverage humbly cheap, We here easily remark the intertexture of a happy compliment with an humble invitation; but certainly are less delighted than those, to whom the mention of the applause bestowed upon Maecenas, gave occasion to recount the actions or words that produced it. Two lines which have exercised the ingenuity of modern criticks, may, I think, be reconciled to the judgment, by an easy supposition: Horace thus addresses Agrippa: Varius, a _swan of Homer's wing_,
The most elegant compliment that was paid to Addison, is of this obscure and perishable kind;
The nicety of these minute allusions I shall exemplify by another instance, which I take this occasion to mention, because, as I am told, the commentators have omitted it. Tibullus addressed Cynthia in this manner: Before my closing eyes dear Cynthia stand,
Blest was my reign, retiring Cynthia cry'd;
[1]The obscurity of this philosopher's style is complained of by Aristotle in his treatise on Rhetoric, iii. 5. We make the reference with the view of recommending to attention the whole of that book, which is interspersed with the most acute remarks, and with rules of criticism founded deeply on the workings of the human mind. It is undervalued only by those who have not scholarship to read it, and surely merits this slight tribute of admiration from an Editor of Johnson's works, with whom a Translation of the Rhetoric was long a favourite project. [The end] GO TO TOP OF SCREEN |