Goldsmith Part 5

The sorrows of debt were not Goldsmith's only trouble at this time.

For some reason or other he seems to have become the especial object of spiteful attack on the part of the literary cut-throats of the day.

And Goldsmith, though he might listen with respect to the wise advice of Johnson on such matters, was never able to cultivate Johnson's habit of absolute indifference to anything that might be said or sung of him. "The Kenricks, Campbells, MacNicols, and Hendersons," says Lord Macaulay--speaking of Johnson, "did their best to annoy him, in the hope that he would give them importance by answering them." But the reader will in vain search his works for any allusion to Kenrick or Campbell, to MacNicol or Henderson. One Scotchman, bent on vindicating the fame of Scotch learning, defied him to the combat in a detestable Latin hexameter--

'Maxime, si tu vis, cupio contendere tec.u.m.'

But Johnson took no notice of the challenge. He had learned, both from his own observation and from literary history, in which he was deeply read, that the place of books in the public estimation is fixed, not by what is written about them, but by what is written in them; and that an author whose works are likely to live, is very unwise if he stoops to wrangle with detractors whose works are certain to die. He always maintained that fame was a shuttlec.o.c.k which could be kept up only by being beaten back, as well as beaten forward, and which would soon fall if there were only one battledore. No saying was oftener in his mouth than that fine apophthegm of Bentley, that no man was ever written down but by himself.

It was not given to Goldsmith to feel "like the Monument" on any occasion whatsoever. He was anxious to have the esteem of his friends; he was sensitive to a degree; denunciation or malice, begotten of envy that Johnson would have pa.s.sed unheeded, wounded him to the quick.

"The insults to which he had to submit," Thackeray wrote with a quick and warm sympathy, "are shocking to read of--slander, contumely, vulgar satire, brutal malignity perverting his commonest motives and actions: he had his share of these, and one's anger is roused at reading of them, as it is at seeing a woman insulted or a child a.s.saulted, at the notion that a creature so very gentle, and weak, and full of love should have had to suffer so." Goldsmith's revenge, his defence of himself, his appeal to the public, were the _Traveller_, the _Vicar of Wakefield_, the _Deserted Village_; but these came at long intervals; and in the meantime he had to bear with the anonymous malignity that pursued him as best he might. No doubt, when Burke was entertaining him at dinner; and when Johnson was openly deferring to him in conversation at the Club; and when Reynolds was painting his portrait, he could afford to forget Mr. Kenrick and the rest of the libelling clan.

The occasions on which Johnson deferred to Goldsmith in conversation were no doubt few; but at all events the bludgeon of the great Cham would appear to have come down less frequently on "honest Goldy" than on the other members of that famous coterie. It could come down heavily enough. "Sir," said an incautious person, "drinking drives away care, and makes us forget whatever is disagreeable. Would not you allow a man to drink for that reason?" "Yes, sir," was the reply, "if he sat next _you_." Johnson, however, was considerate towards Goldsmith, partly because of his affection for him, and partly because he saw under what disadvantages Goldsmith entered the lists. For one thing, the conversation of those evenings would seem to have drifted continually into the mere definition of phrases. Now Johnson had spent years of his life, during the compilation of his Dictionary, in doing nothing else but defining; and, whenever the dispute took a phraseological turn, he had it all his own way. Goldsmith, on the other hand, was apt to become confused in his eager self-consciousness. "Goldsmith," said Johnson to Boswell, "should not be for ever attempting to shine in conversation; he has not temper for it, he is so much mortified when he fails.... When he contends, if he gets the better, it is a very little addition to a man of his literary reputation: if he does not get the better, he is miserably vexed." Boswell, nevertheless, admits that Goldsmith was "often very fortunate in his witty contests, even when he entered the lists with Johnson himself," and goes on to tell how Goldsmith, relating the fable of the little fishes who pet.i.tioned Jupiter, and perceiving that Johnson was laughing at him, immediately said, "Why, Dr. Johnson, this is not so easy as you seem to think; for if you were to make little fishes talk, they would talk like WHALES." Who but Goldsmith would have dared to play jokes on the sage? At supper they have rumps and kidneys.

