“[William] Somervile has
tried many modes of poetry; and though perhaps he has not in any reached such
excellence as to raise much envy, it may commonly be said at least, that ‘he
writes very well for a gentleman.’”
The well-read reader new
to Dr. Johnson’s Lives of the Most Eminent English Poets; with Critical Observations on Their Works (1779-81), the product of six years of Johnsonian
labor, can be forgiven his confusion. Who is this gentleman, Somerville? Who is
the endearingly named Thomas Tickell? And where among the fifty-two
biographical/critical sketches included by Johnson are Spenser and Donne? No
poet writing before the Restoration appears in Johnson’s final masterpiece, and
none who were still alive (no Cowper, no Chatterton). He tells us he wrote the
Lives “in my usual way, dilatorily and hastily; unwilling to work and working
with vigour and haste.”
The work was commissioned
as a publishers’ venture. Basically, Johnson accepted the list of approved
subjects chosen by a group of booksellers from roughly the century preceding
what we know as the Age of Johnson. That leaves Johnson’s savage, amusing, mistaken,
shrewd, sentimental, baffling profiles of Milton, Pope, Dryden, Swift and dozens of more
obscure figures. Johnson’s book, in other words, cannot be read as an
efficiently arranged survey of English verse in the manner of a Norton
anthology. No, we read it for Johnson, his loves and aversions, his insights
into poets as men. We’re intrigued by what
Johnson chooses to include. They make for good reading, their unique mingling
of critical judgments and gossip. Take one example drawn from the seven
paragraphs devoted to Somerville:
“His great work is his
Chase [1735], which he undertook in his maturer age, when his ear was improved
to the approbation of blank verse, of which, however, his two first lines give
a bad specimen. [‘The Chase I sing, hounds, and their various breed, / And no
less various use. O thou, great Prince!’] To this poem praise cannot be totally
denied. He is allowed by sportsmen to
write with great intelligence of his subject, which is the first requisite to
excellence; and though it is impossible to interest the common readers of verse
in the dangers or pleasures of the chase, he has done all that transition and
variety could easily effect; and has with great propriety enlarged his plan by
the modes of hunting used in other countries.”
For a reader without
interest in hunting or its celebration in verse, The Chase is resistant to
comfortable reading. Poetic conventions of the time make it read as though
written in an unfamiliar dialect of English:
“Awed, by the threatening
whip, the furious hounds
Around her bay; or, at
their master’s foot,
Each happy favourite
courts his kind applause,
With humble adulation
cowering low.
All now is joy. With
cheeks full-blown they wind
Her solemn dirge, while
the loud-opening pack
The concert swell, and
hills and dales return
The sadly-pleasing sounds.
Thus the poor hare,
A puny, dastard animal!
but versed
In subtle wiles, diverts
the youthful train.”
Somerville was born on this date, September 2, in 1675, and died in 1742 at age sixty-six.
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