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The Vicar of Wakefield (1766) by Oliver Goldsmith is one of the most widely read novels of the eighteenth century and one of the strangest — a story about the Primrose family, who suffer a series of misfortunes (loss of fortune, seduction of a daughter, fire, imprisonment) and are eventually rescued through the revelation of a providential plot, told in the first person by the cheerfully oblivious Vicar himself. The novel's peculiarity is that its narrator is consistently wrong about almost everything he reports — he misjudges people, misses villains, is easily deceived — and yet his narration is never tragic but warmly comic, even in the scenes of deepest suffering. Goldsmith was a friend of Samuel Johnson's literary circle (Johnson is said to have sold the manuscript for Goldsmith to pay his rent) and the novel shows the influence of Richardson and Fielding while being unlike either. It was enormously popular throughout the nineteenth century — admired by Goethe (who modeled Wilhelm Meister partly on it), by Thackeray, by Dickens — and is now less read than it deserves, partly because its comedy resists easy description.
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The Vicar of Wakefield (1766)
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The Vicar of Wakefield
Oliver Goldsmith·1766
Vicar of Wakefield — Frequently Asked Questions
Is The Vicar of Wakefield meant to be read as comedy?
Yes — though the comedy is of an unusual kind. The Vicar himself is the source of the comedy: he is cheerfully self-deceived, consistently wrong about the people around him, and yet his confidence in Providence and in his own goodness is so complete that he cannot be seriously distressed by the disasters that befall him. His narrative voice is warm, self-congratulatory, and unreliable — he misjudges Burchell (who turns out to be the beneficent Sir William Thornhill), fails to recognize Squire Thornhill's villainy, and generally misses everything important that is happening around him. The comedy depends on the reader seeing more than the narrator does, and finding the gap between the Vicar's complacency and his actual situation both funny and affectionate.
What is the relationship between The Vicar of Wakefield and Goethe?
Goethe was one of The Vicar of Wakefield's most devoted admirers: he read it as a young man and it influenced The Sorrows of Young Werther (1774) directly (Werther reads the novel to Lotte early in their relationship, and its sentimental domestic world is the world Werther is losing). Goethe also modeled parts of Wilhelm Meister on Goldsmith's narrative approach. The Vicar of Wakefield was the first English novel to be seriously admired in Germany, and its influence on the Sturm und Drang movement was considerable. Goethe translated it into German in his old age (the translation was never completed) and repeatedly cited it as one of the formative books of his life.
What else did Oliver Goldsmith write?
Goldsmith was primarily a journalist, essayist, and playwright — The Vicar of Wakefield is his only novel. His other major works are the poem The Deserted Village (1770), an elegy for the depopulated Irish countryside that became one of the most quoted poems of the century; the play She Stoops to Conquer (1773), a comedy of romantic misunderstanding that is still performed today; and The Citizen of the World (1762), a series of essays in the form of letters from a Chinese philosopher visiting England — a form borrowed from Montesquieu's Lettres persanes. He was a member of Samuel Johnson's Literary Club and was admired by Johnson, Boswell, Burney, and Burke, though also regarded by them as improvident and professionally unreliable.
Is the happy ending of The Vicar of Wakefield believable?
The happy ending — in which all the Primrose family's misfortunes are reversed, the villain is punished, the seduced daughter Olivia turns out to have been secretly married all along, and Sir William Thornhill reveals himself as the benefactor who has been protecting the family throughout — is generally regarded by modern readers as too pat, too convenient, and implausible. This was already a criticism in Goldsmith's time: some contemporaries felt the resolution violated the realistic premises of the earlier narrative. The defense of the ending is that the novel was never realistic — it is a providential comedy from the beginning, and the ending is appropriate to the Vicar's worldview even if it offends modern expectations of psychological probability.
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