Goldsmith, William Black [fiction book recommendations txt] 📗

/> Nor is it any romantic and impossible peasantry that is gradually brought before us. There are no Norvals in Lissoy. There is the old woman--Catherine Geraghty, they say, was her name--who gathered cresses in the ditches near her cabin. There is the village preacher whom Mrs. Hodson, Goldsmith's sister, took to be a portrait of their father; but whom others have identified as Henry Goldsmith, and even as the uncle Contarine: they may all have contributed. And then comes Paddy Byrne. Amid all the pensive tenderness of the poem this description of the schoolmaster, with its strokes of demure humour, is introduced with delightful effect.


"Beside yon straggling fence that skirts the way,
With blossom'd furze unprofitably gay,
There, in his noisy mansion, skilled 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 laughed with counterfeited glee
At all his jokes, for many a joke had he;
Full well the busy whisper circling round
Conveyed the dismal tidings when he frowned.
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 owned his skill;
For e'en though vanquished, he could argue still;
While words of learned length and thundering 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."


All this is so simple and natural that we cannot fail to believe in the reality of Auburn, or Lissoy, or whatever the village may be supposed to be. We visit the clergyman's cheerful fireside; and look in on the noisy school; and sit in the evening in the ale house to listen to the profound politics talked there. But the crisis comes. Auburn _delenda est_. Here, no doubt, occurs the least probable part of the poem. Poverty of soil is a common cause of emigration; land that produces oats (when it can produce oats at all) three-fourths mixed with weeds, and hay chiefly consisting of rushes, naturally discharges its surplus population as families increase; and though the wrench of parting is painful enough, the usual result is a change from starvation to competence. It more rarely happens that a district of peace and plenty, such as Auburn was supposed to see around it, is depopulated to add to a great man's estate.


"The man of wealth and pride
Takes up a space that many poor supplied;
Space for his lake, his park's extended bounds,
Space for his horses, equipage, and hounds:

* * * * *

His seat, where solitary sports are seen,
Indignant spurns the cottage from the green:"


--and so forth. This seldom happens; but it does happen; and it has happened, in our own day, in England. It is within the last twenty years that an English landlord, having faith in his riches, bade a village be removed and cast elsewhere, so that it should no longer be visible from his windows: and it was forthwith removed. But any solitary instance like this is not sufficient to support the theory that wealth and luxury are inimical to the existence of a hardy peasantry; and so we must admit, after all, that it is poetical exigency rather than political economy that has decreed the destruction of the loveliest village of the plain. Where, asks the poet, are the driven poor to find refuge, when even the fenceless commons are seized upon and divided by the rich? In the great cities?--


"To see profusion that he must not share;
To see ten thousand baneful arts combined
To pamper luxury and thin mankind."


It is in this description of a life in cities that there occurs an often-quoted passage, which has in it one of the most perfect lines in English poetry:--


"Ah, turn thine eyes
Where the poor houseless shivering female lies.
She once, perhaps, in village plenty blest,
Has wept at tales of innocence distrest;
Her modest looks the cottage might adorn,
Sweet as the primrose peeps beneath the thorn;
Now lost to all; her friends, her virtue fled,
Near her betrayer's door she lays her head.
And, pinch'd with cold, and shrinking from the shower,
With heavy heart deplores that luckless hour,
When idly first, ambitious of the town,
She left her wheel and robes of country brown."


Goldsmith wrote in a pre-Wordsworthian age, when, even in the realms of poetry, a primrose was not much more than a primrose; but it is doubtful whether, either before, during, or since Wordsworth's time the sentiment that the imagination can infuse into the common and familiar things around us ever received more happy expression than in the well-known line,


"_Sweet as the primrose peeps beneath the thorn._"


No one has as yet succeeded in defining accurately and concisely what poetry is; but at all events this line is surcharged with a certain quality which is conspicuously absent in such a production as the _Essay on Man_. Another similar line is to be found further on in the description of the distant scenes to which the proscribed people are driven:


"Through torrid tracts with fainting steps they go,
_Where wild Altama murmurs to their woe._"


Indeed, the pathetic side of emigration has never been so powerfully presented to us as in this poem--


"When the poor exiles, every pleasure past,
Hung round the bowers, and fondly looked their last,
And took a long farewell, and wished in vain
For seats like these beyond the western main,
And shuddering still to face the distant deep,
Returned and wept, and still returned to weep.

