Bath. Extracted principally from his Original Papers. The Second
Edition. London: J. Newbery. 1762.
There are cases, not known to every collector of books, where it is not the first which is the really desirable edition of a work, but the second. One of these rare examples of the exception which proves the rule is the second edition of Goldsmith's Life of Beau Nash. Disappointment awaits him who possesses only the first; it is in the second that the best things originally appeared. The story is rather to be divined than told as history, but we can see pretty plainly how the lines of it must have run. In the early part of 1762, Oliver Goldsmith, at that time still undistinguished, but in the very act of blossoming into fame, received a commission of fourteen guineas to write for Newbery a life of the strange old beau, Mr. Nash, who had died in 1761. On the same day, which was March 5th, he gave a receipt to the publisher for three other publications, written or to be written, so that very probably it was not expected that he should immediately supply all the matter sold. In the summer he seems to have gone down to Bath on a short visit, and to have made friends with the Beau's executor, Mr. George Scott. It has even been said that he cultivated the Mayor and Aldermen of Bath with such success that they presented him with yet another fifteen guineas. But of this, in itself highly improbable, instance of municipal benefaction, the archives of the city yield no proof. At least Mr. Scott gave him access to Nash's papers, and with these he seems to have betaken himself back to London.
It is a heart-rending delusion1 and a cruel snare2 to be paid for your work before you accomplish it. As soon as once your work is finished you ought to be promptly3 paid; but to receive your lucre4 one minute before it is due, is to tempt5 Providence6 to make a Micawber of you. Goldsmith, of course, without any temptation being needed, was the very ideal Micawber of letters, and the result of paying him beforehand was that he had, simply, to be popped into the mill by force, and the copy ground out of him. It is evident that in the case of the first edition of the Life of Beau Nash, the grinding process was too mercifully applied7, and the book when it appeared was short measure. It has no dedication8, no "advertisement," and very few notes, while it actually omits many of the best stories. The wise bibliophile9, therefore, will eschew10 it, and will try to get the second edition issued a few weeks later in the same year, which Newbery evidently insisted that Goldsmith should send out to the public in proper order.
Goldsmith treats Nash with very much the same sort of indulgent and apologetic sympathy with which the late M. Barbey d'Aurevilly treats Brummell. He does not affect to think that the world calls for a full-length statue of such a fantastic hero; but he seems to claim leave to execute a statuette in terracotta for a cabinet of curiosities. From that point of view, as a queer object of vertu, as a specimen11 of the bric-à-brac of manners, both the one and the other, the King of Beaux and the Emperor of Dandies, are welcome to amateurs of the odd and the entertaining. At the head of Goldsmith's book stands a fine portrait of Nash, engraved12 by Anthony Walker, one of the best and rarest of early English line-engravers, after an oil-picture by William Hoare, presently to be one of the foundation-members of the Royal Academy, and now and throughout his long life the principal representative of the fine arts at Bath. Nash is here represented in his famous white hat—galero albo, as his epitaph has it; the ensign of his rule at Bath, the more than coronet of his social sway.
The breast of his handsome coat is copiously13 trimmed with rich lace, and his old, old eyes, with their wrinkles and their crow's feet, look demurely14 out from under an incredible wig15, an umbrageous16, deep-coloured ramilie of early youth. It is a wonderfully hard-featured, serious, fatuous17 face, and it lives for us under the delicate strokes of Anthony Walker's graver. The great Beau looks as he must have looked when the Duchess of Queensberry dared to appear at the Assembly House on a ball night with a white apron18 on. It is a pleasant story, and only told properly in our second edition. King Nash had issued an edict forbidding the wearing of aprons19. The Duchess dared to disobey. Nash walked up to her and deftly20 snatched her apron from her, throwing it on to the back benches where the ladies' women sat. What a splendid moment! Imagine the excitement of all that fashionable company—the drawn21 battle between the Majesty22 of Etiquette23 and the Majesty of Beauty! The Beau remarked, with sublime24 calm, that "none but Abigails appeared in white aprons." The Duchess hesitated, felt that her ground had slipped from under her, gave way with the most admirable tact25, and "with great good sense and humour, begged his Majesty's pardon,"
Aprons were not the only red rags to the bull of ceremony. He was quite as unflinching an enemy to top-boots. He had already banished26 swords from the assembly-room, because their clash frightened the ladies, and their scabbards tore people's dresses. But boots were not so easily banished. The country squires27 liked to ride into the city, and, leaving their horses at a stable, walk straight into the dignity of the minuet. Nash, who had a genius for propriety28, saw how hateful this was, and determined29 to put a stop to it. He slew30 top-boots and aprons at the same time, and with the shaft31 of Apollo. He indited32 a poem on the occasion, and a very good example of satire33 by irony34 it is. It is short enough to quote entire:
FRONTINELLA'S INVITATION TO THE ASSEMBLY.