The sage expresses his approval of "the pretty little things;" but profoundly observes that one must eat a good many of them before being satisfied. "Ay, but how many of them," asks Goldsmith, "would reach to the moon?" The sage professes his ignorance; and, indeed, remarks that that would exceed even Goldsmith's calculations; when the practical joker observes, "Why, _one_, sir, if it were long enough." Johnson was completely beaten on this occasion. "Well, sir, I have deserved it. I should not have provoked so foolish an answer by so foolish a question."

It was Johnson himself, moreover, who told the story of Goldsmith and himself being in Poets' Corner; of his saying to Goldsmith

"Forsitan et nostrum nomen miscebitur istis,"

and of Goldsmith subsequently repeating the quotation when, having walked towards Fleet Street, they were confronted by the heads on Temple Bar. Even when Goldsmith was opinionated and wrong, Johnson's contradiction was in a manner gentle. "If you put a tub full of blood into a stable, the horses are like to go mad," observed Goldsmith. "I doubt that," was Johnson's reply. "Nay, sir, it is a fact well authenticated." Here Thrale interposed to suggest that Goldsmith should have the experiment tried in the stable; but Johnson merely said that, if Goldsmith began making these experiments, he would never get his book written at all. Occasionally, of course, Goldsmith was tossed and gored just like another. "But, sir," he had ventured to say, in opposition to Johnson, "when people live together who have something as to which they disagree, and which they want to shun, they will be in the situation mentioned in the story of Bluebeard, 'You may look into all the chambers but one.' But we should have the greatest inclination to look into that chamber, to talk of that subject." Here, according to Boswell, Johnson answered in a loud voice, "Sir, I am not saying that _you_ could live in friendship with a man from whom you differ as to one point; I am only saying that _I_ could do it." But then again he could easily obtain pardon from the gentle Goldsmith for any occasional rudeness. One evening they had a sharp pa.s.sage of arms at dinner; and thereafter the company adjourned to the Club, where Goldsmith sate silent and depressed. "Johnson perceived this," says Boswell, "and said aside to some of us, 'I'll make Goldsmith forgive me'; and then called to him in a loud voice, 'Dr. Goldsmith, something pa.s.sed to-day where you and I dined: I ask your pardon.' Goldsmith answered placidly, 'It must be much from you, sir, that I take ill.'

And so at once the difference was over, and they were on as easy terms as ever, and Goldsmith rattled away as usual." For the rest, Johnson was the constant and doughty champion of Goldsmith as a man of letters. He would suffer no one to doubt the power and versatility of that genius which he had been amongst the first to recognise and encourage. "Whether, indeed, we take him as a poet, as a comic writer, or as an historian," he announced to an a.s.semblage of distinguished persons met together at dinner at Mr. Beauclerc's, "_he stands in the first cla.s.s_." And there was no one living who dared dispute the verdict--at least in Johnson's hearing.

CHAPTER XIV.

The Deserted Village.

