Oliver Goldsmith: A Biography Part 9

After all, the introduction to Northumberland House did not prove so complete a failure as the humorous account given by Goldsmith, and the cynical account given by Sir John Hawkins, might lead one to suppose. Dr.

Percy, the heir male of the ancient Percies, brought the poet into the acquaintance of his kinswoman, the countess, who, before her marriage with the earl, was in her own right heiress of the House of Northumberland. "She was a lady," says Boswell, "not only of high dignity of spirit, such as became her n.o.ble blood, but of excellent understanding and lively talents."

Under her auspices a poem of Goldsmith's had an aristocratical introduction to the world. This was the beautiful ballad of the Hermit, originally published under the name of Edwin and Angelina. It was suggested by an old English ballad beginning "Gentle Herdsman," shown him by Dr. Percy, who was at that time making his famous collection, ent.i.tled Reliques of Ancient English Poetry, which he submitted to the inspection of Goldsmith prior to publication. A few copies only of the Hermit were printed at first, with the following t.i.tle page: "Edwin and Angelina: a Ballad. By Mr. Goldsmith.

Printed for the Amus.e.m.e.nt of the Countess of Northumberland."

All this, though it may not have been attended with any immediate pecuniary advantage, contributed to give Goldsmith's name and poetry the high stamp of fashion, so potent in England; the circle at Northumberland House, however, was of too stately and aristocratical a nature to be much to his taste, and we do not find that he became familiar in it.

He was much more at home at Gosford, the n.o.ble seat of his countryman, Robert Nugent, afterward Baron Nugent and Viscount Clare, who appreciated his merits even more heartily than the Earl of Northumberland, and occasionally made him his guest both in town and country. Nugent is described as a jovial voluptuary, who left the Roman Catholic for the Protestant religion, with a view to bettering his fortunes; he had an Irishman's inclination for rich widows, and an Irishman's luck with the s.e.x; having been thrice married and gained a fortune with each wife. He was now nearly sixty, with a remarkably loud voice, broad Irish brogue, and ready, but somewhat coa.r.s.e wit. With all his occasional coa.r.s.eness he was capable of high thought, and had produced poems which showed a truly poetic vein. He was long a member of the House of Commons, where his ready wit, his fearless decision, and good-humored audacity of expression, always gained him a hearing, though his tall person and awkward manner gained him the nickname of Squire Gawky, among the political scribblers of the day.

With a patron of this jovial temperament Goldsmith probably felt more at ease than with those of higher refinement.

The celebrity which Goldsmith had acquired by his poem of The Traveler, occasioned a resuscitation of many of his miscellaneous and anonymous tales and essays from the various newspapers and other transient publications in which they lay dormant. These he published in 1765, in a collected form, under the t.i.tle of "Essays by Mr. Goldsmith." "The following essays,"

observes he in his preface, "have already appeared at different times, and in different publications. The pamphlets in which they were inserted being generally unsuccessful, these shared the common fate, without a.s.sisting the booksellers' aims, or extending the author's reputation. The public were too strenuously employed with their own follies to be a.s.siduous in estimating mine; so that many of my best attempts in this way have fallen victims to the transient topic of the times--the Ghost in c.o.c.k Lane, or the Siege of Ticonderoga.

"But, though they have pa.s.sed pretty silently into the world, I can by no means complain of their circulation. The magazines and papers of the day have indeed been liberal enough in this respect. Most of these essays have been regularly reprinted twice or thrice a year, and conveyed to the public through the kennel of some engaging compilation. If there be a pride in multiplied editions, I have seen some of my labors sixteen times reprinted, and claimed by different parents as their own. I have seen them flourished at the beginning with praise, and signed at the end with the names of Philautos, Philalethes, Phileleutheros, and Philanthropos. It is time, however, at last to vindicate my claims; and as these entertainers of the public, as they call themselves, have partly lived upon me for some years, let me now try if I cannot live a little upon myself."

It was but little, in fact, for all the pecuniary emolument he received from the volume was twenty guineas. It had a good circulation, however, was translated into French, and has maintained its stand among the British cla.s.sics.

