The Deserted Village Poem Analysis
Poem Analysis
Sweet Auburn, loveliest village of the plain,
Where health and plenty cheared the labouring swain,
Where smiling spring its earliest visit paid,
And parting summer’s lingering blooms delayed,
Dear lovely bowers of innocence and ease,
Seats of my youth, when every sport could please,
How often have I loitered o’er thy green,
Where humble happiness endeared each scene!
How often have I paused on every charm,
The sheltered cot, the cultivated farm,
The never-failing brook, the busy mill,
The decent church that topt the neighbouring hill,
The hawthorn bush, with seats beneath the shade,
For talking age and whispering lovers made!
How often have I blest the coming day,
When toil remitting lent its turn to play,
And all the village train, from labour free,
Led up their sports beneath the spreading tree,
While many a pastime circled in the shade,
The young contending as the old surveyed;
And many a gambol frolicked o’er the ground,
And slights of art and feats of strength went round;
And still as each repeated pleasure tired,
Succeeding sports the mirthful band inspired;
The dancing pair that simply sought renown
By holding out to tire each other down;
The swain mistrustless of his smutted face,
While secret laughter tittered round the place;
The bashful virgin’s side-long looks of love,
The matron’s glance that would those looks reprove!
These were thy charms, sweet village; sports like these,
With sweet succession, taught even toil to please;
These round thy bowers their chearful influence shed,
These were thy charms—But all these charms are fled.
Explanation: In the poem “The Deserted Village,” Oliver Goldsmith introduces the village of Sweet Auburn with a sense of nostalgia and longing. The speaker begins by celebrating the village as the “loveliest village of the plain,” emphasizing its beauty and tranquility. The village represents a place where both health and prosperity flourish, providing comfort to the hardworking laborers (“labouring swain”). Goldsmith suggests that nature itself favors the village, with spring arriving early and summer lingering longer than usual, creating an environment full of vitality and charm.
The speaker fondly recalls the time spent in Sweet Auburn during his youth, a time when every activity brought joy and every corner of the village held delightful memories. He paints a picture of an idyllic village life where the green fields were places of relaxation and happiness. The imagery of “loitered o’er thy green” suggests a leisurely life, filled with moments spent wandering and absorbing the simple joys of rural beauty. Each aspect of the village, from the “sheltered cot” (cottage) and the “cultivated farm” to the “never-failing brook” and the “busy mill,” evokes a peaceful, productive rural setting. The “decent church that topt the neighbouring hill” indicates the presence of faith and community in the village.
The “hawthorn bush, with seats beneath the shade,” serves as a central gathering spot in the village. This bush provides a setting for both “talking age” and “whispering lovers,” reflecting how the village was a place for all generations to come together. This imagery of community and connection suggests the deep sense of social belonging and harmony that defined Sweet Auburn.
The poet then reminisces about the village’s festivities and communal activities. He recalls the excitement of waking up to days when work was temporarily set aside, allowing time for relaxation and enjoyment. The villagers, free from their daily labor, would come together to celebrate, engaging in various games beneath the “spreading tree.” These gatherings were vibrant and lively, with a variety of activities taking place—games, feats of strength, and playful competitions that entertained both young and old. The young villagers engaged in playful contests, watched over by the older villagers who derived joy from the spirited enthusiasm of the youth.
Goldsmith describes how as one form of pleasure tired, another would take its place, creating an ongoing cycle of enjoyment that made life in Sweet Auburn so fulfilling. This “sweet succession” of activities made even the work seem less burdensome, as the villagers found joy in both their labor and their leisure. Among these activities, he mentions “the dancing pair that simply sought renown / By holding out to tire each other down,” capturing the innocence and simplicity of their pursuits, where recognition was gained through friendly endurance contests rather than any material prize.
The poet also includes the light-hearted scene of a “swain mistrustless of his smutted face,” suggesting a young man unaware of a mark on his face, while those around him secretly laughed. This humorous moment emphasizes the closeness and informality of village life, where even jokes were gentle and rooted in camaraderie. Goldsmith adds more nuance to the scene with the mention of “the bashful virgin’s side-long looks of love,” describing the shy glances exchanged by young lovers, and “the matron’s glance that would those looks reprove,” indicating the watchful eyes of older women who sought to maintain social propriety.
The poet sees these moments of simplicity, community, and joy as the essence of Sweet Auburn’s charm. They represent the beauty of a life untainted by the greed and progress that would later disrupt the village’s tranquility. However, the final lines of the passage shift to a tone of melancholy. Goldsmith laments that all these charms have disappeared—”But all these charms are fled.” This closing sentiment expresses the poet’s sorrow over the changes that have affected Sweet Auburn, transforming it from a lively, close-knit community into a deserted and desolate place. The sense of loss is palpable, emphasizing the theme of disillusionment with the effects of modernization and economic change, which have stripped the village of its innocence and left it devoid of its former joy and spirit.
Poetic Device
Imagery: Imagery involves vivid descriptive language that appeals to the senses. Goldsmith uses imagery to create a detailed picture of Sweet Auburn, highlighting its beauty and tranquility with phrases like “loveliest village of the plain” and “sheltered cot.” This imagery evokes feelings of nostalgia and longing for the idyllic past.
Personification: Personification attributes human qualities to non-human elements. Goldsmith personifies nature and abstract concepts, such as calling spring “smiling” and depicting “health and plenty” as cheering the villagers. This device emphasizes the emotional connection between the villagers and their environment, enhancing the theme of loss as the village changes.
Sweet smiling village, loveliest of the lawn,
Thy sports are fled, and all thy charms withdrawn;
Amidst thy bowers the tyrant’s hand is seen,
And desolation saddens all thy green:
One only master grasps the whole domain,
And half a tillage stints thy smiling plain;
No more thy glassy brook reflects the day,
But, choaked with sedges, works its weedy way;
Along thy glades, a solitary guest,
The hollow-sounding bittern guards its nest;
Amidst thy desert walks the lapwing flies,
And tires their echoes with unvaried cries.
Sunk are thy bowers, in shapeless ruin all,
And the long grass o’ertops the mouldering wall;
And, trembling, shrinking from the spoiler’s hand,
Far, far away, thy children leave the land.
Explanation: In this excerpt from “The Deserted Village,” Oliver Goldsmith shifts from reminiscing about the beauty and vibrancy of Sweet Auburn to lamenting its decline and desolation. The speaker describes the village, which was once “loveliest of the lawn” with its joyful spirit and natural beauty, now devoid of all its charm and happiness. The word “fled” underscores that the liveliness and sports that once defined the village are gone, having been replaced by emptiness.
Goldsmith attributes the village’s downfall to the “tyrant’s hand”—likely representing the wealthy landowners who took control of rural areas and displaced the villagers. This “tyrant’s hand” has brought desolation, and all the greenery that was once full of life has now been diminished. The phrase “one only master grasps the whole domain” reflects the enclosure movement in England, where large estates were consolidated under single ownership, pushing away small farmers and leaving the land under the control of one dominant figure. This process has reduced farming in the area, as indicated by “half a tillage stints thy smiling plain,” meaning the land is no longer cultivated to its full potential.
The imagery of nature reflects the decline of Sweet Auburn. The “glassy brook” that once reflected sunlight is now “choked with sedges” and struggles to make its way, overgrown with weeds. The beautiful, free-flowing stream that symbolized the vibrancy of the village is now obstructed and stagnant, symbolizing the village’s fall from grace. The once lively “glades” (open spaces in the woods) are now home to the “hollow-sounding bittern,” a bird often associated with desolate areas. The bittern’s presence, along with its solitary guarding of its nest, conveys a sense of abandonment. Similarly, the “lapwing” flies amidst the deserted paths, and its “unvaried cries” emphasize the emptiness and loneliness of the once-bustling village.
Goldsmith paints a picture of complete ruin, with “bowers” (a poetic reference to shaded, pleasant spots) now reduced to “shapeless ruin,” and “long grass o’ertops the mouldering wall.” The once well-kept gardens and homes have fallen into decay, overtaken by wild growth and neglect. The imagery evokes a sense of abandonment, with the remnants of what was once a thriving community left to crumble.
The final lines convey the human impact of this desolation. The children of the village, those who would have continued its traditions and filled it with life, are now forced to leave, “trembling” and “shrinking from the spoiler’s hand.” The “spoiler” represents those who have seized control of the land, destroying the village’s essence. The repetition of “far, far away” emphasizes the physical and emotional distance that the displaced villagers must endure as they leave their homeland behind, compelled to seek a new life elsewhere.
Overall, this excerpt mourns the destruction of a simple, harmonious way of life due to the greed and power of a few, highlighting the consequences of social and economic changes that uproot communities and lead to the decay of once-flourishing rural areas.
Poetic Device
Imagery: Goldsmith uses vivid imagery to paint a picture of the village’s decline. Phrases like “glassy brook reflects the day” and “shapeless ruin all” create a stark contrast between the village’s former beauty and its current state of decay. This imagery evokes feelings of nostalgia and sorrow for the lost charm of Sweet Auburn.
Personification: The poet personifies elements of nature to emphasize the village’s desolation. For example, “the tyrant’s hand is seen” suggests that external forces have taken over the land, while “the hollow-sounding bittern guards its nest” implies that even the wildlife has adapted to this lonely existence. This device enhances the sense of abandonment and highlights the emotional impact of the village’s decline on its former inhabitants.
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.
Explanation: In these lines from “The Deserted Village,” Oliver Goldsmith comments on the detrimental effects of wealth accumulation and the decline of rural communities. He begins with the phrase “Ill fares the land, to hastening ills a prey,” suggesting that the country is in a state of decline, vulnerable to impending misfortune. This deterioration is attributed to a society in which “wealth accumulates, and men decay,” meaning that while material wealth is being amassed, the well-being and moral fabric of the common people are deteriorating. Goldsmith critiques a system where economic gain for the few comes at the cost of the many, leading to societal decay.
The next lines, “Princes and lords may flourish, or may fade; / A breath can make them, as a breath has made,” imply the fleeting nature of the power of aristocrats and rulers. Goldsmith points out that their status and influence are unstable—they can be created or destroyed by a mere “breath.” This highlights the temporary and often capricious nature of their power. Unlike the aristocracy, which may rise or fall easily, the common people, represented by the “bold peasantry,” are described as “their country’s pride.” Goldsmith views the peasantry as the backbone of the nation, and their value lies in their stability, labor, and connection to the land.
The final line, “When once destroyed, can never be supplied,” is a powerful statement about the irreplaceable nature of the rural population. Unlike the transient power of princes and lords, the peasantry is essential and irreplaceable. Once they are displaced or destroyed, they cannot be easily brought back, and the country suffers irreparably. Goldsmith emphasizes the lasting damage that occurs when rural communities are dismantled in favor of wealth accumulation by a few, warning of the irreversible consequences of such actions on society.