But it is time to return to the literary performances that gained for this uncouth Irishman so great an amount of consideration from the first men of his time. The engagement with Griffin about the _History of Animated Nature_ was made at the beginning of 1769. The work was to occupy eight volumes; and Dr. Goldsmith was to receive eight hundred guineas for the complete copyright. Whether the undertaking was originally a suggestion of Griffin's, or of Goldsmith's own, does not appear. If it was the author's, it was probably only the first means that occurred to him of getting another advance; and that advance--500 on account--he did actually get. But if it was the suggestion of the publisher, Griffin must have been a bold man. A writer whose acquaintance with animated nature was such as to allow him to make the "insidious tiger" a denizen of the backwoods of Canada,[2] was not a very safe authority. But perhaps Griffin had consulted Johnson before making this bargain; and we know that Johnson, though continually remarking on Goldsmith's extraordinary ignorance of facts, was of opinion that the _History of Animated Nature_ would be "as entertaining as a Persian tale." However, Goldsmith--no doubt after he had spent the five hundred guineas--tackled the work in earnest. When Boswell subsequently went out to call on him at another rural retreat he had taken on the Edgware Road, Boswell and Mickle, the translator of the _Lusiad_, found Goldsmith from home; "but, having a curiosity to see his apartment, we went in and found curious sc.r.a.ps of descriptions of animals scrawled upon the wall with a black-lead pencil." Meanwhile, this _Animated Nature_ being in hand, the _Roman History_ was published, and was very well received by the critics and by the public. "Goldsmith's abridgment," Johnson declared, "is better than that of Lucius Florus or Eutropius; and I will venture to say that if you compare him with Vertot, in the same places of the _Roman History_, you will find that he excels Vertot. Sir, he has the art of compiling, and of saying everything he has to say in a pleasing manner."

[Footnote 2: See _Citizen of the World_, Letter XVII.]

So thought the booksellers too; and the success of the _Roman History_ only involved him in fresh projects of compilation. By an offer of 500 Davies induced him to lay aside for the moment the _Animated Nature_ and begin "An History of England, from the Birth of the British Empire to the death of George the Second, in four volumes octavo." He also about this time undertook to write a Life of Thomas Parnell. Here, indeed, was plenty of work, and work promising good pay; but the depressing thing is that Goldsmith should have been the man who had to do it. He may have done it better than any one else could have done--indeed, looking over the results of all that drudgery, we recognise now the happy turns of expression which were never long absent from Goldsmith's prose-writing--but the world could well afford to sacrifice all the task-work thus got through for another poem like the _Deserted Village_ or the _Traveller_. Perhaps Goldsmith considered he was making a fair compromise when, for the sake of his reputation, he devoted a certain portion of his time to his poetical work, and then, to have money for fine clothes and high jinks, gave the rest to the booksellers. One critic, on the appearance of the _Roman History_, referred to the _Traveller_, and remarked that it was a pity that the "author of one of the best poems that has appeared since those of Mr. Pope, should not apply wholly to works of imagination." We may echo that regret now; but Goldsmith would at the time have no doubt replied that, if he had trusted to his poems, he would never have been able to pay 400 for chambers in the Temple. In fact he said as much to Lord Lisburn at one of the Academy dinners: "I cannot afford to court the draggle-tail muses, my Lord; they would let me starve; but by my other labours I can make shift to eat, and drink, and have good clothes." And there is little use in our regretting now that Goldsmith was not cast in a more heroic mould; we have to take him as he is; and be grateful for what he has left us.

It is a grateful relief to turn from these booksellers' contracts and forced labours to the sweet clear note of singing that one finds in the _Deserted Village_. This poem, after having been repeatedly announced and as often withdrawn for further revision, was at last published on the 26th of May, 1770, when Goldsmith was in his forty-second year. The leading idea of it he had already thrown out in certain lines in the _Traveller_:--

"Have we not seen, round Britain's peopled sh.o.r.e, Her useful sons exchanged for useless ore?

Seen all her triumphs but destruction haste, Like flaring tapers brightening as they waste?

Seen opulence, her grandeur to maintain, Lead stern depopulation in her train, And over fields where scattered hamlets rose In barren solitary pomp repose?

Have we not seen at pleasure's lordly call The smiling long-frequented village fall?

Beheld the duteous son, the sire decayed, The modest matron, and the blushing maid, Forced from their homes, a melancholy train, To traverse climes beyond the western main; Where wild Oswego spreads her swamps around, And Niagara stuns with thundering sound?"