Notwithstanding that the reputation of Goldsmith had greatly risen, his finances were often at a very low ebb, owing to his heedlessness as to expense, his liability to be imposed upon, and a spontaneous and irresistible propensity to give to every one who asked. The very rise in his reputation had increased these embarra.s.sments. It had enlarged his circle of needy acquaintances, authors poorer in pocket than himself, who came in search of literary counsel; which generally meant a guinea and a breakfast. And then his Irish hangers-on! "Our doctor," said one of these sponges, "had a constant levee of his distressed countrymen, whose wants, as far as he was able, he always relieved; and he has often been known to leave himself without a guinea, in order to supply the necessities of others."

This constant drainage of the purse therefore obliged him to undertake all jobs proposed by the booksellers, and to keep up a kind of running account with Mr. Newbery; who was his banker on all occasions, sometimes for pounds, sometimes for shillings; but who was a rigid accountant, and took care to be amply repaid in ma.n.u.script. Many effusions, hastily penned in these moments of exigency, were published anonymously, and never claimed.

Some of them have but recently been traced to his pen; while of many the true authorship will probably never be discovered. Among others it is suggested, and with great probability, that he wrote for Mr. Newbery the famous nursery story of Goody Two Shoes, which appeared in 1765, at a moment when Goldsmith was scribbling for Newbery, and much pressed for funds. Several quaint little tales introduced in his Essays show that he had a turn for this species of mock history; and the advertis.e.m.e.nt and t.i.tle-page bear the stamp of his sly and playful humor.

"We are desired to give notice that there is in the press, and speedily will be published, either by subscription or otherwise, as the public shall please to determine, the History of Little Goody Two Shoes, otherwise Mrs.

Margery Two Shoes; with the means by which she acquired learning and wisdom, and, in consequence thereof, her estate; set forth at large for the benefit of those

"Who, from a state of rags and care, And having shoes but half a pair, Their fortune and their fame should fix, And gallop in a coach and six."

The world is probably not aware of the ingenuity, humor, good sense, and sly satire contained in many of the old English nursery-tales. They have evidently been the sportive productions of able writers, who would not trust their names to productions that might be considered beneath their dignity. The ponderous works on which they relied for immortality have perhaps sunk into oblivion, and carried their names down with them; while their unacknowledged offspring, Jack the Giant Killer, Giles Gingerbread, and Tom Thumb, flourish in wide-spreading and never-ceasing popularity.

As Goldsmith had now acquired popularity and an extensive acquaintance, he attempted, with the advice of his friends, to procure a more regular and ample support by resuming the medical profession. He accordingly launched himself upon the town in style; hired a man-servant; replenished his wardrobe at considerable expense, and appeared in a professional wig and cane, purple silk small-clothes, and a scarlet roquelaure b.u.t.toned to the chin: a fantastic garb, as we should think at the present day, but not unsuited to the fashion of the times.

With his st.u.r.dy little person thus arrayed in the unusual magnificence of purple and fine linen, and his scarlet roquelaure flaunting from his shoulders, he used to strut into the apartments of his patients swaying his three-cornered hat in one hand and his medical scepter, the cane, in the other, and a.s.suming an air of gravity and importance suited to the solemnity of his wig; at least, such is the picture given of him by the waiting gentlewoman who let him into the chamber of one of his lady patients.

He soon, however, grew tired and impatient of the duties and restraints of his profession; his practice was chiefly among his friends, and the fees were not sufficient for his maintenance; he was disgusted with attendance on sick-chambers and capricious patients, and looked back with longing to his tavern haunts and broad convivial meetings, from which the dignity and duties of his medical calling restrained him. At length, on prescribing to a lady of his acquaintance who, to use a hackneyed phrase, "rejoiced" in the aristocratical name of Sidebotham, a warm dispute arose between him and the apothecary as to the quant.i.ty of medicine to be administered. The doctor stood up for the rights and dignities of his profession, and resented the interference of the compounder of drugs. His rights and dignities, however, were disregarded; his wig and cane and scarlet roquelaure were of no avail; Mrs. Sidebotham sided with the hero of the pestle and mortar; and Goldsmith flung out of the house in a pa.s.sion. "I am determined henceforth," said he to Topham Beauclerc, "to leave off prescribing for friends." "Do so, my dear doctor," was the reply; "whenever you undertake to kill, let it be only your enemies."

