Complete Fictional Works of Washington Irving (Illustrated) (425 page)

“The insect I am now describing lived three years; every year it changed its skin and got a new set of legs. I have sometimes plucked off a leg, which grew again in two or three days. At first it dreaded my approach to its web, but at last it became so familiar as to take a fly out of my hand; and, upon my touching any part of the web, would immediately leave its hole, prepared either for a defense or an attack.”

CHAPTER TWENTY-SEV
EN

HONORS AT THE ROYAL ACADEMY — LETTER TO HIS BROTHER MAURICE — FAMILY FORTUNES — JANE CONTARINE AND THE MINIATURE — PORTRAITS AND ENGRAVINGS — SCHOOL ASSOCIATIONS — JOHNSON AND GOLDSMITH IN WESTMINSTER ABBEY

The latter part of the year 1768 had been made memorable in the world of taste by the institution of the Royal Academy of Arts, under the patronage of the king, and the direction of forty of the most distinguished artist. Reynolds, who had been mainly instrumental in founding it, had been unanimously elected president, and had thereupon received the honor of knighthood. [Footnote: We must apologize for the anachronism we have permitted ourselves, in the course of this memoir, in speaking of Reynolds as
Sir Joshua
, when treating of circumstances which occurred prior to his being dubbed; but it is so customary to speak of him by that title that we found it difficult to dispense with it.] Johnson was so delighted with his friend’s elevation that he broke through a rule of total abstinence with respect to wine, which he had maintained for several years, and drank bumpers on the occasion. Sir Joshua eagerly sought to associate his old and valued friends with him in his new honors, and it is supposed to be through his suggestions that, on the first establishment of professorships, which took place in December, 1769, Johnson was nominated to that of Ancient Literature, and Goldsmith to that of History. They were mere honorary titles, without emolument, but gave distinction, from the noble institution to which they appertained. They also gave the possessors honorable places at the annual banquet, at which were assembled many of the most distinguished persons of rank and talent, all proud to be classed among the patrons of the arts.

The following letter of Goldsmith to his brother alludes to the foregoing appointment, and to a small legacy bequeathed to him by his uncle Contarine.

“
To Mr. Maurice Goldsmith, at James Lawders, Esq., at Kilmore, near Carrick-on-Shannon.

“January, 1770.

“DEAR BROTHER — I should have answered your letter sooner, but, in truth, I am not fond of thinking of the necessities of those I love, when it is so very little in my power to help them. I am sorry to find you are every way unprovided for; and what adds to my uneasiness is, that I have received a letter from my sister Johnson, by which I learn that she is pretty much in the same circumstances. As to myself, I believe I think I could get both you and my poor brother-in-law something like that which you desire, but I am determined never to ask for little things, nor exhaust any little interest I may have, until I can serve you, him, and myself more effectually. As yet, no opportunity has offered; but I believe you are pretty well convinced that I will not be remiss when it arrives.

“The king has lately been pleased to make me Professor of Ancient History in the Royal Academy of Painting which he has just established, but there is no salary annexed; and I took it rather as a compliment to the institution than any benefit to myself. Honors to one in my situation are something like ruffles to one that wants a shirt.

“You tell me that there are fourteen or fifteen pounds left me in the hands of my cousin Lawder, and you ask me what I would have done with them. My dear brother, I would by no means give any directions to my dear worthy relations at Kilmore how to dispose of money which is, properly speaking, more theirs than mine. All that I can say is, that I entirely, and this letter will serve to witness, give up any right and title to it; and I am sure they will dispose of it to the best advantage. To them I entirely leave it; whether they or you may think the whole necessary to fit you out, or whether our poor sister Johnson may not want the half, I leave entirely to their and your discretion. The kindness of that good couple to our shattered family demands our sincerest gratitude; and though they have almost forgotten me, yet, if good things at last arrive, I hope one day to return and increase their good-humor, by adding to my own.

“I have sent my cousin Jenny a miniature picture of myself, as I believe it is the most acceptable present I can offer. I have ordered it to be left for her at George Faulkner’s, folded in a letter. The face, you well know, is ugly enough, but it is finely painted. I will shortly also send my friends over the Shannon some mezzotinto prints of myself, and some more of my friends here, such as Burke, Johnson, Reynolds, and Colman. I believe I have written a hundred letters to different friends in your country, and never received an answer to any of them. I do not know how to account for this, or why they are unwilling to keep up for me those regards which I must ever retain for them.