--and elsewhere, in recorded conversations of his, we find that he had somehow got it into his head that the acc.u.mulation of wealth in a country was the parent of all evils, including depopulation. We need not stay here to discuss Goldsmith's position as a political economist; even although Johnson seems to sanction his theory in the four lines he contributed to the end of the poem. Nor is it worth while returning to that objection of Lord Macaulay's which has already been mentioned in these pages, further than to repeat that the poor Irish village in which Goldsmith was brought up, no doubt looked to him as charming as any Auburn, when he regarded it through the softening and beautifying mist of years. It is enough that the abandonment by a number of poor people of the homes in which they and theirs have lived their lives, is one of the most pathetic facts in our civilisation; and that out of the various circ.u.mstances surrounding this forced migration Goldsmith has made one of the most graceful and touching poems in the English language. It is clear bird-singing; but there is a pathetic note in it. That imaginary ramble through the Lissoy that is far away has recalled more than his boyish sports; it has made him look back over his own life--the life of an exile.

"I still had hopes, my latest hours to crown, Amidst these humble bowers to lay me down; To husband out life's taper at the close, And keep the flame from wasting by repose: I still had hopes, for pride attends us still, Amidst the swains to show my book-learned skill, Around my fire an evening group to draw, And tell of all I felt, and all I saw; And, as a hare whom hounds and horns pursue Pants to the place from whence at first he flew, I still had hopes, my long vexations past, Here to return--and die at home at last."

Who can doubt that it was of Lissoy he was thinking? Sir Walter Scott, writing a generation ago, said that "the church which tops the neighbouring hill," the mill and the brook were still to be seen in the Irish village; and that even

"The hawthorn bush with seats beneath the shade For talking age and whispering lovers made,"

had been identified by the indefatigable tourist, and was of course being cut to pieces to make souvenirs. But indeed it is of little consequence whether we say that Auburn is an English village, or insist that it is only Lissoy idealised, as long as the thing is true in itself. And we know that this is true: it is not that one sees the place as a picture, but that one seems to be breathing its very atmosphere, and listening to the various cries that thrill the "hollow silence."

"Sweet was the sound, when oft at evening's close Up yonder hill the village murmur rose.

There, as I past with careless steps and slow, The mingling notes came softened from below; The swain responsive as the milk-maid sung, The sober herd that lowed to meet their young, The noisy geese that gabbled o'er the pool, The playful children just let loose from school, The watch-dog's voice that bayed the whispering wind, And the loud laugh that spake the vacant mind."

Nor is it any romantic and impossible peasantry that is gradually brought before us. There are no Norvals in Lissoy. There is the old woman--Catherine Geraghty, they say, was her name--who gathered cresses in the ditches near her cabin. There is the village preacher whom Mrs. Hodson, Goldsmith's sister, took to be a portrait of their father; but whom others have identified as Henry Goldsmith, and even as the uncle Contarine: they may all have contributed. And then comes Paddy Byrne. Amid all the pensive tenderness of the poem this description of the schoolmaster, with its strokes of demure humour, is introduced with delightful effect.

"Beside yon straggling fence that skirts the way, With blossom'd furze unprofitably gay, There, in his noisy mansion, skilled to rule, The village master taught his little school.

A man severe he was, and stern to view; I knew him well, and every truant knew: Well had the boding tremblers learned to trace The day's disasters in his morning face; Full well they laughed with counterfeited glee At all his jokes, for many a joke had he; Full well the busy whisper circling round Conveyed the dismal tidings when he frowned.

Yet he was kind, or, if severe in aught, The love he bore to learning was in fault; The village all declared how much he knew: 'Twas certain he could write, and cipher too: Lands he could measure, terms and tides presage, And e'en the story ran that he could gauge: In arguing, too, the parson owned his skill; For e'en though vanquished, he could argue still; While words of learned length and thundering sound Amazed the gazing rustics ranged around; And still they gazed, and still the wonder grew That one small head could carry all he knew."

