Nonfiction > E.C. Stedman & E.M. Hutchinson, eds. > A Library of American Literature > 1821–1834
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Stedman and Hutchinson, comps.  A Library of American Literature:
An Anthology in Eleven Volumes.  1891.
Vol. V: Literature of the Republic, Part II., 1821–1834
 
Oliver Goldsmith
By Washington Irving (1783–1859)
 
[From Oliver Goldsmith. A Biography. 1849.]

NEVER was the trite, because sage apothegm, that “The child is father to the man,” more fully verified than in the case of Goldsmith. He is shy, awkward, and blundering in childhood, yet full of sensibility; he is a butt for the jeers and jokes of his companions, but apt to surprise and confound them by sudden and witty repartees; he is dull and stupid at his tasks, yet an eager and intelligent devourer of the travelling tales and campaigning stories of his half military pedagogue; he may be a dunce, but he is already a rhymer; and his early scintillations of poetry awaken the expectations of his friends. He seems from infancy to have been compounded of two natures, one bright, the other blundering; or to have had fairy gifts laid in his cradle by the “good people” who haunted his birthplace, the old goblin mansion on the banks of the Inny.
  1
  He carries with him the wayward elfin spirit, if we may so term it, throughout his career. His fairy gifts are of no avail at school, academy, or college: they unfit him for close study and practical science, and render him heedless of everything that does not address itself to his poetical imagination and genial and festive feelings; they dispose him to break away from restraint, to stroll about hedges, green lanes, and haunted streams, to revel with jovial companions, or to rove the country like a gypsy in quest of odd adventures.  2
  As if confiding in these delusive gifts, he takes no heed of the present nor care for the future, lays no regular and solid foundation of knowledge, follows out no plan, adopts and discards those recommended by his friends, at one time prepares for the ministry, next turns to the law, and then fixes upon medicine. He repairs to Edinburgh, the great emporium of medical science, but the fairy gifts accompany him; he idles and frolics away his time there, imbibing only such knowledge as is agreeable to him; makes an excursion to the poetical regions of the Highlands; and having walked the hospitals for the customary time, sets off to ramble over the Continent, in quest of novelty rather than knowledge. His whole tour is a poetical one. He fancies he is playing the philosopher while he is really playing the poet; and though professedly he attends lectures and visits foreign universities, so deficient is he on his return, in the studies for which he set out, that he fails in an examination as a surgeon’s mate; and while figuring as a doctor of medicine, is outvied on a point of practice by his apothecary. Baffled in every regular pursuit, after trying in vain some of the humbler callings of commonplace life, he is driven almost by chance to the exercise of his pen, and here the fairy gifts come to his assistance. For a long time, however, he seems unaware of the magic properties of that pen: he uses it only as a makeshift until he can find a legitimate means of support. He is not a learned man, and can write but meagrely and at second-hand on learned subjects; but he has a quick convertible talent that seizes lightly on the points of knowledge necessary to the illustration of a theme: his writings for a time are desultory, the fruits of what he has seen and felt, or what he has recently and hastily read; but his gifted pen transmutes everything into gold, and his own genial nature reflects its sunshine through his pages.  3
  Still unaware of his powers he throws off his writings anonymously, to go with the writings of less favored men; and it is a long time, and after a bitter struggle with poverty and humiliation, before he acquires confidence in his literary talent as a means of support, and begins to dream of reputation.  4
  From this time his pen is a wand of power in his hand, and he has only to use it discreetly, to make it competent to all his wants. But discretion is not a part of Goldsmith’s nature; and it seems the property of these fairy gifts to be accompanied by moods and temperaments to render their effect precarious. The heedlessness of his early days; his disposition for social enjoyment; his habit of throwing the present on the neck of the future, still continue. His expenses forerun his means; he incurs debts on the faith of what his magic pen is to produce, and then, under the pressure of his debts, sacrifices its productions for prices far below their value. It is a redeeming circumstance in his prodigality, that it is lavished oftener upon others than upon himself; he gives without thought or stint, and is the continual dupe of his benevolence and his trustfulness in human nature…. His heedlessness in pecuniary matters, which had rendered his life a struggle with poverty even in the days of his obscurity, rendered the struggle still more intense when his fairy gifts had elevated him into the society of the wealthy and luxurious, and imposed on his simple and generous spirit fancied obligations to a more ample and bounteous display…. Though his circumstances often compelled him to associate with the poor, they never could betray him into companionship with the depraved. His relish for humor and for the study of character, as we have before observed, brought him often into convivial company of a vulgar kind; but he discriminated between their vulgarity and their amusing qualities, or rather wrought from the whole those familiar pictures of life which form the staple of his most popular writings.  5
