Complete Fictional Works of Washington Irving (Illustrated) (436 page)

Among his debts were seventy-nine pounds due to his tailor, Mr. William Filby, from whom he had received a new suit but a few days before his death. “My father,” said the younger Filby, “though a loser to that amount, attributed no blame to Goldsmith; he had been a good customer, and had he lived would have paid every farthing.” Others of his tradespeople evinced the same confidence in his integrity, notwithstanding his heedlessness. Two sister milliners in Temple Lane, who had been accustomed to deal with him, were concerned, when told, some time before his death, of his pecuniary embarrassments. “Oh, sir,” said they to Mr. Cradock, “sooner persuade him to let us work for him gratis than apply to any other; we are sure he will pay us when he can.”

On the stairs of his apartment there was the lamentation of the old and infirm, and the sobbing of women; poor objects of his charity to whom he had never turned a deaf ear, even when struggling himself with poverty.

But there was one mourner, whose enthusiasm for his memory, could it have been foreseen, might have soothed the bitterness of death. After the coffin had been screwed down, a lock of his hair was requested for a lady, a particular friend, who wished to preserve it as a remembrance. It was the beautiful Mary Horneck — the Jessamy Bride. The coffin was opened again, and a lock of hair cut off; which she treasured to her dying day. Poor Goldsmith! could he have foreseen that such a memorial of him was to be thus cherished!

One word more concerning this lady, to whom we have so often ventured to advert. She survived almost to the present day. Hazlitt met her at Northcote’s painting-room, about twenty years since, as Mrs. Gwyn, the widow of a General Gwyn of the army. She was at that time upward of seventy years of age. Still, he said, she was beautiful, beautiful even in years. After she was gone, Hazlitt remarked how handsome she still was. “I do not know,” said Northcote, “why she is so kind as to come to see me, except that I am the last link in the chain that connects her with all those she most esteemed when young — Johnson, Reynolds, Goldsmith — and remind her of the most delightful period of her life.” “Not only so,” observed Hazlitt, “but you remember what she was at twenty; and you thus bring back to her the triumphs of her youth — that pride of beauty, which must be the more fondly cherished as it has no external vouchers, and lives chiefly in the bosom of its once lovely possessor. In her, however, the Graces had triumphed over time; she was one of Ninon de l’Enclos’ people, of the last of the immortals. I could almost fancy the shade of Goldsmith in the room, looking round with complacency.”

The Jessamy Bride survived her sister upward of forty years, and died in 1840, within a few days of completing her eighty-eighth year. “She had gone through all the stages of life,” says Northcote, “and had lent a grace to each.” However gayly she may have sported with the half-concealed admiration of the poor awkward poet in the heyday of her youth and beauty, and however much it may have been made a subject of teasing by her youthful companions, she evidently prided herself in after years upon having been an object of his affectionate regard; it certainly rendered her interesting throughout life in the eyes of his admirers, and has hung a poetical wreath above her grave.

CHAPTER FORTY-FI
VE

THE FUNERAL — THE MONUMENT — THE EPITAPH — CONCLUDING REMARKS

In the warm feeling of the moment, while the remains of the poet were scarce cold, it was determined by his friends to honor them by a public funeral and a tomb in Westminster Abbey. His very pall-bearers were designated: Lord Shelburne, Lord Lowth, Sir Joshua Reynolds; the Hon. Mr. Beauclerc, Mr. Burke, and David Garrick. This feeling cooled down, however, when it was discovered that he died in debt, and had not left wherewithal to pay for such expensive obsequies. Five days after his death, therefore, at five o’clock of Saturday evening, the 9th of April, he was privately interred in the burying-ground of the Temple Church; a few persons attending as mourners, among whom we do not find specified any of his peculiar and distinguished friends. The chief mourner was Sir Joshua Reynolds’ nephew, Palmer, afterward Dean of Cashel. One person, however, from whom it was but little to be expected, attended the funeral and evinced real sorrow on the occasion. This was Hugh Kelly, once the dramatic rival of the deceased, and often, it is said, his anonymous assailant in the newspapers. If he had really been guilty of this basest of literary offenses, he was punished by the stings of remorse, for we are told that he shed bitter tears over the grave of the man he had injured. His tardy atonement only provoked the lash of some unknown satirist, as the following lines will show:

”Hence Kelly, who years, without honor or shame,
Had been sticking his bodkin in Oliver’s fame,
Who thought, like the Tartar, by this to inherit
His genius, his learning, simplicity, spirit;
Now sets every feature to weep o’er his fate,
And acts as a mourner to blubber in state.”

One base wretch deserves to be mentioned, the reptile Kenrick, who, after having repeatedly slandered Goldsmith while living, had the audacity to insult his memory when dead. The following distich is sufficient to show his malignancy, and to hold him up to execration:

”By his own art, who justly died,
A blund’ring, artless suicide:
Share, earthworms, share, since now he’s dead,
His megrim, maggot-bitten head.”

