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Oliver Goldsmith: A Biography
PREFACE
In the course of a revised edition of my works I have come to a biographical sketch of Goldsmith, published several years since. It was written hastily, as introductory to a selection from his writings; and, though the facts contained in it were collected from various sources, I was chiefly indebted for them to the voluminous work of Mr. James Prior, who had collected and collated the most minute particulars of the poet's history with unwearied research and scrupulous fidelity; but had rendered them, as I thought, in a form too cumbrous and overlaid with details and disquisitions, and matters uninteresting to the general reader.
When I was about of late to revise my biographical sketch, preparatory to republication, a volume was put into my hands, recently given to the public by Mr. John Forster, of the Inner Temple, who, likewise availing himself of the labors of the indefatigable Prior, and of a few new lights since evolved, has produced a biography of the poet, executed with a spirit, a feeling, a grace and an eloquence, that leave nothing to be desired. Indeed it would have been presumption in me to undertake the subject after it had been thus felicitously treated, did I not stand committed by my previous sketch. That sketch now appeared too meager and insufficient to satisfy public demand; yet it had to take its place in the revised series of my works unless something more satisfactory could be substituted. Under these circumstances I have again taken up the subject, and gone into it with more fullness than formerly, omitting none of the facts which I considered illustrative of the life and character of the poet, and giving them in as graphic a style as I could command. Still the hurried manner in which I have had to do this amid the pressure of other claims on my attention, and with the press dogging at my heels, has prevented me from giving some parts of the subject the thorough handling I could have wished. Those who would like to see it treated still more at large, with the addition of critical disquisitions and the advantage of collateral facts, would do well to refer themselves to Mr. Prior's circumstantial volumes, or to the elegant and discursive pages of Mr. Forster.
For my own part, I can only regret my shortcomings in what to me is a labor of love; for it is a tribute of gratitude to the memory of an author whose writings were the delight of my childhood, and have been a source of enjoyment to me throughout life; and to whom, of all others, I may address the beautiful apostrophe of Dante to Virgil:
"Tu se' lo mio maestro, e 'l mio autore:
Tu se' solo colui, da cu, io tolsi
Lo bello stile, che m' ha fato onore."
W.I.
SUNNYSIDE, Aug. 1, 1849.
CHAPTER ONE
BIRTH AND PARENTAGE – CHARACTERISTICS OF THE GOLDSMITH RACE – POETICAL BIRTHPLACE – GOBLIN HOUSE – SCENES OF BOYHOOD – LISSOY – PICTURE OF A COUNTRY PARSON – GOLDSMITH'S SCHOOLMISTRESS – BYRNE, THE VILLAGE SCHOOLMASTER – GOLDSMITH'S HORNPIPE AND EPIGRAM – UNCLE CONTARINE – SCHOOL STUDIES AND SCHOOL SPORTS – MISTAKES OF A NIGHT
There are few writers for whom the reader feels such personal kindness as for Oliver Goldsmith, for few have so eminently possessed the magic gift of identifying themselves with their writings. We read his character in every page, and grow into familiar intimacy with him as we read. The artless benevolence that beams throughout his works; the whimsical, yet amiable views of human life and human nature; the unforced humor, blending so happily with good feeling and good sense, and singularly dashed at times with a pleasing melancholy; even the very nature of his mellow, and flowing, and softly-tinted style, all seem to bespeak his moral as well as his intellectual qualities, and make us love the man at the same time that we admire the author. While the productions of writers of loftier pretension and more sounding names are suffered to moulder on our shelves, those of Goldsmith are cherished and laid in our bosoms. We do not quote them with ostentation, but they mingle with our minds, sweeten our tempers, and harmonize our thoughts; they put us in good humor with ourselves and with the world, and in so doing they make us happier and better men.
An acquaintance with the private biography of Goldsmith lets us into the secret of his gifted pages. We there discover them to be little more than transcripts of his own heart and picturings of his fortunes. There he shows himself the same kind, artless, good-humored, excursive, sensible, whimsical, intelligent being that he appears in his writings. Scarcely an adventure or character is given in his works that may not be traced to his own party-colored story. Many of his most ludicrous scenes and ridiculous incidents have been drawn from his own blunders and mischances, and he seems really to have been buffeted into almost every maxim imparted by him for the instruction of his reader.
Oliver Goldsmith was born on the 10th of November, 1728, at the hamlet of Pallas, or Pallasmore, county of Longford, in Ireland. He sprang from a respectable, but by no means a thrifty stock. Some families seem to inherit kindliness and incompetency, and to hand down virtue and poverty from generation to generation. Such was the case with the Goldsmiths. "They were always," according to their own accounts, "a strange family; they rarely acted like other people; their hearts were in the right place, but their heads seemed to be doing anything but what they ought." – "They were remarkable," says another statement, "for their worth, but of no cleverness in the ways of the world." Oliver Goldsmith will be found faithfully to inherit the virtues and weaknesses of his race.
His father, the Rev. Charles Goldsmith, with hereditary improvidence, married when very young and very poor, and starved along for several years on a small country curacy and the assistance of his wife's friends. His whole income, eked out by the produce of some fields which he farmed, and of some occasional duties performed for his wife's uncle, the rector of an adjoining parish, did not exceed forty pounds.
"And passing rich with forty pounds a year."
He inhabited an old, half rustic mansion that stood on a rising ground in a rough, lonely part of the country, overlooking a low tract occasionally flooded by the river Inny. In this house Goldsmith was born, and it was a birthplace worthy of a poet; for, by all accounts, it was haunted ground. A tradition handed down among the neighboring peasantry states that, in after years, the house, remaining for some time untenanted, went to decay, the roof fell in, and it became so lonely and forlorn as to be a resort for the "good people" or fairies, who in Ireland are supposed to delight in old, crazy, deserted mansions for their midnight revels. All attempts to repair it were in vain; the fairies battled stoutly to maintain possession. A huge misshapen hobgoblin used to bestride the house every evening with an immense pair of jack-boots, which, in his efforts at hard riding, he would thrust through the roof, kicking to pieces all the work of the preceding day. The house was therefore left to its fate, and went to ruin.
Such is the popular tradition about Goldsmith's birthplace. About two years after his birth a change came over the circumstances of his father. By the death of his wife's uncle he succeeded to the rectory of Kilkenny West; and, abandoning the old goblin mansion, he removed to Lissoy, in the county of Westmeath, where he occupied a farm of seventy acres, situated on the skirts of that pretty little village.
This was the scene of Goldsmith's boyhood, the little world whence he drew many of those pictures, rural and domestic, whimsical and touching, which abound throughout his works, and which appeal so eloquently both to the fancy and the heart. Lissoy is confidently cited as the original of his "Auburn" in the Deserted Village; his father's establishment, a mixture of farm and parsonage, furnished hints, it is said, for the rural economy of the Vicar of Wakefield; and his father himself, with his learned simplicity, his guileless wisdom, his amiable piety, and utter ignorance of the world, has been exquisitely portrayed in the worthy Dr. Primrose. Let us pause for a moment, and draw from Goldsmith's writings one or two of those pictures which, under feigned names, represent his father and his family, and the happy fireside of his childish days.
"My father," says the "Man in Black," who, in some respects,