“If, then, you have a mind to oblige me, you will write often, whether I answer you or not. Let me particularly have the news of our family and old acquaintances. For instance, you may begin by telling me about the family where you reside, how they spend their time, and whether they ever make mention of me. Tell me about my mother, my brother Hodson, and his son, my brother Harry’s son and daughter, my sister Johnson, the family of Ballyoughter, what is become of them, where they live, and how they do. You talked of being my only brother: I don’t understand you. Where is Charles? A sheet of paper occasionally filled with the news of this kind would make me very happy, and would keep you nearer my mind. As it is, my dear brother, believe me to be

“Yours, most affectionately,

“OLIVER GOLDSMITH.”

By this letter we find the Goldsmiths the same shifting, shiftless race as formerly; a “shattered family,” scrambling on each other’s back as soon as any rise above the surface. Maurice is “every way unprovided for”; living upon Cousin Jane and her husband, and, perhaps, amusing himself by hunting otter in the river Inny. Sister Johnson and her husband are as poorly off as Maurice, with, perhaps, no one at hand to quarter themselves upon; as to the rest, “what is become of them; where do they live; how do they do; what is become of Charles?” What forlorn, haphazard life is implied by these questions! Can we wonder that, with all the love for his native place, which is shown throughout Goldsmith’s writings, he had not the heart to return there? Yet his affections are still there. He wishes to know whether the Lawders (which means his cousin Jane, his early Valentine) ever make mention of him; he sends Jane his miniature; he believes “it is the most acceptable present he can offer”; he evidently, therefore, does not believe she has almost forgotten him, although he intimates that he does: in his memory she is still Jane Contarine, as he last saw her, when he accompanied her harpsichord with his flute. Absence, like death, sets a seal on the image of those we have loved; we cannot realize the intervening changes which time may have effected.

As to the rest of Goldsmith’s relatives, he abandons his legacy of fifteen pounds, to be shared among them. It is all he has to give. His heedless improvidence is eating up the pay of the booksellers in advance. With all his literary success, he has neither money nor influence; but he has empty fame, and he is ready to participate with them; he is honorary professor, without pay; his portrait is to be engraved in mezzotint, in company with those of his friends, Burke, Reynolds, Johnson, Colman, and others, and he will send prints of them to his friends over the Shannon, though they may not have a house to hang them up in. What a motley letter! How indicative of the motley character of the writer! By the bye, the publication of a splendid mezzotinto engraving of his likeness by Reynolds, was a great matter of glorification to Goldsmith, especially as it appeared in such illustrious company. As he was one day walking the streets in a state of high elation, from having just seen it figuring in the print-shop windows, he met a young gentleman with a newly married wife hanging on his arm, whom he immediately recognized for Master Bishop, one of the boys he had petted and treated with sweetmeats when a humble usher at Milner’s school. The kindly feelings of old times revived, and he accosted him with cordial familiarity, though the youth may have found some difficulty in recognizing in the personage, arrayed, perhaps, in garments of Tyrian dye, the dingy pedagogue of the Milners. “Come, my boy,” cried Goldsmith, as if still speaking to a schoolboy, “Come, Sam, I am delighted to see you. I must treat you to something — what shall it be? Will you have some apples?” glancing at an old woman’s stall; then, recollecting the print-shop window: “Sam,” said he, “have you seen my picture by Sir Joshua Reynolds? Have you seen it, Sam? Have you got an engraving?” Bishop was caught; he equivocated; he had not yet bought it; but he was furnishing his house, and had fixed upon the place where it was to be hung. “Ah, Sam!” rejoined Goldsmith reproachfully, “if your picture had been published, I should not have waited an hour without having it.”

After all, it was honest pride, not vanity, in Goldsmith, that was gratified at seeing his portrait deemed worthy of being perpetuated by the classic pencil of Reynolds, and “hung up in history,” beside that of his revered friend, Johnson. Even the great moralist himself was not insensible to a feeling of this kind. Walking one day with Goldsmith, in Westminster Abbey, among the tombs of monarchs, warriors, and statesmen, they came to the sculptured mementos of literary worthies in Poets’ Corner. Casting his eye round upon these memorials of genius, Johnson muttered in a low tone to his companion,

“Forsitan et nostrum nomen miscebitur istis.”

Goldsmith treasured up the intimated hope, and shortly afterward, as they were passing by Temple bar, where the heads of Jacobite rebels, executed for treason, were mouldering aloft on spikes, pointed up to the grizzly mementos, and echoed the intimation,

“Forsitan et nostrum nomen miscebitur
istis
.”