Poetic Device
Antithesis: Goldsmith uses antithesis to highlight the contrast between wealth and decay. Phrases like “Where wealth accumulates, and men decay” juxtapose the idea of material accumulation with the deterioration of humanity. This contrast emphasizes the notion that while wealth may increase, it can lead to moral and social decline.
Hyperbole: The statement “When once destroyed, can never be supplied” is an example of hyperbole, as it exaggerates the permanence of the loss of a bold peasantry. This device underscores the importance of the common people to a nation’s strength and stability, suggesting that their loss is irreplaceable, which reinforces the urgency of the poem’s warning against societal decline.
A time there was, ere England’s griefs began,
When every rood of ground maintained its man;
For him light labour spread her wholesome store,
Just gave what life required, but gave no more:
His best companions, innocence and health;
And his best riches, ignorance of wealth.
Explanation: In these lines from “The Deserted Village,” Oliver Goldsmith reminisces about a past era in England, before the societal changes that brought about suffering and loss. He describes a time “ere England’s griefs began,” when life was simpler and the land was sufficient to sustain its people. The phrase “every rood of ground maintained its man” suggests that each portion of land supported a person, indicating a balanced and self-sufficient rural economy where people had enough to live modestly.
Goldsmith notes that “light labour spread her wholesome store,” meaning that the work required was not overly strenuous, and provided enough to fulfill basic needs—”just gave what life required, but gave no more.” This suggests a life of simplicity, with enough resources to meet essential needs but without excess. This kind of life is depicted as healthy and morally upright, in contrast to the corrupting influence of wealth.
The poet emphasizes that the rural community’s “best companions” were “innocence and health,” indicating a virtuous and wholesome lifestyle. Their greatest wealth, according to Goldsmith, was “ignorance of wealth.” By this, he means that the people were content and fulfilled without the pursuit of material riches. The implication is that they were happier for not being entangled in the corrupting influences of wealth and greed. Goldsmith idealizes this time, presenting it as a period of harmony between people and the land, characterized by contentment and simplicity.
Poetic Device
Imagery: Goldsmith uses vivid imagery to evoke a sense of an idealized pastoral life. Phrases like “every rood of ground maintained its man” and “light labour spread her wholesome store” create a picturesque view of a harmonious and self-sufficient rural existence. This imagery emphasizes the simplicity and contentment of life before the onset of England’s social and economic troubles.
Personification: The lines “light labour spread her wholesome store” personify labor as if it were a benevolent force providing for the needs of the people. This device highlights the idea that hard work, rather than wealth, is the source of true sustenance and satisfaction. By attributing human qualities to labor, Goldsmith suggests that a fulfilling life is rooted in honest toil and simplicity, contrasting sharply with the subsequent greed and moral decline depicted later in the poem.
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;
And every want to oppulence allied,
And every pang that folly pays to pride.
Those gentle hours that plenty bade to bloom,
Those calm desires that asked but little room,
Those healthful sports that graced the peaceful scene,
Lived in each look, and brightened all the green;
These, far departing seek a kinder shore,
And rural mirth and manners are no more.
Explanation: In these lines, Oliver Goldsmith laments the changes brought to the countryside by the rise of trade and wealth. He contrasts the former simplicity of rural life with the new social order, which he views as destructive and dehumanizing. The phrase “trade’s unfeeling train” suggests that the forces of commerce, driven by profit, have taken over the land and forced the rural farmers, or “swain,” from their homes.
The poet describes how “unwieldy wealth and cumbrous pomp” have come to replace the scattered hamlets that once dotted the landscape. The new occupants, representing the wealthy, now reside on the lawns where once modest villages stood, and their presence symbolizes excess and vanity rather than the simple, hard-working life of the past. The mention of “every want to opulence allied” and “every pang that folly pays to pride” reflects how the pursuit of wealth has led to superficial desires and sufferings caused by foolish pride.
Goldsmith mourns the loss of the simple pleasures that characterized rural life—those “gentle hours that plenty bade to bloom” and “calm desires that asked but little room.” He paints a picture of the past, when rural life was filled with healthful activities, peaceful contentment, and modest desires, all of which were essential to the community’s happiness. These joys “lived in each look, and brightened all the green,” meaning they were reflected in the demeanor of the people and the beauty of the natural surroundings.
Now, however, these joys have “far departing seek a kinder shore,” implying that they have left England, replaced by the destructive forces of wealth and modernization. The line “rural mirth and manners are no more” sums up Goldsmith’s sense of loss—both the happiness of the rural community and the traditional values that once defined rural England have vanished, giving way to a more materialistic and less fulfilling way of life.
Poetic Device
Contrast: Goldsmith employs contrast throughout the passage to highlight the differences between the past and present. The phrases “gentle hours” and “calm desires” evoke a sense of peace and simplicity associated with rural life, while terms like “unfeeling train” and “cumbrous pomp” refer to the burdensome nature of wealth and trade. This contrast emphasizes the loss of joy and fulfillment in the face of increasing materialism and societal change.
Sweet Auburn! parent of the blissful hour,
Thy glades forlorn confess the tyrant’s power.
Here as I take my solitary rounds,
Amidst thy tangling walks, and ruined grounds,
And, many a year elapsed, return to view
Where once the cottage stood, the hawthorn grew,
Remembrance wakes with all her busy train,
Swells at my breast, and turns the past to pain.
Explanation: In these poignant lines, Oliver Goldsmith reflects on the deep sense of loss and nostalgia he feels for Sweet Auburn, the idyllic village of his youth. The term “Sweet Auburn! parent of the blissful hour” evokes a sense of fond remembrance and affection for the place that once represented happiness and tranquility. However, this sentiment is quickly overshadowed by the acknowledgment of its current state of decline, as he describes the village’s “glades forlorn” that now “confess the tyrant’s power.” Here, Goldsmith refers to the oppressive forces of change—likely industrialization and commercialization—that have ravaged the landscape and transformed it into a shadow of its former self.
As he walks through the village, he describes taking “solitary rounds,” emphasizing his isolation and sorrow as he navigates the once-familiar paths now marred by neglect. The “tangling walks” and “ruined grounds” evoke a sense of disorder and decay, contrasting sharply with the vibrant memories of a thriving community.
Goldsmith’s reminiscence is both tender and painful. He recalls specific landmarks, such as “where once the cottage stood, the hawthorn grew,” signifying the personal connection he has to the village. The imagery suggests a loss of both physical structures and the memories associated with them. As he reflects on these memories, “remembrance wakes with all her busy train,” indicating that his thoughts bring forth a flood of emotions and memories—some joyful, but ultimately overshadowed by sadness.
The phrase “swells at my breast” captures the intensity of his emotions as he grapples with the bittersweet nature of nostalgia. The memories, instead of providing comfort, “turn the past to pain,” highlighting how the passage of time has transformed the once-beautiful village into a place of sorrow. Goldsmith poignantly conveys the universal experience of longing for a past that is irretrievably lost, encapsulating both the beauty and the tragedy of memory.
Poetic Device
Personification: Goldsmith personifies “Remembrance,” suggesting that memory has an active role in his emotional state. Phrases like “Remembrance wakes with all her busy train” imply that memories come rushing back, bringing with them a sense of pain and loss. This device emphasizes the emotional weight of nostalgia and highlights how memories can evoke both joy and sorrow.
Imagery: The use of vivid imagery in phrases like “tangling walks,” “ruined grounds,” and “where once the cottage stood” creates a clear picture of the desolate landscape. This imagery evokes a sense of abandonment and decay, allowing readers to visualize the transformation of Sweet Auburn from a lively village to a neglected place. The contrast between past beauty and present ruin enhances the melancholic tone of the poem, reinforcing Goldsmith’s sense of longing for what has been lost.
In all my wanderings round this world of care,
In all my griefs—and God has given my share—
I still had hopes, my latest hours to crown,
Amidst 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,
Amidst the swains to shew my book-learned skill,
Around my fire an evening groupe to draw,
And tell of all I felt, and all I saw;
And, as an 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.
Explanation: In these reflective lines, Oliver Goldsmith expresses a deep yearning for peace and fulfillment in the twilight of his life, set against the backdrop of his earlier experiences and struggles. The phrase “In all my wanderings round this world of care” suggests a life filled with various burdens and concerns, emphasizing the universal human experience of grappling with life’s difficulties. Goldsmith acknowledges that “God has given my share” of grief, indicating that he has faced his share of trials and tribulations, much like anyone else.
Amidst these hardships, he clings to “hopes” that seem to be a guiding light for him as he contemplates the end of his life. The desire “to lay me down” in the “humble bowers” of his beloved Sweet Auburn reflects a longing for the simple comforts of home and the familiarity of his roots. This desire symbolizes a return to innocence and tranquility, away from the complexities and pains of the world.
Goldsmith uses the metaphor of “husbanding out life’s taper” to convey his intention to manage his remaining time wisely, ensuring that the flame of life does not extinguish prematurely through inaction or despair. Instead, he wishes to preserve it with meaningful activities and connections.
His hope to showcase his “book-learned skill” among the “swains” indicates a desire for validation and appreciation from those around him. He imagines drawing an “evening groupe” around his fire, where he can share his experiences and insights, bridging the gap between his literary knowledge and the rustic life of the village.
The comparison to a “hare whom hounds and horns pursue” illustrates his instinctual drive to return to a place of safety and solace—the place where he feels most at home. This imagery evokes a sense of urgency and longing, suggesting that after a life of pursuit and struggle, he wishes to find refuge in the familiarity of his village.
Ultimately, Goldsmith expresses a poignant hope to return to Sweet Auburn, “my long vexations past,” indicating a desire to find peace and die in the place that holds his fondest memories. This longing for a final return underscores the themes of nostalgia and the search for belonging, creating a powerful emotional resonance throughout the poem.
Poetic Device
Metaphor: Goldsmith employs metaphor when he refers to “life’s taper” to symbolize his life itself. A taper is a small candle, and the act of “husbanding out” implies carefully managing its burn to prolong its light. This metaphor highlights the fragility of life and the desire to preserve its warmth and illumination as he approaches death. It conveys the poet’s longing for a peaceful end and the careful management of his remaining time.
Imagery: The imagery in the lines is rich and evocative, particularly in phrases like “humble bowers,” “evening groupe,” and “the place from whence at first she flew.” These images create a vivid picture of a peaceful rural setting where the speaker envisions himself finding solace and comfort. The reference to “an hare whom hounds and horns pursue” adds a dynamic contrast, illustrating the speaker’s desire to escape the chaos of life and return to a place of safety and familiarity. This imagery reinforces themes of nostalgia and the search for a final resting place.
