Poetical Works of Johnson, Parnell, Gray, and Smollett With Memoirs, Critical Dissertations, and Explanatory Notes — Inside the Classic

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Gilfillan, George, 1813-1878 [Editor], Johnson, Samuel, 1709-1784, Gray, Thomas, 1716-1771, Parnell, Thomas, 1679-1718, Smollett, T. (Tobias), 1721-1771 Project Gutenberg 2004 Not confirmed
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Words 58,368
Reading time 254 min
Text sections 7

The source record for Poetical Works of Johnson, Parnell, Gray, and Smollett With Memoirs, Critical Dissertations, and Explanatory Notes — Inside the Classic measures this digital text at 58,368 words, 4 hr 14 min estimated reading time, and 7 detected text sections.

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This volume collects the poetry of Samuel Johnson, Thomas Parnell, Thomas Gray, and Tobias Smollett, edited by George Gilfillan with memoirs, critical dissertations, and explanatory notes. The excerpts reveal a preoccupation with mortality, time, and the limits of human ambition, as seen in Johnson's imitations of Juvenal and Gray's 'Elegy Written in a Country Churchyard.'
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Samuel was the first-born of the family. Nathaniel, who died in his twenty-fifth year, was the second and the last. Johnson very early began to manifest both his peculiar prejudices and his peculiar powers. When a mere child, we see him in Lichfield Cathedral, perched on his father's shoulders, gazing at Sacheverel, the famous Tory preacher. We hear him, about the same time, roaring to his mother, who had given him, a minute before, a collect in the Common Prayer-Book to get by heart as his day's task,--"Mother, I can say it already!" His first teacher, Dame Oliver, a widow, thought him, as she well might, the best scholar she ever had. From her he passed into the hands of one Tom Brown, an original, who once published a spelling-book, and dedicated it "to the Universe!"--without permission, we presume. He began to learn Latin first with a Mr Hawkins, and then with a Mr Hunter, head-master of Lichfield,--a petty tyrant, although a good scholar, under whom, to use Gay's language, Johnson was

"Lash'd into Latin by the tingling rod."

At the age of fifteen, he was transferred to Stourbridge school, and to the care of a Mr Wentworth, who "taught him a great deal." There he remained twelve months, at the close of which he returned home, and for two years lived in his father's house, in comparative idleness, loitering in the fields, and reading much, but desultorily. In 1728, being flattered with some promises of aid from a Shropshire gentleman, named Corbet, which were never fulfilled, he went to Oxford, and was entered as a commoner in Pembroke College. His father accompanied and introduced him to Dr Adams, and to Jorden, who became his tutor, recommending his son as a good scholar and a poet. Under Jorden's care, however, he did little except translate Pope's "Messiah" into Latin verse,--a task which he performed with great rapidity, and so well, that Pope warmly commended it when he saw it printed in a miscellany of poems. About this time, the hypochondriac affection, which rendered Johnson's long life a long disease, began to manifest itself. In the vacation of 1729, he was seized with the darkest despondency, which he tried to alleviate by violent exercise and other means, but in vain. It seems to have left him during a fit of indignation at Dr Swinfen (a physician at Lichfield, who, struck by the elegant Latinity of an account of his malady, which the sufferer had put into his hands, showed it in all directions), but continued to recur at frequent intervals till the close of his life. His malady was undoubtedly of a maniacal cast, resembling Cowper's, but subdued by superior strength of will--a Bucephalus, which it required all the power of a Johnson to back and bridle. In his early days, he had been piously inclined, but after his ninth year, fell into a state of indifference to religion. This continued till he met, at Oxford, Law's "Serious Call," which, he says, "overmatched" and compelled him to consider the subject with earnestness. And whatever, in after years, were the errors of his life, he never, from that hour, ceased to have a solemn sense of the verities of the Christian religion.

At Oxford, he paid little attention to his regular tasks, but read, or rather devoured, all the books he could lay his hands on, and began to display his unrivalled conversational powers, being often seen "lounging about the college gates, with a circle of young students around him, whom he was entertaining with wit, keeping from their studies, and sometimes rousing to rebellion against the college discipline." He was, at this time, so miserably poor, that his shoes were worn to tatters, and his feet appeared through them, to the scandal of the Christ-Church men, when he occasionally visited their college. Some compassionate individual laid a new pair at his door, which he tossed away with indignation. At last,--his debts increasing, his supplies diminishing, and his father becoming bankrupt,--he was, in autumn 1731, compelled to leave college without a degree. In the December of the same year his father died.

