Johnson was, in the words of Steven Lynn, "more than a well-known writer and scholar"; he was a celebrity for the activities and the state of his health in his later years were constantly reported in various journals and newspapers, and when there was nothing to report, something was invented.
According to Bate, "Johnson loved biography," and he "changed the whole course of biography for the modern world.
One by-product was the most famous single work of biographical art in the whole of literature, Boswell's Life of Johnson, and there were many other memoirs and biographies of a similar kind written on Johnson after his death."
These accounts of his life include Thomas Tyers's A Biographical Sketch of Dr Samuel Johnson (1784); Boswell's The Journal of a Tour to the Hebrides (1785); Hester Thrale's Anecdotes of the Late Samuel Johnson, which drew on entries from her diary and other notes; John Hawkins's Life of Samuel Johnson, the first full-length biography of Johnson; and, in 1792, Arthur Murphy's An Essay on the Life and Genius of Samuel Johnson, which replaced Hawkins's biography as the introduction to a collection of Johnson's Works.
Another important source was Fanny Burney, who described Johnson as "the acknowledged Head of Literature in this kingdom" and kept a diary containing details missing from other biographies.
Above all, Boswell's portrayal of Johnson is the work best known to general readers.
Although critics like Donald Greene argue about its status as a true biography, the work became successful as Boswell and his friends promoted it at the expense of the many other works on Johnson's life.

In criticism, Johnson had a lasting influence, although not everyone viewed him favourably.
Some, like Macaulay, regarded Johnson as an idiot savant who produced some respectable works, and others, like the Romantic poets, were completely opposed to Johnson's views on poetry and literature, especially with regard to Milton.
However, some of their contemporaries disagreed: Stendhal's Racine et Shakespeare is based in part on Johnson's views of Shakespeare, and Johnson influenced Jane Austen's writing style and philosophy.
Later, Johnson's works came into favour, and Matthew Arnold, in his Six Chief Lives from Johnson's "Lives of the Poets", considered the Lives of Milton, Dryden, Pope, Addison, Swift, and Gray as "points which stand as so many natural centres, and by returning to which we can always find our way again".

More than a century after his death, literary critics such as G. Birkbeck Hill and T. S. Eliot came to regard Johnson as a serious critic.
They began to study Johnson's works with an increasing focus on the critical analysis found in his edition of Shakespeare and Lives of the Poets.
Yvor Winters claimed that "A great critic is the rarest of all literary geniuses; perhaps the only critic in English who deserves that epithet is Samuel Johnson".
F. R. Leavis agreed and, on Johnson's criticism, said, "When we read him we know, beyond question, that we have here a powerful and distinguished mind operating at first hand upon literature.
This, we can say with emphatic conviction, really is criticism".
Edmund Wilson claimed that "The Lives of the Poets and the prefaces and commentary on Shakespeare are among the most brilliant and the most acute documents in the whole range of English criticism".

The critic Harold Bloom placed Johnson's work firmly within the Western canon, describing him as "unmatched by any critic in any nation before or after him...Bate in the finest insight on Johnson I know, emphasised that no other writer is so obsessed by the realisation that the mind is an activity, one that will turn to destructiveness of the self or of others unless it is directed to labour."
It is no wonder that his philosophical insistence that the language within literature must be examined became a prevailing mode of literary theory during the mid-20th century.

There are many societies formed around and dedicated to the study and enjoyment of Samuel Johnson's life and works.
On the bicentennial of Johnson's death
Johnson was, in the words of Steven Lynn, "more than a well-known writer and scholar"; he was a celebrity for the activities and the state of his health in his later years were constantly reported in various journals and newspapers, and when there was nothing to report, something was invented. According to Bate, "Johnson loved biography," and he "changed the whole course of biography for the modern world. One by-product was the most famous single work of biographical art in the whole of literature, Boswell's Life of Johnson, and there were many other memoirs and biographies of a similar kind written on Johnson after his death." These accounts of his life include Thomas Tyers's A Biographical Sketch of Dr Samuel Johnson (1784); Boswell's The Journal of a Tour to the Hebrides (1785); Hester Thrale's Anecdotes of the Late Samuel Johnson, which drew on entries from her diary and other notes; John Hawkins's Life of Samuel Johnson, the first full-length biography of Johnson; and, in 1792, Arthur Murphy's An Essay on the Life and Genius of Samuel Johnson, which replaced Hawkins's biography as the introduction to a collection of Johnson's Works. Another important source was Fanny Burney, who described Johnson as "the acknowledged Head of Literature in this kingdom" and kept a diary containing details missing from other biographies. Above all, Boswell's portrayal of Johnson is the work best known to general readers. Although critics like Donald Greene argue about its status as a true biography, the work became successful as Boswell and his friends promoted it at the expense of the many other works on Johnson's life.
In criticism, Johnson had a lasting influence, although not everyone viewed him favourably. Some, like Macaulay, regarded Johnson as an idiot savant who produced some respectable works, and others, like the Romantic poets, were completely opposed to Johnson's views on poetry and literature, especially with regard to Milton. However, some of their contemporaries disagreed: Stendhal's Racine et Shakespeare is based in part on Johnson's views of Shakespeare, and Johnson influenced Jane Austen's writing style and philosophy. Later, Johnson's works came into favour, and Matthew Arnold, in his Six Chief Lives from Johnson's "Lives of the Poets", considered the Lives of Milton, Dryden, Pope, Addison, Swift, and Gray as "points which stand as so many natural centres, and by returning to which we can always find our way again".
More than a century after his death, literary critics such as G. Birkbeck Hill and T. S. Eliot came to regard Johnson as a serious critic. They began to study Johnson's works with an increasing focus on the critical analysis found in his edition of Shakespeare and Lives of the Poets. Yvor Winters claimed that "A great critic is the rarest of all literary geniuses; perhaps the only critic in English who deserves that epithet is Samuel Johnson". F. R. Leavis agreed and, on Johnson's criticism, said, "When we read him we know, beyond question, that we have here a powerful and distinguished mind operating at first hand upon literature. This, we can say with emphatic conviction, really is criticism". Edmund Wilson claimed that "The Lives of the Poets and the prefaces and commentary on Shakespeare are among the most brilliant and the most acute documents in the whole range of English criticism".
The critic Harold Bloom placed Johnson's work firmly within the Western canon, describing him as "unmatched by any critic in any nation before or after him...Bate in the finest insight on Johnson I know, emphasised that no other writer is so obsessed by the realisation that the mind is an activity, one that will turn to destructiveness of the self or of others unless it is directed to labour." It is no wonder that his philosophical insistence that the language within literature must be examined became a prevailing mode of literary theory during the mid-20th century.
There are many societies formed around and dedicated to the study and enjoyment of Samuel Johnson's life and works. On the bicentennial of Johnson's death
Samuel Johnson