  Much, too, of this intact purity of heart may be ascribed to the lessons of his infancy under the paternal roof; to the gentle, benevolent, elevated, unworldly maxims of his father, who “passing rich with forty pounds a year,” infused a spirit into his child which riches could not deprave nor poverty degrade. Much of his boyhood, too, had been passed in the household of his uncle, the amiable and generous Contarine; where he talked of literature with the good pastor, and practised music with his daughter, and delighted them both by his juvenile attempts at poetry. These early associations breathed a grace and refinement into his mind and tuned it up, after the rough sports on the green, or the frolics at the tavern. These led him to turn from the roaring glees of the club, to listen to the harp of his cousin Jane; and from the rustic triumph of “throwing the sledge,” to a stroll with his flute along the pastoral banks of the Inny.  6
  The gentle spirit of his father walked with him through life, a pure and virtuous monitor; and in all the vicissitudes of his career, we find him ever more chastened in mind by the sweet and holy recollections of the home of his infancy.  7
  It has been questioned whether he really had any religious feeling. Those who raise the question have never considered well his writings; his “Vicar of Wakefield,” and his pictures of the Village Pastor, present religion under its most endearing forms, and with a feeling that could only flow from the deep convictions of the heart. When his fair travelling companions at Paris urged him to read the Church Service on a Sunday, he replied that “he was not worthy to do it.” He had seen in early life the sacred offices performed by his father and his brother with a solemnity which had sanctified them in his memory; how could he presume to undertake such functions? His religion has been called in question by Johnson and by Boswell: he certainly had not the gloomy hypochondriacal piety of the one, nor the babbling mouth-piety of the other; but the spirit of Christian charity, breathed forth in his writings and illustrated in his conduct, gives us reason to believe he had the in-dwelling religion of the soul.  8
  We have made sufficient comments in the preceding chapters on his conduct in elevated circles of literature and fashion. The fairy gifts which took him there, were not accompanied by the gifts and graces necessary to sustain him in that artificial sphere. He can neither play the learned sage with Johnson, nor the fine gentleman with Beauclerc: though he has a mind replete with wisdom and natural shrewdness, and a spirit free from vulgarity. The blunders of a fertile but hurried intellect, and the awkward display of the student assuming the man of fashion, fix on him a character for absurdity and vanity which, like the charge of lunacy, it is hard to disprove, however weak the grounds of the charge and strong the facts in opposition to it.  9
  In truth, he is never truly in his place in these learned and fashionable circles, which talk and live for display. It is not the kind of society he craves. His heart yearns for domestic life; it craves familiar, confiding intercourse, family firesides, the guileless and happy company of children; these bring out the heartiest and sweetest sympathies of his nature.  10
  “Had it been his fate,” says the critic we have already quoted, “to meet a woman who could have loved him, despite his faults, and respected him despite his foibles, we cannot but think that his life and his genius would have been much more harmonious; his desultory affections would have been concentred, his craving self-love appeased, his pursuits more settled, his character more solid. A nature like Goldsmith’s, so affectionate, so confiding—so susceptible to simple, innocent enjoyments—so dependent on others for the sunshine of existence, does not flower if deprived of the atmosphere of home.”  11
  The cravings of his heart in this respect are evident, we think, throughout his career; and if we have dwelt with more significancy than others, upon his intercourse with the beautiful Horneck family, it is because we fancied we could detect, amid his playful attentions to one of its members, a lurking sentiment of tenderness, kept down by conscious poverty and a humiliating idea of personal defects. A hopeless feeling of this kind—the last a man would communicate to his friends—might account for much of that fitfulness of conduct, and that gathering melancholy, remarked, but not comprehended by his associates, during the last year or two of his life; and may have been one of the troubles of the mind which aggravated his last illness, and only terminated with his death.  12
  We shall conclude these desultory remarks, with a few which have been used by us on a former occasion. From the general tone of Goldsmith’s biography, it is evident that his faults, at the worst, were but negative, while his merits were great and decided. He was no one’s enemy but his own; his errors, in the main, inflicted evil on none but himself, and were so blended with humorous, and even affecting circumstances, as to disarm anger and conciliate kindness. Where eminent talent is united to spotless virtue, we are awed and dazzled into admiration, but our admiration is apt to be cold and reverential; while there is something in the harmless infirmities of a good and great, but erring individual, that pleads touchingly to our nature; and we turn more kindly towards the object of our idolatry, when we find that, like ourselves, he is mortal and is frail. The epithet so often heard, and in such kindly terms, of “poor Goldsmith,” speaks volumes. Few, who consider the real compound of admirable and whimsical qualities which form his character, would wish to prune away its eccentricities, trim its grotesque luxuriance, and clip it down to the decent formalities of rigid virtue. “Let not his frailties be remembered,” said Johnson; “he was a very great man.” But, for our part, we rather say “Let them be remembered,” since their tendency is to endear; and we question whether he himself would not feel gratified in hearing his reader, after dwelling with admiration on the proofs of his greatness, close the volume with the kind-hearted phrase, so fondly and familiarly ejaculated, of “POOR GOLDSMITH.”  13
 
 
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