Complete Fictional Works of Washington Irving (Illustrated) (406 page)
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Authors: Washington Irving
Returning from Spain in 1846, Irving took up permanent residence at Sunnyside and began work on an “Author’s Revised Edition” of his works for publisher George Palmer Putnam. For its publication, Irving had made a deal that secured for him 12 percent of the retail price of all copies sold. Such an agreement was unprecedented at that time. As he revised his older works for Putnam, Irving continued to write regularly, publishing this detailed biography on the writer and poet Oliver Goldsmith in 1849.
Oliver Goldsmith (1730-1774) was an Anglo-Irish writer and poet, who is best known for his novel ‘The Vicar of Wakefield’.
CONTENTS
PREFA
CE
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.
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, is a counterpart of Goldsmith himself, “my father, the younger son of a good family, was possessed of a small living in the church. His education was above his fortune, and his generosity greater than his education. Poor as he was, he had his flatterers poorer than himself; for every dinner he gave them, they returned him an equivalent in praise; and this was all he wanted. The same ambition that actuates a monarch at the head of his army influenced my father at the head of his table: he told the story of the ivy-tree, and that was laughed at; he repeated the jest of the two scholars and one pair of breeches, and the company laughed at that; but the story of Taffy in the sedan chair was sure to set the table in a roar. Thus his pleasure increased in proportion to the pleasure he gave; he loved all the world, and he fancied all the world loved him.
“As his fortune was but small, he lived up to the very extent of it; he had no intention of leaving his children money, for that was dross; he resolved they should have learning, for learning, he used to observe, was better than silver or gold. For this purpose he undertook to instruct us himself, and took as much care to form our morals as to improve our understanding. We were told that universal benevolence was what first cemented society; we were taught to consider all the wants of mankind as our own; to regard the
human face divine
with affection and esteem; he wound us up to be mere machines of pity, and rendered us incapable of withstanding the slightest impulse made either by real or fictitious distress. In a word, we were perfectly instructed in the art of giving away thousands before we were taught the necessary qualifications of getting a farthing.”
In the Deserted Village we have another picture of his father and his father’s fireside:
”His house was known to all the vagrant train,
He chid their wanderings, but relieved their pain;
The long-remembered beggar was his guest,
Whose beard, descending, swept his aged breast;
The ruin’d spendthrift, now no longer proud
Claim’d kindred there, and had his claims allow’d;
The broken soldier, kindly bade to stay.
Sat by his fire, and talk’d the night away;
Wept o’er his wounds, or tales of sorrow done,
Shoulder’d his crutch, and show’d how fields were won.
Pleased with his guests, the good man learned to glow
And quite forgot their vices in their woe;
Careless their merits or their faults to scan,
His pity gave ere charity began.”
The family of the worthy pastor consisted of five sons and three daughters. Henry, the eldest, was the good man’s pride and hope, and he tasked his slender means to the utmost in educating him for a learned and distinguished career. Oliver was the second son, and seven years younger than Henry, who was the guide and protector of his childhood, and to whom he was most tenderly attached throughout life.
Oliver’s education began when he was about three years old; that is to say, he was gathered under the wings of one of those good old motherly dames, found in every village, who cluck together the whole callow brood of the neighborhood, to teach them their letters and keep them out of harm’s way. Mistress Elizabeth Delap, for that was her name, flourished in this capacity for upward of fifty years, and it was the pride and boast of her declining days, when nearly ninety years of age, that she was the first that had put a book (doubtless a hornbook) into Goldsmith’s hands. Apparently he did not much profit by it, for she confessed he was one of the dullest boys she had ever dealt with, insomuch that she had sometimes doubted whether it was possible to make anything of him: a common case with imaginative children, who are apt to be beguiled from the dry abstractions of elementary study by the picturings of the fancy.
At six years of age he passed into the hands of the village schoolmaster, one Thomas (or, as he was commonly and irreverently named, Paddy) Byrne, a capital tutor for a poet. He had been educated for a pedagogue, but had enlisted in the army, served abroad during the wars of Queen Anne’s time, and risen to the rank of quartermaster of a regiment in Spain. At the return of peace, having no longer exercise for the sword, he resumed the ferule, and drilled the urchin populace of Lissoy. Goldsmith is supposed to have had him and his school in view in the following sketch in his Deserted Village:
”Beside yon straggling fence that skirts the way,
With blossom’d furze unprofitably gay,
There, in his noisy mansion, skill’d 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 laugh’d with counterfeited glee
At all his jokes, for many a joke had he;
Full well the busy whisper circling round,
Convey’d the dismal tidings when he frown’d:
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 own’d his skill,
For, e’en though vanquished, he could argue still;
While words of learned length and thund’ring 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.”
There are certain whimsical traits in the character of Byrne, not given in the foregoing sketch. He was fond of talking of his vagabond wanderings in foreign lands, and had brought with him from the wars a world of campaigning stories, of which he was generally the hero, and which he would deal forth to his wondering scholars when he ought to have been teaching them their lessons. These travelers’ tales had a powerful effect upon the vivid imagination of Goldsmith, and awakened an unconquerable passion for wandering and seeking adventure.
Byrne was, moreover, of a romantic vein, and exceedingly superstitious. He was deeply versed in the fairy superstitions which abound in Ireland, all which he professed implicitly to believe. Under his tuition Goldsmith soon became almost as great a proficient in fairy lore. From this branch of good-for-nothing knowledge, his studies, by an easy transition, extended to the histories of robbers, pirates, smugglers, and the whole race of Irish rogues and rapparees. Everything, in short, that savored of romance, fable, and adventure was congenial to his poetic mind, and took instant root there; but the slow plants of useful knowledge were apt to be overrun, if not choked, by the weeds of his quick imagination.
Another trait of his motley preceptor, Byrne, was a disposition to dabble in poetry, and this likewise was caught by his pupil. Before he was eight years old Goldsmith had contracted a habit of scribbling verses on small scraps of paper, which, in a little while, he would throw into the fire. A few of these sybilline leaves, however, were rescued from the flames and conveyed to his mother. The good woman read them with a mother’s delight, and saw at once that her son was a genius and a poet. From that time she beset her husband with solicitations to give the boy an education suitable to his talents. The worthy man was already straitened by the costs of instruction of his eldest son Henry, and had intended to bring his second son up to a trade; but the mother would listen to no such thing; as usual, her influence prevailed, and Oliver, instead of being instructed in some humble but cheerful and gainful handicraft, was devoted to poverty and the Muse.
A severe attack of the small-pox caused him to be taken from under the care of his storytelling preceptor, Byrne. His malady had nearly proved fatal, and his face remained pitted through life. On his recovery he was placed under the charge of the Rev. Mr. Griffin, schoolmaster of Elphin, in Roscommon, and became an inmate in the house of his uncle, John Goldsmith, Esq., of Ballyoughter, in that vicinity. He now entered upon studies of a higher order, but without making any uncommon progress. Still a careless, easy facility of disposition, an amusing eccentricity of manners, and a vein of quiet and peculiar humor, rendered him a general favorite, and a trifling incident soon induced his uncle’s family to concur in his mother’s opinion of his genius.
