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of Paris is still beyond any thing that we have here." JOHNSON. "Sir, I question if in Paris such a company as is sitting round this table could be got together in less than half a year. They talk in France of the felicity of men and women living together: the truth is, that there the men are not higher than the women, they know no more than the women do, and they are not held down in their conversation by the presence of women." RAMSAY. "Literature is upon the growth, it is in its spring in France: here it is rather passée." JOHNSON. "Literature was in France long before we had it. Paris was the second city for the revival of letters: Italy had it first, to be sure. What have we done for literature, equal to what was done by the Stephani and others in France? Our literature came to us through France. Caxton printed only two books, Chaucer and Gower, that were not translated from the French; and Chaucer, we know, took much from the Italians. No, Sir, if literature be in its spring in France, it is a second spring; it is after a winter. We are now before the French in literature: but we had it long after them. In England, any man who wears a sword and a powdered wig is ashamed to be illiterate. I believe it is not so in, France. Yet there is, probably, a great deal of learning in France, because they have such a number of religious establishments; so many men who have nothing else to do but to study. I do not know this; but I take it upon the common principles of

chance. Where there are many shooters, some will hit."

We talked of old age. Johnson (now in his seventieth year) said, "It is a man's own fault, it is from want of use, if his mind grows torpid in old age." (1) The bishop asked, if an old man does not lose faster than he gets. JOHNSON. "I think not, my Lord, if he exerts himself." One of the company rashly observed, that he thought it was happy for an old man that insensibility comes upon him. JOHNSON (with a noble elevation and disdain).

(1) Hobbes was of the same opinion with Johnson on this subject; and, in his answer to D'Avenant's Preface to Gondibert, with great spirit, explodes the current opinion, that the mind in old age is subject to a necessary and irresistible debility. "And now, while I think on 't," says the philosopher, "give me leave, with a short discord, to sweeten the harmony of the approaching close. I have nothing to object to your poem, but dissent only from something in your preface, sounding to the prejudice of age. It is commonly said, that old age is a return to childhood: which methinks you insist on so long, as if you desired it should be believed. That's the note I mean to shake a little. That saying, meant only of the weakness of body, was wrested to the weakness of mind, by froward children, weary of the controlment of their parents, masters, and other admonitors. Secondly, the dotage and childishness they ascribe to age is never the effect of time, but sometimes of the excesses of youth, and not a returning to, but a continual stay with, childhood. For they that want the curiosity of furnishing their memories with the rarities of nature in their youth, and pass their time in mak◄ ing provision only for their ease and sensual delight, are children still, at what years soever; as they that coming into a populous city, never going out of their inn, are strangers still, how long soever they have been there. Thirdly, there is no reason for any man to think himself wiser to-day than yesterday, which does not equally convince he shall be wiser to-morrow than today. Fourthly, you will be forced to change your opinion hereafter, when you are old; and, in the meantime, you discredit all I have said before in your commendation, because I am old already. But no more of this." Hobbes, when he wrote these pleasing and sensible remarks, was sixty-two years old, and D'Avenant forty-five.. M.

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"No, Sir, I should never be happy by being less rational." BISHOP OF ST. ASAPH. "Your wish then, Sir, is γηράσκειν διδασκομενος.” JOHNSON. "Yes, my Lord." His Lordship mentioned a charitable establishment in Wales, where people were maintained, and supplied with every thing, upon the condition of their contributing the weekly produce of their labour; and, he said, they grew quite torpid for want of property. JOHNSON. "They have no object for hope. Their condition cannot be better. It is rowing without a port."

One of the company asked him the meaning of the expression in Juvenal, unius lacerta. JOHNSON. "I think it clear enough; as much ground as one may have a chance to find a lizard upon."

Commentators have differed as to the exact meaning of the expression by which the poet intended to enforce the sentiment contained in the passage where these words occur. It is enough that they mean to denote even a very small possession, provided it be a man's own:

"Est aliquid, quocunque loco, quocunque recessu,
Unius sese dominum fecisse lacertæ." (1)

This season there was a whimsical fashion in the newspapers of applying Shakspeare's words to de

(1) ["Poor Boswell was a man of infinite curiosity: it is a pity that he never heard of the ingenious conjecture of a Dutch critic, who would exchange lacerta for lacerti, which he accurately translates een handvol landts, and still more accurately interprets, a piece of ground equal in extent to the space between the shoulder and the elbow' (of a middle-sized man, I presume; though the critic has inadvertently forgotten to mention it)." GIFFORD, Juvenal, v. i. p. 124.J

scribe living persons well known in the world; which was done under the title of "Modern Characters from Shakspeare;" many of which were admirably adapted. The fancy took so much, that they were afterwards collected into a pamphlet. Somebody said to Johnson, across the table, that he had not been in those characters. "Yes," said he, "I have. I should have been sorry to have been left out." He then repeated what had been applied to him:

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"You must borrow me Garagantua's mouth.

Miss Reynolds not perceiving at once the meaning of this, he was obliged to explain it to her, which had something of an awkward and ludicrous effect. Why, Madam, it has a reference to me, as using big words, which require the mouth of a giant to pronounce them. Garagantua is the name of a giant in Rabelais." BOSWELL. "But, Sir, there is another amongst them for you:

"He would not flatter Neptune for his trident,

Or Jove for his power to thunder.'"

JOHNSON. "There is nothing marked in that. No, Sir, Garagantua is the best." Notwithstanding this ease and good-humour, when I, a little while afterwards, repeated his sarcasm on Kenrick (vol. il. p. 300.), which was received with applause, he asked, "Who said that?" and on my suddenly answering, Garagantua, he looked serious, which was a sufficient indication that he did not wish it to be kept up.

When we went to the drawing-room, there was a rich assemblage. Besides the company who had been at dinner, there were Mr. Garrick, Mr. Harris of

Salisbury, Dr. Percy, Dr. Burney, the Honourable Mrs. Cholmondeley, Miss Hannah More, &c. &c.

After wandering about in a kind of pleasing distraction for some time, I got into a corner, with Johnson, Garrick, and Harris. GARRICK (to Harris). "Pray, Sir, have you read Potter's Eschylus?" HARRIS. "Yes; and think it pretty." GARRICK (to Johnson). "And what think you, Sir, of it?" JOHNSON. "I thought what I read of it verbiage: but upon Mr. Harris's recommendation, I will read a play. (To Mr. Harris.) Don't prescribe two." Mr. Harris suggested one, I do not remember which. JOHNSON. "We must try its effect as an English poem; that is the way to judge of the merit of a translation. Translations are, in general, for people who cannot read the original." I mentioned the vulgar saying, that Pope's Homer was not a good representation of the original. JOHNSON. "Sir, it is the greatest work of the kind that has ever been produced." BoS WELL. "The truth is, it is impossible perfectly to translate poetry. In a different language it may be the same tune, but it has not the same tone. Homer plays it on a bassoon : Pope on a flageolet." HARRIS. "I think heroic poetry is best in blank verse; yet it appears that rhyme is essential to English poetry, from our deficiency in metrical quantities. In my opinion, the chief excellence of our language is numerous prose." JOHNSON. "Sir William Temple was the first writer who gave cadence to English prose. (1)

(1) The author, in Vol. 1. p. 258., says, that Johnson once told him, "that he had formed his style upon that of Sir William

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