Come, one and all,
To Hoyden35 Hall,
For there's th' Assembly to-night.
None but prude fools
Mind manners and rules,
We Hoydens do decency36 slight.
Come, Trollops and Slatterns,
Cocked hats and white aprons,
This best our modesty37 suits;
For why should not we
In dress be as free
As Hogs-Norton squires in boots?
Why, indeed? But the Hogs-Norton squires, as is their wont38, were not so easily pierced to the heart as the noble slatterns. Nash turned Aristophanes, and depicted39 on a little stage a play in which Mr. Punch, tinder very disgraceful circumstances, excused himself for wearing boots by quoting the practice of the pump-room beaux. This seems to have gone to the conscience of Hogs-Norton at last; but what really gave the death-blow to top-boots, as a part of evening dress, was the incident of Nash's going up to a gentleman, who had made his appearance in the ball-room in this unpardonable costume, and remarking, "bowing in an arch manner," that he appeared to have "forgotten his horse."
It had not been without labour and a long struggle that Nash had risen to this position of unquestioned authority at Bath. His majestic40 rule was the result of more than half a century of painstaking41. He had been born far back in the seventeenth century, so far back that, incredible as it sounds, a love adventure of his early youth had supplied Vanbrugh, in 1695, with an episode for his comedy of Aesop. But after trying many forms of life, and weary of his own affluence42, he came to Bath just at the moment when the fortunes of that ancient centre of social pleasure were at their lowest ebb43. Queen Anne had been obliged to divert herself, in 1703, with a fiddle44 and a hautboy, and with country dances on the bowling-green. The lodgings45 were dingy46 and expensive, the pump-house had no director, the nobility had haughtily47 withdrawn48 from such vulgar entertainments as the city now alone afforded. The famous and choleric49 physician, Dr. Radcliffe, in revenge for some slight he had endured, had threatened to "throw a toad50 into King Bladud's Well," by writing a pamphlet against the medicinal efficacy of the waters.
The moment was critical; the greatness of Bath, which had been slowly declining since the days of Elizabeth, was threatened with extinction51 when Nash came to it, wealthy, idle, patient, with a genius for organisation52, and in half a century he made it what he left it when he died in his eighty-ninth year, the most elegant and attractive of the smaller social resorts of Europe. Such a man, let us be certain, was not wholly ridiculous. There must have been something more in him than in a mere53 idol54 of the dandies, like Brummell, or a mere irresistible55 buck56 and lady-killer, like Lauzun. In these latter men the force is wholly destructive; they are animated57 by a feline58 vanity, a tiger-spirit of egotism. Against the story of Nash and the Duchess of Queensberry, so wholesome59 and humane60, we put that frightful61 anecdote62 that Saint-Simon tells of Lauzun's getting the hand of another duchess under his high heel, and pirouetting on it to make the heel dig deeper into the flesh. In all the repertory of Nash's extravagances there is not one story of this kind, not one that reveals a wicked force. He was fatuous, but beneficent; silly, but neither cruel nor corrupt63.
Goldsmith, in this second edition at least, has taken more pains with his life of Nash than he ever took again in a biography. His Parnell, his Bolingbroke, his Voltaire, are not worthy64 of his name and fame; not all the industry of annotators can ever make them more than they were at first—potboilers, turned out with no care or enthusiasm, and unconscientiously prepared. But this subtle figure of a Master of Ceremonial; this queer old presentment of a pump-room king, crowned with a white hat, waiting all day long in his best at the bow-window of the Smyrna Coffee-House to get a bow from that other, and alas65! better accredited66 royalty67, the Prince of Wales; this picture, of an old beau, with his toy-shop of gold snuff-boxes, his agate-rings, his senseless obelisk68, his rattle69 of faded jokes and blunted stories—all this had something very attractive to Goldsmith both in its humour and its pathos70; and he has left us, in his Life of Nash, a study which is far too little known, but which deserves to rank among the best-read productions of that infinitely71 sympathetic pen, which has bequeathed to posterity72 Mr. Tibbs and Moses Primrose73 and Tony Lumpkin.