All this is so simple and natural that we cannot fail to believe in the reality of Auburn, or Lissoy, or whatever the village may be supposed to be. We visit the clergyman's cheerful fireside; and look in on the noisy school; and sit in the evening in the ale house to listen to the profound politics talked there. But the crisis comes.

Auburn _delenda est_. Here, no doubt, occurs the least probable part of the poem. Poverty of soil is a common cause of emigration; land that produces oats (when it can produce oats at all) three-fourths mixed with weeds, and hay chiefly consisting of rushes, naturally discharges its surplus population as families increase; and though the wrench of parting is painful enough, the usual result is a change from starvation to competence. It more rarely happens that a district of peace and plenty, such as Auburn was supposed to see around it, is depopulated to add to a great man's estate.

"The man of wealth and pride Takes up a s.p.a.ce that many poor supplied; s.p.a.ce for his lake, his park's extended bounds, s.p.a.ce for his horses, equipage, and hounds:

His seat, where solitary sports are seen, Indignant spurns the cottage from the green:"

--and so forth. This seldom happens; but it does happen; and it has happened, in our own day, in England. It is within the last twenty years that an English landlord, having faith in his riches, bade a village be removed and cast elsewhere, so that it should no longer be visible from his windows: and it was forthwith removed. But any solitary instance like this is not sufficient to support the theory that wealth and luxury are inimical to the existence of a hardy peasantry; and so we must admit, after all, that it is poetical exigency rather than political economy that has decreed the destruction of the loveliest village of the plain. Where, asks the poet, are the driven poor to find refuge, when even the fenceless commons are seized upon and divided by the rich? In the great cities?--

"To see profusion that he must not share; To see ten thousand baneful arts combined To pamper luxury and thin mankind."

It is in this description of a life in cities that there occurs an often-quoted pa.s.sage, which has in it one of the most perfect lines in English poetry:--

"Ah, turn thine eyes Where the poor houseless shivering female lies.

She once, perhaps, in village plenty blest, Has wept at tales of innocence distrest; Her modest looks the cottage might adorn, Sweet as the primrose peeps beneath the thorn; Now lost to all; her friends, her virtue fled, Near her betrayer's door she lays her head.

And, pinch'd with cold, and shrinking from the shower, With heavy heart deplores that luckless hour, When idly first, ambitious of the town, She left her wheel and robes of country brown."

Goldsmith wrote in a pre-Wordsworthian age, when, even in the realms of poetry, a primrose was not much more than a primrose; but it is doubtful whether, either before, during, or since Wordsworth's time the sentiment that the imagination can infuse into the common and familiar things around us ever received more happy expression than in the well-known line,

"_Sweet as the primrose peeps beneath the thorn._"

No one has as yet succeeded in defining accurately and concisely what poetry is; but at all events this line is surcharged with a certain quality which is conspicuously absent in such a production as the _Essay on Man_. Another similar line is to be found further on in the description of the distant scenes to which the proscribed people are driven:

"Through torrid tracts with fainting steps they go, _Where wild Altama murmurs to their woe._"

Indeed, the pathetic side of emigration has never been so powerfully presented to us as in this poem--

"When the poor exiles, every pleasure past, Hung round the bowers, and fondly looked their last, And took a long farewell, and wished in vain For seats like these beyond the western main, And shuddering still to face the distant deep, Returned and wept, and still returned to weep.

Even now, methinks, as pondering here I stand, I see the rural virtues leave the land.

Down where yon anchoring vessel spreads the sail, That idly waiting flaps with every gale, Downward they move a melancholy band, Pa.s.s from the sh.o.r.e, and darken all the strand.

Contented toil, and hospitable care, And kind connubial tenderness are there; And piety with wishes placed above, And steady loyalty, and faithful love."

And worst of all, in this imaginative departure, we find that Poetry herself is leaving our sh.o.r.es. She is now to try her voice