This was the end of Goldsmith's medical career.

CHAPTER SEVENTEEN

PUBLICATION OF THE VICAR OF WAKEFIELD--OPINIONS CONCERNING IT--OF DR.

JOHNSON--OF ROGERS THE POET--OF GOETHE--ITS MERITS--EXQUISITE EXTRACT--ATTACK BY KENRICK--REPLY--BOOK-BUILDING--PROJECT OF A COMEDY

The success of the poem of The Traveler, and the popularity which it had conferred on its author, now roused the attention of the bookseller in whose hands the novel of The Vicar of Wakefield had been slumbering for nearly two long years. The idea has generally prevailed that it was Mr.

John Newbery to whom the ma.n.u.script had been sold, and much surprise has been expressed that he should be insensible to its merit and suffer it to remain unpublished, while putting forth various inferior writings by the same author. This, however, is a mistake; it was his nephew, Francis Newbery, who had become the fortunate purchaser. Still the delay is equally unaccountable. Some have imagined that the uncle and nephew had business arrangements together, in which this work was included, and that the elder Newbery, dubious of its success, r.e.t.a.r.ded the publication until the full harvest of The Traveler should be reaped. Booksellers are p.r.o.ne to make egregious mistakes as to the merit of works in ma.n.u.script; and to undervalue, if not reject, those of cla.s.sic and enduring excellence, when dest.i.tute of that false brilliancy commonly called "effect." In the present instance, an intellect vastly superior to that of either of the booksellers was equally at fault. Dr. Johnson, speaking of the work to Boswell, some time subsequent to its publication, observed, "I myself did not think it would have had much success. It was written and sold to a bookseller before The Traveler, but published after, so little expectation had the bookseller from it. Had it been sold after The Traveler, he might have had twice as much money; _though sixty guineas was no mean price_."

Sixty guineas for the Vicar of Wakefield! and this could be p.r.o.nounced _no mean_ price by Dr. Johnson, at that time the arbiter of British talent, and who had had an opportunity of witnessing the effect of the work upon the public mind; for its success was immediate. It came out on the 27th of March, 1766; before the end of May a second edition was called for; in three months more a third; and so it went on, widening in a popularity that has never flagged. Rogers, the Nestor of British literature, whose refined purity of taste and exquisite mental organization rendered him eminently calculated to appreciate a work of the kind, declared that of all the books which, through the fitful changes of three generations, he had seen rise and fall, the charm of the Vicar of Wakefield had alone continued as at first; and could he revisit the world after an interval of many more generations, he should as surely look to find it undiminished. Nor has its celebrity been confined to Great Britain. Though so exclusively a picture of British scenes and manners, it has been translated into almost every language, and everywhere its charm has been the same. Goethe, the great genius of Germany, declared in his eighty-first year that it was his delight at the age of twenty, that it had in a manner formed a part of his education, influencing his taste and feelings throughout life, and that he had recently read it again from beginning to end--with renewed delight, and with a grateful sense of the early benefit derived from it.

It is needless to expatiate upon the qualities of a work which has thus pa.s.sed from country to country, and language to language, until it is now known throughout the whole reading world, and is become a household book in every hand. The secret of its universal and enduring popularity is undoubtedly its truth to nature, but to nature of the most amiable kind; to nature such as Goldsmith saw it. The author, as we have occasionally shown in the course of this memoir, took his scenes and characters in this as in his other writings, from originals in his own motley experience; but he has given them as seen through the medium of his own indulgent eye, and has set them forth with the colorings of his own good head and heart. Yet how contradictory it seems that this, one of the most delightful pictures of home and homefelt happiness, should be drawn by a homeless man; that the most amiable picture of domestic virtue and all the endearments of the married state should be drawn by a bachelor, who had been severed from domestic life almost from boyhood; that one of the most tender, touching, and affecting appeals on behalf of female loveliness should have been made by a man whose deficiency in all the graces of person and manner seemed to mark him out for a cynical disparager of the s.e.x.