O blest retirement, friend to life’s decline,
Retreats from care that never must be mine,
How happy he who crowns, in shades like these
A youth of labour 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;
No 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;
Bends 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!
Explanation: In this excerpt, Oliver Goldsmith extols the virtues of retirement and the peaceful retreat it offers as one approaches the later stages of life. The phrase “O blest retirement” conveys a sense of reverence and longing for a life free from the burdens and anxieties that often accompany daily existence. Goldsmith contrasts this idyllic retreat with his own reality, acknowledging that such tranquility is “a care that never must be mine,” hinting at his recognition that he may not achieve this peaceful state.
The notion of “crowning, in shades like these, a youth of labour with an age of ease” highlights the ideal of enjoying the fruits of one’s labor after years of hard work. Goldsmith envisions a life where one can gracefully transition from the struggles of youth to the serene comfort of old age, free from the relentless pressures and temptations of the world.
He emphasizes the idea of escape from temptation, suggesting that it is often easier to “learn to fly” from challenges rather than confront them directly. This metaphorical flight underscores the notion that finding peace is not just about overcoming difficulties but also about choosing to withdraw from them.
The imagery of “wretches, born to work and weep” paints a stark contrast between those who toil under harsh conditions—perhaps miners or sailors—and the retiree, who enjoys a life unburdened by such harsh realities. Goldsmith critiques societal structures that often force people into dangerous and demanding jobs, highlighting the injustice of a world where some are condemned to suffering while others find solace.
Goldsmith continues with a comforting vision of the retiree’s final moments, where “Angels around befriending virtue’s friend” suggests a heavenly presence supporting the good and virtuous in their life journey. The retiree can approach death with dignity and peace, as “resignation gently slopes the way,” signifying an acceptance of life’s end without fear or struggle.
The phrase “his Heaven commences ere the world be past” encapsulates the overarching theme of this excerpt. Goldsmith suggests that true happiness and fulfillment can be attained before one departs from the earthly realm. The retiree, having lived a life of virtue, finds joy in the quiet moments of reflection and contentment, thus experiencing a taste of heaven while still alive.
Through this powerful imagery and poignant reflections, Goldsmith articulates a deep longing for a serene and virtuous life, illustrating the contrast between the trials of existence and the peace found in retirement and acceptance.
Poetic Device
Personification: Goldsmith employs personification when he describes “Angels around befriending virtue’s friend.” By attributing human qualities to angels, he suggests a protective and comforting presence surrounding the virtuous individual. This device emphasizes the notion that leading a virtuous life leads to divine support and blessings, reinforcing the idea of a rewarding retirement and the peace that accompanies it.
Contrast: The poet creates a contrast between the struggles of life and the tranquility of retirement. Phrases like “strong temptations try” and “wretches, born to work and weep” highlight the difficulties faced in the world, while contrasting them with the peaceful image of a retiree who “moves to meet his latter end” without fear. This juxtaposition emphasizes the appeal of a quiet, uneventful life free from the harsh realities that plague others, enhancing the romantic notion of a blissful retirement.
Sweet was the sound, when oft at evening’s close,
Up yonder hill the village murmur rose;
There, as I past with careless steps and slow,
The mingling notes came soften’d from below;
The swain responsive as the milk-maid sung,
The sober herd that lowed to meet their young,
The noisy geese that gabbled o’er the pool,
The playful children just let loose from school,
The watch-dog’s voice that bayed the whispering wind,
And the loud laugh that spoke the vacant mind,
These all in sweet confusion sought the shade,
And filled each pause the nightingale had made.
But now the sounds of population fail,
No cheerful murmurs fluctuate in the gale,
No busy steps the grass-grown foot-way tread,
For all the bloomy flush of life is fled.
All but yon widowed, solitary thing
That feebly bends beside the plashy spring;
She, wretched matron, forced in age, for bread,
To strip the brook with mantling cresses spread,
To pick her wintry faggot from the thorn,
To seek her nightly shed, and weep till morn;
She only left of all the harmless train,
The sad historian of the pensive plain.
Explanation: In this stanza from Oliver Goldsmith’s The Deserted Village, the speaker reminisces about the once-vibrant sounds of village life, highlighting the contrast between past joys and present desolation. The “sweet sound” at evening’s close evokes a sense of nostalgia as the speaker recalls how, up the hill, the lively village noises would rise. The imagery of “careless steps and slow” conveys a sense of leisurely enjoyment, where the mingling notes from below paint a picture of community and harmony.
The sounds are richly detailed: the responsive songs of the swain and the milkmaid reflect the companionship of rural life, while the lowing of the herd signifies the connection between humans and animals. The playful children, released from school, embody innocence and joy, contrasting sharply with the current emptiness. The “noisy geese” and the “watch-dog’s voice” further contribute to the lively tapestry of sounds, with laughter punctuating the atmosphere, suggesting a carefree existence.
This idyllic scene of “sweet confusion” is interrupted by a poignant shift in tone. The speaker notes the absence of these once-familiar sounds, stating, “But now the sounds of population fail.” The village, once bustling with life, is now silent and deserted. The “cheerful murmurs” and “busy steps” have vanished, leaving behind a ghostly stillness. The phrase “bloomy flush of life is fled” powerfully encapsulates the sense of loss and decay, emphasizing that what was once vibrant has withered away.
The stanza then focuses on the solitary figure of a “wretched matron,” who embodies the sorrow and hardship left in the wake of the village’s decline. Her struggles for survival, as she “bends beside the plashy spring” to gather cresses and firewood, illustrate the stark reality faced by the remaining inhabitants. This image evokes sympathy, portraying her as a poignant reminder of the community that once thrived.
She is depicted as the “sad historian of the pensive plain,” suggesting that her existence is now defined by memories of a happier past. As the last vestige of the village’s life, she carries the weight of its history and loss, emphasizing the desolation that has overtaken the landscape.
In this stanza, Goldsmith masterfully contrasts the joyful sounds of a lively village with the haunting silence of desolation, using vivid imagery and poignant characterization to evoke a deep sense of nostalgia and loss.
Poetic Device
Imagery: Goldsmith employs vivid imagery to create a rich sensory experience. Phrases like “the village murmur,” “the swain responsive as the milk-maid sung,” and “the noisy geese that gabbled o’er the pool” paint a lively picture of rural life. This imagery not only evokes the sounds and sights of the village but also enhances the sense of warmth and community that once existed, making the subsequent loss more poignant.
Contrast: The poet contrasts the vibrant sounds of the village with its current desolation. The first part of the stanza describes a bustling, joyful environment filled with laughter and life, while the latter part shifts to a somber tone, noting that “all the bloomy flush of life is fled.” This juxtaposition emphasizes the dramatic change from a lively community to one that is deserted and sorrowful, highlighting the deep sense of loss experienced by the speaker.
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.
Explanation: In this stanza from The Deserted Village, Oliver Goldsmith paints a vivid portrait of the village preacher and his humble abode, emphasizing his virtuous character and deep connection to the community. The opening lines establish a nostalgic setting near a copse, where a once-thriving garden has been reduced to wildflowers and a few “torn shrubs.” This imagery hints at both the beauty that once existed and the decline that has since taken place.
The preacher’s “modest mansion” serves as a focal point of the village, a place steeped in warmth and kindness. Goldsmith describes him as “a man… to all the country dear,” suggesting that he is a beloved figure in the community. His income of “forty pounds a year” signifies modesty, contrasting sharply with the idea of wealth and power that often dominates society. This humble financial status reinforces the notion that true richness lies in character rather than material possessions.
The preacher’s life is characterized by simplicity and steadfastness; he remains “remote from towns” and has never wished to leave his pastoral existence. His dedication to his role is highlighted by the fact that he does not seek influence or status, nor does he alter his beliefs to suit the whims of society. Instead, his values are rooted in compassion and service to others.
Goldsmith contrasts the preacher’s noble intentions with the vices of those he serves. He is depicted as being more concerned with uplifting the downtrodden than with elevating his own status. His house becomes a sanctuary for the village’s marginalized members: the vagrant, the beggar, the ruined spendthrift, and the broken soldier. Each character represents different facets of society, reflecting the struggles and stories of the poor and forgotten.
The imagery of the “long-remembered beggar” with his “beard descending” creates a poignant picture of age and hardship. The ruined spendthrift, once proud, now finds acceptance in the preacher’s home, while the broken soldier shares his tales of valor and sacrifice, suggesting a camaraderie that transcends their misfortunes. These encounters illustrate the preacher’s role as a healer of both body and spirit, offering solace and companionship.
The preacher’s ability to “forget their vices in their woe” speaks to his profound empathy. His compassion allows him to overlook the flaws of those who seek refuge in his home, and he provides relief not just through material assistance but also by listening to their stories. Goldsmith emphasizes that the preacher’s “pity” precedes any notions of “charity,” indicating that his kindness stems from genuine concern rather than a desire for recognition or reward.
In this portrayal, Goldsmith highlights the ideal of a selfless, devoted figure who embodies the values of community, compassion, and humility. The village preacher becomes a symbol of hope and moral integrity in a world increasingly marked by social decay and individualism. Through this detailed characterization, Goldsmith calls attention to the importance of human connection and the profound impact of kindness, even amidst hardship and loss.
Poetic Device
Characterization: Goldsmith uses characterization to depict the village preacher as a selfless and compassionate figure. Descriptions like “passing rich with forty pounds a year” highlight his humble means, while phrases such as “more skilled to raise the wretched than to rise” emphasize his commitment to helping others over seeking personal advancement. This portrayal evokes admiration and respect, showcasing the preacher’s genuine goodness and dedication to his community.
Symbolism: The preacher’s “modest mansion” and the “garden” that “once smiled” symbolize the simplicity and beauty of rural life that is now fading. The garden represents the nurturing spirit of the community and the life that once flourished there. As the preacher remains a constant figure in the village, his home becomes a sanctuary for the marginalized and the needy, symbolizing hope and compassion amidst changing times.
Thus to relieve the wretched was his pride,
And even his failings leaned to Virtue’s side;
But in his duty prompt at every call,
He watched and wept, he prayed and felt, for all.
And, as a bird each fond endearment tries,
To tempt its new-fledged offspring to the skies;
He tried each art, reproved each dull delay,
Allured to brighter worlds, and led the way.
Explanation: In this stanza, Goldsmith further explores the character and virtues of the village preacher, portraying him as a deeply compassionate and dedicated figure committed to the well-being of his community. The opening line, “Thus to relieve the wretched was his pride,” highlights the preacher’s sense of purpose and fulfillment derived from helping those in need. His pride in serving others underscores his selflessness and genuine commitment to alleviating suffering.
