HKB
one of the highest types, he had other interests than those directly suggested by his office, and in one of these, at least, he affords an interesting and profitable study.
To the student of literature Burke's name must always suggest that of Johnson and Goldsmith. It was eight years after Burke's first appearance as an author, that the famous Literary Club was formed. At first it was the intention to limit the club to a membership of nine, and for a time this was adhered to. The original members were Johnson, Burke, Goldsmith, Reynolds, and Hawkins. Garrick, Pox, and Boswell came in later. Macaulay declares that the influence of the club was so great that its verdict made and unmade reputations; but the thing most interesting to us does not lie in the consideration of such literary dictatorship. To Boswell we owe a biography of Johnson which has immortalized its subject, and shed lustre upon all associated with him. The literary history of the last third of the eighteenth century, with Johnson as a central figure, is told nowhere else with such accuracy, or with better effect.
Although a Tory, Johnson was a great one, and his lasting friendship for Burke is an enduring evidence of his generosity and great-mindedness. For twenty years, and longer, they were eminent men in opposing parties, yet their mutual respect and admiration continued to the last. To Burke, Johnson was a writer of "eminent literary merit" and entitled to a pension "solely on that account." To Johnson, Burke was the greatest man of his age, wrong politically, to be sure, yet the only one "whose common conversation corresponded to the general fame which he had in the world"--the only one "who was ready, whatever subject was chosen, to meet you on your own ground." Here and there in the Life are allusions to Burke, and admirable estimates of his many-sided character.
Coming directly to an estimate of Burke from the purely literary point of view, it must be borne in mind that the greater part of his writings was prepared for an audience. Like Macaulay, his prevailing style suggests the speaker, and his methods throughout are suited to declamation and oratory. He lacks the ease and delicacy that we are accustomed to look for in the best prose writers, and occasionally one feels the justice of Johnson's stricture, that "he sometimes talked partly from ostentation", or of Hazlitt's criticism that he seemed to be "perpetually calling the speaker out to dance a minuet with him before he begins."
There may be passages here and there that warrant such censure. Burke is certainly ornate, and at times he is extremely self-conscious, but the dominant quality of his style, and the one which forever contradicts the idea of mere showiness, is passion. In his method of approaching a subject, he may be, and perhaps is, rather tedious, but when once he has come to the matter really in hand, he is no longer the rhetorician, dealing in fine phrases, but the great seer, clothing his thoughts in words suitable and becoming. The most magnificent passages in his writings--the Conciliation is rich in them--owe their charm and effectiveness to this emotional capacity. They were evidently written in moments of absolute abandonment to feeling--in moments when he was absorbed in the contemplation of some great truth, made luminous by his own unrivalled powers.