Authors, Irish -- 18th century -- Biography; Goldsmith, Oliver, 1730?-1774
"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.
Public-domain text, read in full here on John Shaqi.
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