The line “even his failings leaned to Virtue’s side” suggests that even the preacher’s imperfections can be viewed in a positive light. It implies that his shortcomings do not detract from his overall goodness; rather, they humanize him, reinforcing the idea that he is not a perfect being but someone striving to do his best for others. This acknowledgment of his humanity adds depth to his character, making him relatable and admirable.
Goldsmith emphasizes the preacher’s active engagement in his duties with the line “But in his duty prompt at every call.” This demonstrates the preacher’s unwavering commitment to his role; he is always ready to respond to the needs of his community. The words “watched and wept, prayed and felt, for all” convey the emotional intensity of his care. He not only observes the struggles of others but also feels their pain deeply, embodying true empathy and compassion.
The imagery of the bird attempting to guide its young is particularly poignant. “And as a bird each fond endearment tries, / To tempt its new-fledged offspring to the skies,” symbolizes the preacher’s nurturing nature. Just as a parent bird encourages its fledglings to soar, the preacher seeks to inspire and uplift those around him, guiding them toward a brighter future. This metaphor reinforces the idea of mentorship and support, suggesting that he uses all available means to motivate others to aspire for something greater.
The phrases “tried each art, reproved each dull delay” illustrate the preacher’s proactive approach to helping others. He employs various methods to inspire his flock, whether through gentle correction or encouragement. His determination to lead “to brighter worlds” signifies his role as a beacon of hope and guidance, urging his community to aspire for spiritual and moral betterment.
Overall, this stanza encapsulates the preacher’s multifaceted role as a nurturer, mentor, and compassionate leader. Goldsmith paints a picture of a man whose life is dedicated to serving others, highlighting the deep emotional connections he forms with his community. Through these lines, the poet underscores the theme of selfless service and the profound impact that one individual’s dedication can have on the lives of many, further reinforcing the ideals of virtue and compassion that permeate the poem.
Poetic Device
Simile: The simile “And, as a bird each fond endearment tries, / To tempt its new-fledged offspring to the skies” compares the preacher’s nurturing efforts to those of a mother bird encouraging her young to fly. This comparison highlights the preacher’s dedication to guiding and uplifting his congregation, emphasizing his role as a caregiver and mentor. It evokes a sense of tenderness and parental affection in his interactions with the people of the village.
Personification: Goldsmith personifies the preacher’s virtues, suggesting that even his failings “leaned to Virtue’s side.” This technique imbues the preacher with a sense of moral complexity, portraying him as fundamentally good despite his imperfections. The idea that his shortcomings align with virtue enhances the theme of compassion and humility, suggesting that true goodness is found in the effort to care for others, even when one is not perfect.
Beside the bed where parting life was layed,
And sorrow, guilt, and pain, by turns, dismayed
The reverend champion stood. At his control
Despair and anguish fled the struggling soul;
Comfort came down the trembling wretch to raise,
And his last faltering accents whispered praise.
Explanation: In these lines, Goldsmith poignantly portrays the final moments of a person’s life and the comforting presence of the village preacher, who embodies compassion and spiritual strength. The imagery begins with the “bed where parting life was laid,” a powerful representation of death’s inevitability. This setting evokes a somber mood as it highlights the fragility of life, emphasizing the emotional weight of sorrow, guilt, and pain that often accompany the dying process. These feelings are universal, and Goldsmith’s choice of words connects the reader to the profound human experience of facing mortality.
The description of the preacher as the “reverend champion” introduces a heroic quality to his character. This title suggests that he is not only a spiritual leader but also a protector and advocate for those in their final moments. His presence offers solace in a time of great distress, positioning him as a figure of hope and reassurance. The phrase “At his control / Despair and anguish fled the struggling soul” illustrates the preacher’s powerful influence over the dying person’s emotional state. His ability to alleviate despair reflects his deep understanding of human suffering and his commitment to providing comfort to those in need.
The transition from despair to comfort is significant, as it highlights the preacher’s role in easing the suffering of others. The line “Comfort came down the trembling wretch to raise” suggests a divine intervention, implying that the preacher serves as a conduit for spiritual support. This divine comfort contrasts sharply with the earlier feelings of sorrow and pain, underscoring the transformative power of compassion and faith. The “trembling wretch” symbolizes the vulnerability of those facing death, and the preacher’s comforting presence provides a sense of security in their final moments.
The concluding line, “And his last faltering accents whispered praise,” encapsulates the impact of the preacher’s care. The phrase “last faltering accents” conveys the fragility of life, suggesting that even in moments of weakness and uncertainty, the dying individual finds strength to express gratitude. The act of whispering praise indicates a deep sense of peace and acceptance, reinforcing the idea that the preacher’s presence has guided the soul toward a state of tranquility. It implies that, despite the struggles faced throughout life, there is solace in the knowledge that one has been cared for and spiritually supported in the face of death.
Poetic Device
Imagery: The imagery in “Beside the bed where parting life was laid” evokes a vivid scene of a deathbed, allowing readers to visualize the solemnity of the moment. Words like “sorrow,” “guilt,” and “pain” create an emotional landscape filled with the struggles of life, enhancing the gravity of the situation. This imagery invites readers to experience the tension and despair of the dying person, as well as the reverend’s compassionate presence.
Personification: Goldsmith personifies “Despair and anguish,” suggesting they have the ability to “fled the struggling soul.” This technique emphasizes the power of the reverend’s presence and words to dispel negative emotions and bring comfort. By attributing the actions of fleeing to despair and anguish, Goldsmith suggests that hope and solace can triumph over suffering, particularly through the reverend’s guidance.
At church, with meek and unaffected grace,
His looks adorned the venerable place;
Truth from his lips prevailed with double sway,
And fools, who came to scoff, remained to pray.
The service past, around the pious man,
With steady zeal, each honest rustic ran;
Even children followed, with endearing wile,
And plucked his gown, to share the good man’s smile.
His ready smile a parent’s warmth exprest,
Their welfare pleased him, and their cares distrest:
To them his heart, his love, his griefs were given,
But all his serious thoughts had rest in Heaven.
As some tall cliff that lifts its awful form,
Swells from the vale, and midway leaves the storm,
Tho’ round its breast the rolling clouds are spread,
Eternal sunshine settles on its head.
Explanation: In these lines, Oliver Goldsmith paints a vivid portrait of the village preacher, illustrating his character and the profound impact he has on his community. The preacher is depicted as a figure of grace and humility, whose presence brings a sense of reverence to the church. The phrase “with meek and unaffected grace” suggests that his demeanor is both humble and genuine, making him relatable and respected among the villagers.
Goldsmith emphasizes the power of the preacher’s words, noting that “Truth from his lips prevailed with double sway.” This line indicates that the preacher’s message resonates deeply with his congregation, affecting both the devout and those who might initially come with skepticism. The mention of “fools, who came to scoff, remained to pray” underscores the transformative effect of his teachings, suggesting that even those who enter with disdain are moved to introspection and reverence by the preacher’s sincerity and wisdom.
After the service, the preacher’s popularity and the affection he receives from the villagers are palpable. The image of “each honest rustic” surrounding him highlights the deep connection he shares with the community. His warm, inviting smile elicits the affection of both adults and children, who “plucked his gown” to garner his attention and share in his kindness. This illustrates the preacher’s nurturing role in the lives of those around him, where he not only addresses their spiritual needs but also embodies a parental figure, caring for their emotional welfare.
Goldsmith further explores the preacher’s emotional depth, conveying that “their welfare pleased him, and their cares distressed.” This line reveals the preacher’s empathy, as he genuinely invests in the lives of his parishioners, sharing in their joys and sorrows. However, while he is deeply connected to his community, his “serious thoughts had rest in Heaven,” suggesting that his spiritual focus transcends earthly concerns. This duality presents him as a man of the people who is also grounded in a higher calling.
The concluding simile compares the preacher to “some tall cliff that lifts its awful form,” creating a powerful image of strength and stability. Just as the cliff stands firm amidst the surrounding storms, the preacher remains a steadfast figure of hope and support for his congregation. The “rolling clouds” represent the challenges and turmoil of life, while “eternal sunshine settles on its head” symbolizes the preacher’s enduring faith and serenity. This imagery conveys the notion that, despite the trials of life, the preacher’s presence and spiritual wisdom provide a guiding light, offering solace and inspiration to those he serves.
Poetic Device
Simile: The comparison of the reverend to “some tall cliff that lifts its awful form” is a powerful simile. This device illustrates the reverend’s strong and steadfast nature, suggesting that he stands firm against the storms of life, much like a cliff withstands turbulent weather. This comparison emphasizes his reliability and the respect he commands within the community, as well as his role as a guiding figure amidst chaos.
Personification: Goldsmith personifies “Truth” in the line “Truth from his lips prevailed with double sway.” By suggesting that truth has the power to prevail, he elevates the reverend’s words to a higher moral authority, indicating that what he speaks resonates deeply and has a transformative effect on the listeners, even those who initially come to scoff. This underscores the idea that genuine faith and honesty can inspire change in others.
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.
Explanation: In these lines from Oliver Goldsmith’s The Deserted Village, the village master is depicted as a stern but knowledgeable figure, central to the educational life of the community. The imagery begins with the “straggling fence that skirts the way,” suggesting a boundary that separates the school from the rest of the village, possibly indicating both physical and social separation. The “blossomed furze unprofitably gay” juxtaposes beauty with futility, hinting that while the school may be lively, its location lacks true purpose or productivity in the broader sense.
Goldsmith describes the schoolmaster as “severe” and “stern to view,” establishing him as a figure of authority and discipline. His reputation is well-known, especially among the children, who “knew him well.” The phrase “the boding tremblers learned to trace / The day’s disasters in his morning face” indicates that the students are acutely aware of his moods, suggesting that his demeanor directly impacts their day. This sense of apprehension among the students reflects a common experience in many educational settings where the teacher’s disposition can greatly influence the atmosphere of the classroom.
Despite his strictness, Goldsmith implies that the master possesses a certain kindness, or at least his severity is rooted in his passion for education: “the love he bore to learning was in fault.” This statement reveals that while he may be harsh, his intentions are ultimately aimed at fostering knowledge and discipline among his pupils.
The villagers recognize the master’s intelligence, with Goldsmith stating, “the village all declared how much he knew.” He is depicted as a well-rounded scholar who can “write, and cypher too,” and his expertise extends to practical skills such as measuring land and predicting tides. This versatility in knowledge elevates him above the typical village figure and makes him a source of admiration and respect.
Goldsmith cleverly employs humor in the description of the master’s arguments with the parson, suggesting that even in defeat, the master’s ability to argue was formidable. The villagers are both amused and impressed by his command of language, as indicated by the line “while words of learned length and thundering sound / Amazed the gazing rustics ranged around.” This captures a sense of awe among the common folk, who may not fully understand the complexities of his arguments but are nonetheless captivated by his eloquence.