* * * * *

Even now, methinks, as pondering here I stand,
I see the rural virtues leave the land.
Down where yon anchoring vessel spreads the sail,
That idly waiting flaps with every gale,
Downward they move a melancholy band,
Pass from the shore, and darken all the strand.
Contented toil, and hospitable care,
And kind connubial tenderness are there;
And piety with wishes placed above,
And steady loyalty, and faithful love."


And worst of all, in this imaginative departure, we find that Poetry herself is leaving our shores. She is now to try her voice


"On Torno's cliffs or Pambamarca's side;"


and the poet, in the closing lines of the poem, bids her a passionate and tender farewell:--


"And thou, sweet Poetry, thou loveliest maid,
Still first to fly where sensual joys invade;
Unfit in these degenerate times of shame
To catch the heart, or strike for honest fame;
Dear charming nymph, neglected and decried,
My shame in crowds, my solitary pride;
Thou source of all my bliss, and all my woe,
That found'st me poor at first, and keep'st me so;
Thou guide by which the nobler arts excel,
Thou nurse of every virtue, fare thee well!
Farewell, and O! where'er thy voice be tried,
On Torno's cliffs, or Pambamarca's side,
Whether where equinoctial fervours glow,
Or winter wraps the polar world in snow,
Still let thy voice, prevailing over time,
Redress the rigours of the inclement clime;
Aid slighted truth with thy persuasive strain;
Teach erring man to spurn the rage of gain:
Teach him, that states of native strength possest,
Though very poor, may still be very blest;
That trade's proud empire hastes to swift decay,
As ocean sweeps the laboured mole away;
While self-dependent power can time defy,
As rocks resist the billows and the sky."


So ends this graceful, melodious, tender poem, the position of which in English literature, and in the estimation of all who love English literature, has not been disturbed by any fluctuations of literary fashion. We may give more attention at the moment to the new experiments of the poetic method; but we return only with renewed gratitude to the old familiar strain, not the least merit of which is that it has nothing about it of foreign tricks or graces. In English literature there is nothing more thoroughly English than these writings produced by an Irishman. And whether or not it was Paddy Byrne, and Catherine Geraghty, and the Lissoy ale-house that Goldsmith had in his mind when he was writing the poem, is not of much consequence: the manner and language and feeling are all essentially English; so that we never think of calling Goldsmith anything but an English poet.

The poem met with great and immediate success. Of course everything that Dr. Goldsmith now wrote was read by the public; he had not to wait for the recommendation of the reviews; but, in this case, even the reviews had scarcely anything but praise in the welcome of his new book. It was dedicated, in graceful and ingenious terms, to Sir Joshua Reynolds, who returned the compliment by painting a picture and placing on the engraving of it this inscription: "This attempt to express a character in the _Deserted Village_ is dedicated to Dr. Goldsmith by his sincere friend and admirer, Sir Joshua Reynolds." What Goldsmith got from Griffin for the poem is not accurately known; and this is a misfortune, for the knowledge would have enabled us to judge whether at that time it was possible for a poet to court the draggle-tail muses without risk of starvation. But if fame were his chief object in the composition of the poem, he was sufficiently rewarded; and it is to be surmised that by this time the people in Ireland--no longer implored to get subscribers--had heard of the proud position won by the vagrant youth who had "taken the world for his pillow" some eighteen years before.

That his own thoughts had sometimes wandered back to the scenes and friends of his youth during this labour of love, we know from his letters. In January of this year, while as yet the _Deserted Village_ was not quite through the press, he wrote to his brother Maurice; and expressed himself as most anxious to hear all