CHAPTER TWENTY-EIG
HT

PUBLICATION OF THE DESERTED VILLAGE — NOTICES AND ILLUSTRATIONS OF IT

Several years had now elapsed since the publication of The Traveler, and much wonder was expressed that the great success of that poem had not excited the author to further poetic attempts. On being questioned at the annual dinner of the Royal Academy by the Earl of Lisburn, why he neglected the muses to compile histories and write novels, “My Lord,” replied he, “by courting the muses I shall starve, but by my other labors I eat, drink, have good clothes, and can enjoy the luxuries of life.” So, also, on being asked by a poor writer what was the most profitable mode of exercising the pen, “My dear fellow,” replied he, good-humoredly, “pay no regard to the draggle-tailed muses; for my part I have found productions in prose much more sought after and better paid for.”

Still, however, as we have heretofore shown, he found sweet moments of dalliance to steal away from his prosaic toils, and court the muse among the green lanes and hedgerows in the rural environs of London, and on the 26th of May, 1770, he was enabled to bring his Deserted Village before the public.

The popularity of The Traveler had prepared the way for this poem, and its sale was instantaneous and immense. The first edition was immediately exhausted; in a few days a second was issued; in a few days more a third, and by the 16th of August the fifth edition was hurried through the press. As is the case with popular writers, he had become his own rival, and critics were inclined to give the preference to his first poem; but with the public at large we believe the Deserted Village has ever been the greatest favorite. Previous to its publication the bookseller gave him in advance a note for the price agreed upon, one hundred guineas. As the latter was returning home he met a friend to whom he mentioned the circumstance, and who, apparently judging of poetry by quantity rather than quality, observed that it was a great sum for so small a poem. “In truth,” said Goldsmith, “I think so too; it is much more than the honest man can afford or the piece is worth. I have not been easy since I received it.” In fact, he actually returned the note to the bookseller, and left it to him to graduate the payment according to the success of the work. The bookseller, as may well be supposed, soon repaid him in full with many acknowledgments of his disinterestedness. This anecdote has been called in question, we know not on what grounds; we see nothing in it incompatible with the character of Goldsmith, who was very impulsive, and prone to acts of inconsiderate generosity.

As we do not pretend in this summary memoir to go into a criticism or analysis of any of Goldsmith’s writings, we shall not dwell upon the peculiar merits of this poem; we cannot help noticing, however, how truly it is a mirror of the author’s heart, and of all the fond pictures of early friends and early life forever present there. It seems to us as if the very last accounts received from home, of his “shattered family,” and the desolation that seemed to have settled upon the haunts of his childhood, had cut to the roots one feebly cherished hope, and produced the following exquisitely tender and mournful lines:

”In all my wand’rings round this world of care,
In all my griefs — and God has giv’n my share —
I still had hopes my latest hours to crown,
Amid these humble bowers to lay me down;
To husband out life’s taper at the close,
And keep the flame from wasting by repose;
I still had hopes, for pride attends us still,
Amid the swains to show my book-learn’d skill,
Around my fire an ev’ning group to draw,
And tell of all I felt and all I saw;
And as a hare, whom hounds and horns pursue,
Pants to the place from whence at first she flew;
I still had hopes, my long vexations past,
Here to return —
and die at home at last
.”

How touchingly expressive are the succeeding lines, wrung from a heart which all the trials and temptations and buffetings of the world could not render worldly; which, amid a thousand follies and errors of the head, still retained its childlike innocence; and which, doomed to struggle on to the last amid the din and turmoil of the metropolis, had ever been cheating itself with a dream of rural quiet and seclusion:

”Oh, bless’d retirement! friend to life’s decline,
Retreats from care,
that never must be mine
,
How blest is he who crowns, in shades like these,
A youth of labor with an age of ease;
Who quits a world where strong temptations try,
And, since ’tis hard to combat, learns to fly!
For him no wretches, born to work and weep,
Explore the mine, or tempt the dangerous deep;
Nor surly porter stands, in guilty state,
To spurn imploring famine from the gate;
But on he moves to meet his latter end,
Angels around befriending virtue’s friend;
Sinks to the grave with unperceived decay,
While resignation gently slopes the way;
And all his prospects brightening to the last,
His heaven commences ere the world be past.”

*

NOTE

The following article, which appeared in a London periodical, shows the effect of Goldsmith’s poem in renovating the fortunes of Lissoy.

“About three miles from Ballymahon, a very central town in the sister kingdom, is the mansion and village of Auburn, so called by their present possessor, Captain Hogan. Through the taste and improvement of this gentleman, it is now a beautiful spot, although fifteen years since it presented a very bare and unpoetical aspect. This, however, was owing to a cause which serves strongly to corroborate the assertion that Goldsmith had this scene in view when he wrote his poem of The Deserted Village. The then possessor, General Napier, turned all his tenants out of their farms that he might inclose them in his own private domain. Littleton, the mansion of the general, stands not far off, a complete emblem of the desolating spirit lamented by the poet, dilapidated and converted into a barrack.

