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After the wit and detached descriptions of the Augustans, English poetry moved towards a more emotional stage. This, as we have seen, became the manifesto as it were of the Romantics, with Wordsworth’s famous dictum, that poetry was about the overflow of emotion – though, as he put it, recollected in tranquility.

But before that active engagement with personal feelings, there were two very different types of emotion that came to the fore in the poetry of the 18th century. The first might be described as sentimental, and found its best known expression in two poems celebrating a sense of loss.

I refer to Grey’s Elegy written in a country churchyard and Oliver Goldsmith’s The Deserted Village. I had thought initially to discuss only one of these, but I see no reason not to talk about both, for both are widely anthologized, and were the staple of school literature syllabuses in the days when English literature was taught systematically.

I find Goldsmith the more interesting of the two, for he deals both with memorable characters and with a social phenomenon, namely the abandonment of the countryside as the economic system changed. He wrote in the middle of the 19th century, before the Industrial Revolution had taken full possession of England, but even in those early days rural communities based on agriculture were losing both their importance and their interest.

Ill fares the land, to hastening ills a prey,

Where wealth accumulates, and men decay:

Princes and lords may flourish, or may fade;

A breath can make them, as a breath has made;

But a bold peasantry, their country’s pride,

When once destroyed, can never be supplied…..

But times are altered; trade’s unfeeling train

Usurp the land and dispossess the swain;

Along the lawn, where scattered hamlets rose,

Unwieldy wealth and cumbrous pomp repose;

The greater impact of the poem comes however through its descriptions of individuals, or rather types that were also dying out, most notably the Schoolmaster

Beside yon straggling fence that skirts the way,

With blossomed furze unprofitably gay,

There, in his noisy mansion, skill’d to rule,

The village master taught his little school;

A man severe he was, and stern to view,

I knew him well, and every truant knew;

Well had the boding tremblers learned to trace

The day’s disasters in his morning face;

Full well they laughed, with counterfeited glee,

At all his jokes, for many a joke had he:

Full well the busy whisper circling round,

Conveyed the dismal tidings when he frowned;

Yet he was kind, or if severe in aught,

The love he bore to learning was in fault;

The village all declared how much he knew;

‘Twas certain he could write, and cypher too;

Lands he could measure, terms and tides presage,

And ev’n the story ran that he could gauge.

In arguing too, the parson owned his skill,

For even tho’ vanquished, he could argue still;

While words of learned length and thundering sound,

Amazed the gazing rustics ranged around;

And still they gazed, and still the wonder grew,

That one small head could carry all he knew.

And also the village parson

Near yonder copse, where once the garden smiled,

And still where many a garden-flower grows wild;

There, where a few torn shrubs the place disclose,

The village preacher’s modest mansion rose.

A man he was, to all the country dear,

And passing rich with forty pounds a year;

Remote from towns he ran his godly race,

Nor e’er had changed, nor wished to change his place;

Unpractised he to fawn, or seek for power,

By doctrines fashioned to the varying hour;

Far other aims his heart had learned to prize,

More skilled to raise the wretched than to rise.

His house was known to all the vagrant train,

He chid their wanderings but relieved their pain;

The long-remembered beggar was his guest,

Whose beard descending swept his aged breast;

The ruined spendthrift, now no longer proud,

Claim’d kindred there, and had his claims allowed;

The broken soldier, kindly bade to stay,

Sate by his fire, and talked the night away;

Wept o’er his wounds, or, tales of sorrow done,

Shouldered his crutch, and shewed how fields were won.

Pleased with his guests, the good man learned to glow,

And quite forgot their vices in their woe;

Careless their merits, or their faults to scan,

His pity gave ere charity began.

Goldsmith’s sentiment may not accord with reality and the shifting aspirations of society as a whole, and the individuals who make it up. But the conclusion is certainly worth thinking about

Teach erring man to spurn the rage of gain;

Teach him, that states of native strength possest,

Tho’ very poor, may still be very blest;

That trade’s proud empire hastes to swift decay,

As ocean sweeps the labour’d mole away;

While self-dependent power can time defy,

As rocks resist the billows and the sky.

 

In addition to this, his most famous work, Goldsmith also wrote a delightful play, She Stoops to Conquer, and an entertaining novel, The Vicar of Wakefield. Both celebrate a bucolic world that was passing away, but the play has a zany plot and preposterous characters that give it a modern flavor too. And apart from these, Goldsmith also wrote some slight but entertaining verse, such as his gently critical accounts of famous men, the politician Edmund Burke, the actor David Garrick and the painter Joshua Reynolds.

Here lies David Garrick, describe him who can,

An abridgment of all that was pleasant in man:

As an actor, confess’d without rival to shine;

As a wit, if not first, in the very first line:

Yet, with talents like these, and an excellent heart,

The man had his failings—a dupe to his art.

Like an ill-judging beauty, his colours he spread,

 

And beplaster’d with rouge his own natural red.

