Dr. Johnson’s Preface to Shakespeare (Critical Principles)
Samuel Johnson occupies a central place in eighteenth-century English criticism. Dr. Johnson’s Preface to Shakespeare (1765), written for his edition of the plays of William Shakespeare, is one of the most influential works of literary criticism in English. The essay reflects the intellectual climate of the eighteenth century, often called the Neo-Classical period, when critics valued order, reason, and adherence to established artistic principles. Yet Johnson’s criticism is notable because it combines respect for classical rules with a deep appreciation for Shakespeare’s originality and realism.
Johnson begins his discussion by explaining why Shakespeare’s works have remained popular across generations. According to Johnson, the greatness of Shakespeare lies in his ability to represent universal human nature. Shakespeare’s characters are not merely individuals belonging to a specific time or place; they embody general human emotions and experiences. Johnson famously writes:
“Nothing can please many, and please long, but just representations of general nature.”
This statement expresses one of Johnson’s central critical principles: literature achieves lasting value when it reflects universal aspects of human life. Shakespeare’s plays endure because they portray recognizable human passions—love, jealousy, ambition, fear, and grief.
Another major aspect of Johnson’s criticism is his emphasis on realism in characterization. Unlike earlier critics who idealized literary characters, Johnson admired Shakespeare because his characters behave like real people. They possess strengths and weaknesses, virtues and faults. Johnson observes that Shakespeare’s characters are “the genuine progeny of common humanity.” This means they resemble ordinary individuals rather than perfect heroic figures.
Johnson also praises Shakespeare’s extraordinary knowledge of human psychology. Shakespeare’s understanding of human motives and emotions allows him to portray complex personalities. Kings, soldiers, lovers, and villains in Shakespeare’s plays speak and act in ways that reveal their inner thoughts and moral struggles.
Despite his admiration, Johnson does not hesitate to criticize Shakespeare. One important issue concerns the violation of classical dramatic rules, especially the three unities—unity of time, unity of place, and unity of action—derived from the criticism of Aristotle. Many eighteenth-century critics believed that a play should occur within a single day, in one location, and follow a single plot. Shakespeare frequently ignored these rules.
Johnson, however, argues that strict adherence to such rules is not essential for dramatic effectiveness. He believes that audiences willingly accept changes of time and place as long as the story remains engaging and believable. Therefore, Shakespeare’s disregard for the classical unities does not weaken his dramatic power. Johnson writes that the unities are artificial conventions rather than necessary laws of drama.
Another important critical observation concerns Shakespeare’s mixture of tragic and comic elements. Classical critics often insisted that tragedy and comedy should remain separate genres. Shakespeare frequently blends serious and humorous scenes within the same play. Johnson recognizes that this mixture may violate traditional rules, but he ultimately defends it. He argues that real life itself contains both sorrow and laughter. By combining tragic and comic elements, Shakespeare reflects the true complexity of human experience.
Johnson also comments on Shakespeare’s language and style. While he praises Shakespeare’s expressive power and imaginative richness, he sometimes criticizes his excessive use of puns, wordplay, and obscure expressions. Johnson believes that Shakespeare occasionally sacrifices clarity for cleverness. Nevertheless, these faults do not diminish the overall greatness of the plays.
Another criticism Johnson raises concerns moral purpose. In some plays, he argues, Shakespeare does not clearly reward virtue or punish vice. However, Johnson still believes that Shakespeare’s works offer profound moral insight because they reveal the consequences of human actions and passions. In conclusion, Johnson’s Preface to Shakespeare establishes several important critical principles: the value of universal human nature in literature, realistic characterization, psychological insight, and the flexible use of dramatic conventions. Johnson’s balanced approach—combining admiration with honest criticism—marks a significant development in English literary criticism. His essay helped shape modern appreciation of Shakespeare and remains a foundational text for understanding eighteenth-century critical thought.
#Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare #Johnson’s Preface to Shakespeare
Read More
Johnson on Dramatic Unities and Shakespearean Drama
Defense of Poetry and Imitation
Philip Sidney: An Apology for Poetry
Aristotle’s Concept of Tragedy
Historical Background of Literary Criticism
Introduction to Literary Criticism and Theory
Visit Us on our Facebook Page: