Goldsmith Part 4

There was need that it should, for his increasing expenses--his fine clothes, his suppers, his whist at the Devil Tavern--were involving him in deeper and deeper difficulties. How was he to extricate himself?--or rather the question that would naturally occur to Goldsmith was how was he to continue that hand-to-mouth existence that had its compensations along with its troubles? Novels like the _Vicar of Wakefield_ are not written at a moment's notice, even though any Newbery, judging by results, is willing to double that 60 which Johnson considered to be a fair price for the story at the time. There was the usual resource of hack-writing; and, no doubt, Goldsmith was compelled to fall back on that, if only to keep the elder Newbery, in whose debt he was, in a good humour. But the author of the _Vicar of Wakefield_ may be excused if he looked round to see if there was not some more profitable work for him to turn his hand to. It was at this time that he began to think of writing a comedy.

CHAPTER XII.

THE GOOD-NATURED MAN.

Amid much miscellaneous work, mostly of the compilation order, the play of the _Good-natured Man_ began to a.s.sume concrete form; insomuch that Johnson, always the friend of this erratic Irishman, had promised to write a Prologue for it. It is with regard to this Prologue that Boswell tells a foolish and untrustworthy story about Goldsmith. Dr.

Johnson had recently been honoured by an interview with his Sovereign; and the members of the Club were in the habit of flattering him by begging for a repet.i.tion of his account of that famous event. On one occasion, during this recital, Boswell relates, Goldsmith "remained unmoved upon a sofa at some distance, affecting not to join in the least in the eager curiosity of the company. He a.s.signed as a reason for his gloom and seeming inattention that he apprehended Johnson had relinquished his purpose of furnishing him with a Prologue to his play, with the hopes of which he had been flattered; but it was strongly suspected that he was fretting with chagrin and envy at the singular honour Doctor Johnson had lately enjoyed. At length the frankness and simplicity of his natural character prevailed. He sprang from the sofa, advanced to Johnson, and, in a kind of flutter, from imagining himself in the situation which he had just been hearing described, exclaimed, 'Well, you acquitted yourself in this conversation better than I should have done; for I should have bowed and stammered through the whole of it.'" It is obvious enough that the only part of this anecdote which is quite worthy of credence is the actual phrase used by Goldsmith, which is full of his customary generosity and self-depreciation. All those "suspicions" of his envy of his friend may safely be discarded, for they are mere guesswork; even though it might have been natural enough for a man like Goldsmith, conscious of his singular and original genius, to measure himself against Johnson, who was merely a man of keen perception and shrewd reasoning, and to compare the deference paid to Johnson with the scant courtesy shown to himself.

As a matter of fact, the Prologue was written by Dr. Johnson; and the now complete comedy was, after some little arrangement of personal differences between Goldsmith and Garrick, very kindly undertaken by Reynolds, submitted for Garrick's approval. But nothing came of Reynolds's intervention. Perhaps Goldsmith resented Garrick's airs of patronage towards a poor devil of an author; perhaps Garrick was surprised by the manner in which well-intentioned criticisms were taken; at all events, after a good deal of shilly-shallying, the play was taken out of Garrick's hands. Fortunately, a project was just at this moment on foot for starting the rival theatre in Covent Garden, under the management of George Colman; and to Colman Goldsmith's play was forthwith consigned. The play was accepted; but it was a long time before it was produced; and in that interval it may fairly be presumed the _res angusta domi_ of Goldsmith did not become any more free and generous than before. It was in this interval that the elder Newbery died; Goldsmith had one patron the less. Another patron who offered himself was civilly bowed to the door. This is an incident in Goldsmith's career which, like his interview with the Earl of Northumberland, should ever be remembered in his honour. The Government of the day were desirous of enlisting on their behalf the services of writers of somewhat better position than the mere libellers whose pens were the slaves of anybody's purse; and a Mr.

Scott, a chaplain of Lord Sandwich, appears to have imagined that it would be worth while to buy Goldsmith. He applied to Goldsmith in due course; and this is an account of the interview. "I found him in a miserable set of chambers in the Temple. I told him my authority; I told him I was empowered to pay most liberally for his exertions; and, would you believe it! he was so absurd as to say, 'I can earn as much as will supply my wants without writing for any party; the a.s.sistance you offer is therefore unnecessary to me.' And I left him in his garret." Needy as he was, Goldsmith had too much self-respect to become a paid libeller and cutthroat of public reputations.

On the evening of Friday, the 29th of January, 1768, when Goldsmith had now reached the age of forty, the comedy of _The Good-natured Man_ was produced at Covent Garden Theatre. The Prologue had, according to promise, been written by Johnson; and a very singular prologue it was.

Even Boswell was struck by the odd contrast between this sonorous piece of melancholy and the fun that was to follow. "The first lines of this Prologue," he conscientiously remarks, "are strongly characteristical of the dismal gloom of his mind; which, in his case, as in the case of all who are distressed with the same malady of imagination, transfers to others its own feelings. Who could suppose it was to introduce a comedy, when Mr. Bensley solemnly began--

"'Pressed with the load of life, the weary mind Surveys the general toil of humankind'?

But this dark ground might make Goldsmith's humour shine the more."

When we come to the comedy itself, we find but little bright humour in the opening pa.s.sages. The author is obviously timid, anxious, and constrained. There is nothing of the brisk, confident vivacity with which _She Stoops to Conquer_ opens. The novice does not yet understand the art of making his characters explain themselves; and accordingly the benevolent uncle and honest Jarvis indulge in a conversation which, laboriously descriptive of the character of young Honeywood, is spoken "at" the audience. With the entrance of young Honeywood himself, Goldsmith endeavours to become a little more sprightly; but there is still anxiety hanging over him, and the epigrams are little more than merely formal ant.i.theses.

"_Jarvis._ This bill from your tailor; this from your mercer; and this from the little broker in Crooked Lane. He says he has been at a great deal of trouble to get back the money you borrowed.

_Hon._ That I don't know; but I'm sure we were at a great deal of trouble in getting him to lend it.

_Jar._ He has lost all patience.

_Hon._ Then he has lost a very good thing.

_Jar._ There's that ten guineas you were sending to the poor gentleman and his children in the Fleet. I believe that would stop his mouth for a while at least.

_Hon._ Ay, Jarvis, but what will fill their mouths in the mean time?"

This young Honeywood, the hero of the play, is, and remains throughout, a somewhat ghostly personage. He has attributes; but no flesh or blood. There is much more substance in the next character introduced--the inimitable Croaker, who revels in evil forebodings and drinks deep of the luxury of woe. These are the two chief characters; but then a play must have a plot. And perhaps it would not be fair, so far as the plot is concerned, to judge of _The Good-natured Man_ merely as a literary production. Intricacies that seem tedious and puzzling on paper appear to be clear enough on the stage: it is much more easy to remember the history and circ.u.mstances of a person whom we see before us, than to attach these to a mere name--especially as the name is sure to be clipped down from _Honeywood_ to _Hon._ and from _Leontine_ to _Leon._ However, it is in the midst of all the cross-purposes of the lovers that we once more come upon our old friend Beau Tibbs--though Mr. Tibbs is now in much better circ.u.mstances, and has been re-named by his creator Jack Lofty.

Garrick had objected to the introduction of Jack, on the ground that he was only a distraction. But Goldsmith, whether in writing a novel or a play, was more anxious to represent human nature than to prune a plot, and paid but little respect to the unities, if only he could arouse our interest. And who is not delighted with this Jack Lofty and his "d.u.c.h.essy" talk--his airs of patronage, his mysterious hints, his gay familiarity with the great, his audacious lying?

"_Lofty._ Waller? Waller? Is he of the house?

_Mrs. Croaker._ The modern poet of that name, sir.

_Lof._ Oh, a modern! We men of business despise the moderns; and as for the ancients, we have no time to read them.

Poetry is a pretty thing enough for our wives and daughters; but not for us. Why now, here I stand that know nothing of books. I say, madam, I know nothing of books; and yet, I believe, upon a land-carriage fishery, a stamp act, or a jag-hire, I can talk my two hours without feeling the want of them.

_Mrs. Cro._ The world is no stranger to Mr. Lofty's eminence in every capacity.

_Lof._ I vow to gad, madam, you make me blush. I'm nothing, nothing, nothing in the world; a mere obscure gentleman. To be sure, indeed, one or two of the present ministers are pleased to represent me as a formidable man. I know they are pleased to bespatter me at all their little dirty levees.

Yet, upon my soul, I wonder what they see in me to treat me so! Measures, not men, have always been my mark; and I vow, by all that's honourable, my resentment has never done the men, as mere men, any manner of harm--that is, as mere men.

_Mrs. Cro._ What importance, and yet what modesty!

_Lof._ Oh, if you talk of modesty, madam, there, I own, I'm accessible to praise: modesty is my foible: it was so the Duke of Brentford used to say of me. 'I love Jack Lofty,' he used to say: 'no man has a finer knowledge of things; quite a man of information; and when he speaks upon his legs, by the Lord he's prodigious, he scouts them; and yet all men have their faults; too much modesty is his,' says his grace.

_Mrs. Cro._ And yet, I dare say, you don't want a.s.surance when you come to solicit for your friends.

_Lof._ Oh, there indeed I'm in bronze. Apropos! I have just been mentioning Miss Richland's case to a certain personage; we must name no names. When I ask, I am not to be put off, madam. No, no, I take my friend by the b.u.t.ton. A fine girl, sir; great justice in her case. A friend of mine--borough interest--business must be done, Mr. Secretary.--I say, Mr.

Secretary, her business must be done, sir. That's my way, madam.

_Mrs. Cro._ Bless me! you said all this to the Secretary of State, did you?

_Lof._ I did not say the Secretary, did I? Well, curse it, since you have found me out, I will not deny it. It was to the Secretary."

Strangely enough, what may now seem to some of us the very best scene in the _Good-natured Man_--the scene, that is, in which young Honeywood, suddenly finding Miss Richland without, is compelled to dress up the two bailiffs in possession of his house and introduce them to her as gentlemen friends--was very nearly d.a.m.ning the play on the first night of its production. The pit was of opinion that it was "low;" and subsequently the critics took up the cry, and professed themselves to be so deeply shocked by the vulgar humours of the bailiffs that Goldsmith had to cut them out. But on the opening night the anxious author, who had been rendered nearly distracted by the cries and hisses produced by this scene, was somewhat rea.s.sured when the audience began to laugh again over the tribulations of Mr.

Croaker. To the actor who played the part he expressed his warm grat.i.tude when the piece was over; a.s.suring him that he had exceeded his own conception of the character, and that "the fine comic richness of his colouring made it almost appear as new to him as to any other person in the house."

The new play had been on the whole favourably received; and, when Goldsmith went along afterwards to the Club, his companions were doubtless not at all surprised to find him in good spirits. He was even merrier than usual; and consented to sing his favourite ballad about the Old Woman tossed in a Blanket. But those hisses and cries were still rankling in his memory; and he himself subsequently confessed that he was "suffering horrid tortures." Nay, when the other members of the Club had gone, leaving him and Johnson together, he "burst out a-crying, and even swore by ---- that he would never write again." When Goldsmith told this story in after-days, Johnson was naturally astonished; perhaps--himself not suffering much from an excessive sensitiveness--he may have attributed that little burst of hysterical emotion to the excitement of the evening increased by a gla.s.s or two of punch, and determined therefore never to mention it.

"All which, Doctor," he said, "I thought had been a secret between you and me; and I am sure I would not have said anything about it for the world." Indeed there was little to cry over, either in the first reception of the piece or in its subsequent fate. With the offending bailiffs cut out, the comedy would seem to have been very fairly successful. The proceeds of three of the evenings were Goldsmith's payment; and in this manner he received 400. Then Griffin published the play; and from this source Goldsmith received an additional 100; so that altogether he was very well paid for his work. Moreover he had appealed against the judgment of the pit and the dramatic critics, by printing in the published edition the bailiff scene which had been removed from the stage; and the _Monthly Review_ was so extremely kind as to say that "the bailiff and his blackguard follower appeared intolerable on the stage, yet we are not disgusted with them in the perusal." Perhaps we have grown less scrupulous since then; but at all events it would be difficult for anybody nowadays to find anything but good-natured fun in that famous scene. There is an occasional "d.a.m.n,"

it is true; but then English officers have always been permitted that little playfulness, and these two gentlemen were supposed to "serve in the Fleet;" while if they had been particularly refined in their speech and manner, how could the author have aroused Miss Richland's suspicions? It is possible that the two actors who played the bailiff and his follower may have introduced some vulgar "gag" into their parts; but there is no warranty for anything of the kind in the play as we now read it.

CHAPTER XIII.

GOLDSMITH IN SOCIETY.

The appearance of the _Good-natured Man_ ushered in a halcyon period in Goldsmith's life. The _Traveller_ and the _Vicar_ had gained for him only reputation: this new comedy put 500 in his pocket. Of course that was too big a sum for Goldsmith to have about him long.

Four-fifths of it he immediately expended on the purchase and decoration of a set of chambers in Brick Court, Middle Temple; with the remainder he appears to have begun a series of entertainments in this new abode, which were perhaps more remarkable for their mirth than their decorum. There was no sort of frolic in which Goldsmith would not indulge for the amus.e.m.e.nt of his guests; he would sing them songs; he would throw his wig to the ceiling; he would dance a minuet.

And then they had cards, forfeits, blind-man's-buff, until Mr.

Blackstone, then engaged on his _Commentaries_ in the rooms below, was driven nearly mad by the uproar. These parties would seem to have been of a most nondescript character--chance gatherings of any obscure authors or actors whom he happened to meet; but from time to time there were more formal entertainments, at which Johnson, Percy, and similar distinguished persons were present. Moreover, Dr. Goldsmith himself was much asked out to dinner too; and so, not content with the "Tyrian bloom, satin grain and garter, blue-silk breeches," which Mr.

Filby had provided for the evening of the production of the comedy, he now had another suit "lined with silk, and gold b.u.t.tons," that he might appear in proper guise. Then he had his airs of consequence too.

This was his answer to an invitation from Kelly, who was his rival of the hour: "I would with pleasure accept your kind invitation, but to tell you the truth, my dear boy, my _Traveller_ has found me a home in so many places, that I am engaged, I believe, three days. Let me see.

To-day I dine with Edmund Burke, to-morrow with Dr. Nugent, and the next day with Topham Beauclerc; but I'll tell you what I'll do for you, I'll dine with you on Sat.u.r.day." Kelly told this story as against Goldsmith; but surely there is not so much ostentation in the reply.

Directly after _Tristram Shandy_ was published, Sterne found himself fourteen deep in dinner engagements: why should not the author of the _Traveller_ and the _Vicar_ and the _Good-natured Man_ have his engagements also? And perhaps it was but right that Mr. Kelly, who was after all only a critic and scribbler, though he had written a play which was for the moment enjoying an undeserved popularity, should be given to understand that Dr. Goldsmith was not to be asked to a hole-and-corner chop at a moment's notice. To-day he dines with Mr.

Burke; to-morrow with Dr. Nugent; the day after with Mr. Beauclerc. If you wish to have the honour of his company, you may choose a day after that; and then, with his new wig, with his coat of Tyrian bloom and blue silk breeches, with a smart sword at his side, his gold-headed cane in his hand, and his hat under his elbow, he will present himself in due course. Dr. Goldsmith is announced, and makes his grave bow; this is the man of genius about whom all the town is talking; the friend of Burke, of Reynolds, of Johnson, of Hogarth; this is not the ragged Irishman who was some time ago earning a crust by running errands for an apothecary.

