Goldsmith by William Black (good books to read for beginners .TXT) 📖

care of itself; share your last guinea with any one, even if the poor drones of society--the butcher, and baker, and milkman with his score--have to suffer; do anything you like, so long as you keep the heart warm. All this is a delightful philosophy. It has its moments of misery--its periods of reaction--but it has its moments of high delight. When we are invited to contemplate the "evil destinies of men of letters," we ought to be shown the flood-tides as well as the ebb-tides. The tavern gaiety; the brand new coat and lace and sword; the midnight frolics, with jolly companions every one--these, however brief and intermittent, should not be wholly left out of the picture. Of course it is very dreadful to hear of poor Boyse lying in bed with nothing but a blanket over him, and with his arms thrust through two holes in the blanket, so that he could write--perhaps a continuation of his poem on the _Deity_. But then we should be shown Boyse when he was spending the money collected by Dr. Johnson to get the poor scribbler's clothes out of pawn; and we should also be shown him, with his hands through the holes in the blanket, enjoying the mushrooms and truffles on which, as a little garniture for "his last scrap of beef," he had just laid out his last half-guinea.

There were but few truffles--probably there was but little beef--for Goldsmith during this sombre period. "His threadbare coat, his uncouth figure, and Hibernian dialect caused him to meet with repeated refusals." But at length he got some employment in a chemist's shop, and this was a start. Then he tried practising in a small way on his own account in Southwark. Here he made the acquaintance of a printer's workman; and through him he was engaged as corrector of the press in the establishment of Mr. Samuel Richardson. Being so near to literature, he caught the infection; and naturally began with a tragedy. This tragedy was shown to the author of _Clarissa Harlowe_; but it only went the way of many similar first inspiritings of the Muse. Then Goldsmith drifted to Peckham, where we find him (1757) installed as usher at Dr. Milner's school. Goldsmith as usher has been the object of much sympathy; and he would certainly deserve it, if we are to assume that his description of an usher's position in the _Bee_, and in George Primrose's advice to his cousin, was a full and accurate description of his life at Peckham. "Browbeat by the master, hated for my ugly face by the mistress, worried by the boys"--if that was his life, he was much to be pitied. But we cannot believe it. The Milners were exceedingly kind to Goldsmith. It was at the intercession of young Milner, who had been his fellow-student at Edinburgh, that Goldsmith got the situation, which at all events kept him out of the reach of immediate want. It was through the Milners that he was introduced to Griffiths, who gave him a chance of trying a literary career--as a hack-writer of reviews and so forth. When, having got tired of that, Goldsmith was again floating vaguely on the waves of chance, where did he find a harbour but in that very school at Peckham? And we have the direct testimony of the youngest of Dr. Milner's daughters, that this Irish usher of theirs was a remarkably cheerful, and even facetious person, constantly playing tricks and practical jokes, amusing the boys by telling stories and by performances on the flute, living a careless life, and always in advance of his salary. Any beggars, or group of children, even the very boys who played back practical jokes on him, were welcome to a share of what small funds he had; and we all know how Mrs. Milner good-naturedly said one day, "You had better, Mr. Goldsmith, let me keep your money for you, as I do for some of the young gentlemen;" and how he answered with much simplicity, "In truth, Madam, there is equal need." With Goldsmith's love of approbation and extreme sensitiveness he no doubt suffered deeply from many slights, now as at other times; but what we know of his life in the Peckham school does not incline us to believe that it was an especially miserable period of his existence. His abundant cheerfulness does not seem to have at any time deserted him; and what with tricks, and jokes, and playing of the flute, the dull routine of instructing the unruly young gentlemen at Dr. Milner's was got through somehow.

When Goldsmith left the Peckham school to try hack-writing in Paternoster Row, he was going further to fare worse. Griffiths the bookseller, when he met Goldsmith at Dr. Milner's dinner-table and invited him to become a reviewer, was doing a service to the English nation--for it was in this period of machine-work that Goldsmith discovered that happy faculty of literary expression that led to the composition of his masterpieces--but he was doing little immediate service to Goldsmith.

The newly-captured hack was boarded and lodged at Griffiths' house in Paternoster Row (1757); he was to have a small salary in consideration of remorselessly constant work; and--what was the hardest condition of all--he was to have his writings revised by Mrs. Griffiths. Mr. Forster justly remarks that though at last Goldsmith had thus become a man-of-letters, he "had gratified no passion and attained no object of ambition." He had taken to literature, as so many others have done, merely as a last resource. And if it is true that literature at first treated Goldsmith harshly, made him work hard, and gave him comparatively little for what he did, at least it must be said that his experience was not a singular one. Mr. Forster says that literature was at that time in a transition state: "The patron was gone, and the public had not come." But when Goldsmith began to do better than hack-work, he found a public speedily enough. If, as Lord Macaulay computes, Goldsmith received in the last seven years of his life what was equivalent to L5,600 of our money, even the villain booksellers cannot be accused of having starved him. At the outset of his literary career he received no large sums, for he had achieved no reputation; but he got the market-rate for his work. We have around us at this moment plenty of hacks who do not earn much more than their board and lodging with a small salary.