The concluding lines underscore the villagers’ amazement at the breadth of knowledge contained within “one small head.” This idea reflects the theme of the value of education and intellectual achievement, as well as the contrast between rural simplicity and the complexities of learned discourse. The master, despite his strict nature, is portrayed as a figure who embodies the hope and potential for growth within the community, serving as a bridge between the rustic life of the village and the broader world of knowledge.
Poetic Device
Imagery: Goldsmith employs vivid imagery to paint a picture of the village schoolmaster and his surroundings. Phrases like “straggling fence that skirts the way” and “blossomed furze unprofitably gay” evoke a clear visual landscape, helping readers imagine the rural setting. This imagery not only enhances the aesthetic quality of the poem but also conveys a sense of neglect and decay, reflecting the changes in the village.
Hyperbole: The description of the schoolmaster as someone who can “write, and cypher too,” and the exaggeration in the line “one small head could carry all he knew” exemplifies hyperbole. This device emphasizes the master’s knowledge and abilities, portraying him as an almost larger-than-life figure in the eyes of the village children and the community. This exaggeration serves to highlight the respect and awe the villagers feel toward him, despite his stern demeanor.
But past is all his fame. The very spot
Where many a time he triumphed, is forgot.
Near yonder thorn, that lifts its head on high,
Where once the sign-post caught the passing eye,
Low lies that house where nut-brown draughts inspired,
Where grey-beard mirth and smiling toil retired,
Where village statesmen talked with looks profound,
And news much older than their ale went round.
Imagination fondly stoops to trace
The parlour splendours of that festive place;
The white-washed wall, the nicely sanded floor,
The varnished clock that clicked 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;
The hearth, except when winter chill’d the day,
With aspen boughs, and flowers, and fennel gay;
While broken tea-cups, wisely kept for shew,
Ranged o’er the chimney, glistened in a row.
Explanation: In these lines from Goldsmith’s The Deserted Village, the speaker reflects on the decline of a once-thriving social hub, likely a tavern or gathering place, that epitomized the community’s vibrant life. The initial lines convey a sense of nostalgia and loss: “But past is all his fame.” This suggests that the accomplishments and significance of the village master are now mere memories, overshadowed by the passage of time. The imagery evokes a sense of abandonment, as the once-celebrated place has fallen into obscurity.
The mention of the “thorn that lifts its head on high” symbolizes resilience in the face of decay, contrasting with the forgotten glory of the sign-post that used to attract passersby. This juxtaposition highlights how the landscape has changed, and how the once-bustling life of the village has given way to neglect. The “house where nut-brown draughts inspired” conjures up images of conviviality, laughter, and community bonding over shared drinks, yet it now lies low, implying a loss of joy and connection.
Goldsmith describes how the village statesmen would gather in this space, engaging in profound discussions, sharing news that was often older than the ale they drank. This notion emphasizes the importance of the social fabric and communal dialogue that once flourished in the village, contrasting sharply with its present state of decline.
The speaker’s imagination seeks to resurrect the charm of the place, highlighting the warmth and comfort that characterized it. Goldsmith’s detailed descriptions bring the tavern to life through a series of vivid images: the “white-washed wall,” the “nicely sanded floor,” and the “varnished clock” all serve to create a nostalgic picture of domesticity and comfort. Each element contributes to an overall atmosphere of familiarity and cheer, inviting readers to remember a time when such gatherings were the heartbeat of village life.
The mention of the “chest contrived a double debt to pay” cleverly reflects the multifunctional nature of rural life; the chest serves as both storage and furniture, indicating resourcefulness in a simple yet meaningful way. The “pictures placed for ornament and use” symbolize a blend of beauty and practicality, illustrating how the villagers found joy in their surroundings while still adhering to the realities of their lives.
Moreover, Goldsmith’s portrayal of the hearth adorned with “aspen boughs, and flowers, and fennel gay” evokes images of warmth, hospitality, and celebration, contrasting with the chill of winter. This emphasizes the idea that home and community provided comfort and connection during the harsher seasons of life.
The “broken tea-cups, wisely kept for show” serve as a poignant reminder of both the past and the present; they represent cherished memories, symbolizing the remnants of a once-vibrant community that has faded away. The careful arrangement of these items implies a desire to hold onto the memories of better days, even as the present reality is one of solitude and loss.
Poetic Device
Personification: Goldsmith employs personification when he describes imagination as “fondly stoops to trace.” This gives human qualities to imagination, suggesting that it can actively engage with the memories of the past. This device emphasizes the nostalgia and longing for the lost vibrancy of the village life, as the speaker reflects on the memories associated with the now-forgotten places.
Symbolism: The various elements described in the passage, such as the “chest contrived a double debt to pay” and “the twelve good rules,” serve as symbols of the simple pleasures and values of rural life. The chest represents practicality and the dual purpose of furniture in a modest home, while the “twelve good rules” can symbolize the moral and communal standards that guided village life. These symbols enhance the sense of loss felt by the speaker as they reflect on a time when the village thrived with camaraderie and joy.
Vain transitory splendours! Could not all
Reprieve the tottering mansion from its fall!
Obscure it sinks, nor shall it more impart
An hour’s importance to the poor man’s heart;
Thither no more the peasant shall repair
To sweet oblivion of his daily care;
No more the farmer’s news, the barber’s tale,
No more the woodman’s ballad shall prevail;
No more the smith his dusky brow shall clear,
Relax his ponderous strength, and lean to hear;
The host himself no longer shall be found
Careful to see the mantling bliss go round;
Nor the coy maid, half willing to be prest,
Shall kiss the cup to pass it to the rest.
Explanation: In these lines from Oliver Goldsmith’s The Deserted Village, the speaker expresses a deep sense of melancholy over the loss of the village’s once vibrant life and communal spirit. The phrase “Vain transitory splendours!” serves as a powerful exclamation, suggesting that the fleeting moments of joy and prosperity in the village were ultimately insubstantial and unable to prevent the inevitable decline of the community. The “tottering mansion” symbolizes the crumbling social structure of the village, which is now unable to offer any sense of comfort or importance to the lives of the poor inhabitants.
The speaker notes that the mansion, which once might have held significance for the villagers, now “sinks” into obscurity. This loss is emphasized by the assertion that it will no longer impart “an hour’s importance to the poor man’s heart,” highlighting how the decline of such a central place diminishes the emotional and social landscape of the entire community. The mansion’s demise reflects the broader disintegration of the village’s cultural and social fabric, illustrating a deep connection between the physical space and the lives of the villagers.
As the speaker laments, the various activities and interactions that once characterized village life are now rendered impossible. The mention of the peasant no longer seeking “sweet oblivion of his daily care” underscores the idea that the communal gathering place provided an essential respite from the hardships of rural labor. In this lost space, villagers would gather to share stories and entertain one another, finding solace in companionship and laughter.
Goldsmith continues to catalog the absence of various social interactions: “No more the farmer’s news, the barber’s tale,” “No more the woodman’s ballad shall prevail.” Each of these phrases illustrates the rich tapestry of life that once thrived in the village, showcasing the daily exchanges and connections that defined the community. The imagery evokes a sense of nostalgia for a simpler, more connected way of life, where every voice contributed to the collective experience of the village.
The reference to the smith who could relax and “lean to hear” indicates how even the strongest and most labor-intensive roles found joy in the shared experiences of storytelling and camaraderie. This highlights the loss of not just a physical space, but the very essence of community—the laughter, the shared sorrows, and the bonds formed through such interactions.
The speaker also reflects on the host, once eager to ensure that “the mantling bliss go round,” symbolizing hospitality and the warmth of human connection. This reinforces the theme of loss, as the communal joy that once flowed freely has now been extinguished, leaving an emptiness in its place. The mention of the “coy maid” suggests a flirtation and warmth that once filled the gatherings, implying the loss of youthful innocence and joy that once characterized these interactions.
Poetic Device
Imagery: Goldsmith employs vivid imagery throughout this section to evoke the senses and paint a picture of the village’s social life. Phrases like “the farmer’s news,” “the barber’s tale,” and “the woodman’s ballad” create a nostalgic image of communal gatherings where stories and songs were shared. This rich imagery allows readers to visualize the warmth and camaraderie of village life, emphasizing the loss felt by the speaker as these interactions fade away.
Anaphora: The repetition of “no more” at the beginning of several lines emphasizes the finality of the village’s decline. This anaphora accentuates the sense of loss and sorrow as it lists the various aspects of village life that have disappeared. Each repetition deepens the emotional impact, illustrating the irreversible changes that have left the community desolate.
Yes! let the rich deride, the proud disdain,
These simple blessings of the lowly train;
To me more dear, congenial to my heart,
One native charm, than all the gloss of art;
Spontaneous joys, where Nature has its play,
The soul adopts, and owns their first-born sway;
Lightly they frolic o’er the vacant mind,
Unenvied, unmolested, unconfined.
But the long pomp, the midnight masquerade,
With all the freaks of wanton wealth arrayed,
In these, ere triflers half their wish obtain,
The toiling pleasure sickens into pain;
And, even while fashion’s brightest arts decoy,
The heart distrusting asks, if this be joy.
Explanation: In this segment of Oliver Goldsmith’s The Deserted Village, the speaker expresses a deep appreciation for the simple pleasures and genuine joys found in a humble, rural life, contrasting them with the hollow experiences associated with wealth and social status. The opening lines, “Yes! let the rich deride, the proud disdain,” directly address the dismissive attitudes of the affluent toward the simplicity of the lower classes. The speaker acknowledges this derision but firmly asserts that the blessings of a humble life are far more valuable to him.
The phrase “more dear, congenial to my heart” highlights the emotional connection the speaker feels to the joys of rural existence, emphasizing that these joys are innate and authentic. By stating that these simple pleasures are “one native charm,” Goldsmith underscores the idea that they are fundamental to the speaker’s identity and well-being. This celebration of nature and simplicity is further emphasized by the phrase “spontaneous joys,” suggesting that these pleasures arise naturally from the environment and community, rather than being manufactured or artificial.
Goldsmith paints a picture of joy that is unencumbered by societal expectations or materialism. The line “Lightly they frolic o’er the vacant mind” illustrates how these simple joys fill the mind with happiness and lightness, free from the burdens of envy, competition, or confinement. The absence of pressure to conform to social norms or display wealth allows for a more authentic experience of happiness.
