Critical Essay on Samuel Johnson’s Preface to Shakespeare

 

Critical Essay on Samuel Johnson’s Preface to Shakespeare

Introduction

Samuel Johnson’s Preface to Shakespeare (1765) stands as one of the most important critical works in the history of English literature. Written as a preface to his edition of Shakespeare's Plays, Johnson’s essay is both a critical analysis of Shakespeare’s dramatic works and a broader meditation on the nature of literary criticism, art, and the role of the critic. In the preface, Johnson argues for Shakespeare’s greatness, while simultaneously offering a measured critique of his artistic choices. The essay reflects Johnson’s intellectual rigor, deep appreciation for Shakespeare, and philosophical musings on literature and criticism. This critical essay aims to explore the central themes of Johnson’s Preface to Shakespeare, analyze his critical approach, and evaluate the lasting impact of the essay on the literary canon.

Context and Purpose of the Preface

Samuel Johnson was asked to write a preface to his edition of Shakespeare’s Plays in 1765, which was published as part of a broader editorial project. Johnson’s task was to introduce Shakespeare to a wider audience and to justify his editorial choices. At the time, Shakespeare was viewed by many as a literary giant, but his works were also criticized for their apparent lack of formal structure and for certain perceived imperfections in plot, characterization, and language. Johnson’s Preface was a response to these critiques and a defense of Shakespeare’s artistry.

The Preface serves two primary purposes:

1.   To defend Shakespeare's genius: Johnson argues that despite certain flaws in Shakespeare’s works, his creativity, insight into human nature, and emotional depth make him one of the greatest playwrights in the English language.

2.   To provide a framework for literary criticism: Through his analysis of Shakespeare, Johnson also outlines key principles for literary criticism, establishing a set of guidelines for evaluating literary works in general.

Major Themes in Preface to Shakespeare

1. Shakespeare’s Genius and Universality

A key theme in Johnson’s Preface is his unwavering defense of Shakespeare’s genius. Johnson asserts that Shakespeare’s greatness lies in his universal understanding of human nature and his ability to depict a wide range of human experiences, emotions, and moral dilemmas. Johnson writes:

“He is the poet of nature. The poet that holds up to his readers a faithful mirror of human nature.”

Shakespeare’s characters, according to Johnson, are not confined by time or social class; they reflect universal human truths. Shakespeare’s ability to create memorable, multidimensional characters—such as Hamlet, Macbeth, and Lear—demonstrates his profound understanding of the human condition. Shakespeare’s plots, though often irregular and sometimes far-fetched, are elevated by the depth of his characters and their psychological complexity.

This theme of Shakespeare as the “poet of nature” aligns with the 18^th century literary emphasis on empirical observation and the expression of universal truths. Shakespeare’s works, Johnson argues, transcend their individual plots and settings, offering insights into the universality of human experience.

2. Shakespeare’s Lack of Formal Structure

While Johnson defends Shakespeare’s genius, he does not overlook the imperfections in his work. One of the primary critiques in the Preface is the lack of formal structure in Shakespeare’s plays. Shakespeare often deviates from classical unities (unity of time, place, and action) and creates plots that are sprawling, complex, and sometimes incoherent. For instance, Shakespeare’s tragedies, like Macbeth and Hamlet, feature subplots that can seem disjointed or irrelevant.

Johnson contends that Shakespeare’s disregard for these unities may sometimes weaken his plays, but this does not diminish their overall greatness. The plays’ emotional and psychological power, according to Johnson, outweighs concerns about structural unity. Johnson notes that:

“The unity of action, which is the first rule of dramatic composition, is often violated by Shakespeare... but this irregularity is not always to be condemned.”

Here, Johnson is advocating for the prioritization of emotional resonance over formal adherence to classical rules, a view that would later become influential in the development of English Romanticism.

3. Shakespeare’s Treatment of Language and Poetry

Another key theme in Johnson’s preface is the treatment of language in Shakespeare’s plays. Johnson acknowledges Shakespeare’s linguistic prowess, noting his ability to create memorable, sometimes poetic, lines that have remained etched in the public consciousness. At the same time, Johnson is critical of Shakespeare’s frequent use of inconsistent language. He notes that Shakespeare’s characters sometimes speak in a style that is less refined than the ideal of classical orators or tragic figures.

However, Johnson justifies this linguistic irregularity by emphasizing that Shakespeare’s language is appropriate to the characters’ social standing and emotional states. The language used by a noble king like Lear differs from that used by a common character like the gravedigger in Hamlet. For Johnson, this use of language serves to enhance the realism of Shakespeare’s plays. He praises Shakespeare for capturing the dialect and speech patterns of different classes and for using language that resonates with the emotional core of the work.

4. The Role of the Critic

A significant portion of the Preface is dedicated to outlining the role and responsibilities of the literary critic. Johnson asserts that a critic must approach literature with a combination of knowledge, judgment, and fairness. A critic’s task is not to impose their own personal taste or preferences but to evaluate works based on objective standards and the merit of the work itself.

Johnson also acknowledges the subjective nature of criticism, asserting that taste is a personal but cultivated response to art. Yet, he insists that there are universal principles of excellence that can be applied to any work of literature. In the case of Shakespeare, Johnson argues that while he is imperfect, his greatness as a playwright is undeniable, and critics should appreciate him as a “poet of nature” whose insights into human behavior and emotion are unparalleled.

Critical Evaluation

Strengths of Johnson’s Preface to Shakespeare

1.   Balanced Criticism: Johnson’s Preface is notable for its balance in defending Shakespeare’s genius while also acknowledging the limitations and irregularities of his plays. This nuanced approach elevates the essay as a model of responsible literary criticism, neither blind to faults nor excessively harsh.

2.   Theoretical Contribution: Johnson’s preface contributes significantly to the theory of dramatic unity and the importance of character development over plot. His insights into Shakespeare’s treatment of language and characterization remain influential to this day.

3.   Historical Context: Johnson’s Preface serves as a vital historical document that not only defends Shakespeare’s works but also reflects the literary culture and critical standards of the 18th century.

Limitations of Johnson’s Preface to Shakespeare

1.   Classical Bias: Despite his appreciation of Shakespeare, Johnson’s critique is heavily influenced by neoclassical principles, which prioritize formality and unity. This classical bias sometimes undermines his full appreciation of the innovative nature of Shakespeare’s work. For example, his critique of Shakespeare’s disregard for the unities of time and place reflects a preference for classical standards that were being challenged by newer literary movements.

2.   Conservatism: Johnson’s conservatism is evident in his criticism of Shakespeare’s occasional departure from the decorum expected of tragic and historical plays. While his criticisms are insightful, they also limit his ability to fully embrace the imaginative and experimental aspects of Shakespeare’s plays.

Conclusion

Samuel Johnson’s Preface to Shakespeare is a landmark text in literary criticism, offering a profound defense of Shakespeare’s genius while acknowledging the imperfections in his works. Through his analysis of Shakespeare’s treatment of language, character, and plot, Johnson established important principles for the study of drama and criticism, many of which continue to influence modern scholarship. His balanced approach, emphasizing both the emotional power of Shakespeare’s plays and the imperfections in their structure, ensures the lasting significance of the Preface as one of the most important works of literary criticism in the English language.

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