For the rest, we have no means of knowing whether Goldsmith got through his work with ease or with difficulty; but it is obvious, looking over the reviews which he is believed to have written for Griffiths' magazine, that he readily acquired the professional critic's airs of superiority, along with a few tricks of the trade, no doubt taught him by Griffiths. Several of these reviews, for example, are merely epitomes of the contents of the books reviewed, with some vague suggestion that the writer might, if he had been less careful, have done worse, and, if he had been more careful, might have done better. Who does not remember how the philosophic vagabond was taught to become a cognoscento? "The whole secret consisted in a strict adherence to two rules: the one always to observe that the picture might have been better if the painter had taken more pains; and the other to praise the works of Pietro Perugino." It is amusing to observe the different estimates formed of the function of criticism by Goldsmith the critic, and by Goldsmith the author. Goldsmith, sitting at Griffiths' desk, naturally magnifies his office, and announces his opinion that "to direct our taste, and conduct the poet up to perfection, has ever been the true critic's province." But Goldsmith the author, when he comes to inquire into the existing state of Polite Learning in Europe, finds in criticism not a help but a danger. It is "the natural destroyer of polite learning." And again, in the _Citizen of the World_, he exclaims against the pretensions of the critic. "If any choose to be critics, it is but saying they are critics; and from that time forward they become invested with full power and authority over every caitiff who aims at their instruction or entertainment."

This at least may be said, that in these early essays contributed to the _Monthly Review_ there is much more of Goldsmith the critic than of Goldsmith the author. They are somewhat laboured performances. They are almost devoid of the sly and delicate humour that afterwards marked Goldsmith's best prose work. We find throughout his trick of antithesis; but here it is forced and formal, whereas afterwards he lent to this habit of writing the subtle surprise of epigram. They have the true manner of authority, nevertheless. He says of Home's _Douglas_--"Those parts of nature, and that rural simplicity with which the author was, perhaps, best acquainted, are not unhappily described; and hence we are led to conjecture, that a more universal knowledge of nature will probably increase his powers of description." If the author had written otherwise, he would have written differently; had he known more, he would not have been so ignorant; the tragedy is a tragedy, but why did not the author make it a comedy?--this sort of criticism has been heard of even in our own day. However, Goldsmith pounded away at his newly-found work, under the eye of the exacting bookseller and his learned wife. We find him dealing with Scandinavian (here called Celtic) mythology, though he does not adventure on much comment of his own; then he engages Smollett's _History of England_, but mostly in the way of extract; anon we find him reviewing _A Journal of Eight Days' Journey_, by Jonas Hanway, of whom Johnson said that he made some reputation by travelling abroad, and lost it all by travelling at home. Then again we find him writing a disquisition on _Some Enquiries concerning the First Inhabitants, Language, Religion, Learning, and Letters of Europe_, by a Mr. Wise, who, along with his critic, appears to have got into hopeless confusion in believing Basque and Armorican to be the remains of the same ancient language. The last phrase of a note appended to this review by Goldsmith probably indicates his own humble estimate of his work at this time. "It is more our business," he says, "to exhibit the opinions of the learned than to controvert them." In fact he was employed to boil down books for people who did not wish to spend more on literature than the price of a magazine. Though he was new to the trade, it is probable he did it as well as any other.

At the end of five months, Goldsmith and Griffiths quarrelled and separated. Griffiths said Goldsmith was idle; Goldsmith said Griffiths was impertinent; probably the editorial supervision exercised by Mrs. Griffiths had something to do with the dire contention. From Paternoster Row Goldsmith removed to a garret in Fleet Street; had his letters addressed to a coffee-house; and apparently supported himself by further hack-work, his connection with Griffiths not being quite severed. Then he drifted back to Peckham again; and was once more installed as usher, Dr. Milner being in especial want of an assistant at this time. Goldsmith's lingering about the gates of literature had not inspired him with any great ambition to enter the enchanted land. But at the same time he thought he saw in literature a means by which a little ready money might be made, in order to help him on to something more definite and substantial; and this goal was now put before him by Dr. Milner, in the shape of a medical appointment on the Coromandel coast. It was in the hope of obtaining this appointment, that he set about composing that _Enquiry into the Present