CHAPTER IX.
THE TRAVELLER.
This poem of the Traveller, the fruit of much secret labour and the consummation of the hopes of many years, was lying completed in Goldsmith's desk when the incident of the arrest occurred; and the elder Newbery had undertaken to publish it. Then, as at other times, Johnson lent this wayward child of genius a friendly hand. He read over the proof-sheets for Goldsmith; was so kind as to put in a line here or there where he thought fit; and prepared a notice of the poem for the Critical Review. The time for the appearance of this new claimant for poetical honours was propitious. "There was perhaps no point in the century," says Professor Masson, "when the British Muse, such as she had come to be, was doing less, or had so nearly ceased to do anything, or to have any good opinion of herself, as precisely about the year 1764. Young was dying; Gray was recluse and indolent; Johnson had long given over his metrical experimentations on any except the most inconsiderable scale; Akenside, Armstrong, Smollett, and others less known, had pretty well revealed the amount of their worth in poetry; and Churchill, after his ferocious blaze of what was really rage and declamation in metre, though conventionally it was called poetry, was prematurely defunct. Into this lull came Goldsmith's short but carefully finished poem." "There has not been so fine a poem since Pope's time," remarked Johnson to Boswell, on the very first evening after the return of young Auchinleck to London. It would have been no matter for surprise had Goldsmith dedicated this first work that he published under his own name to Johnson, who had for so long been his constant friend and adviser; and such a dedication would have carried weight in certain quarters. But there was a finer touch in Goldsmith's thought of inscribing the book to his brother Henry; and no doubt the public were surprised and pleased to find a poor devil of an author dedicating a work to an Irish parson with £40 a year, from whom he could not well expect any return. It will be remembered that it was to this brother Henry that Goldsmith, ten years before, had sent the first sketch of the poem; and now the wanderer,
"Remote, unfriended, melancholy, slow."
declares how his heart untravelled
"Still to my brother turns, with ceaseless pain,
And drags at each remove a lengthening chain."
The very first line of the poem strikes a key-note—there is in it a pathetic thrill of distance, and regret, and longing; and it has the soft musical sound that pervades the whole composition. It is exceedingly interesting to note, as has already been mentioned, how Goldsmith altered and altered these lines until he had got them full of gentle vowel sounds. Where, indeed, in the English language could one find more graceful melody than this?—
"The naked negro, panting at the line,
Boasts of his golden sands and palmy wine,
Basks in the glare, or stems the tepid wave,
And thanks his gods for all the good they gave."
It has been observed also that Goldsmith was the first to introduce into English poetry sonorous American—or rather Indian—names, as when he writes in this poem,