“It caught to be the first endeavour of a writer to distinguish nature from custom, or that which is established because it is right from that which is right only because it is established; that he may neither violate essential principles by a desire of novelty, nor debar himself from the attainment of beauties within his view by a needless fear of breaking rules which no literary dictator had authority to enact”.

The above passage considered to be the death” knell of the neo-classical criticism is attributed to _____

The correct option is Samuel Johnson.

Detailed Explanation:

The quoted passage is a famous excerpt from Samuel Johnson's periodical, The Rambler, No. 156, published on September 14, 1751. This statement is widely regarded as a pivotal moment in English literary criticism, signaling the transition away from rigid neoclassical dogmatism toward a more empirical, nature-centered approach to literature.

Here is a breakdown of why this passage is attributed to Samuel Johnson and its significance in literary history:

1. Source and Context:
In The Rambler No. 156, Johnson addresses the rules of writing and drama. While neoclassicism (dominant in the late 17th and 18th centuries) emphasized strict adherence to classical rules—such as the three dramatic unities of action, time, and place—Johnson was a pragmatist. He argued that many of these rules were arbitrary customs rather than universal truths.

2. Distinction Between "Nature" and "Custom":
Johnson writes that a writer must distinguish between "nature" (universal, eternal truths of human life and reality) and "custom" (local, temporary practices that are followed merely because they have been established by tradition). For Johnson, literature must appeal to "nature" to be enduringly great.

3. Rejection of "Literary Dictators":
The phrase "breaking rules which no literary dictator had authority to enact" is a direct critique of early critics and theorists (such as the French neoclassical critics) who codified strict rules and expected writers to follow them blindly. Johnson asserts that no critic has the absolute authority to restrict a writer's potential to capture beauty or truth, thereby dealing a decisive blow to the dogmatic authority of neoclassical criticism.