“The chief object of attraction is Lissoy, once the parsonage house of Henry Goldsmith, that brother to whom the poet dedicated his Traveler, and who is represented as the village pastor,

“‘Passing rich with forty pounds a year.’

“When I was in the country, the lower chambers were inhabited by pigs and sheep, and the drawing-rooms by oats. Captain Hogan, however, has, I believe, got it since into his possession, and has, of course, improved its condition.

“Though at first strongly inclined to dispute the identity of Auburn, Lissoy House overcame my scruples. As I clambered over the rotten gate, and crossed the grass-grown lawn or court, the tide of association became too strong for casuistry; here the poet dwelt and wrote, and here his thoughts fondly recurred when composing his Traveler in a foreign land. Yonder was the decent church, that literally ‘topped the neighboring hill.’ Before me lay the little hill of Knockrue, on which he declares, in one of his letters, he had rather sit with a book in hand than mingle in the proudest assemblies. And, above all, startlingly true, beneath my feet was

“‘Yonder copse, where once the garden smiled,
And still where many a garden-flower grows wild.’

“A painting from the life could not be more exact. ‘The stubborn currant-bush’ lifts its head above the rank grass, and the proud hollyhock flaunts where its sisters of the flower-knot are no more.

“In the middle of the village stands the old ‘hawthorn-tree,’ built up with masonry to distinguish and preserve it; it is old and stunted, and suffers much from the depredations of post-chaise travelers, who generally stop to procure a twig. Opposite to it is the village alehouse, over the door of which swings ‘The Three Jolly Pigeons.’ Within everything is arranged according to the letter:

’The whitewash’d wall, the nicely-sanded floor,
The varnish’d clock that click’d behind the door:
The chest, contrived a double debt to pay,
A bed by night, a chest of drawers by day;
The pictures placed for ornament and use,
The twelve good rules, the royal game of goose.’

“Captain Hogan, I have heard, found great difficulty in obtaining ‘the twelve good rules,’ but at length purchased them at some London bookstall to adorn the whitewashed parlor of ‘The Three Jolly Pigeons.’ However laudable this may be, nothing shook my faith in the reality of Auburn so much as this exactness, which had the disagreeable air of being got up for the occasion. The last object of pilgrimage is the quondam habitation of the schoolmaster,

“‘There, in his noisy mansion, skill’d to rule.’

“It is surrounded with fragrant proofs of identity in

“‘The blossom’d furze, unprofitably gay.’

“There is to be seen the chair of the poet, which fell into the hands of its present possessors at the wreck of the parsonage-house; they have frequently refused large offers of purchase; but more, I daresay, for the sake of drawing contributions from the curious than from any reverence for the bard. The chair is of oak, with back and seat of cane, which precluded all hopes of a secret drawer, like that lately discovered in Gay’s. There is no fear of its being worn out by the devout earnestness of sitters — as the cocks and hens have usurped undisputed possession of it, and protest most clamorously against all attempts to get it cleansed or to seat one’s self.

“The controversy concerning the identity of this Auburn was formerly a standing theme of discussion among the learned of the neighborhood; but, since the pros and cons have been all ascertained, the argument has died away. Its abettors plead the singular agreement between the local history of the place and the Auburn of the poem, and the exactness with which the scenery of the one answers to the description of the other. To this is opposed the mention of the nightingale,

“‘And fill’d each pause the nightingale had made’;

there being no such bird in the island. The objection is slighted, on the other hand, by considering the passage as a mere poetical license. ‘Besides,’ say they, ‘the robin is the Irish nightingale.’ And if it be hinted how unlikely it was that Goldsmith should have laid the scene in a place from which he was and had been so long absent, the rejoinder is always, ‘Pray, sir, was Milton in hell when he built Pandemonium?’

“The line is naturally drawn between; there can be no doubt that the poet intended England by

”’The land to hast’ning ills a prey,
Where wealth accumulates and men decay.’

“But it is very natural to suppose that, at the same time, his imagination had in view the scenes of his youth, which give such strong features of resemblance to the picture.”

*

Best, an Irish clergyman, told Davis, the traveler in America, that the hawthorn-bush mentioned in the poem was still remarkably large. “I was riding once,” said he, “with Brady, titular Bishop of Ardagh, when he observed to me, ‘Ma foy, Best, this huge overgrown bush is mightily in the way. I will order it to be cut down.’ ‘What, sir!’ replied I, ‘cut down the bush that supplies so beautiful an image in The Deserted Village?’—’Ma foy!’ exclaimed the bishop, ‘is that the hawthorn-bush? Then let it be sacred from the edge of the ax, and evil be to him that should cut off a branch.’ “ — The hawthorn-bush, however, has long since been cut up, root and branch, in furnishing relics to literary pilgrims.