Preface to Shakespeare - Samuel Johnson

Summary

Samuel Johnson's "Preface to Shakespeare" is a seminal work of literary criticism that both praises and critiques William Shakespeare. Published in 1765 as an introduction to Johnson's edition of Shakespeare's plays, the "Preface" defends Shakespeare's enduring appeal based on his fidelity to "general nature" and his universality across time and culture. Johnson argues that Shakespeare's characters are not mere caricatures but realistic portrayals of humanity, appealing to readers of all ages because they reflect common human experience. While lauding Shakespeare's strengths, particularly his ability to portray universal emotions and complex characters, Johnson also candidly addresses his flaws, such as his occasional disregard for moral purpose, historical inaccuracies, loose plot construction, and fondness for puns. A significant portion of the "Preface" is dedicated to dismantling the strict adherence to the classical unities of time and place, arguing that dramatic illusion is not broken by their violation because audiences are always aware they are watching a play. Johnson also discusses the textual corruption of Shakespeare's plays and outlines his own principles for editing them. Ultimately, the "Preface" establishes Shakespeare as a genius whose merits far outweigh his faults, grounding his greatness in his profound understanding and portrayal of human nature.

Book Sections

Section 1: Introduction and Defense of Shakespeare's Universality

Johnson begins by asserting Shakespeare's unique position in literature, noting that he is one of the few authors whose works have stood the test of time, appealing to successive generations and diverse cultures. He attributes this enduring success to Shakespeare's fidelity to "general nature." Unlike other writers who depict fleeting customs or particular individuals, Shakespeare portrays universal human passions, motives, and behaviors that are recognizable across all eras. Johnson argues that Shakespeare's characters are not confined to a specific place or time; they are "the genuine progeny of common humanity." This makes his plays relevant to anyone who understands human nature, transcending national and temporal boundaries. Johnson emphasizes that Shakespeare holds up a mirror to life itself, showing us not what we wish to see, but what we are.

Characters Involved	Characteristics	Motivations
William Shakespeare	Observant of human nature, universal appeal, timeless, genius, portrays general humanity	To depict life as it is, to create characters that resonate with universal human experience, to entertain and instruct
Samuel Johnson	Critical, analytical, insightful, respectful of tradition yet willing to challenge it	To provide a comprehensive and fair assessment of Shakespeare, to justify his enduring greatness, to establish critical principles
The Audience/Reader	Capable of recognizing universal truths, seeking entertainment and instruction	To understand human nature, to be moved by dramatic portrayal, to experience the catharsis of art

Section 2: Shakespeare's Merits and Strengths

Johnson delves into Shakespeare's specific strengths. He praises Shakespeare for creating characters that are not mere types but complex, individual human beings, even if they embody general human traits. He particularly highlights Shakespeare's skill in blending tragedy and comedy, which Johnson defends as a true representation of life itself. In life, he argues, joy and sorrow, seriousness and levity, are constantly intermingled, and Shakespeare's plays reflect this natural variety. He asserts that Shakespeare possesses an unrivaled ability to move the passions, evoking genuine terror, pity, joy, or mirth in his audience. Furthermore, Johnson notes Shakespeare's rich and varied language, his imaginative power, and his keen observation of the nuances of human interaction and emotion, which allows him to penetrate the depths of the human psyche.

Section 3: Shakespeare's Faults and Weaknesses

Despite his immense admiration, Johnson is unflinchingly honest about Shakespeare's flaws. He criticizes Shakespeare for sometimes sacrificing moral instruction for the sake of convenience or popular appeal; his plays, Johnson argues, occasionally lack a clear didactic purpose, and virtue is not always rewarded, nor vice punished. He points out Shakespeare's frequent disregard for historical accuracy and geographical facts, and his anachronisms (e.g., clocks in ancient Rome). Johnson also finds fault with Shakespeare's sometimes loose and hurried plot construction, where narratives are often left unresolved or are inconsistent. A significant criticism is Shakespeare's "idle fancies" and "quibbles" – his excessive fondness for puns and wordplay, even in serious moments, which Johnson considers a distraction and a sign of poor judgment. He also notes instances of bombast and excessive rhetoric in some of Shakespeare's tragic speeches.