We cannot refrain from transcribing from the work a short pa.s.sage ill.u.s.trative of what we have said, and which within a wonderfully small compa.s.s comprises a world of beauty of imagery, tenderness of feeling, delicacy and refinement of thought, and matchless purity of style. The two stanzas which conclude it, in which are told a whole history of woman's wrongs and sufferings, is, for pathos, simplicity, and euphony, a gem in the language. The scene depicted is where the poor Vicar is gathering around him the wrecks of his shattered family, and endeavoring to rally them back to happiness.

"The next morning the sun arose with peculiar warmth for the season, so that we agreed to breakfast together on the honeysuckle bank; where, while we sat, my youngest daughter at my request joined her voice to the concert on the trees about us. It was in this place my poor Olivia first met her seducer, and every object served to recall her sadness. But that melancholy which is excited by objects of pleasure, or inspired by sounds of harmony, soothes the heart instead of corroding it. Her mother, too, upon this occasion, felt a pleasing distress, and wept, and loved her daughter as before. 'Do, my pretty Olivia,' cried she, 'let us have that melancholy air your father was so fond of; your sister Sophy has already obliged us. Do, child; it will please your old father.' She complied in a manner so exquisitely pathetic as moved me.

"'When lovely woman stoops to folly, And finds too late that men betray, What charm can soothe her melancholy.

What art can wash her guilt away?

"'The only art her guilt to cover, To hide her shame from every eye, To give repentance to her lover, And wring his bosom--is to die.'"

Scarce had the Vicar of Wakefield made its appearance and been received with acclamation than its author was subjected to one of the usual penalties that attend success. He was attacked in the newspapers. In one of the chapters he had introduced his ballad of the Hermit, of which, as we have mentioned, a few copies had been printed some considerable time previously for the use of the Countess of Northumberland. This brought forth the following article in a fashionable journal of the day:

"_To the Printer of the 'St. James's Chronicle_.'

"Sir--In the Reliques of Ancient Poetry, published about two years ago, is a very beautiful little balled called A Friar of Orders Gray. The ingenious editor, Mr. Percy, supposes that the stanzas sung by Ophelia in the play of Hamlet were parts of some ballad well known in Shakespeare's time, and from these stanzas with the addition of one or two of his own to connect them, he has formed the above-mentioned ballad; the subject of which is, a lady comes to a convent to inquire for her love who had been driven there by her disdain. She is answered by a friar that he is dead:

"'No, no, he is dead, gone to his death's bed.

He never will come again.'

"The lady weeps and laments her cruelty; the friar endeavors to comfort her with morality and religion, but all in vain; she expresses the deepest grief and the most tender sentiments of love, till at last the friar discovers himself:

"'And lo! beneath this gown of gray Thy own true love appears.'

"This catastrophe is very fine, and the whole, joined with the greatest tenderness, has the greatest simplicity; yet, though this ballad was so recently published in the Ancient Reliques, Dr. Goldsmith has been hardy enough to publish a poem called The Hermit, where the circ.u.mstances and catastrophe are exactly the same, only with this difference, that the natural simplicity and tenderness of the original are almost entirely lost in the languid smoothness and tedious paraphrase of the copy, which is as short of the merits of Mr. Percy's ballad as the insipidity of negus is to the genuine flavor of champagne.

"I am, sir, yours, etc., DETECTOR."

This attack, supposed to be by Goldsmith's constant persecutor, the malignant Kenrick, drew from him the following note to the editor:

"Sir--As there is nothing I dislike so much as newspaper controversy, particularly upon trifles, permit me to be as concise as possible in informing a correspondent of yours that I recommended Blainville's travels because I thought the book was a good one; and I think so still. I said I was told by the bookseller that it was then first published; but in that it seems I was misinformed, and my reading was not extensive enough to set me right.

