While Oliver was leading at Dublin a life divided between squalid distress and squalid dissipation, his father died, leaving a mere pittance. In February 1749 the youth obtained his bachelor’s degree, and left the university. During some time the humble dwelling to which his widowed mother had retired was his home. He was now in his twenty-first year; it was necessary that he should do something; and his education seemed to have fitted him to do nothing but to dress himself in gaudy colours, of which he was as fond as a magpie, to take a hand at cards, to sing Irish airs, to play the flute, to angle in summer and to tell ghost stories by the fire in winter. He tried five or six professions in turn without success. He applied for ordination; but, as he applied in scarlet clothes, he was speedily turned out of the episcopal palace. He then became tutor in an opulent family, but soon quitted his situation in consequence of a dispute about pay. Then he determined to emigrate to America. His relations, with much satisfaction, saw him set out for Cork on a good horse, with £30 in his pocket. But in six weeks he came back on a miserable hack, without a penny, and informed his mother that the ship in which he had taken his passage, having got a fair wind while he was at a party of pleasure, had sailed without him. Then he resolved to study the law. A generous uncle, Mr Contarine, advanced £50. With this sum Goldsmith went to Dublin, was enticed into a gaming-house and lost every shilling. He then thought of medicine. A small purse was made up; and in his twenty-fourth year he was sent to Edinburgh. At Edinburgh he passed eighteen months in nominal attendance on lectures, and picked up some superficial information about chemistry and natural history. Thence he went to Leiden, still pretending to study physic. He left that celebrated university, the third university at which he had resided, in his twenty-seventh year, without a degree, with the merest smattering of medical knowledge, and with no property but his clothes and his flute. His flute, however, proved a useful friend. He rambled on foot through Flanders, France and Switzerland, playing tunes which everywhere set the peasantry dancing, and which often procured for him a supper and a bed. He wandered as far as Italy. His musical performances, indeed, were not to the taste of the Italians; but he contrived to live on the alms which he obtained at the gates of convents. It should, however, be observed that the stories which he told about this part of his life ought to be received with great caution; for strict veracity was never one of his virtues; and a man who is ordinarily inaccurate in narration is likely to be more than ordinarily inaccurate when he talks about his own travels. Goldsmith, indeed, was so regardless of truth as to assert in print that he was present at a most interesting conversation between Voltaire and Fontenelle, and that this conversation took place at Paris. Now it is certain that Voltaire never was within a hundred leagues of Paris during the whole time which Goldsmith passed on the continent.
In February 1756 the wanderer landed at Dover, without a shilling, without a friend and without a calling. He had indeed, if his own unsupported evidence may be trusted, obtained a doctor’s degree on the continent; but this dignity proved utterly useless to him. In England his flute was not in request; there were no convents; and he was forced to have recourse to a series of desperate expedients. There is a tradition that he turned strolling player. He pounded drugs and ran about London with phials for charitable chemists. He asserted, upon one occasion, that he had lived “among the beggars in Axe Lane.” He was for a time usher of a school, and felt the miseries and humiliations of this situation so keenly that he thought it a promotion to be permitted to earn his bread as a bookseller’s hack; but he soon found the new yoke more galling than the old one, and was glad to become an usher again. He obtained a medical appointment in the service of the East India Company; but the appointment was speedily revoked. Why it was revoked we are not told. The subject was one on which he never liked to talk. It is probable that he was incompetent to perform the duties of the place. Then he presented himself at Surgeons’ Hall for examination, as “mate to an hospital.” Even to so humble a post he was found unequal. Nothing remained but to return to the lowest drudgery of literature. Goldsmith took a room in a tiny square off Ludgate Hill, to which he had to climb from Sea-coal Lane by a dizzy ladder of flagstones called Breakneck Steps. Green Arbour Court and the ascent have long disappeared. Here, at thirty, the unlucky adventurer sat down to toil like a galley slave. Already, in 1758, during his first bondage to letters, he had translated Marteilhe’s remarkable Memoirs of a Protestant, Condemned to the Galleys of France for his Religion. In the years that now succeeded he sent to the press some things which have survived, and many which have perished. He produced articles for reviews, magazines and newspapers; children’s books, which, bound in gilt paper and adorned with hideous woodcuts, appeared in the window of Newbery’s once far-famed shop at the corner of Saint Paul’s churchyard; An Inquiry into the State of Polite Learning in Europe, which, though of little or no value, is still reprinted among his works; a volume of essays entitled The Bec; a Life of Beau Nash; a superficial and incorrect, but very readable, History of England, in a series of letters purporting to be addressed by a nobleman to his son; and some very lively and amusing sketches of London Society in another series of letters purporting to be addressed by a Chinese traveller to his friends. All these works were anonymous; but some of them were well known to be Goldsmith’s; and he gradually rose in the estimation of the booksellers for whom he drudged. He was, indeed, emphatically a popular writer. For accurate research or grave disquisition he was not well qualified by nature or by education. He knew nothing accurately; his reading had been desultory; nor had he meditated deeply on what he had read. He had seen much of the world; but he had noticed and retained little more of what he had seen than some grotesque incidents and characters which had happened to strike his fancy. But, though his mind was very scantily stored with materials, he used what materials he had in such a way as to produce a wonderful effect. There have been many greater writers; but perhaps no writer was ever more uniformly agreeable. His style was always pure and easy, and, on proper occasions, pointed and energetic. His narratives were always amusing, his descriptions always picturesque, his humour rich and joyous, yet not without an occasional tinge of amiable sadness. About everything that he wrote, serious or sportive, there was a certain natural grace and decorum, hardly to be expected from a man a great part of whose life had been passed among thieves and beggars, street-walkers and merryandrews, in those squalid dens which are the reproach of great capitals.