Section 4: The Question of the Dramatic Unities

One of the most famous sections of the "Preface" is Johnson's detailed refutation of the strict adherence to the classical unities of time and place. These unities dictate that a play's action should occur within a single day and in a single location. Johnson argues that these rules are based on a false premise: the idea that the audience mistakes the stage for reality. He contends that no audience ever genuinely believes they are witnessing real events unfolding in real-time and space. The audience, Johnson asserts, is always fully aware that they are watching a play, a "dramatic representation." Therefore, their imagination is capable of accepting changes in time and location without difficulty. The only unity Johnson deems truly important is the unity of action, ensuring that all parts of the plot contribute to a coherent and singular narrative purpose. He humorously questions why an audience who can accept Rome on the stage cannot also accept a passage of time or a change of scene.

Characters Involved	Characteristics	Motivations
Classical Critics/Theorists	Adherents to traditional rules, proponents of the dramatic unities	To maintain order and verisimilitude in drama, based on Aristotelian principles
William Shakespeare	Disregards formal rules, prioritizes dramatic impact and realism	To represent life naturally, to engage the audience's imagination freely
Samuel Johnson	Pragmatic, logical, challenges dogmatic rules	To free dramatic criticism from arbitrary constraints, to justify Shakespeare's practice

Section 5: Historical Context and Textual Corruption

Johnson then shifts to considering Shakespeare within his historical context. He acknowledges that some of Shakespeare's perceived flaws, such as his anachronisms or unpolished language, might be attributed to the primitive state of the English language and the theatrical conventions of his era. Shakespeare wrote for a less refined audience and under different literary expectations. Johnson also discusses the immense challenge of editing Shakespeare's plays due to the corruption of the original texts. He explains that early editions were often printed from inaccurate manuscripts, actors' memories, or hastily prepared copy, leading to numerous errors, omissions, and interpolations. He highlights the difficulties faced by subsequent editors who attempted to restore the true text amidst these textual inconsistencies.

Section 6: Johnson's Editorial Principles and Conclusion

In the final section, Johnson outlines his own editorial philosophy for his edition of Shakespeare's plays. He explains his approach to textual emendation, aiming to clarify obscure passages while respecting the original text as much as possible. He discusses the responsibility of an editor to identify and correct errors, but also to refrain from imposing personal interpretations or altering the author's original intent. Johnson details his methods of comparing different editions, consulting various sources, and providing extensive footnotes to explain his choices and offer alternative readings. He acknowledges the work of previous editors, both praising their contributions and pointing out their limitations. He concludes by reiterating Shakespeare's unparalleled genius, despite his imperfections, and his enduring legacy as a profound observer and portrayer of human nature, whose works remain a source of endless fascination and instruction.

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Literary Genre: Literary Criticism, Essay, Preface.

Author Facts:

• Samuel Johnson (1709–1784) was a prominent English writer, poet, essayist, moralist, literary critic, biographer, editor, and lexicographer.
• He is often referred to as "Dr. Johnson."
• His most monumental work is "A Dictionary of the English Language" (1755), which had a profound impact on the English language and established him as one of the most significant literary figures of his time.
• He was the subject of James Boswell's "The Life of Samuel Johnson, LL.D.," considered one of the greatest biographies in English literature.
• Johnson was a leading figure of the Augustan Age or the Age of Reason in English literature.

Moral/Message (Moraleja):
The primary message of the "Preface to Shakespeare" is that true literary genius stems from a faithful portrayal of universal human nature, transcending specific historical or cultural contexts. While adherence to rules and formal correctness can be valuable, they are secondary to the power of imaginative truth and the ability to capture the essence of humanity. Johnson teaches us to appreciate art for its fundamental truths, even when it exhibits imperfections, and to approach criticism with both rigorous analysis and a generous understanding of an author's unique gifts.

Curiosities:

• Johnson's "Preface" was part of his own comprehensive, eight-volume edition of Shakespeare's plays, a project he undertook over many years and considered a significant endeavor.
• His famous dismissal of the dramatic unities of time and place revolutionized literary criticism, freeing it from dogmatic adherence to classical rules and encouraging a more naturalistic approach to drama.
• Johnson was initially reluctant to undertake the Shakespeare edition, finding the textual collation and annotation tedious, but he felt compelled by the need for a scholarly and accurate version of the Bard's works.
• Despite his deep respect for Shakespeare, Johnson was also known for his strong opinions and sometimes harsh judgments, making his balanced critique in the "Preface" particularly striking.
• The "Preface" is often studied as a foundational text for understanding 18th-century literary theory and the development of modern literary criticism.