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though that may be the sum of all the rest. Johnson had a supreme capacity for human relationship. In him this capacity amounted to genius.

In all respects he was of great stature. His contemporaries called him a colossus, the literary Goliath, the Giant, the great Cham of literature, a tremendous companion. His frame was majestic; he strode when he walked, and his physical strength and courage were heroic. His mode of speaking was 'very impressive,' his utterance 'deliberate and strong.' His conversation was compared to 'an antique statue, where every vein and muscle is distinct and bold.' From boyhood throughout his life his companions naturally deferred to him, and he dominated them without effort. But what overcame the harshness of this autocracy, and made it reasonable, was the largeness of a nature that loved men and was ever hungry for knowledge of them. 'Sir,' said he, 'I look upon every day lost in which I do not make a new acquaintance.' And again: 'Why, Sir, I am a man of the world. I live in the world, and I take, in some degree, the color of the world as it moves along.' Thus he was a part of all that he met, a central figure in his time, with whose opinion one must reckon in considering any important matter of his day.

His love of London is but a part of his hunger for men. "The happiness of London is not to be conceived but by those who have been in it.' 'Why, Sir, you find no man at all intellectual who is willing to leave London: No, Sir, when a man is tired of London, he is tired of life; for there is in London all that life can afford.' As he loved London, so he loved a tavern for its sociability. 'Sir, there is nothing which has yet been contrived by man, by which so much happiness is produced as by a good tavern.' 'A tavern chair is the throne of human felicity.'

Personal words are often upon his lips, such as 'love' and 'hate,' and vast is the number, range, and variety of

people who at one time or another had been in some degree personally related with him, from Bet Flint and his black servant Francis, to the adored Duchess of Devonshire and the King himself. To no one who passed a word with him was he personally indifferent. Even fools received his personal attention. Said one: 'But I don't understand you, Sir.' 'Sir, I have found you an argument. I am not obliged to find you an understanding.' 'Sir, you are irascible,' said Boswell; 'you have no patience with folly or absurdity.' But it is in Johnson's capacity for friendship that his greatness is specially revealed. 'Keep your friendships in good repair.' As the old friends disappeared, new ones came to him. For Johnson seems never to have sought out friends. He was not a common 'mixer.' He stooped to no devices for the sake of popularity. He pours only scorn upon the lack of mind and conviction which is necessary to him who is everybody's friend.

His friendships included all classes and all ages. He was a great favorite with children, and knew how to meet them, from little four-months-old Veronica Boswell to his godchild Jane Langton. 'Sir,' said he, 'I love the acquaintance of young people, . . . young men have more virtue than old men; they have more generous sentiments in every respect.' At sixty-eight he said: 'I value myself upon this, that there is nothing of the old man in my conversation.' Upon women of all classes and ages he exerts without trying a charm the consciousness of which would have turned any head less constant than his own, and with their fulsome adoration he was pleased none the less for perceiving its real value.

But the most important of his friendships developed between him and such men of genius as Boswell, David Garrick, Oliver Goldsmith, Sir Joshua Reynolds, and Edmund Burke. Johnson's genius left no fit testimony of itself from his own hand. With all the greatness of his mind he

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had no talent in sufficient measure by which fully to express himself. He had no ear for music and no eye for painting, and the finest qualities in the creations of Goldsmith were lost upon him. But his genius found its talents in others, and through the talents of his personal friends expressed itself as it were by proxy. They rubbed their minds upon his, and he set in motion for them ideas which they might use. But the intelligence of genius is profounder and more personal than mere ideas. It has within it something energic, expansive, propulsive from mind to mind, perennial, yet steady and controlled; and it was with such force that Johnson's almost superhuman personality inspired the art of his friends. Of this they were in some degree aware. Reynolds confessed that Johnson formed his mind, and 'brushed from it a great deal of rubbish.' Gibbon called Johnson 'Reynolds' oracle.' In. one of his Discourses Sir Joshua, mindful no doubt of his own experience, recommends that young artists seek the companionship of such a man merely as a tonic to their art. Boswell often testifies to the stimulating effect of Johnson's presence. Once he speaks of 'an animating blaze of eloquence, which roused every intellectual power in me to the highest pitch'; and again of the 'full glow' of Johnson's conversation, in which he felt himself 'elevated as if brought into another state of being.' He says that all members of Johnson's 'school' are distinguished for a love of truth and accuracy which they would not have possessed in the same degree if they had not been acquainted with Johnson.' He quotes Johnson at length and repeatedly as the author of his own large conception of biography. He was Goldsmith's 'great master,' Garrick feared his criticism, and one cannot but recognize the power of Johnson's personality in the increasing intelligence and consistency of Garrick's interpretations, in the growing vigor and firmness of Goldsmith's stroke, in the charm, finality, and exuberant life of Sir

Joshua's portraits; and above all in the skill, truth, brilliance, and life-like spontaneity of Boswell's art. It is in such works as these that we shall find the real Johnson, and through them that he will exert the force of his personality upon us.

Biography is the literature of realized personality, of life as it has been lived, of actual achievements or shortcomings, of success or failure; it is not imaginary and embellished, not what might be or might have been, not reduced to prescribed or artificial forms, but it is the unvarnished story of that which was delightful, disappointing, possible, or impossible, in a life spent in this world.

In this sense it is peculiarly the literature of truth and authenticity. Elements of imagination and speculation must enter into all other forms of literature, and as purely creative forms they may rank superior to biography; but in each case it will be found that their authenticity, their right to our attention and credence, ultimately rests upon the biographical element which is basic in them, that is, upon what they have derived by observation and experience from a human life seriously lived. Biography contains this element in its purity. For this reason it is more authentic than other kinds of literature, and more relevant. The thing that most concerns me, the individual, whether I will or no, is the management of myself in this world. The fundamental and essential conditions of life are the same in any age, however the adventitious circumstances may change. The beginning and the end are the same, the average length the same, the problems and the prize the same. How, then, have others managed, both those who failed and those who succeeded, or those, in far greatest number, who did both? Let me know their ambitions, their odds, their handicaps, obstacles, weaknesses, and struggles, how they finally fared, and what they had to say about it. Let me know a great

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variety of such instances that I may mark their disagreements, but more especially their agreement about it. How did they play the game? How did they fight the fight that I am to fight, and how in any case did they lose or win? To these questions biography gives the direct answer. Such is its importance over other literature. For such reasons, doubtless, Johnson 'loved' it most. For such reasons the book which has been most cherished and revered for wellnigh two thousand years is a biography.

Biography, then, is the chief text-book in the art of living, and pre-eminent in its kind is the Life of Johnson. Here is the instance of a man who was born into a life stripped of all ornament and artificiality. His equipment in mind and stature was Olympian, but the odds against him were proportionate to his powers. Without fear or complaint, without boast or noise, he fairly joined issue with the world and overcame it. He scorned circumstance, and laid bare the unvarying realities of the contest. He was ever the sworn enemy of speciousness, of nonsense, of idle and insincere speculation, of the mind that does not take seriously the duty of making itself up, of neglect in the gravest consideration of life. He insisted upon the rights and dignity of the individual man, and at the same time upon the vital necessity to him of reverence and submission, and no man ever more beautifully illustrated their interdependence, and their exquisite combination in a noble nature.

Boswell's Johnson is consistently and primarily the life of one man. Incidentally it is more, for through it one is carried from his own present limitations into a spacious and genial world. The reader there meets a vast number of people, men, women, children, nay even animals, from George the Third down to the cat Hodge. By the author's magic each is alive, and the reader mingles with them as with his acquaintances. It is a varied world, and includes the smoky and swarming courts and highways of London, its