Johnson, indeed, was not more satisfied with his situation as the master of an academy than with that of the usher of a school; we need not wonder, therefore, that he did not keep his academy more than a year and a half.  From Mr. Garrick’s account he did not appear to have been profoundly reverenced by his pupils.  His oddities of manner and uncouth gesticulations could not but be the subject of merriment to them; and in particular, the young rogues used to turn into ridicule his awkward fondness for Mrs. Johnson, whom he used to name by the familiar appellation of Tetty or Tetsey, which, like Betty or Betsey, is provincially used as a contraction for Elizabeth, her Christian name, but which to us seems ludicrous when applied to a woman of her age and appearance.  Mr. Garrick described her to me as very fat, with swelled cheeks of a florid red produced by thick painting, and increased by the liberal use of cordials; flaring and fantastic in her dress, and affected both in her speech and her general behaviour.

While Johnson kept his academy, I have not discovered that he wrote anything except a great portion of his tragedy of “Irene.”  When he had finished some part of it, he read what he had done to his friend, Mr. Gilbert Walmsley, Registrar of the Prerogative Court of Lichfield, who was so well pleased with this proof of Johnson’s abilities as a dramatic writer that he advised him to finish the tragedy and produce it on the stage.  Accordingly, Johnson and his friend and pupil, David Garrick, went to try their fortunes in London in 1737, the former with the hopes of getting work as a translator and of turning out a fine tragedy-writer, the latter with the intention of completing his education, and of following the profession of the law.  How, indeed, Johnson employed himself upon his first coming to London is not particularly known.  His tragedy, of which he had entertained such hopes, was submitted to Mr. Fleetwood, the patentee of Drury Lane Theatre, and rejected.

III.—­Poverty Stricken in London

Johnson’s first performance in the “Gentleman’s Magazine,” which for many years was his principal source of employment and support, was a copy of Latin verses, in March, 1738, addressed to the editor.  He was now enlisted by Mr. Cave, as a regular coadjutor in his magazine, by which he probably obtained a tolerable livelihood.  What we certainly know to have been done by him in this way were the debates in both Houses of Parliament, under the name of “The Senate of Lilliput.”

Thus was Johnson employed during some of the best years of his life, solely to obtain an honest support.  But what first displayed his transcendent powers, and “gave the world assurance of the Man,” was his “London, a Poem in Imitation of the Third Satire of Juvenal,” which came out in May this year (1738), and burst forth with a splendour the rays of which will forever encircle his name.