decorative half-title: “The Hermit“
The Hermit
by Oliver Goldsmith

And what is friendship but a name,

A charm that lulls to sleep,

A shade that follows wealth or fame,

But leaves the wretch to weep?

Sprinkled through Oliver Goldsmith’s The Vicar of Wakefield are snippets of verse, ranging from a few lines to several pages. The longer ones were eventually published as free-standing books. Elsewhere on this site you can find Elegy on the Death of a Mad Dog, charmingly illustrated by Randolph Caldecott. (Also Gold­smith’s The Deserted Village, illustated by Hammatt Billings—but that one was too serious for the Vicar.)

Once you know that they started out in The Vicar of Wakefield, the poems begin to make sense; Heaven help anyone who thinks “When lovely woman stoops to folly” should be read “straight”. Since the narrator of The Hermit is “Mr. Burchell”—if you’ve read the book, you know why I put his name in quotes—it is safe to say it isn’t supposed to be plausible . . .

. . . Especially when, ahem, the illustrator has given away the surprise by depicting the hermit’s visitor in 1885-vintage woman’s dress.

Illustrations

For this ebook, I used an edition of The Hermit illustrated by Scottish-born Walter Shirlaw (1838–1909?) over the period—according to his own final graphicOctober 1884 to July 1885. (For what it’s worth: Mantle Fielding’s Dictionary says Shirlaw died in 1910. That was in Spain, so maybe it took time for accurate news to reach America. Better yet, the Internet Archive says he was born in 1878. I am prepared to go out on a limb and label that as An Error.)

name in block letters: “WALTER SHIRLAW” name in block letters: “FRED. JUENGLING, sc.”

In the book, every other right-hand (recto) page was a full-page plate, blank on the back; most text pages had smaller illustrations of their own. Each full-page plate credits the artist and also the engraver, Frederick Juengling (1846–1889), a founder of the American Society of Wood Engravers.

The original cover is long gone, replaced with a plain library binding. The picture at the top of this page was originally the half-title, the first illustration in the the book.

Formalities

This ebook is based on the 1886 Lippincott (Philadephia) edition. I found just one typographical error: a missing quotation mark at the opening of the stanza “And love is still an emptier sound”.

publisher’s emblem: “J. B. Lippincott Company / Stereotypers and Printers”

young men standing around a regally dressed young woman

The Hermit / A Ballad. / by Oliver Goldsmith. / with Illustrations. / Philadelphia: J. B. Lippincott Company. / 1886.

text: Illustrated by Walter Shirlaw / Engraved by Fred. Juengling

 
 
“UNNUMBER’D SUITORS CAME” Frontispiece
PAGE
INDUCTION 11
“TURN, GENTLE HERMIT” 15
FOLLOWS TO THE CELL 19
LINGERING HOURS BEGUILED 23
STANDS CONFESS’D 27
“HE CAROLL’D LAYS OF LOVE” 31
“SOUGHT A SOLITUDE FORLORN” 35
“BUT MINE THE SORROW” 39
“TURN, ANGELINA” 43
FINIS 45
11
12

angel blowing a trumpet

13

decorative curlicues

14
 
 

URN, gentle Hermit of the dale,

  And guide my lonely way

To where yon taper cheers the vale

  With hospitable ray.

“For here forlorn and lost I tread,

With fainting steps and slow,

Where wilds, immeasurably spread,

Seem lengthening as I go.”

“Forbear, my son,” the Hermit cries,

“To tempt the dangerous gloom;

For yonder faithless phantom flies

To lure thee to thy doom.

15
16

woman leaning on tall staff, illustrating text “Turn, gentle hermit”

17

“Here to the houseless child of want

My door is open still;

And though my portion is but scant,

I give it with good will.

“Then turn to-night, and freely share

Whate’er my cell bestows;

My rushy couch and frugal fare,

My blessing and repose.

“No flocks that range the valley free

To slaughter I condemn:

Taught by that Power that pities me,

I learn to pity them:

“But from the mountain’s grassy side

A guiltless feast I bring,—

A scrip with herbs and fruits supplied,

And water from the spring.

18

“Then, pilgrim, turn, thy cares forego;

All earth-born cares are wrong:

Man wants but little here below,

Nor wants that little long.”

Soft as the dew from heaven descends

His gentle accents fell:

The modest stranger lowly bends,

And follows to the cell.

leafy plant stem with buds

19
20

man in ragged attire followed by a weary woman, both with staffs, illustrating text “Follows to the cell”

21

Far in a wilderness obscure

The lonely mansion lay,

A refuge to the neighboring poor,

And strangers led astray.

No stores beneath its humble thatch

Required a master’s care:

The wicket, opening with a latch,

Received the harmless pair.