In stark contrast, the speaker critiques the “long pomp” and “midnight masquerade” associated with wealth and high society. These phrases evoke images of extravagant parties, superficiality, and the fleeting nature of such pleasures. The speaker suggests that, despite the allure of wealth and status, these experiences can become burdensome and disheartening. The idea that “toiling pleasure sickens into pain” highlights the emptiness that can accompany a life filled with excess and material concerns. It implies that the pursuit of pleasure in such a context often leads to disappointment, disillusionment, and a longing for something deeper and more meaningful.
The concluding lines reflect a profound skepticism about the true nature of joy found in wealth. The heart, described as “distrusting,” questions whether the experiences associated with fashion and wealth can truly be called joy. This uncertainty reveals a deep sense of yearning for authenticity and connection that is often lost in the pursuit of superficial status.
Poetic Device
Contrast: The speaker contrasts the simple, genuine pleasures of a humble life (“simple blessings of the lowly train”) with the superficiality and emptiness of wealth and luxury (“long pomp, the midnight masquerade”). This contrast highlights the deeper value of authenticity over materialism.
Ye friends to truth, ye statesmen who survey
The rich man’s joys encrease, the poor’s decay,
‘Tis yours to judge, how wide the limits stand
Between a splendid and a happy land.
Proud swells the tide with loads of freighted ore,
And shouting Folly hails them from her shore;
Hoards even beyond the miser’s wish abound,
And rich men flock from all the world around.
Yet count our gains. This wealth is but a name
That leaves our useful products still the same.
Not so the loss. The man of wealth and pride
Takes up a space that many poor supplied;
Space for his lake, his park’s extended bounds,
Space for his horses, equipage, and hounds:
The robe that wraps his limbs in silken sloth,
Has robbed the neighbouring fields of half their growth;
His seat, where solitary sports are seen,
Indignant spurns the cottage from the green:
Around the world each needful product flies,
For all the luxuries the world supplies.
While thus the land adorned for pleasure, all
In barren splendour feebly waits the fall.
Explanation: In this passage from The Deserted Village, Oliver Goldsmith addresses the disparities between wealth and genuine happiness, appealing directly to the “friends to truth” and “statesmen” who observe societal trends. He critiques the increasing wealth of the rich and the corresponding decay of the poor, urging them to recognize the significant difference between a land that is merely prosperous in appearance and one that is truly happy and fulfilling.
Goldsmith begins by stating that it is the responsibility of those in power—such as statesmen and leaders—to discern the real state of the nation, particularly how wealth can sometimes contribute to a facade of prosperity while concealing deeper issues of social decay. The phrase “how wide the limits stand between a splendid and a happy land” highlights the contrast between superficial wealth and true contentment.
The imagery of “proud swells” and “shouting Folly” illustrates the celebration of wealth and excess, where the rich, laden with “loads of freighted ore,” appear to revel in their abundance. However, Goldsmith warns that this abundance may not equate to genuine improvement in the quality of life for everyone. He points out that although material wealth may flourish, the actual well-being of the community remains unchanged: “This wealth is but a name that leaves our useful products still the same.” This line suggests that despite the appearance of prosperity, the fundamental needs and values of the community are not being addressed.
Goldsmith further critiques the wealthy by emphasizing their extravagant lifestyles, which often come at the expense of the poor. The phrase “the man of wealth and pride takes up a space that many poor supplied” conveys the idea that the rich occupy resources and land that could have been utilized for the benefit of the entire community. He highlights the negative impact of their luxurious living, as it often leads to the exclusion and marginalization of the less fortunate: “The robe that wraps his limbs in silken sloth has robbed the neighbouring fields of half their growth.” This line starkly illustrates how the indulgent lifestyle of the rich directly affects the productivity and sustainability of the surrounding land.
Goldsmith continues to paint a picture of the rich man’s isolated existence, where he engages in “solitary sports” that disregard the communal values of the village. This separation is depicted as a rejection of the traditional rural life, as the rich man’s estate pushes away the humble cottages that once dotted the landscape. The phrase “indignant spurns the cottage from the green” suggests a disdain for the simplicity and camaraderie that rural life embodies.
Ultimately, Goldsmith presents a cautionary tale about the nature of wealth and its implications for society. He notes that while the land may be adorned with the trappings of luxury, this “barren splendour” ultimately fails to provide true happiness or fulfillment. The imagery of a world filled with luxuries yet lacking in substance reinforces his argument that the pursuit of material wealth can lead to emptiness and social fragmentation. Goldsmith urges a reflection on what constitutes a truly prosperous society—one where happiness is derived from community, connection, and the shared benefits of a healthy environment, rather than mere accumulation of wealth and possessions.
Poetic Device
Imagery: The poem uses vivid imagery to illustrate the contrast between wealth and poverty, such as “space for his lake, his park’s extended bounds” and “the robe that wraps his limbs in silken sloth.” This imagery evokes a clear picture of the opulence enjoyed by the wealthy, while hinting at the neglect of the land and its resources.
Irony: The speaker employs irony when stating that “this wealth is but a name,” suggesting that despite the accumulation of riches, the overall quality of life and productive capacity remains unchanged. This irony emphasizes the hollowness of material wealth compared to the true value of a thriving community.
As some fair female unadorned and plain,
Secure to please while youth confirms her reign,
Slights every borrowed charm that dress supplies,
Nor shares with art the triumph of her eyes.
But when those charms are past, for charms are frail,
When time advances, and when lovers fail,
She then shines forth, solicitous to bless,
In all the glaring impotence of dress.
Thus fares the land, by luxury betrayed:
In nature’s simplest charms at first arrayed;
But verging to decline, its splendours rise,
Its vistas strike, its palaces surprize;
While, scourged by famine from the smiling land,
The mournful peasant leads his humble band;
And while he sinks, without one arm to save,
The country blooms—a garden, and a grave.
Explanation: In this passage from The Deserted Village, Oliver Goldsmith employs the metaphor of a fair, unadorned woman to illustrate the contrast between natural beauty and the superficial allure of luxury. The woman represents the land in its original, unembellished state, suggesting that true beauty lies in simplicity and authenticity.
Goldsmith begins by describing a “fair female unadorned and plain,” who is inherently pleasing in her natural state. This image evokes a sense of purity and authenticity, indicating that true attractiveness does not rely on external embellishments or artificial enhancements. The phrase “slights every borrowed charm that dress supplies” emphasizes her independence from societal expectations or superficial adornments, implying that her genuine beauty needs no artifice to captivate.
However, the poem acknowledges that this beauty is not eternal. As time passes, “when those charms are past,” the woman’s allure fades, paralleling the inevitable decline of the land. Goldsmith suggests that, like the woman who becomes desperate to compensate for her lost beauty through the “glaring impotence of dress,” the land attempts to mask its decline with opulence and luxury. The juxtaposition between “nature’s simplest charms” and the “splendours” of luxury highlights how the pursuit of superficial beauty can lead to a disconnection from the fundamental qualities that make something truly valuable.
As the land “verges to decline,” it adopts extravagant appearances—”its splendours rise” and “its vistas strike,” showcasing ostentatious palaces and grandiose structures. However, this façade of beauty comes at a cost. The phrase “scourged by famine from the smiling land” illustrates the harsh reality of the peasant’s plight amid this artificial splendor. While the countryside may appear lush and inviting, the underlying suffering of the laboring class becomes increasingly evident. The mournful peasant leading “his humble band” symbolizes the erosion of genuine community and the impact of luxury on those who labor to sustain the land.
The final line, “the country blooms—a garden, and a grave,” encapsulates the poem’s central tension: while the land may present itself as a beautiful garden filled with abundance, it simultaneously serves as a grave for the hopes and well-being of its inhabitants. Goldsmith suggests that the pursuit of luxury, while visually impressive, ultimately leads to decay and despair for those who are neglected in the process. Through this metaphor, he critiques the societal values that prioritize appearance over substance and warns against the dangers of excess and disconnection from the essential qualities of life that bring true fulfillment and joy.
Poetic Device
Simile: The poem compares the land to “some fair female unadorned and plain,” suggesting that just as an unadorned woman can be beautiful in her simplicity, the land initially has a natural beauty. However, as it succumbs to luxury and adornments, this natural beauty diminishes.
Contrast: The poet contrasts the flourishing, opulent landscape (“a garden”) with the suffering of the peasant (“a grave”). This juxtaposition highlights the disparity between the wealth of the few and the poverty of the many, emphasizing the detrimental effects of luxury on both the land and its people.
Where then, ah where, shall poverty reside,
To scape the pressure of contiguous pride?
If to some common’s fenceless limits strayed,
He drives his flock to pick the scanty blade,
Those fenceless fields the sons of wealth divide,
And ev’n the bare-worn common is denied.
Explanation: In these lines from The Deserted Village, Goldsmith poignantly reflects on the plight of poverty in a society where wealth and pride dominate. The rhetorical question, “Where then, ah where, shall poverty reside,” captures a deep sense of desperation and longing. It emphasizes the search for a place where the poor can live without the oppressive presence of wealth and social inequality. The repetition of “where” conveys a sense of hopelessness, as if the speaker is grappling with the futility of finding such a refuge.
The subsequent lines describe the stark reality faced by the impoverished. When the speaker mentions that if a poor individual “to some common’s fenceless limits strayed,” it suggests that even the most basic, communal spaces—historically available to all—are becoming inaccessible due to the encroachment of wealth. The imagery of driving a flock to “pick the scanty blade” illustrates the struggle for survival and the meager resources available to those in poverty. The use of the term “scanty” emphasizes the scarcity of resources and highlights the desperation of the poor.
The line “Those fenceless fields the sons of wealth divide” reveals a societal transformation where even common land, which was once shared and open to all, is now claimed and fenced off by the wealthy. This act of dividing common lands symbolizes the increasing inequality and the exclusion of the poor from their rightful places within the community. It underscores the harsh reality that the very spaces that should be accessible to everyone are now the domains of the privileged.
Finally, the phrase “ev’n the bare-worn common is denied” signifies the complete dispossession of the poor, suggesting that not only have they lost access to fertile land, but even the most barren and neglected areas are now being taken away. This denial of space reinforces the sense of isolation and marginalization experienced by those in poverty, leaving them with nowhere to turn.
Poetic Device
Rhetorical Question: The opening line “Where then, ah where, shall poverty reside” poses a rhetorical question that emphasizes the hopelessness of poverty in the face of overwhelming wealth and pride. It invites the reader to ponder the plight of the impoverished and underscores the sense of despair.
Imagery: The lines evoke vivid imagery of “fenceless limits” and “scanty blade,” painting a picture of the harsh reality faced by the poor. This imagery illustrates the struggle for survival and the limited resources available to them, contrasting starkly with the wealth that surrounds them.
If to the city sped—What waits him there?
To see profusion that he must not share;
To see ten thousand baneful arts combined
To pamper luxury, and thin mankind;
To see those joys the sons of pleasure know,
Extorted from his fellow-creature’s woe.