This scurrilous epitaph produced a burst of public indignation that awed for a time even the infamous Kenrick into silence. On the other hand, the press teemed with tributes in verse and prose to the memory of the deceased; all evincing the mingled feeling of admiration for the author and affection for the man.

Not long after his death the Literary Club set on foot a subscription, and raised a fund to erect a monument to his memory in Westminster Abbey. It was executed by Nollekins, and consisted simply of a bust of the poet in profile, in high relief, in a medallion, and was placed in the area of a pointed arch, over the south door in Poets’ Corner, between the monuments of Gay and the Duke of Argyle. Johnson furnished a Latin epitaph, which was read at the table of Sir Joshua Reynolds, where several members of the club and other friends of the deceased were present. Though considered by them a masterly composition, they thought the literary character of the poet not defined with sufficient exactness, and they preferred that the epitaph should be in English rather than Latin, as “the memory of so eminent an English writer ought to be perpetuated in the language to which his works were likely to be so lasting an ornament.” These objections were reduced to writing, to be respectfully submitted to Johnson, but such was the awe entertained of his frown that every one shrank from putting his name first to the instrument; whereupon their names were written about it in a circle, making what mutinous sailors call a Round Robin. Johnson received it half graciously, half grimly. “He was willing,” he said, “to modify the sense of the epitaph in any manner the gentlemen pleased;
but he never would consent to disgrace the walls of Westminster Abbey with an English inscription
.” Seeing the names of Dr. Wharton and Edmund Burke among the signers, “he wondered,” he said, “that Joe Wharton, a scholar by profession, should be such a fool; and should have thought that Mund Burke would have had more sense.” The following is the epitaph as it stands inscribed on a white marble tablet beneath the bust:

OLIVARII GOLDSMITH,

Poetae, Physici, Historici,
Qui nullum ferè scribendi genus
Non tetigit,
Nullum quod tetigit non ornavit
Sive risus essent movendi,
Sive lacrymae,
Affectuum potens ac lenis dominator:
Ingenio sublimis, vividus, versatilis,
Oratione grandis, nitidus, venustus:
Hoc monumento memoriam coluit
Sodalium amor,
Amicorum fides,
Lectorum veneratio.
Natus in Hibernia Forniae Longfordiensis,
In loco cui nomen Pallas,
Nov. xxix. MDCCXXXI.;
Eblanse literis institutus;
Obiit Londini,
April iv. MDCCLXXIV.

The following translation is from Croker’s edition of Boswell’s Johnson:

OF OLIVER GOLDSMITH —

A Poet, Naturalist, and Historian,
Who left scarcely any style of writing untouched,
And touched nothing that he did not adorn;
Of all the passions,
Whether smiles were to be moved or tears,
A powerful yet gentle master;
In genius, sublime, vivid, versatile,
In style, elevated, clear, elegant —
The love of companions,
The fidelity of friends,
And the veneration of readers,
Have by this monument honored the memory.
He was born in Ireland,
At a place called Pallas,
[In the parish] of Forney, [and county] of Longford,
On the 29th Nov., 1731,[*]
Educated at [the University of] Dublin,
And died in London,
4th April, 1774.
[Footnote *: Incorrect. See page 12.]

*

We shall not pretend to follow these anecdotes of the life of Goldsmith with any critical dissertation on his writings; their merits have long since been fully discussed, and their station in the scale of literary merit permanently established. They have outlasted generations of works of higher power and wider scope, and will continue to outlast succeeding generations, for they have that magic charm of style by which works are embalmed to perpetuity. Neither shall we attempt a regular analysis of the character of the poet, but will indulge in a few desultory remarks in addition to those scattered throughout the preceding chapters.

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 traveling 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.

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.

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 meagerly and at secondhand 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.

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.

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. We may say of him as he says of one of his heroes, “He could not stifle the natural impulse which he had to do good, but frequently borrowed money to relieve the distressed; and when he knew not conveniently where to borrow, he has been observed to shed tears as he passed through the wretched suppliants who attended his gate.”….

“His simplicity in trusting persons whom he had no previous reasons to place confidence in, seems to be one of those lights of his character which, while they impeach his understanding, do honor to his benevolence. The low and the timid are ever suspicious; but a heart impressed with honorable sentiments expects from others sympathetic sincerity.” [Footnote: Goldsmith’s Life of Nashe.]

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.

“How comes it,” says a recent and ingenious critic, “that in all the miry paths of life which he had trod, no speck ever sullied the robe of his modest and graceful muse. How amid all that love of inferior company, which never to the last forsook him, did he keep his genius so free from every touch of vulgarity?”

We answer that it was owing to the innate purity and goodness of his nature; there was nothing in it that assimilated to vice and vulgarity. 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 features of life which form the staple of his most popular writings.

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 practiced 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 sledge,” to a stroll with his flute along the pastoral banks of the Inny.

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.

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 traveling 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 give us reason to believe he had the indwelling religion of the soul.