Goldsmith's grand airs, however, were a.s.sumed but seldom; and they never imposed on anybody. His acquaintances treated him with a familiarity which testified rather to his good-nature than to their good taste. Now and again, indeed, he was prompted to resent this familiarity; but the effort was not successful. In the "high jinks" to which he good-humouredly resorted for the entertainment of his guests he permitted a freedom which it was afterwards not very easy to discard; and as he was always ready to make a b.u.t.t of himself for the amus.e.m.e.nt of his friends and acquaintances, it came to be recognised that anybody was allowed to play off a joke on "Goldy." The jokes, such of them as have been put on record, are of the poorest sort. The horse-collar is never far off. One gladly turns from these dismal humours of the tavern and the club to the picture of Goldsmith's enjoying what he called a "Shoemaker's Holiday" in the company of one or two chosen intimates. Goldsmith, baited and bothered by the wits of a public-house, became a different being when he had a.s.sumed the guidance of a small party of chosen friends bent on having a day's frugal pleasure. We are indebted to one Cooke, a neighbour of Goldsmith's in the Temple, not only for a most interesting description of one of those shoemaker's holidays, but also for the knowledge that Goldsmith had even now begun writing the _Deserted Village_, which was not published till 1770, two years later. Goldsmith, though he could turn out plenty of manufactured stuff for the booksellers, worked slowly at the special story or poem with which he meant to "strike for honest fame." This Mr. Cooke, calling on him one morning, discovered that Goldsmith had that day written these ten lines of the _Deserted Village_:--

"Dear lovely bowers of innocence and ease, Seats of my youth, when every sport could please, How often have I loitered o'er thy green, Where humble happiness endeared each scene!

How often have I paused on every charm, The sheltered cot, the cultivated farm, The never-failing brook, the busy mill, The decent church, that topt the neighbouring hill, The hawthorn bush, with seats beneath the shade, For talking age and whispering lovers made!"

"Come," said he, "let me tell you this is no bad morning's work; and now, my dear boy, if you are not better engaged, I should be glad to enjoy a shoemaker's holiday with you." "A shoemaker's holiday,"

continues the writer of these reminiscences, "was a day of great festivity to poor Goldsmith, and was spent in the following innocent manner. Three or four of his intimate friends rendezvoused at his chambers to breakfast about ten o'clock in the morning; at eleven they proceeded by the City Road and through the fields to Highbury Barn to dinner; about six o'clock in the evening they adjourned to White Conduit House to drink tea; and concluded by supping at the Grecian or Temple Exchange coffee-house or at the Globe in Fleet Street. There was a very good ordinary of two dishes and pastry kept at Highbury Barn about this time at tenpence per head, including a penny to the waiter; and the company generally consisted of literary characters, a few Templars, and some citizens who had left off trade. The whole expenses of the day's fete never exceeded a crown, and oftener were from three-and-sixpence to four shillings; for which the party obtained good air and exercise, good living, the example of simple manners, and good conversation."

It would have been well indeed for Goldsmith had he been possessed of sufficient strength of character to remain satisfied with these simple pleasures, and to have lived the quiet and modest life of a man of letters on such income as he could derive from the best work he could produce. But it is this same Mr. Cooke who gives decisive testimony as to Goldsmith's increasing desire to "shine" by imitating the expenditure of the great; the natural consequence of which was that he only plunged himself into a mora.s.s of debt, advances, contracts for hack-work, and misery. "His debts rendered him at times so melancholy and dejected, that I am sure he felt himself a very unhappy man."

Perhaps it was with some sudden resolve to flee from temptation, and grapple with the difficulties that beset him, that he, in conjunction with another Temple neighbour, Mr. Bott, rented a cottage some eight miles down the Edgware Road; and here he set to work on the _History of Rome_, which he was writing for Davies. Apart from this hack-work, now rendered necessary by his debt, it is probable that one strong inducement leading him to this occasional seclusion was the progress he might be able to make with the _Deserted Village_. Amid all his town gaieties and country excursions, amid his dinners and suppers and dances, his borrowings, and contracts, and the hurried literary produce of the moment, he never forgot what was due to his reputation as an English poet. The journalistic bullies of the day might vent their spleen and envy on him; his best friends might smile at his conversational failures; the wits of the tavern might put up the horse-collar as before; but at least he had the consolation of his art. No one better knew than himself the value of those finished and musical lines he was gradually adding to the beautiful poem, the grace, and sweetness, and tender, pathetic charm of which make it one of the literary treasures of the English people.