Samuel Johnson - Biography - A Dictionary of The English Language

A Dictionary of The English Language

See also: A Dictionary of the English Language, The Rambler, The Vanity of Human Wishes, and Irene (play)

In 1746, a group of publishers approached Johnson about creating an authoritative dictionary of the English language; a contract with William Strahan and associates, worth 1,500 guineas, was signed on the morning of 18 June 1746. Johnson claimed that he could finish the project in three years. In comparison, the Académie Française had forty scholars spending forty years to complete its dictionary, which prompted Johnson to claim, "This is the proportion. Let me see; forty times forty is sixteen hundred. As three to sixteen hundred, so is the proportion of an Englishman to a Frenchman". Although he did not succeed in completing the work in three years, he did manage to finish it in nine, justifying his boast. According to Bate, the Dictionary "easily ranks as one of the greatest single achievements of scholarship, and probably the greatest ever performed by one individual who laboured under anything like the disadvantages in a comparable length of time". However, others, such as Thomas Babington Macaulay who described Johnson as "a wretched etymologist," have criticised Johnson's dictionary.

Johnson's dictionary was not the first, nor was it unique. It was, however, the most commonly used and imitated for the 150 years between its first publication and the completion of the Oxford English Dictionary in 1928. Other dictionaries, such as Nathan Bailey's Dictionarium Britannicum, included more words, and in the 150 years preceding Johnson's dictionary about twenty other general-purpose monolingual "English" dictionaries had been produced. However, there was open dissatisfaction with the dictionaries of the period. In 1741, David Hume claimed: "The Elegance and Propriety of Stile have been very much neglected among us. We have no Dictionary of our Language, and scarce a tolerable Grammar". Johnson's Dictionary offers insights into the 18th century and "a faithful record of the language people used". It is more than a reference book; it is a work of literature.

For a decade, Johnson's constant work on the Dictionary disrupted his and Tetty's living conditions. He had to employ a number of assistants for the copying and mechanical work, which filled the house with incessant noise and clutter. He was always busy with his work, and kept hundreds of books around. John Hawkins described the scene: "The books he used for this purpose were what he had in his own collection, a copious but a miserably ragged one, and all such as he could borrow; which latter, if ever they came back to those that lent them, were so defaced as to be scarce worth owning". Johnson was also distracted by Tetty's health, as she started to show signs of a terminal illness. To accommodate both his wife and his work, he moved to 17 Gough Square near his printer, William Strahan.

In preparation for the work, Johnson wrote a Plan for the Dictionary. Philip Stanhope, 4th Earl of Chesterfield, was the patron of the Plan, to Johnson's displeasure. Seven years after first meeting Johnson to go over the work, Chesterfield wrote two anonymous essays in The World recommending the Dictionary. He complained that the English language lacked structure and argued in support of the dictionary. Johnson did not like the tone of the essay, and he felt that Chesterfield had not fulfilled his obligations as the work's patron. Johnson wrote a letter expressing this view and harshly criticising Chesterfield, saying "Is not a patron, my lord, one who looks with unconcern on a man struggling for life in the water, and when he has reached ground, encumbers him with help? The notice which you have been pleased to take of my labours, had it been early, had been kind: but it has been delayed till I am indifferent and cannot enjoy it; till I am solitary and cannot impart it; till I am known and do not want it." Chesterfield, impressed by the language, kept the letter displayed on a table for anyone to read.

The Dictionary was finally published in April 1755, with the title page acknowledging that Oxford had awarded Johnson a Master of Arts degree in anticipation of the work. The published dictionary was a huge book. Its pages were nearly 18 inches (46 cm) tall, and the book was 20 inches (51 cm) wide when opened; it contained 42,773 entries, to which only a few more were added in subsequent editions, and sold for the extravagant price of £4 10s, perhaps the rough equivalent of £350 today. An important innovation in English lexicography was to illustrate the meanings of his words by literary quotation, of which there are around 114,000. The authors most frequently cited include Shakespeare, Milton and Dryden. It was years before "Johnson's Dictionary", as it came to be known, turned a profit. Author's royalties were unknown at that time, and Johnson, once his contract to deliver the book was fulfilled, received no further money from its sale. Years later, many of its quotations would be repeated by various editions of the Webster's Dictionary and the New English Dictionary.

