In the course of the summer he returned to Lichfield, where he had left Mrs. Johnson, and there he at last finished his tragedy, which was not executed with his rapidity of composition upon other occasions, but was slowly and painfully elaborated. A few days before his death, while burning a great mass of papers, he picked out from among them the original unformed sketch of this tragedy, in his own handwriting, and gave it to Mr. Langton, by whose favour a copy of it is now in my possession. It contains fragments of the intended plot, and speeches for the different persons of the drama, partly in the raw materials of prose, partly worked up into verse; as also a variety of hints for illustration, borrowed from the Greek, Roman, and modern writers. handwriting is very difficult to be read, even by those who were best acquainted with Johnson's mode of penmanship, which at all times was very particular. The King having graciously accepted of this manuscript as a literary curiosity, Mr. Langton made a fair and distinct copy of it, which he ordered to be bound up with the original and the printed tragedy; and the volume is deposited in the King's library. (1) His Majesty was pleased to permit Mr. Langton to take a copy of it for himself.

The

The whole of it is rich in thought and imagery, and happy expressions; and of the disjecta membra scattered throughout, and as yet unarranged, a good dramatic poet might avail himself with considerable

(1) [The library of King George III. now forms, by the munificent donation of his son, George IV., part of the great national collection in the British Museum.]

advantage. I shall give my readers some specimens of different kinds, distinguishing them by the italic character.

"Nor think to say, here will I stop,

Here will I fix the limits of transgression,

Nor farther tempt the avenging rage of heaven.
When guilt like this once harbours in the breast,
Those holy beings, whose unseen direction
Guides through the maze of life the steps of man,
Fly the detested mansions of impiety,

And quit their charge to horror and to ruin."

A small part only of this interesting admonition is preserved in the play, and is varied, I think, not to advantage:

"The soul once tainted with so foul a crime,

No more shall glow with friendship's hallow'd ardour, Those holy beings whose superior care

Guides erring mortals to the paths of virtue,

Affrighted at impiety like thine,

Resign their charge to baseness and to ruin."

"I feel the soft infection

Flush in my cheek, and wander in my veins.
Teach me the Grecian arts of soft persuasion."

"Sure this is love, which heretofore I conceived the dream of idle maids, and wanton poets."

"Though no comets or prodigies foretold the ruin of Greece, signs which heaven must by another miracle enable us to understand, yet might it be foreshown, by tokens no less certain, by the vices which always bring it on."

This last passage is worked up in the tragedy itself as follows:

LEONTIUS.

"That power that kindly spreads The clouds, a signal of impending showers, To warn the wand'ring linnet to the shade, Beheld, without concern, expiring Greece, And not one prodigy foretold our fate.

DEMETRIUS.

"A thousand horrid prodigies foretold it;
A feeble government, eluded laws,
A factious populace, luxurious nobles,
And all the maladies of sinking states.
When public villany, too strong for justice,
Shows his bold front, the harbinger of ruin,
Can brave Leontius call for airy wonders,
Which cheats interpret, and which fools regard?
When some neglected fabric nods beneath
The weight of years, and totters to the tempest,
Must heaven despatch the messengers of light,
Or wake the dead, to warn us of its fall?

MAHOMET (to IRENE). "I have tried thee, and joy to find that thou deservest to be loved by Mahomet,

with a mind great as his own. Sure, thou art an error of nature, and an exception to the rest of thy sex, and art immortal; for sentiments like thine were never to sink into nothing. I thought all the thoughts of the fair had been to select the graces of the day, dispose the colours of the flaunting (flowing) robe, tune the voice and roll the eye, place the gem, choose the dress, and add new roses to the fading cheek, but sparkling."

Thus in the tragedy:—

"Illustrious maid, new wonders fix me thine; Thy soul completes the triumphs of thy face;

I thought, forgive my fair, the noblest aim,
The strongest effort of a female soul
Was but to choose the graces of the day,
To tune the tongue, to teach the eyes to roll,
Dispose the colours of the flowing robe,

And add new roses to the faded cheek."

I shall select one other passage, on account of the doctrine which it illustrates.

IRENE observes, "that the Supreme Being will accept of virtue, whatever outward circumstances it may be accompanied with, and may be delighted with varieties o worship: but is answered, That variety cannot affect that Being, who, infinitely happy in his own perfections, wants no external gratifications; nor can infinite truth be delighted with falsehood; that though he may guide or pity those he leaves in darkness, he abandons those who shut their eyes against the beams of day."

Johnson's residence at Lichfield, on his return to it at this time, was only for three months; and as he had as yet seen but a small part of the wonders of the metropolis, he had little to tell his townsmen. He related to me [Sept. 20. 1773,] the following minute anecdote of this period:-"In the last age, when my mother lived in London, there were two sets of people, those who gave the wall, and those who took it; the peaceable and the quarrelsome. When I returned to Lichfield, after having been in London, my mother asked me, whether I was one of those who gave the wall, or those who took it. Now it is fixed that every man keeps to the right; or, if one is taking the wall, another yields it; and it is never a dispute.”

He now removed to London with Mrs. Johnson ; but her daughter, who had lived with them at Edial, was left with her relations in the country. His lodgings were for some time in Woodstock Street, near Hanover Square, and afterwards in Castle Street, near Cavendish Square. As there is something pleasingly interesting, to many, in tracing so great a man through all his different habitations, I shall, before this work is concluded, present my readers with an exact list of his lodgings and houses, in order of time, which, in placid condescension to my respectful curiosity, he one evening [Oct. 10. 1779,] dictated to me, but without specifying how long he lived at each. In the progress of his life I shall have occasion to mention some of them as connected with particular incidents, or with the writing of particular parts of his works. To some, this minute attention may appear trifling; but when we consider the punctilious exactness with which the different houses in which Milton resided have been traced by the writers of his life, a similar enthusiasm may be pardoned in the biographer of Johnson.

His tragedy being by this time, as he thought, completely finished and fit for the stage, he was very desirous that it should be brought forward. Mr. Peter Garrick told me, that Johnson and he went together to the Fountain tavern, and read it over, and that he afterwards solicited Mr. Fleetwood, the patentee of Drury Lane theatre, to have it acted at his house; but Mr. Fleetwood would not accept it, probably because it was not patronised by some man of high rank; and it was not acted till 1749, when