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It is this detached attitude and width of view that give Goldsmith his peculiar flavour as an essayist. Other writers pack their pages fuller and bring us into closer touch with themselves. Goldsmith, on the other hand, keeps just on the edge of the crowd so that we can hear what the common people are saying and note their humours. That is why his essays, even the early ones, in The Bee, make such good reading. That is why it is just and fitting that The Bee and The Citizen of the World should be reprinted again to-day, at a very modest price; and why Mr. Church should once more draw our attention in an excellent introduction to the unfaded merits of a book printed so long ago as 1762. The Citizen is still a most vivacious companion as he takes his walk from Charing Cross to Ludgate Hill. The streets are lit up for the Battle of Minden, and he pokes fun at the parochial patriotism of the English. He hears the shoemaker scolding his wife and forboding what will become of shoemakers “if Mounseers in wooden shoes come among us … when perhaps Madam Pompadour herself might have shoes scopped out of an old pear tree”; he hears the waiter at Ashley’s punch house boasting to the company how if he were Secretary of State he would take Paris and plant the English standard on the Bastille. He peeps into St. Paul’s and marvels at the curious lack of reverence shown by the English at their worship. He reflects that rags “which might be valued at half a string of copper money in China” yet needed a fleet and an army to win them. He marvels that the French and English are at war simply because people like their muffs edged with fur and must therefore kill each other and seize a country belonging to people who were in possession from time immemorial”. Shrewdly and sarcastically he casts his eye, as he saunters on, upon the odd habits and sights that the English are so used to that they no longer see them. Indeed he could scarcely have chosen a method better calculated to make the new public aware of itself or one better suited to the nature of his own genius. If Goldsmith stood still he could be as flat, though not as solemn, as any of the folio makers who were his aversion. Here, however, he must keep moving; he must pass rapidly under review all kinds of men and customs and speak his mind on them. And here his novelist’s gift stood him in good stead. If he thinks he thinks in the round. An idea at once dresses itself up in flesh and blood and becomes a human being. Beau Tibbs comes to life: Vauxhall Gardens is bustling with people: the writer’s garret is before us with its broken windows and the spider’s web in the corner. He has a perpetual instinct to make concrete, to bring into being.
Perhaps it was the novelist’s gift that made him a little impatient with essay writing. The shortness of the essay made people think it superficial. “I could have made them more metaphysical had I thought fit,” he replied. But it is doubtful if he was prevented by circumstances from any depth of speculation. The real trouble was that Beau Tibbs and Vauxhall Gardens asked to be given a longer lease of life, but the end of the column was reached; down came the shears, and a new subject must be broached next week. The natural outlet, as Goldsmith found, was the novel. In those freer pages he had room to give his characters space to walk round and display themselves. Yet The Vicar of Wakefield keeps some of the characteristics that distinguish the more static art of the essayist. The characters are not quite free to go their own ways; they must come back at the tug of the string to illustrate the moral. This necessity is the stranger to us because good and bad are no longer so positively white and black; the art of the moralist is out of fashion in fiction. But Goldsmith not only believed in blackness and whiteness: he believed—perhaps one belief depends upon the other—that goodness will be rewarded, and vice punished. It is a doctrine, it may strike us when we read The Vicar of Wakefield, which imposes some restrictions on the novelist. There is no need of the mixed, of the twisted, of the profound. Lightly tinted, broadly shaded with here a foible, there a peccadillo, the characters of the Primroses are like those tropical fish who seem to have only backbones but no other organs to darken the transparency of their flesh. Our sympathies are not put upon the rack. Daughters may be seduced, houses burnt, and good men sent to prison, yet since the world is a perfectly balanced place, let it lurch as it likes, it is bound to settle into equilibrium in the long run. The most hardened of sinners—here Goldsmith stops characteristically to point out the evils of the prison system—will take to cutting tobacco stoppers if given the chance and thus enter the straight path of virtue again. Such assumptions stopped certain avenues of thought and imagination. But the limitation had its advantages; he could give all his mind to the story. All is clear, related, and uncrowded. He knew precisely what to leave out. Thus, once we begin to read we read on, not to reach the end, but to enjoy the present moment. We cannot dismember this small complete world. It hems us in, it surrounds us. We ask nothing better than to sit in the sun on the hawthorn bank and sing “Barbara Allen”, or Johnny Armstrong’s last good night. Shades of violence and wrong can scarcely trespass here. But the scene is saved from insipidity by Goldsmith’s tart eighteenth-century humour. One advantage of having a settled code of morals is that you know exactly what to laugh at.
Yet there are passages in the Vicar which give us pause. “Fudge! fudge! fudge!” Burchell exclaims, and it seems that, in order to get the full effect of the scene, we should see it in the flesh. There is no margin of suggestion in this clear prose; it creates no populous and teeming silence which would be broken by the physical presence of the actors. Indeed, when we turn from Goldsmith’s novel to Goldsmith’s plays his characters seem to gain vigour and identity by standing before us in the round. They can say everything they have to say without the intervention of the novelist. This may be taken, if we choose, as proof that they have nothing of extreme subtlety to say. Yet Goldsmith did himself a wrong when he followed the old habit of labelling his people with names—Croker, Lofty, Richlands—which seem to allow them but one quality apiece. His observation, trained in the finer discriminations of fiction, worked much more cunningly than the names suggest. Bodies and hearts are attached to these signboard faces; wit of the true spontaneous sort bubbles from their lips. He stood, of course, at the very point where comedy can flourish, as remote from the tragic violence of the Elizabethans as from the minute maze of modern psychology. The “humours” of the Elizabethan stage had fined themselves into characters. Convention and conviction and an unquestioned standard of values seem to support the large, airy world of his invention. Nothing could be more amusing than She Stoops to Conquer—one might even go so far as to say that amusement of so pure a quality will never come our way again. It demands too rare a combination of conditions. Nothing is too far fetched or fantastical to dry up the life blood in the characters themselves; we taste the double pleasure of a comic situation in which living people are the actors. It may be true that the amusement is not of the highest order. We have not gained a deeper understanding of human oddity and frailty when we have laughed to tears over the predicament of a good lady who has been driven round her house for two hours in the darkness. To mistake a private house for an inn is not a disaster that reveals the hidden depths or the highest dignity of human nature. But these are questions that fade out in the enjoyment