Devoid, as it is, of all the elements of external romance, there is perhaps no record of the extinction of genius which attracts more universal interest than this death of Samuel Johnson. So much of frivolity or so much of cant attends most of us even to the tomb, that the frank terror, expressed through a long life by this otherwise most manly and courageous person, has possessed a great fascination for posterity. The haunting insincerity of verse, particularly of eighteenth-century verse, had extracted even from Johnson, in the pages of The Vanity of Human Wishes, the usual rose-colored commonplace about death being “Kind Nature’s signal for retreat;” but he completely cleared his own mind of cant, even though a little clung about his singing robes. Boswell has given us an extraordinary instance of his habitual and dismal apprehensions in the celebrated conversation in 1769, which started with a discussion of David Hume’s supposed indifference to the idea of death. Not less familiar are the passionate asseverations with which Johnson startled Mrs. Knowles and Miss Seward in 1778 by repeating again and again that to exist in pain is better, far better, than to cease to exist altogether. These and other revelations of Johnson’s conversation have perhaps led us to exaggerate his habitual terror. There are, at least, instances to be drawn from less hackneyed sources which display his attitude towards eternity less painfully. Of these perhaps the most remarkable is that recorded in the Journal of a Tour to the Hebrides, when, on a calm Sunday afternoon, sailing from Ramsay to Skye, Johnson delivered himself of a little homily. The text was a passage from The Cypress Grove of Drummond of Hawthornden, which Boswell had happened to quote. Drummond had said that a man should leave life as cheerfully as a visitor who has examined an antiquary’s cabinet sees the curtain drawn again, and makes way to admit fresh pilgrims to the show. Johnson stripped the conceit to the skin, as he was in the habit of doing: —
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