And now, when busy crowds retire

To take their evening rest,

The Hermit trimm’d his little fire,

And cheer’d his pensive guest,

And spread his vegetable store,

And gayly press’d, and smiled,

And, skill’d in legendary lore,

The lingering hours beguiled.

22

Around, in sympathetic mirth,

Its tricks the kitten tries,

The cricket chirrups on the hearth,

The crackling fagot flies.

But nothing could a charm impart

To soothe the stranger’s woe;

For grief was heavy at his heart,

And tears began to flow.

kitten playing

23
24

ragged man leaning over a book while travel-worn woman stands by, illustrating text “Lingering hours beguiled”

25

His rising cares the Hermit spied,

With answering care oppress’d:

And, “Whence, unhappy youth,” he cried,

“The sorrows of thy breast?

“From better habitations spurn’d,

Reluctant dost thou rove?

Or grieve for friendship unreturn’d,

Or unregarded love?

“Alas! the joys that fortune brings

Are trifling, and decay;

And those who prize the paltry things,

More trifling still than they.

“And what is friendship but a name,

A charm that lulls to sleep,

A shade that follows wealth or fame,

But leaves the wretch to weep?

26

“And love is still an emptier sound,

The modern fair one’s jest;

On earth unseen, or only found

To warm the turtle’s nest.

“For shame, fond youth! thy sorrows hush,

And spurn the sex,” he said;

But, while he spoke, a rising blush

His love-lorn guest betray’d.

Surprised, he sees new beauties rise,

Swift mantling to the view;

Like colors o’er the morning skies,

As bright, as transient too.

The bashful look, the rising breast,

Alternate spread alarms:

The lovely stranger stands confess’d,

A maid in all her charms.

27
28

young woman standing tall, illustrating text “Stands confess’d.”

29

And, “Ah! forgive a stranger rude,

A wretch forlorn,” she cried,

“Whose feet unhallow’d thus intrude

Where Heaven and you reside.

“But let a maid thy pity share,

Whom love has taught to stray;

Who seeks for rest, but finds despair

Companion of her way.

“My father lived beside the Tyne;

A wealthy lord was he;

And all his wealth was mark’d as mine,

He had but only me.

“To win me from his tender arms

Unnumber’d suitors came,

Who praised me for imputed charms,

And felt, or feign’d, a flame.

30

“Each hour a mercenary crowd

With richest proffers strove:

Amongst the rest young Edwin bow’d,

But never talk’d of love.

“In humble, simplest habit clad,

No wealth nor power had he;

Wisdom and worth were all he had,

But these were all to me.

“And when, beside me in the dale,

He caroll’d lays of love,

His breath lent fragrance to the gale,

And music to the grove.

decorative panel of leaves and flowers

31
32

well-dressed young woman and man playing a lute, accompanied by a dog, illustrating text “He caroll’d lays of love.”

33

“The blossom opening to the day,

The dews of heaven refined,

Could nought of purity display

To emulate his mind.

lightly clad young woman pouring from a pitcher

34

“The dew, the blossom on the tree,

With charms inconstant shine:

Their charms were his, but, woe to me,

Their constancy was mine.

“For still I tried each fickle art,

Importunate and vain;

And while his passion touch’d my heart,

I triumph’d in his pain;

“Till, quite dejected with my scorn,

He left me to my pride,

And sought a solitude forlorn,

In secret, where he died.

decorative panel: leaves and buds

35
36

man in rags with tall staff and bundle of belongings, illustrating text “Sought solitude forlorn.”

37

“But mine the sorrow, mine the fault,

And well my life shall pay:

I’ll seek the solitude he sought,

And stretch me where he lay.

rosebud with leaves

38

“And there, forlorn, despairing, hid,

I’ll lay me down and die:

’Twas so for me that Edwin did,

And so for him will I.”

“Forbid it, Heaven!” the Hermit cried,

And clasp’d her to his breast:

The wondering fair one turn’d to chide—

’Twas Edwin’s self that press’d!

vignette: leaves and flowers

39
40

woman grieving by a window, illustrating text “But mine the sorrow.”

41

“Turn, Angelina, ever dear,

My charmer, turn to see

Thy own, thy long-lost Edwin here,

Restored to love and thee.

roosting doves

42

“Thus let me hold thee to my heart,

And every care resign:

And shall we never, never part,

My life—my all that’s mine?

“No, never from this hour to part,

We’ll live and love so true,

The sigh that rends thy constant heart

Shall break thy Edwin’s too.”

decorative panel: flowers and leaves

43
44

man with arms outstretched, kneeling before a woman hiding her face, illustrating text “Turn, Angelina.”

45
46

pair of cherubs over the word “FINIS”

47

decorative text “Commenced Oct. 1884, / Finished July 1885.”

The original of this text is in the public domain—at least in the U.S.
My notes are copyright, as are all under-the-hood elements.
If in doubt, ask.