The volume presents the poetic works of four eighteenth-century authors—Samuel Johnson, Thomas Parnell, Thomas Gray, and Tobias Smollett—under the editorship of George Gilfillan, who supplies memoirs, critical dissertations, and explanatory notes. The catalog classifies the work as Science Fiction & Utopias, a category that finds no direct support in the excerpts. Instead, the poems consistently engage with mortality, the passage of time, and the vanity of human wishes. Johnson's 'The Vanity of Human Wishes' and Gray's 'Elegy Written in a Country Churchyard' are prominent, but the excerpts also include lesser-known pieces such as Johnson's 'A Night-Piece on Death' and translations from French and Latin. The editorial apparatus frames these works within a biographical and critical context, though the excerpts primarily showcase the poetry itself.

Johnson's Juvenalian Imitations and the Theme of Vanity

Samuel Johnson's contributions are dominated by two imitations of Juvenal: 'London' (1738) and 'The Vanity of Human Wishes' (1749). The excerpts show Johnson adapting Roman satire to eighteenth-century London, with lines such as 'Let Observation with extensive view, / Survey mankind from China to Peru' opening 'The Vanity of Human Wishes.' The poem catalogues the futility of ambition, wealth, and power, using historical examples like Charles XII of Sweden. Johnson's voice is moralistic and epigrammatic, as in 'He left the name, at which the world grew pale, / To point a moral, or adorn a tale.' The shorter poems, including 'On the Death of Mr Robert Levett,' continue this somber reflection on human transience. Gilfillan's notes likely contextualize these imitations within Johnson's broader literary career, but the excerpts themselves reveal a poet deeply engaged with the classical tradition and the limits of human achievement.

Gray's Elegiac and Lyric Poetry

Thomas Gray is represented by his famous 'Elegy Written in a Country Churchyard' and other odes. The excerpts include the opening stanza: 'The curfew tolls the knell of parting day, / The lowing herd wind slowly o'er the lea.' Gray's poetry is characterized by a melancholic, meditative tone and a focus on the obscure dead. The 'Elegy' reflects on the lives of the 'rude forefathers of the hamlet' and the leveling power of death. Other poems, such as 'Ode on the Death of a Favourite Cat,' show a lighter, more playful side, but the dominant mood is elegiac. Gilfillan's critical dissertation likely discusses Gray's use of the elegiac stanza and his influence on Romantic poetry. The excerpts confirm Gray's reputation as a poet of sensibility and reflection, with a precise attention to natural imagery and sound.

Parnell and Smollett: Minor Voices in the Collection

Thomas Parnell and Tobias Smollett are less prominent in the excerpts, but their inclusion broadens the volume's scope. Parnell's 'A Night-Piece on Death' shares the volume's preoccupation with mortality, opening with 'By the blue taper's trembling light, / No more I waste the wakeful night.' The poem describes a graveyard scene and urges contemplation of death. Smollett's poetry, though not extensively excerpted, includes satirical and occasional verse. Gilfillan's editorial notes likely provide biographical context for both authors, linking them to the literary circles of their time. The volume thus offers a cross-section of eighteenth-century poetic practice, from Johnson's moral seriousness to Gray's elegiac lyricism, with Parnell and Smollett representing different registers of the period's verse. Readers interested in the full range of eighteenth-century poetry will find this collection a useful compendium.

Readers approaching this edition should be aware that Gilfillan's memoirs and notes are integral to the volume, providing historical and critical context for each poet. The excerpts suggest that the poetry rewards attention to its classical influences and thematic consistency. While the catalog's classification as Science Fiction & Utopias is misleading, the poems themselves offer a rich exploration of human vanity, mortality, and the consolations of art. This collection is best read as a document of eighteenth-century literary culture, shaped by its editor's Victorian sensibilities.

I keep thinking about how those old poems circle the same quiet truth—time moving on, and us just watching. It reminded me of that Whittier piece, The Bridal of Pennacook Part 2 From Volume I of The Works of John Greenleaf Whittier — Context and Discussion, where a whole story feels suspended in a similar hush, like a held breath before it dissolves. That lingered with me.

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