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1 delusion | |
n.谬见,欺骗,幻觉,迷惑 | |
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2 snare | |
n.陷阱,诱惑,圈套;(去除息肉或者肿瘤的)勒除器;响弦,小军鼓;vt.以陷阱捕获,诱惑 | |
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3 promptly | |
adv.及时地,敏捷地 | |
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4 lucre | |
n.金钱,财富 | |
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5 tempt | |
vt.引诱,勾引,吸引,引起…的兴趣 | |
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6 providence | |
n.深谋远虑,天道,天意;远见;节约;上帝 | |
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7 applied | |
adj.应用的;v.应用,适用 | |
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8 dedication | |
n.奉献,献身,致力,题献,献辞 | |
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9 bibliophile | |
n.爱书者;藏书家 | |
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10 eschew | |
v.避开,戒绝 | |
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11 specimen | |
n.样本,标本 | |
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12 engraved | |
v.在(硬物)上雕刻(字,画等)( engrave的过去式和过去分词 );将某事物深深印在(记忆或头脑中) | |
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13 copiously | |
adv.丰富地,充裕地 | |
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14 demurely | |
adv.装成端庄地,认真地 | |
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15 wig | |
n.假发 | |
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16 umbrageous | |
adj.多荫的 | |
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17 fatuous | |
adj.愚昧的;昏庸的 | |
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18 apron | |
n.围裙;工作裙 | |
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19 aprons | |
围裙( apron的名词复数 ); 停机坪,台口(舞台幕前的部份) | |
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20 deftly | |
adv.灵巧地,熟练地,敏捷地 | |
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21 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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22 majesty | |
n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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23 etiquette | |
n.礼仪,礼节;规矩 | |
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24 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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25 tact | |
n.机敏,圆滑,得体 | |
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26 banished | |
v.放逐,驱逐( banish的过去式和过去分词 ) | |
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27 squires | |
n.地主,乡绅( squire的名词复数 ) | |
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28 propriety | |
n.正当行为;正当;适当 | |
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29 determined | |
adj.坚定的;有决心的 | |
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30 slew | |
v.(使)旋转;n.大量,许多 | |
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31 shaft | |
n.(工具的)柄,杆状物 | |
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32 indited | |
v.写(文章,信等)创作,赋诗,创作( indite的过去式和过去分词 ) | |
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33 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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34 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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35 hoyden | |
n.野丫头,淘气姑娘 | |
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36 decency | |
n.体面,得体,合宜,正派,庄重 | |
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37 modesty | |
n.谦逊,虚心,端庄,稳重,羞怯,朴素 | |
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38 wont | |
adj.习惯于;v.习惯;n.习惯 | |
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39 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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40 majestic | |
adj.雄伟的,壮丽的,庄严的,威严的,崇高的 | |
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41 painstaking | |
adj.苦干的;艰苦的,费力的,刻苦的 | |
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42 affluence | |
n.充裕,富足 | |
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43 ebb | |
vi.衰退,减退;n.处于低潮,处于衰退状态 | |
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44 fiddle | |
n.小提琴;vi.拉提琴;不停拨弄,乱动 | |
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45 lodgings | |
n. 出租的房舍, 寄宿舍 | |
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46 dingy | |
adj.昏暗的,肮脏的 | |
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47 haughtily | |
adv. 傲慢地, 高傲地 | |
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48 withdrawn | |
vt.收回;使退出;vi.撤退,退出 | |
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49 choleric | |
adj.易怒的,性情暴躁的 | |
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50 toad | |
n.蟾蜍,癞蛤蟆 | |
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51 extinction | |
n.熄灭,消亡,消灭,灭绝,绝种 | |
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52 organisation | |
n.组织,安排,团体,有机休 | |
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53 mere | |
adj.纯粹的;仅仅,只不过 | |
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54 idol | |
n.偶像,红人,宠儿 | |
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55 irresistible | |
adj.非常诱人的,无法拒绝的,无法抗拒的 | |
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56 buck | |
n.雄鹿,雄兔;v.马离地跳跃 | |
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57 animated | |
adj.生气勃勃的,活跃的,愉快的 | |
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58 feline | |
adj.猫科的 | |
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59 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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60 humane | |
adj.人道的,富有同情心的 | |
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61 frightful | |
adj.可怕的;讨厌的 | |
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62 anecdote | |
n.轶事,趣闻,短故事 | |
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63 corrupt | |
v.贿赂,收买;adj.腐败的,贪污的 | |
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64 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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65 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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66 accredited | |
adj.可接受的;可信任的;公认的;质量合格的v.相信( accredit的过去式和过去分词 );委托;委任;把…归结于 | |
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67 royalty | |
n.皇家,皇族 | |
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68 obelisk | |
n.方尖塔 | |
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69 rattle | |
v.飞奔,碰响;激怒;n.碰撞声;拨浪鼓 | |
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70 pathos | |
n.哀婉,悲怆 | |
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71 infinitely | |
adv.无限地,无穷地 | |
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72 posterity | |
n.后裔,子孙,后代 | |
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73 primrose | |
n.樱草,最佳部分, | |
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