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Samuel Johnson's biography of the poet Richard Savage is universally considered to be a milestone in the development of modern biography. Nonetheless, from James Boswell on writers have been variously puzzled, bemused, apologetic and generally uncomprehending regarding Johnson's choice of biographical subject. For Richard Savage, a minor writer and poet, has been variously described as an exploiter and betrayer of his friends, offensive, malicious, vindictive, vain, and an accused murderer who, even after he was acquitted, left considerable question about his culpability. Savage, who died in debtors' prison was, as Garraty (1964) sums up, “an engaging but irresponsible dissolute and thoroughly second rate poet” (89). Kronenberger (1947) believes that Johnson was not only taken in by Savage with regard to his history but “his claims to be a poet” as well! (4) Boswell (1992) is at pains to rationalize Johnson's choice with tact and piety, writing of his subject:
He produced one work [in 1744], fully sufficient to maintain the high reputation which he had acquired. This was “The Life of Richard Savage”; a man, of whom it is difficult to speak impartially, without wondering that he was for some time the intimate companion of Johnson; for his character was marked by profligacy, insolence, and ingratitude: yet, as he undoubtedly had a warm and vigorous, though unregulated mind, had seen life in all its varieties, and had been much in the company of the statesmen and wits of his time, he could communicate to Johnson an abundant supply of such materials as his [Johnson's] philosophical curiosity most eagerly desired. (98)
Clearly, Boswell was not the last to ponder what drew Johnson to Savage. It is the purpose of this contribution to explore the