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 you will find general truths sincerely and vigorously expressed, but behind the brave array of dogma you will find everywhere the strongest marks of an individual mind, and the charm and colour of personal predilections. The Romantic writers must not be allowed the credit of inventing the personal note in literature. What they invented was not themselves, but a certain sentimental way of regarding themselves. Johnson despised all such sentiment. 'When a butcher tells you,' he said, 'that his heart bleeds for his country, he has in fact no uneasy feeling.' Rousseau is not more individual in his cultivation of sentiment than Johnson in his dislike of it. He carried this dislike to strange extremes, so that all gesticulation and expression of the emotions became suspect to him. Of the preaching of Dr. Isaac Watts he says, 'He did not endeavour to assist his eloquence by any gesticulations; for, as no corporeal actions have any correspondence with theological truth, he did not see how they could enforce it.' Perhaps the best example of this fixed distaste for demonstrative emotion may be found in his contempt for the actor's profession. It is dangerous to quarrel with Boswell, but it seems to me impossible to accept his suggestion that Johnson's opinions concerning stage-players had their origin in jealousy of the success of Garrick. Such jealousy is utterly unlike all that we know of Johnson. On the other hand, a hatred of show and a fierce resentment at the response of his own feelings to cunningly simulated passion are exactly what we should expect in him. The passages in which he has expressed himself on this matter are too many and too various to be attributed to a gust of personal ill-feeling. One of the most delightful of them occurs in his notes on the character of Bottom in A Midsummer