Johnson made the wench look at my hand, but soon repented of her
curiosity,'for,' says the gipsy, 'your heart is divided between a
Betty and a Molly: Betty loves you best, but you take most delight in
Molly's company.' When I turned about to laugh, I saw my wife was
crying. Pretty charmer, she had no reason." This pretty charmer was
in her forty-eighth year when he married her, he being then
twenty-seven. He told Beauclerc that it was a love match on both
sides; and Garrick used to draw ludicrous pictures of their mutual
fondness, which he heightened by representing her as short, fat,
tawdrily dressed, and highly rouged.

[Footnote 1: See "Croker's Boswell," p. 672, and Malone's note in the
prior edition.]

On the question whether "Molly Aston" or "dear Boothby" was the cause
of his dislike of Lyttleton, one of Mrs. Piozzi's marginal notes is
decisive. "Mrs. Thrale (says Boswell) suggests that he was offended
by Molly Aston's preference of his lordship to him." She retorts: "I
never said so. I believe Lord Lyttleton and Molly Aston were not
acquainted. No, no: it was Miss Boothby whose preference he professed
to have been jealous of, and so I said in the 'Anecdotes.'"

One of Rochefoucauld's maxims is: "Young women who do not wish to
appear _coquette_, and men of advanced years who do not wish to
appear ridiculous, should never speak of love as of a thing in which
they might take part." Mrs. Thrale relates an amusing instance of
Johnson's adroitness in escaping from the dilemma: "As we had been
saying one day that no subject failed of receiving dignity from the
manner in which Mr. Johnson treated it, a lady at my house said, she
would make him talk about love; and took her measures accordingly,