"Another correspondent of yours accuses me of having taken a ballad I published some time ago, from one by the ingenious Mr. Percy. I do not think there is any great resemblance between the two pieces in question. If there be any, his ballad was taken from mine. I read it to Mr. Percy some years ago; and he, as we both considered these things as trifles at best, told me, with his usual good-humor, the next time I saw him, that he had taken my plan to form the fragments of Shakespeare into a ballad of his own. He then read me his little Cento, if I may so call it, and I highly approved it. Such petty anecdotes as these are scarcely worth printing; and were it not for the busy disposition of some of your correspondents, the public should never have known that he owes me the hint of his ballad, or that I am obliged to his friendship and learning for communications of a much more important nature.

"I am, sir, yours, etc.,

"OLIVER GOLDSMITH."

The unexpected circulation of the Vicar of Wakefield enriched the publisher, but not the author. Goldsmith no doubt thought himself ent.i.tled to partic.i.p.ate in the profits of the repeated editions; and a memorandum, still extant, shows that he drew upon Mr. Francis Newbery, in the month of June, for fifteen guineas, but that the bill was returned dishonored. He continued therefore his usual job-work for the booksellers, writing introductions, prefaces, and head and tail pieces for new works; revising, touching up, and modifying travels and voyages; making compilations of prose and poetry, and "building books," as he sportively termed it. These tasks required little labor or talent, but that taste and touch which are the magic of gifted minds. His terms began to be proportioned to his celebrity. If his price was at anytime objected to, "Why, sir," he would say, "it may seem large; but then a man may be many years working in obscurity before his taste and reputation are fixed or estimated; and then he is, as in other professions, only paid for his previous labors."

He was, however, prepared to try his fortune in a different walk of literature from any he had yet attempted. We have repeatedly adverted to his fondness for the drama; he was a frequent attendant at the theaters; though, as we have shown, he considered them under gross mismanagement. He thought, too, that a vicious taste prevailed among those who wrote for the stage. "A new species of dramatic composition," says he, in one of his essays, "has been introduced under the name of _sentimental comedy_, in which the virtues of private life are exhibited, rather than the vices exposed; and the distresses rather than the faults of mankind make our interest in the piece. In these plays almost all the characters are good and exceedingly generous; they are lavish enough of their tin money on the stage; and though they want humor, have abundance of sentiment and feeling.

If they happen to have faults or foibles, the spectator is taught not only to pardon, but to applaud them in consideration of the goodness of their hearts; so that folly, instead of being ridiculed, is commended, and the comedy aims at touching our pa.s.sions, without the power of being truly pathetic. In this manner we are likely to lose one great source of entertainment on the stage; for while the comic poet is invading the province of the tragic muse, he leaves her lively sister quite neglected.

Of this, however, he is no ways solicitous, as he measures his fame by his profits....

"Humor at present seems to be departing from the stage; and it will soon happen that our comic players will have nothing left for it but a fine coat and a song. It depends upon the audience whether they will actually drive those poor merry creatures from the stage, or sit at a play as gloomy as at the tabernacle. It is not easy to recover an art when once lost; and it will be a just punishment, that when, by our being too fastidious, we have banished humor from the stage, we should ourselves be deprived of the art of laughing."

Symptoms of reform in the drama had recently taken place. The comedy of the Clandestine Marriage, the joint production of Colman and Garrick, and suggested by Hogarth's inimitable pictures of "Marriage a la mode," had taken the town by storm, crowded the theaters with fashionable audiences, and formed one of the leading literary topics of the year. Goldsmith's emulation was roused by its success. The comedy was in what he considered the legitimate line, totally different from the sentimental school; it presented pictures of real life, delineations of character and touches of humor, in which he felt himself calculated to excel. The consequence was that in the course of this year (1766), he commenced a comedy of the same cla.s.s, to be ent.i.tled the Good Natured Man, at which he diligently wrought whenever the hurried occupation of "book building" allowed him leisure.