As his name gradually became known, the circle of his acquaintance widened. He was introduced to Johnson, who was then considered as the first of living English writers; to Reynolds, the first of English painters; and to Burke, who had not yet entered parliament, but had distinguished himself greatly by his writings and by the eloquence of his conversation. With these eminent men Goldsmith became intimate. In 1763 he was one of the nine original members of that celebrated fraternity which has sometimes been called the Literary Club, but which has always disclaimed that epithet, and still glories in the simple name of the Club.
By this date Goldsmith had quitted his miserable dwelling at the top of Breakneck Steps, and, after living for some time at No. 6 Wine Office Court, Fleet Street, had moved into the Temple. But he was still often reduced to pitiable shifts, the most popular of which is connected with the sale of his solitary novel, the Vicar of Wakefield. Towards the close of 1764(?) his rent is alleged to have been so long in arrear that his landlady one morning called in the help of a sheriff’s officer. The debtor, in great perplexity, despatched a messenger to Johnson; and Johnson, always friendly, though often surly, sent back the messenger with a guinea, and promised to follow speedily. He came, and found that Goldsmith had changed the guinea, and was railing at the landlady over a bottle of Madeira. Johnson put the cork into the bottle, and entreated his friend to consider calmly how money was to be procured. Goldsmith said that he had a novel ready for the press. Johnson glanced at the manuscript, saw that there were good things in it, took it to a bookseller, sold it for £60 and soon returned with the money. The rent was paid; and the sheriff’s officer withdrew. (Unfortunately, however, for this time-honoured version of the circumstances, it has of late years been discovered that as early as October 1762 Goldsmith had already sold a third of the Vicar to one Benjamin Collins of Salisbury, a printer, by whom it was eventually printed for F. Newbery, and it is difficult to reconcile this fact with Johnson’s narrative.)
But before the Vicar of Wakefield appeared in 1766, came the great crisis of Goldsmith’s literary life. In Christmas week 1764 he published a poem, entitled the Traveller. It was the first work to which he had put his name, and it at once raised him to the rank of a legitimate English classic. The opinion of the most skilful critics was that nothing finer had appeared in verse since the fourth book of the Dunciad. In one respect the Traveller differs from all Goldsmith’s other writings. In general his designs were bad, and his execution good. In the Traveller the execution, though deserving of much praise, is far inferior to the design. No philosophical poem, ancient or modern, has a plan so noble, and at the same time so simple. An English wanderer, seated on a crag among the Alps, near the point where three great countries meet, looks down on the boundless prospect, reviews his long pilgrimage, recalls the varieties of scenery, of climate, of government, of religion, of national character, which he has observed, and comes to the conclusion, just or unjust, that our happiness depends little on political institutions, and much on the temper and regulation of our own minds.
While the fourth edition of the Traveller was on the counters of the booksellers, the Vicar of Wakefield appeared, and rapidly obtained a popularity which has lasted down to our own time, and which is likely to last as long as our language. The fable is indeed one of the worst that ever was constructed. It wants, not merely that probability which ought to be found in a tale of common English life, but that consistency which ought to be found even in the wildest fiction about witches, giants and fairies. But the earlier chapters have all the sweetness of pastoral poetry, together with all the vivacity of comedy. Moses and his spectacles, the vicar and his monogamy, the sharper and his cosmogony, the squire proving from Aristotle that relatives are related, Olivia preparing herself for the arduous task of converting a rakish lover by studying the controversy between Robinson Crusoe and Friday, the great ladies with their scandal about Sir Tomkyn’s amours and Dr Burdock’s verses, and Mr Burchell with his “Fudge,” have caused as much harmless mirth as has ever been caused by matter packed into so small a number of pages. The latter part of the tale is unworthy of the beginning. As we approach the catastrophe, the absurdities lie thicker and thicker, and the gleams of pleasantry become rarer and rarer.