Here while the courtier glitters in brocade,
There the pale artist plies the sickly trade;
Here while the proud their long-drawn pomps display,
There the black gibbet glooms beside the way.
The dome where Pleasure holds her midnight reign,
Here, richly deckt, admits the gorgeous train;
Tumultuous grandeur crowds the blazing square,
The rattling chariots clash, the torches glare.
Sure scenes like these no troubles e’er annoy!
Sure these denote one universal joy!
Are these thy serious thoughts?—Ah, turn thine eyes
Where the poor houseless shivering female lies.
She once, perhaps, in village plenty blest,
Has wept at tales of innocence distrest;
Her modest looks the cottage might adorn
Sweet as the primrose peeps beneath the thorn:
Now lost to all; her friends, her virtue fled,
Near her betrayer’s door she lays her head,
And, pinch’d with cold, and shrinking from the shower,
With heavy heart deplores that luckless hour
When idly first, ambitious of the town,
She left her wheel and robes of country brown.
Explanation: In these lines from The Deserted Village, Oliver Goldsmith explores the stark contrast between the seemingly glamorous life of the city and the harsh realities faced by the impoverished and vulnerable, particularly women.
The phrase “If to the city sped—What waits him there?” introduces a sense of foreboding and questioning about the fate of those who leave their rural homes in search of a better life. The rhetorical questions that follow reveal the superficial allure of urban life, characterized by “profusion that he must not share.” This suggests a world of abundance that is inaccessible to the common man, highlighting the disparity between wealth and poverty.
Goldsmith paints a vivid picture of the city, noting that it is rife with “ten thousand baneful arts combined / To pamper luxury, and thin mankind.” Here, the poet critiques the excesses of urban life that come at the expense of the working class, implying that the pleasures enjoyed by the wealthy are derived from the suffering of others. The use of the word “baneful” conveys a sense of danger and moral decay associated with the pursuit of luxury.
The lines further depict the juxtaposition of wealth and despair: “Here while the courtier glitters in brocade, / There the pale artist plies the sickly trade.” This contrast between the lavishness of the courtier and the struggles of the artist underscores the disparities within the city, where art and creativity are often devalued and reduced to a mere means of survival. The mention of “the black gibbet glooms beside the way” serves as a grim reminder of the darker aspects of urban life, including crime and punishment.
Goldsmith then turns to the façade of urban joy, questioning the true nature of the pleasures displayed: “Sure scenes like these no troubles e’er annoy! / Sure these denote one universal joy!” This sarcastic tone suggests skepticism about the apparent happiness associated with city life. The subsequent shift in focus to the “poor houseless shivering female” introduces a poignant and tragic figure, representing the many who are left behind or forgotten in the hustle and bustle of urban society.
Described as someone who was once “perhaps, in village plenty blest,” this woman has lost everything—her friends, her virtue, and her place in society. Goldsmith evokes sympathy for her plight, emphasizing her modesty and beauty as she once “adorned” her cottage, akin to the way “the primrose peeps beneath the thorn.” The imagery of flowers juxtaposed with thorns suggests the fragility of her former happiness.
The woman’s tragic fate is underscored by her current situation: “pinch’d with cold, and shrinking from the shower.” This vivid description highlights her vulnerability and despair, as she mourns the loss of her former life. The lines “when idly first, ambitious of the town, / She left her wheel and robes of country brown” serve as a critique of ambition that leads to disillusionment. The “wheel” symbolizes the industriousness and simplicity of rural life, while “robes of country brown” evoke a sense of authenticity and connection to her roots.
Poetic Device
Contrast: The poem contrasts the opulence of city life with the suffering of the poor, highlighting the disparity between wealth and poverty. For example, the “courtier glitters in brocade” is placed against the image of a “houseless shivering female,” illustrating the stark divide between the privileged and the destitute.
Imagery: The lines use vivid imagery to evoke strong emotions and visual scenes, such as “the pale artist plies the sickly trade” and “the rattling chariots clash, the torches glare.” These descriptions create a contrasting picture of the lavishness of the city and the harsh realities faced by the impoverished, enhancing the emotional weight of the poem.
Do thine, sweet Auburn, thine, the loveliest train,
Do thy fair tribes participate her pain?
Even now, perhaps, by cold and hunger led,
At proud men’s doors they ask a little bread!
Explanation: In these poignant lines from The Deserted Village, Oliver Goldsmith addresses the village of Auburn directly, personifying it as a character with feelings and experiences. The repetition of “thine” emphasizes a deep connection to the place, suggesting that Auburn is not just a backdrop but a vital part of the speaker’s identity and emotional landscape.
The question “Do thy fair tribes participate her pain?” conveys a sense of concern and empathy for the inhabitants of Auburn, questioning whether they share in the suffering brought about by societal changes. The use of the word “tribes” evokes a sense of community and unity among the villagers, highlighting their collective plight in the face of hardship.
The imagery of cold and hunger is powerful and stark. It paints a vivid picture of desperation as the villagers, driven by their basic needs, find themselves “At proud men’s doors” begging for sustenance. This scene underscores the disparity between the wealthy and the poor, illustrating how those with wealth often remain indifferent to the suffering of those less fortunate. The phrase “a little bread” is particularly evocative, representing the bare minimum needed for survival. It symbolizes the fragility of life and the harsh realities faced by the marginalized.
Goldsmith’s language elicits sympathy for the villagers, emphasizing their vulnerability and the indignity of begging. The contrast between the proud men—symbolizing wealth and power—and the humble villagers illustrates the social inequalities of the time.
Poetic Device
Rhetorical Question: The speaker poses a question—“Do thy fair tribes participate her pain?”—to emphasize the suffering of the people in Auburn. This device engages the reader and provokes reflection on the impact of societal changes on the village and its inhabitants.
Personification: The phrase “sweet Auburn” personifies the village, suggesting it has feelings and experiences, thereby deepening the emotional connection to the place. By attributing human-like qualities to Auburn, the speaker highlights the loss and sorrow associated with its decline.
Ah, no. To distant climes, a dreary scene,
Where half the convex world intrudes between,
Through torrid tracts with fainting steps they go,
Where wild Altama murmurs to their woe.
Far different there from all that charm’d before,
The various terrors of that horrid shore;
Those blazing suns that dart a downward ray,
And fiercely shed intolerable day;
Those matted woods where birds forget to sing,
But silent bats in drowsy clusters cling;
Those poisonous fields with rank luxuriance crowned,
Where the dark scorpion gathers death around;
Where at each step the stranger fears to wake
The rattling terrors of the vengeful snake;
Where crouching tigers wait their hapless prey,
And savage men, more murderous still than they;
While oft in whirls the mad tornado flies,
Mingling the ravaged landscape with the skies.
Far different these from every former scene,
The cooling brook, the grassy vested green,
The breezy covert of the warbling grove,
That only shelter’d thefts of harmless love.
Explanation: In these verses from The Deserted Village, Goldsmith contrasts the once idyllic setting of Auburn with the harsh and threatening environment of distant climes. The speaker’s tone is one of lamentation and despair, as he reflects on the plight of the villagers who have been driven away from their homeland to face the terrifying realities of a foreign land.
The phrase “a dreary scene” immediately sets a somber mood, suggesting that the new environment is not just physically challenging but emotionally bleak. The imagery of “torrid tracts” and “fainting steps” evokes a sense of exhaustion and struggle, indicating the arduous journey the villagers must endure. This journey to “distant climes” symbolizes not only a physical relocation but also a loss of security and belonging.
Goldsmith employs vivid and often frightening imagery to describe the new environment. Phrases like “blazing suns,” “poisonous fields,” and “crouching tigers” create a picture of a hostile landscape filled with dangers, both natural and human. The reference to “wild Altama,” a river in Central America, serves to ground this imagery in a specific geographic context, heightening the sense of alienation and danger the villagers experience.
The mention of “silent bats” and “dark scorpion” further emphasizes the unnaturalness of this environment compared to the peacefulness of Auburn. While the former is filled with silence and death, Auburn was a place where “the warbling grove” offered a sanctuary, a stark contrast to the “matted woods” that have replaced it. The peaceful coexistence of nature and community is lost in the new landscape, replaced by a cacophony of fear and violence.
Goldsmith’s depiction of “savage men, more murderous still than they” underscores the loss of humanity and the moral degradation that accompanies such harsh environments. This line reflects the fear that even among human beings, there exists a predatory nature that threatens the already vulnerable villagers.
The final lines draw a poignant comparison between the comforting beauty of Auburn—characterized by “cooling brook,” “grassy vested green,” and “harmless love”—and the brutal reality faced by the displaced villagers. This juxtaposition serves to reinforce the theme of loss, not just of home but also of the simple joys and safety that defined their former lives.
Poetic Device
Imagery: The passage is rich with vivid imagery, describing the “blazing suns,” “matted woods,” and “poisonous fields.” This device appeals to the senses, painting a stark contrast between the serene beauty of the past and the harsh, threatening landscape of the present. The imagery creates a strong emotional response, highlighting the dangers and desolation of the new environment.
Contrast: The poet contrasts the tranquil, idyllic scenes of Auburn (“cooling brook,” “grassy vested green”) with the nightmarish descriptions of the distant lands (“blazing suns,” “vengeful snake”). This juxtaposition emphasizes the profound loss and the stark differences between the beauty of the past and the treacherous present, reinforcing the theme of decline and suffering.
Good Heaven! what sorrows gloom’d that parting day,
That called them from their native walks away;
When the poor exiles, every pleasure past,
Hung round their bowers, and fondly looked their last,
And took a long farewell, and wished in vain
For seats like these beyond the western main;
And shuddering still to face the distant deep,
Returned and wept, and still returned to weep.
The good old sire the first prepared to go
To new found worlds, and wept for others woe.
But for himself, in conscious virtue brave,
He only wished for worlds beyond the grave.
His lovely daughter, lovelier in her tears,
The fond companion of his helpless years,
Silent went next, neglectful of her charms,
And left a lover’s for a father’s arms.
With louder plaints the mother spoke her woes,
And blessed the cot where every pleasure rose;
And kist her thoughtless babes with many a tear,
And claspt them close, in sorrow doubly dear;
Whilst her fond husband strove to lend relief
In all the silent manliness of grief.
Explanation: In this poignant passage from The Deserted Village, Goldsmith captures the deep sorrow and emotional turmoil experienced by the villagers as they prepare to leave their beloved home. The imagery and sentiment evoke a strong sense of loss, illustrating the heart-wrenching nature of their departure.