Besides working on the Dictionary, Johnson also wrote various essays, sermons, and poems during these nine years. He decided to produce a series of essays under the title The Rambler that would run every Tuesday and Saturday for twopence each. Explaining the title years later, he told his friend, the painter Joshua Reynolds: "I was at a loss how to name it. I sat down at night upon my bedside, and resolved that I would not go to sleep till I had fixed its title. The Rambler seemed the best that occurred, and I took it". These essays, often on moral topics, tended to be more grave than the title of the series would suggest; his first comments in The Rambler were to ask "that in this undertaking thy Holy Spirit may not be withheld from me, but that I may promote thy glory, and the salvation of myself and others". The popularity of The Rambler took off once the issues were collected as a volume; they were reprinted nine times during Johnson's life. Writer and printer Samuel Richardson, enjoying the essays greatly, questioned the publisher as to who wrote the works; only he and a few of Johnson's friends were told of Johnson's authorship. One friend, the novelist Charlotte Lennox, includes a defence of The Rambler in her novel The Female Quixote (1752). In particular, the character Mr. Glanville says, "you may sit in Judgment upon the Productions of a Young, a Richardson, or a Johnson. Rail with premeditated Malice at the Rambler; and for the want of Faults, turn even its inimitable Beauties into Ridicule" (Book VI, Chapter XI). Later, she claims Johnson as "the greatest Genius in the present Age".

His necessary attendance while his play was in rehearsal, and during its performance, brought him acquainted with many of the performers of both sexes, which produced a more favourable opinion of their profession than he had harshly expressed in his Life of Savage ... He for considerable time used to frequent the Green Room, and seemed to take delight in dissipating his gloom, by mixing in the sprightly chit-chat of the motley circle then to be found there. Mr David Hume related to me from Mr Garrick, that Johnson at last denied himself this amusement, from considerations of rigid virtue; saying, "I'll come no more behind your scenes, David; for the silk stockings and white bosoms of your actresses excite my amorous propensities".

“ ” Boswell's Life of Samuel Johnson

However, not all of his work was confined to The Rambler. His most highly regarded poem, The Vanity of Human Wishes, was written with such "extraordinary speed" that Boswell claimed Johnson "might have been perpetually a poet". The poem is an imitation of Juvenal's Satire X and claims that "the antidote to vain human wishes is non-vain spiritual wishes". In particular, Johnson emphasises "the helpless vulnerability of the individual before the social context" and the "inevitable self-deception by which human beings are led astray". The poem was critically celebrated but it failed to become popular, and sold less than London. In 1749, Garrick made good on his promise that he would produce Irene, but its title was altered to Mahomet and Irene to make it "fit for the stage". The show eventually ran for nine nights.

Tetty Johnson spent most of her time in London ill, and in 1752 she decided to return to the countryside while Johnson was busy working on his Dictionary. She died on 17 March 1752, and, at word of her death, Johnson wrote a letter to his old friend Taylor, which according to Taylor "expressed grief in the strongest manner he had ever read". He wrote a sermon in her honour, to be read at her funeral, but Taylor refused to read it, for reasons which are unknown. This only exacerbated Johnson's feelings of being lost, and his despair after the death of his wife, and John Hawkesworth had to take over organising the funeral. Johnson felt guilty about the poverty in which he believed he had forced Tetty to live, and blamed himself for neglecting her. He became outwardly discontent, and his diary was filled with prayers and laments over her death until his own. She was his primary motivation, and her death hindered his ability to complete his work.