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 106 ARTISTS AND AUTHORS loqaial talents were indeed of the highest order. He had strong sense, quick discernment, wit, humor, immense knowledge of literature and of life, and an in- finite store of curious anecdotes. As respected style, he spoke far better than he wrote. Every sentence which dropped from his lips was as correct in structure as the most nicely balanced period of The Rambler. But in his talk there were no pompous triads, and little more than a fair proportion of words in osity and ation. All was simplicity, ease, and vigor. He uttered his short, weighty, and pointed sentences with a power of voice, and a justness and energy of em- phasis, of which the effect was rather increased than diminished by the rollings of his huge form, and by the asthmatic gaspings and puffings in which the peals of his eloquence generally ended. Nor did the laziness which made him unwill- ing to sit down to his desk prevent him from giving instruction or entertainment orally To discuss questions of taste, of learning, of casuistry, in language so exact and so forcible that it might have been printed without the alteration of a word, was to him no exertion, but a pleasure. He loved, as he said, to fold his legs and have his talk out. He was ready to bestow the overflowings of his full mind on anybody who would start a subject, on a fellow-passenger in a stage- coach, or on the person who sat at the same table with him in an eating-house. But his conversation was nowhere so brilliant and striking as when he was sur- rounded by a few friends, whose abilities and knowledge enabled them, as he once expressed it, to send him back every ball that he threw. On Easter eve, 1777, some persons, deputed by a meeting which consisted of forty of the first booksellers in London, called upon J ohnson. Though he had some scruples about doing business at that season, he received his visitors with much civility. They came to inform him that a new edition of the English poets, from Cowley downward, was in contemplation, and to ask him to furnish short biographical prefaces. He readily undertook the task, a task for which he was pre-eminently qualified. His knowledge of the literary history of England since the Restoration was unrivalled. That knowledge he had derived partly from books, and partly from sources which had long been closed ; from old Grub- Street traditions ; from the talk of forgotten poetasters and pamphleteers who had long been lying in parish vaults ; from the recollections of such men as Gil- bert Walmesley, who had conversed with the wits of Button ; Cibber, who had mutilated the plays of two generations of dramatists ; Orrery, who had been ad- mitted to the society of Swift ; and Savage, who had rendered services of no very honorable kind to Pope. The biographer, therefore, sat down to his task with a mind full of matter. He had at first intended to give only a paragraph to every minor poet, and only four or five pages to the greatest name. But the flood of anecdote and criticism overflowed the narrow channel. The work, which was originally meant to consist only of a few sheets, swelled into ten vol- umes small volumes, it is true, and not closely printed. The first four appeared in 1779, the remaining six in 1781. When at length the moment, dreaded through so many years, came close, the dark cloud passed away from Johnson's mind. His temper became unusually