said at the close of his life, had begun and ended with Boswell's Life of Johnson. Literature, as it is understood for the purposes of these lectures, is to include, so I am informed, biography, criticism, and ethics. If I had been commanded to choose from the world's annals a name which, better than any other, should serve to illustrate the vital relations of those three subjects to literature, I could find no better name than Samuel Johnson. He was himself biographer, critic, and moralist. His life is inseparable from his works; his morality was the motive power of all that he wrote, and the inspiration of much that he did. Of all great men, dead or alive, he is the best known to us; yet perhaps he was greater than we know.
The accident which gave Boswell to Johnson and Johnson to Boswell is one of the most extraordinary pieces of good fortune in literary history. Boswell was a man of genius; the idle paradox which presents him in the likeness of a lucky dunce was never tenable by serious criticism, and has long since been rejected by all who bring thought to bear on the problems of literature. If I had to find a paradox in Boswell I should find it in this, that he was a Scot. His character was destitute of all the vices, and all the virtues, which are popularly, and in the main rightly, attributed to the Scottish people. The young Scot is commonly shy, reserved, and self-conscious; independent in temper, sensitive to affront, slow to make friends, and wary in society. Boswell was the opposite of all these things. He made himself at home in all societies, and charmed others into a like ease and confidence. Under the spell of his effervescent good-humour the melancholy Highlanders were willing to tell stories of the supernatural. 'Mr. Boswell's frankness and gayety,' says Johnson, 'made