The success which had attended Goldsmith as a novelist emboldened him to try his fortune as a dramatist. He wrote the Good Natur’d Man, a piece which had a worse fate than it deserved. Garrick refused to produce it at Drury Lane. It was acted at Covent Garden in January 1768, but was coldly received. The author, however, cleared by his benefit nights, and by the sale of the copyright, no less than £500, five times as much as he had made by the Traveller and the Vicar of Wakefield together. The plot of the Good Natur’d Man is, like almost all Goldsmith’s plots, very ill constructed. But some passages are exquisitely ludicrous,—much more ludicrous indeed than suited the taste of the town at that time. A canting, mawkish play, entitled False Delicacy, had just been produced, and sentimentality was all the mode. During some years more tears were shed at comedies than at tragedies; and a pleasantry which moved the audience to anything more than a grave smile was reprobated as low. It is not strange, therefore, that the very best scene in the Good Natur’d Man, that in which Miss Richland finds her lover attended by the bailiff and the bailiff’s follower in full court dresses, should have been mercilessly hissed, and should have been omitted after the first night, not to be restored for several years.
In May 1770 appeared the Deserted Village. In mere diction and versification this celebrated poem is fully equal, perhaps superior, to the Traveller; and it is generally preferred to the Traveller by that large class of readers who think, with Bayes in the Rehearsal, that the only use of a plot is to bring in fine things. More discerning judges, however, while they admire the beauty of the details, are shocked by one unpardonable fault which pervades the whole. The fault which we mean is not that theory about wealth and luxury which has so often been censured by political economists. The theory is indeed false; but the poem, considered merely as a poem, is not necessarily the worse on that account. The finest poem in the Latin language—indeed, the finest didactic poem in any language—was written in defence of the silliest and meanest of all systems of natural and moral philosophy. A poet may easily be pardoned for reasoning ill; but he cannot be pardoned for describing ill, for observing the world in which he lives so carelessly that his portraits bear no resemblance to the originals, for exhibiting as copies from real life monstrous combinations of things which never were and never could be found together. What would be thought of a painter who should mix August and January in one landscape, who should introduce a frozen river into a harvest scene? Would it be a sufficient defence of such a picture to say that every part was exquisitely coloured, that the green hedges, the apple-trees loaded with fruit, the waggons reeling under the yellow sheaves, and the sun-burned reapers wiping their foreheads were very fine, and that the ice and the boys sliding were also very fine? To such a picture the Deserted Village bears a great resemblance. It is made up of incongruous parts. The village in its happy days is a true English village. The village in its decay is an Irish village. The felicity and the misery which Goldsmith has brought close together belong to two different countries and to two different stages in the progress of society. He had assuredly never seen in his native island such a rural paradise, such a seat of plenty, content and tranquillity, as his Auburn. He had assuredly never seen in England all the inhabitants of such a paradise turned out of their homes in one day and forced to emigrate in a body to America. The hamlet he had probably seen in Kent; the ejectment he had probably seen in Münster; but by joining the two, he has produced something which never was and never will be seen in any part of the world.
In 1773 Goldsmith tried his chance at Covent Garden with a second play, She Stoops to Conquer. The manager was, not without great difficulty, induced to bring this piece out. The sentimental comedy still reigned, and Goldsmith’s comedies were not sentimental. The Good Natur’d Man had been too funny to succeed; yet the mirth of the Good Natur’d Man was sober when compared with the rich drollery of She Stoops to Conquer, which is, in truth, an incomparable farce in five acts. On this occasion, however, genius triumphed. Pit, boxes and galleries were in a constant roar of laughter. If any bigoted admirer of Kelly and Cumberland ventured to hiss or groan, he was speedily silenced by a general cry of “turn him out,” or “throw him over.” Later generations have confirmed the verdict which was pronounced on that night.
While Goldsmith was writing the Deserted Village and She Stoops to Conquer, he was employed on works of a very different kind—works from which he derived little reputation but much profit. He compiled for the use of schools a History of Rome, by which he made £250; a History of England, by which he made £500; a History of Greece, for which he received £250; a Natural History, for which the booksellers covenanted to pay him 800 guineas. These works he produced without any elaborate research, by merely selecting, abridging and translating into his own clear, pure and flowing language, what he found in books well known to the world, but too bulky or too dry for boys and girls. He committed some strange blunders, for he knew nothing with accuracy. Thus, in his History of England, he tells us that Naseby is in Yorkshire; nor did he correct this mistake when the book was reprinted. He was very nearly hoaxed into putting into the History of Greece an account of a battle between Alexander the Great and Montezuma. In his Animated Nature he relates, with faith and with perfect gravity, all the most absurd lies which he could find in books of travels about gigantic Patagonians, monkeys that preach sermons, nightingales that repeat long conversations. “If he can tell a horse from a cow,” said Johnson, “that is the extent of his knowledge of zoology.” How little Goldsmith was qualified to write about the physical sciences is sufficiently proved by two anecdotes. He on one occasion denied that the sun is longer in the northern than in the southern signs. It was vain to cite the authority of Maupertuis. “Maupertuis!” he cried, “I understand those matters better than Maupertuis.” On another occasion he, in defiance of the evidence of his own senses, maintained obstinately, and even angrily, that he chewed his dinner by moving his upper jaw.