The opening line, “Good Heaven! what sorrows gloom’d that parting day,” immediately establishes a tone of lamentation, as the exiles are beset by grief at the thought of leaving their familiar surroundings. The use of “gloom’d” suggests that the day is overshadowed by sadness, reinforcing the emotional weight of the moment. This reflects the broader theme of loss that runs throughout the poem, emphasizing the impact of societal change on individual lives.
As the villagers “hung round their bowers” and “fondly looked their last,” there is a palpable sense of nostalgia and longing for what is being left behind. The phrase “wished in vain / For seats like these beyond the western main” underscores their hope for a similar sense of belonging and peace in a new land, but this hope is tempered by the recognition that such places are elusive. The “western main” evokes the idea of the Americas, hinting at the migration of many seeking a better life, yet the villagers are confronted with the uncertainty of their future.
The emotional gravity deepens as Goldsmith introduces the figures of the good old sire and his family. The father’s bravery is juxtaposed with his sorrow, as he prepares to leave not just for himself, but for the sake of his loved ones. His wish for “worlds beyond the grave” speaks to a profound sense of resignation and faith, suggesting that his thoughts transcend mere earthly concerns, focused instead on a spiritual afterlife.
The depiction of the daughter adds to the emotional complexity of the scene. Her beauty, now rendered poignant by tears, symbolizes the painful sacrifices made during this departure. The shift from a lover’s embrace to a father’s arms emphasizes the transition from youthful romance to familial responsibility, highlighting the deep bonds of love and duty within the family unit.
The mother’s grief is particularly moving, as she openly expresses her sorrow for the home that once brought her joy. The act of kissing her “thoughtless babes” conveys a sense of desperation and maternal love, emphasizing the duality of her sorrow—both for the loss of her home and for the uncertain future her children will face. The phrase “sorrow doubly dear” captures the complexity of a mother’s love intertwined with the pain of impending loss.
The “silent manliness of grief” exhibited by the father speaks to the cultural expectations of masculinity, where emotional expression may be stifled. This depiction illustrates the internal struggle men often face when dealing with sorrow, suggesting that even in silence, their grief is profound and palpable.
Poetic Device
Personification: The poet personifies sorrow in the line “What sorrows gloom’d that parting day,” suggesting that sorrow itself is a palpable presence affecting the day. This device amplifies the emotional weight of the scene, making the day feel heavy and laden with grief.
Anaphora: The repetition of phrases such as “and” at the beginning of several lines emphasizes the accumulation of sorrow and loss experienced by the characters. This creates a rhythmic flow and highlights the shared anguish of the family as they face their separation, deepening the emotional resonance of the poem.
O luxury! thou curst by Heaven’s decree,
How ill exchanged are things like these for thee!
How do thy potions, with insidious joy,
Diffuse their pleasures only to destroy!
Kingdoms, by thee, to sickly greatness grown,
Boast of a florid vigour not their own;
At every draught more large and large they grow,
A bloated mass of rank unwieldy woe;
Till sapped their strength, and every part unsound,
Down, down they sink, and spread a ruin round.
Explanation: In this excerpt from The Deserted Village, Goldsmith delivers a powerful condemnation of luxury and its detrimental effects on society and individuals. The personification of luxury as a cursed entity reflects a deep philosophical and moral critique of excess and its consequences.
The opening line, “O luxury! thou curst by Heaven’s decree,” establishes an immediate tension between divine judgment and human indulgence. The use of “curst” implies a profound disapproval, suggesting that luxury is not merely a benign pleasure but rather a destructive force that leads to moral and physical decay. The mention of “Heaven’s decree” underscores the notion that this critique is rooted in a broader ethical framework, positioning luxury as an affront to natural order and well-being.
Goldsmith contrasts the superficial allure of luxury with the genuine, wholesome joys of simple living. The phrase “How ill exchanged are things like these for thee!” highlights the detrimental trade-off people make when they pursue luxury at the expense of more authentic experiences. The use of “ill exchanged” suggests a sense of loss and regret, emphasizing that the pleasures derived from luxury are ultimately hollow and unsatisfying.
The metaphor of luxury as a potion, “with insidious joy,” deepens this critique. The word “insidious” conveys a sense of danger lurking beneath the surface of pleasure, indicating that the joys of luxury come at a hidden cost. The idea that luxury “diffuses its pleasures only to destroy” illustrates the transient nature of such pleasures, suggesting that they lead not to lasting happiness but rather to eventual ruin and despair.
Goldsmith further explores the societal consequences of luxury, illustrating how it can lead to “sickly greatness.” The phrase suggests that kingdoms and individuals may appear strong and vibrant on the surface but are, in reality, weakened and hollowed out by their indulgence in luxury. The imagery of a “bloated mass of rank unwieldy woe” captures the grotesque nature of excess, portraying luxury as a force that distorts and ultimately destroys.
The final lines emphasize the inevitable downfall that accompanies such indulgence: “Till sapped their strength, and every part unsound, / Down, down they sink, and spread a ruin round.” Here, Goldsmith employs a sense of motion to illustrate the gradual but certain decline brought about by luxury. The repetition of “down, down they sink” evokes a sense of urgency and inevitability, reinforcing the idea that the pursuit of luxury leads to widespread destruction—not just for the individual, but for society as a whole.
Poetic Device
Apostrophe: The poet directly addresses luxury as if it were a person, exclaiming, “O luxury! thou curst by Heaven’s decree.” This device highlights the speaker’s disdain and criticism of luxury, emphasizing its negative effects on society.
Imagery: The vivid descriptions, such as “a bloated mass of rank unwieldy woe,” create strong visual images that illustrate the detrimental consequences of luxury. This imagery evokes a sense of decay and decline, reinforcing the theme of the poem regarding the destructive nature of excessive wealth and indulgence.
Even now the devastation is begun,
And half the business of destruction done;
Even now, methinks, as pondering here I stand,
I see the rural virtues leave the land:
Down where yon anchoring vessel spreads the sail,
That idly waiting flaps with every gale,
Downward they move, a melancholy band,
Pass from the shore, and darken all the strand.
Contented toil, and hospitable care,
And kind connubial tenderness, are there;
And piety with wishes placed above,
And steady loyalty, and faithful love.
And thou, sweet Poetry, thou loveliest maid,
Still first to fly where sensual joys invade;
Unfit in these degenerate times of shame,
To catch the heart, or strike for honest fame;
Dear charming nymph, neglected and decried,
My shame in crowds, my solitary pride;
Thou source of all my bliss, and all my woe,
That found’st me poor at first, and keep’st me so;
Thou guide by which the nobler arts excell,
Thou nurse of every virtue, fare thee well!
Farewell, and O where’er thy voice be tried,
On Torno’s cliffs, or Pambamarca’s side,
Whether were equinoctial fervours glow,
Or winter wraps the polar world in snow,
Still let thy voice, prevailing over time,
Redress the rigours of the inclement clime;
Aid slighted truth with thy persuasive strain,
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.
Explanation: In this excerpt from The Deserted Village, Goldsmith mournfully reflects on the decline of rural virtues and the encroachment of destructive forces brought on by luxury and societal changes. The imagery and themes here encapsulate a deep-seated yearning for the simplicity and integrity of pastoral life, contrasting sharply with the corruption and superficiality of urban existence.
The opening lines, “Even now the devastation is begun, / And half the business of destruction done,” evoke a sense of immediacy and urgency. Goldsmith captures a moment of reflection, suggesting that the decline of rural life is not just imminent but already underway. The phrase “half the business of destruction done” implies that the forces of change are relentless and far-reaching, and the narrator feels a profound sense of loss as these rural virtues begin to vanish.
The imagery of the “anchoring vessel” symbolizes the allure of the outside world, particularly the city and its temptations, drawing the rural populace away from their homes and traditions. The vessel that “idly waiting flaps with every gale” represents both the waiting opportunities in urban life and the transience of the values that have sustained rural communities. As “Downward they move, a melancholy band,” the departing individuals are imbued with a sense of sadness and inevitability, emphasizing the emotional toll of this exodus.
Goldsmith proceeds to enumerate the virtues being abandoned: “Contented toil, and hospitable care, / And kind connubial tenderness.” These qualities illustrate the deep sense of community, familial love, and moral integrity that characterize rural life. The mention of “piety” and “steady loyalty” highlights the spiritual and ethical foundations of this simple existence, which are being overshadowed by the lure of material wealth and urban sophistication.
The personification of Poetry as a “loveliest maid” emphasizes the cultural and artistic loss that accompanies this transition. Goldsmith expresses a personal connection to poetry, portraying it as both a source of joy and sorrow. He laments that it is “first to fly where sensual joys invade,” suggesting that poetry and the arts struggle to find a place in a world consumed by materialism and hedonism. This reflects a broader cultural critique of the way society prioritizes transient pleasures over lasting beauty and virtue.
The phrases “neglected and decried” illustrate the diminishing value placed on poetry and the arts in an age that prioritizes wealth and social standing. The duality of being both “shame in crowds” and “solitary pride” reveals the internal conflict experienced by those who cherish artistic and moral values in a world that seems to reject them.
Goldsmith’s farewell to poetry is laden with a sense of resignation but also a hopeful plea for its enduring power. He invokes the global reach of poetry, wishing for its voice to resonate in various landscapes—from “Torno’s cliffs” to “Pambamarca’s side.” The contrasts between “equinoctial fervours” and “winter wraps” emphasize poetry’s capacity to speak across diverse climates and experiences, highlighting its universal relevance.
The concluding lines return to a moral reflection, urging the reader to recognize the value of self-reliance and native strength over the ephemeral nature of trade and wealth. “Teach him, that states of native strength possest, / Tho’ very poor, may still be very blest,” asserts the idea that true happiness does not stem from material wealth but from a grounded sense of community, virtue, and connection to the land. Goldsmith posits that while trade and luxury may appear powerful, they are ultimately fragile and fleeting, much like the erosion of a “laboured mole” by ocean waves.
In summary, this passage encapsulates Goldsmith’s profound lament for the loss of rural virtues amidst the rise of luxury and materialism. Through rich imagery and poignant reflections, he advocates for the enduring value of poetry, virtue, and self-sufficiency in a world increasingly dominated by superficial pleasures and societal decay. The call to “spurn the rage of gain” serves as a timeless reminder of the importance of prioritizing genuine human connections and values over transient wealth.
Poetic Device
Personification: The poet personifies poetry by addressing it as a “loveliest maid” and “charming nymph.” This device gives poetry human-like qualities, emphasizing its importance and emotional connection to the speaker, as well as its perceived fragility in a world dominated by sensual joys.
Contrast: The poem contrasts the “rural virtues” such as “contented toil,” “hospitable care,” and “faithful love” with the negative influences of luxury and sensuality. This device highlights the tension between genuine values and the superficial allure of wealth, illustrating the loss of virtue in society as it succumbs to decadence.
