Between 1750 and 1765 there appeared a remarkable body of criticism—the work of Lowth and Young of Gray, the Wartons and Hurd—works which suggested a fresh approach concerned with the art of interpreting literature and by the development and refining of contemporary taste and the established neo-classical possession was gradually shaken and undermined. So, we have the growing challenge to that body of neo-classical doctrine which had originated in France and was generally, if tacitly, accepted in England as the orthodox literary creed. Signs of independence, already betrayed by Addison, Pope, and others, were succeeded by a widening outlooks where literature was concerned, a development inspired partly by the influence by “Longinus” and certain French writers, by an awakening merits of earlier native literature and by notable advance in the appreciation of Shakespeare’s art. And it yet remained to realize the actual part played by Dr. Samuel Johnson (1709-84) in this general development. His importance as literary dictator of the age has since been freely and generally recognized. Yet his critical work has been subjected to a surprising and confusing variety of estimates. He has been hailed, for instance, as a champion of established conventions as the high priest of classicism. Johnson now raises a whole question a new but from a somewhat different angle. Treating the enquiry in more ample and reasoned fashioned, he deals at length, first, which current critical abuses and then supplies in addition certain positive view. To the question of what was wrong with contemporary criticism, he returns again and again, more especially in "the Rambler" and "Idler papers". In short, in the period represented by Dryden, Addison, Gray, the Wartons, Johnson and the rest, a new aesthetic was in the making and the foundations of 19th century criticism were being laid.
TGT (English), Haridas Seminary, Gaya
