Neo-Classical Criticism - Dr. Samuel Johnson’s Preface to Shakespeare (1765)

Dr. Samuel Johnson’s Preface to Shakespeare (1765)

Introduction:

Dr. Samuel Johnson’s Preface to Shakespeare (1765) is one of the most famous and influential pieces of literary criticism in the English language. Written as part of his eight-volume edition of Shakespeare's plays, the Preface reflects Johnson’s critical perspective on Shakespeare’s genius, as well as his faults. 

Key points and themes covered in the Johnson's Preface to Shakespeare:

1. Timelessness of Shakespeare’s Works

Johnson begins by praising Shakespeare’s ability to transcend time. He argues that Shakespeare’s plays remain relevant because they explore universal human nature, emotions, and experiences. For Johnson, the playwright captures the complexities of human behavior, making his works appeal to readers and audiences of all generations. He famously writes that Shakespeare's characters "are the genuine progeny of common humanity, such as the world will always supply, and observation will always find."

2. Depiction of Human Nature

Johnson considers Shakespeare a master in portraying human nature. He praises the playwright for creating characters who are true to life, showing both their virtues and flaws. These characters are not confined to specific societal roles or caricatures but are relatable individuals whose actions and emotions mirror real-life experiences.

3. Shakespeare’s Lack of Morality

Although Johnson admires Shakespeare’s portrayal of human nature, he criticizes the playwright for not always aligning his works with moral lessons. Johnson points out that Shakespeare often presents virtue and vice in a neutral light, without explicitly rewarding goodness or punishing evil. Johnson believes that literature should uphold moral standards and teach important ethical lessons, something he feels Shakespeare neglects in favor of entertainment and drama.

4. Mixing of Tragedy and Comedy

Johnson defends Shakespeare’s blending of tragic and comic elements in his plays, which was often criticized by neoclassical critics of the time. He argues that this mixing of genres is truer to life because real human experiences contain both sorrow and joy. Life, Johnson asserts, is neither entirely tragic nor entirely comic, and Shakespeare’s combination of the two reflects the complexities of existence.

 5. Shakespeare’s Language

Johnson notes both the strengths and weaknesses of Shakespeare's language. He commends Shakespeare for his poetic excellence, mastery of metaphor, and linguistic inventiveness. However, he criticizes Shakespeare for frequently indulging in wordplay puns and conceits that, according to Johnson, often distract from the meaning and gravity of the situation. Johnson views some of these linguistic flourishes as unnecessary and excessive.

6. Shakespeare’s Plotting

Johnson acknowledges that Shakespeare’s plots were often borrowed from existing stories and sources. While he does not view this as inherently negative, he points out that Shakespeare sometimes struggles with the construction of coherent plots. He identifies moments where the playwright seems careless about maintaining unity of action and continuity. Yet, despite these plot flaws, Johnson asserts that Shakespeare’s handling of characters and dialogue overshadows these imperfections.

7. Shakespeare’s Use of the Unities

In the classical tradition, critics placed great emphasis on the unities of time, place, and action (derived from Aristotle's Poetics). These rules dictated that a play should have a single plot (unity of action), be set in one location (unity of place), and take place within 24 hours (unity of time). Johnson dismisses the rigid adherence to these unities as unnecessary. He argues that Shakespeare’s plays succeed precisely because they do not follow these constraints and instead allow for a more natural, expansive, and imaginative portrayal of events.

8. Shakespeare’s Faults

Johnson does not shy away from pointing out Shakespeare’s flaws. Aside from the lack of moral direction and occasional incoherence in the plot, Johnson criticizes Shakespeare’s tendency to deviate into trivial scenes, even amid serious action. He calls these digressions “violations of probability” but acknowledges that Shakespeare’s dramatic power often compensates for these errors.

9. Shakespeare’s Enduring Influence

Johnson concludes the Preface by emphasizing Shakespeare’s enduring influence on literature and culture. He notes that Shakespeare’s plays have been performed and admired for over a century by Johnson’s time, proving their lasting value. The playwright’s understanding of human nature, combined with his innovative language and dramatic skill, ensures that Shakespeare’s works will continue to be celebrated for generations to come.

10. Editorial Role

   As part of his edition of Shakespeare’s plays, Johnson also undertook an editorial role. He corrects textual errors, explains obscure references, and offers interpretations of difficult passages. In the Preface, he explains his approach to editing, seeking to preserve the original meaning of Shakespeare's text while making it accessible and understandable for contemporary readers.

Impact of the Preface

Johnson’s Preface to Shakespeare is not only a landmark in Shakespearean criticism but also a significant contribution to English literary criticism in general. It remains widely studied for its insights into Shakespeare’s artistry, as well as for its balanced approach that combines admiration with thoughtful critique. Johnson’s views on the role of the critic, the function of literature, and the importance of understanding human nature have had a lasting influence on the field of literary studies.