On the stage he was natural, simple, affecting;

’Twas only that when he was off he was acting.

With no reason on earth to go out of his way,

He turn’d and he varied full ten times a day:

Though secure of our hearts, yet confoundedly sick

If they were not his own by finessing and trick:

He cast off his friends, as a huntsman his pack,

For he knew when he pleased he could whistle them back.

Of praise a mere glutton, he swallow’d what came,

And the puff of a dunce he mistook it for fame;

Till his relish grown callous, almost to disease,

Who pepper’d the highest was surest to please.

But let us be candid, and speak out our mind,

If dunces applauded, he paid them in kind.

 

And it would not do to omit his delightful comic poem on the death of a Mad Dog

Good people all, of every sort,
Give ear unto my song;
And if you find it wondrous short,
It cannot hold you long.

In Islington there was a man,
Of whom the world might say
That still a godly race he ran,
Whene’er he went to pray.

A kind and gentle heart he had,
To comfort friends and foes;
The naked every day he clad,
When he put on his clothes.

And in that town a dog was found,
As many dogs there be,
Both mongrel, puppy, whelp and hound,
And curs of low degree.

This dog and man at first were friends;
But when a pique began,
The dog, to gain some private ends,
Went mad and bit the man.

Around from all the neighbouring streets
The wondering neighbours ran,
And swore the dog had lost his wits,
To bite so good a man.

The wound it seemed both sore and sad
To every Christian eye;
And while they swore the dog was mad,
They swore the man would die.

But soon a wonder came to light,
That showed the rogues they lied:
The man recovered of the bite,
The dog it was that died

Grey was only a poet and, though he wrote much, his fame rests almost entirely on his Elegy. Its opening sets a tone of tranquility that draws the reader into the meditative mood Grey sustains over 116 lines, though only some extracts can be cited here –

The curfew tolls the knell of parting day,

The lowing herd wind slowly o’er the lea,

The plowman homeward plods his weary way,

And leaves the world to darkness and to me.

Now fades the glimm’ring landscape on the sight,

And all the air a solemn stillness holds,

Save where the beetle wheels his droning flight,

 And drowsy tinklings lull the distant folds;

Save that from yonder ivy-mantled tow’r

The moping owl does to the moon complain

Of such, as wand’ring near her secret bow’r,

Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree’s shade,

 Where heaves the turf in many a mould’ring heap,

Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep……

Perhaps in this neglected spot is laid

Some heart once pregnant with celestial fire;

Hands, that the rod of empire might have sway’d,

 Or wak’d to ecstasy the living lyre.

But Knowledge to their eyes her ample page

Rich with the spoils of time did ne’er unroll;

Chill Penury repress’d their noble rage,

And froze the genial current of the soul.

Full many a gem of purest ray serene,

 The dark unfathom’d caves of ocean bear:

Full many a flow’r is born to blush unseen,

And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast

The little tyrant of his fields withstood;

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country’s blood….

Far from the madding crowd’s ignoble strife,

 Their sober wishes never learn’d to stray;

Along the cool sequester’d vale of life

They kept the noiseless tenor of their way.

The last few verses of the main poem are an introduction to an epitaph, which Gray imagines suitable for himself, given his melancholy predilections. The background to the epitaph is as interesting as the epitaph itself –

Haply some hoary-headed swain may say,

 “Oft have we seen him at the peep of dawn

Brushing with hasty steps the dews away

To meet the sun upon the upland lawn.

“There at the foot of yonder nodding beech

That wreathes its old fantastic roots so high,

His listless length at noontide would he stretch,

 And pore upon the brook that babbles by.

“Hard by yon wood, now smiling as in scorn,

 Mutt’ring his wayward fancies he would rove,

Now drooping, woeful wan, like one forlorn,

 Or craz’d with care, or cross’d in hopeless love.

“One morn I miss’d him on the custom’d hill,

 Along the heath and near his fav’rite tree;

Another came; nor yet beside the rill,

Nor up the lawn, nor at the wood was he;

“The next with dirges due in sad array

 Slow thro’ the church-way path we saw him borne.

Approach and read (for thou canst read) the lay,

 Grav’d on the stone beneath yon aged thorn.”

THE EPITAPH

Here rests his head upon the lap of Earth

A youth to Fortune and to Fame unknown.

Fair Science frown’d not on his humble birth,

 And Melancholy mark’d him for her own.

Large was his bounty, and his soul sincere,

 Heav’n did a recompense as largely send:

He gave to Mis’ry all he had, a tear,

 He gain’d from Heav’n (’twas all he wish’d) a friend.

No farther seek his merits to disclose,

Or draw his frailties from their dread abode,

(There they alike in trembling hope repose)

The bosom of his Father and his God.

Ceylon Today  8 Feb 2015 http://www.ceylontoday.lk/96-84188-news-detail-oliver-goldsmith-and-edward-grey.html

 
 

 

 

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