DR.

JOHNSON AS A CRITIC [PREFACE TO SHAKESPEARE]

INTRODUCTION: Dr. Johnson is one of the greatest critics. As a literary critic he was an
exponent of classicism. He condemned (express complete disapproval) everything that did
not conform to classical doctrines. He is almost always penetrating and stimulating. His
'Preface to Shakespeare' is considered as one of the noblest monuments of English neo-
classical criticism. His judgment of Shakespeare marks the date in the history of criticism.

UNIVERSALITY AND CHARACTERIZATION

In Shakespeare’s characterization we find a realistic and convincing portrayal of human
nature. Shakespeare does not depict persons of either fabulous excellence or unexampled
depravity. The characters in his plays are not heroes but only human beings who act and
think in the way in which the reader himself would act and think under the circumstances.
Even where the agency is supernatural, the dialogue accords with real life. In his plays
Shakespeare has shown human nature not only as it acts in real solutions but as it would be
found in situation which may never arise.

Shakespeare is most original in his portrayal of characters. Johnson says that no writer
before him, with the possible exception of Chaucer, has portrayed human character in such a
realistic manner. Shakespeare has gathered his knowledge of human nature from this
personal observation. This knowledge has enabled him to portray a multiplicity and diversity
of character and to reveal subtle distinctions between man and man. In this respect, he has
none to intimate, though he himself has been imitated by all writers. Whether life or nature is
his subject, he gives evidence of having seen things with his own eyes.

It is because of the universality of his characterization that Shakespeare’s plays are full of
practical axioms and domestic wisdom. From them can be formulated a philosophy of life, of
great practical value in real life. He is not great only in particular passages but the entire
conduct of his action brings out his greatness as a poet of (human) nature.

MINGLING OF TRAGIC AND COMIC ELEMENT: ‘In Preface to Shakespeare’ Dr.

Johnson defends Shakespeare for his mingling of the tragic and comic elements in his plays
on the grounds of realism and historical background. According to him such mingling only
serves to show us the world in which the loss of one man is the gain of another. In other
words, Shakespeare was equally at home in writing tragic and comic plays. He could
combine comic and tragic elements in one and the same play. Almost all his plays are
divided between serious and ludicrous characters and they sometimes produce sorrow and
sometimes laughter.
THREE UNITIES: Shakespeare has been charged for his neglect of the unities of time and
place. But Johnson defends him in this matter. According to him this neglect is not really a
fault. He argues that if an audience in a theatre can accept the stage as a locality in the city of
Rome, they will also accept the change from Rome to Alexandria. The unity of time may
likewise be violated on the same principle. He concludes this discussion by saying that the
unities of time and place are not essential to a good play.
FAULTS OF SHAKESPEARE: In his "Preface" Johnson defends Shakespeare in many
matters, but he does not consider him to be a faultless dramatist. According to him,
Shakespeare tries more to please his audience than to instruct them. It seems that he writes
without any moral purpose. His plots are often very loosely formed and carelessly pursued.
His comic scenes are seldom very successful. In such scenes the jests are generally indecent.
Johnson does not take a favourable view of Shakespeare's tragic plays. He accuses him of
employing a disproportionate pomp of diction. He condemns Shakespeare for inappropriate
use of idle conceit and his over-fondness for quibbles (a slight objection or criticism about a
trivial matter).

Unequal words to things

Shakespeare do not often maintain reasonable proportion between his words and the things
they express. Most of this censure on Shakespeare’s style and expression is exaggerated. He
seems cold, weak, and rather frigid when the highest amount of emotional expression was
needed.