When he became more retired, he gave us his Vanity of Human Wishes, which is as hard as Greek. Had he gone on to imitate another satire, it would have been as hard as Hebrew[571].'
[Page 194: Lydiat's life. A.D. 1749.]
But The Vanity of Human Wishes is, in the opinion of the best judges, as high an effort of ethick poetry as any language can shew. The instances of variety of disappointment are chosen so judiciously and painted so strongly, that, the moment they are read, they bring conviction to every thinking mind. That of the scholar must have depressed the too sanguine expectations of many an ambitious student[572]. That of the warrior, Charles of Sweden, is, I think, as highly finished a picture as can possibly be conceived.
[Page 195: The conclusion of Johnson's poem. AEtat 40.]
Were all the other excellencies of this poem annihilated, it must ever have our grateful reverence from its noble conclusion; in which we are consoled with the assurance that happiness may be attained, if we 'apply our hearts[573]' to piety:
'Where then shall hope and fear their objects find? Shall dull suspense corrupt the stagnant mind? Must helpless man, in ignorance sedate, Roll darkling down the torrent of his fate? Shall no dislike alarm, no wishes rise, No cries attempt the mercy of the skies? Enthusiast[574], cease; petitions yet remain, Which Heav'n may hear, nor deem Religion vain. Still raise for good the supplicating voice, But leave to Heaven the measure and the choice. Safe in His hand, whose eye discerns afar The secret ambush of a specious pray'r; Implore His aid, in His decisions rest, Secure whate'er He gives He gives the best. Yet when the sense of sacred presence fires, And strong devotion to the skies aspires, Pour forth thy fervours for a healthful mind, Obedient passions, and a will resign'd; For love, which scarce collective man can fill, For patience, sovereign o'er transmuted ill; For faith, which panting for a happier seat, Counts death kind Nature's signal for retreat. These goods for man the laws of Heaven ordain, These goods He grants, who grants the power to gain; With these celestial wisdom calms the mind, And makes the happiness she does not find.'
[Page 196: IRENE on the stage. A.D. 1749.]
Garrick being now vested with theatrical power by being manager of Drury-lane theatre, he kindly and generously made use of it to bring out Johnson's tragedy, which had been long kept back for want of encouragement. But in this benevolent purpose he met with no small difficulty from the temper of Johnson, which could not brook that a drama which he had formed with much study, and had been obliged to keep more than the nine years of Horace[575], should be revised and altered at the pleasure of an actor[576]. Yet Garrick knew well, that without some alterations it would not be fit for the stage. A violent dispute having ensued between them, Garrick applied to the Reverend Dr. Taylor to interposc. Johnson was at first very obstinate. 'Sir, (said he) the fellow wants me to make Mahomet run mad, that he may have an opportunity of tossing his hands and kicking his heels[577].' He was, however, at last, with difficulty, prevailed on to comply with Garrick's wishes, so as to allow of some changes; but still there were not enough.
[Page 197: The Epilogue to IRENE. AEtat 40.]
Dr. Adams was present the first night of the representation of Irene, and gave me the following account: 'Before the curtain drew up, there were catcalls whistling, which alarmed Johnson's friends. The Prologue, which was written by himself in a manly strain, soothed the audience[578], and the play went off tolerably, till it came to the conclusion, when Mrs. Pritchard[579], the heroine of the piece, was to be strangled upon the stage, and was to speak two lines with the bow-string round her neck. The audience cried out "Murder! Murder[580]!" She several times attempted to speak; but in vain. At last she was obliged to go off the stage alive.' This passage was afterwards struck out, and she was carried off to be put to death behind the scenes, as the play now has it[581]. The Epilogue, as Johnson informed me, was written by Sir William Yonge[582]. I know not how his play came to be thus graced by the pen of a person then so eminent in the political world.
Notwithstanding all the support of such performers as Garrick, Barry, Mrs. Cibber, Mrs. Pritchard, and every advantage of dress and decoration, the tragedy of Irene did not please the publick[583]. Mr. Garrick's zeal carried it through for nine nights[584], so that the authour had his three nights' profits; and from a receipt signed by him, now in the hands of Mr. James Dodsley, it appears that his friend Mr. Robert Dodsley gave him one hundred pounds for the copy, with his usual reservation of the right of one edition[585].
[Page 198: IRENE as a poem. A.D. 1749.]
[Page 199: Johnson no tragedy-writer. AEtat 40.]
Irene, considered as a poem, is intitled to the praise of superiour excellence[586]. Analysed into parts, it will furnish a rich store of noble sentiments, fine imagery, and beautiful language; but it is deficient in pathos, in that delicate power of touching the human feelings, which is the principal end of the drama[587].