The Vicar of Wakefield (1766), written by Oliver Goldsmith, is often celebrated as one of the key works in English literature. The novel has long been praised for its depiction of rural life, its vivid characterizations, and its focus on human virtue and suffering. However, beneath its surface of simple domestic life and moral lessons, Goldsmith’s work can also be read as a satire on the sentimental novel and the exaggerated values associated with sentimentality. Sentimental novels, particularly popular in the 18th century, emphasized emotional expression, idealized portrayals of virtue, and a somewhat unrealistic view of human goodness. In The Vicar of Wakefield, Goldsmith both parodies these conventions and critiques the moral ideals they often espoused. Through the novel's structure, characters, and plot, Goldsmith offers a pointed critique of the sentimental novel’s values, exposing its tendencies toward moral exaggeration, unrealistic optimism, and an overemphasis on emotion over reason.
Sentimentalism and Its Values
The sentimental novel, which gained prominence in the 18th century, was marked by a focus on emotion, moral goodness, and the elevation of human feeling above reason. Authors like Samuel Richardson (Pamela, Clarissa) and Laurence Sterne (Tristram Shandy, A Sentimental Journey) typified this genre, creating stories that celebrated the purity of sentiment, often through characters who were virtuous to the point of being idealized. In these novels, emotions such as love, compassion, and empathy were depicted as the guiding principles of human behavior, and characters were often expected to demonstrate a kind of moral perfection or goodness.
In sentimental novels, virtue was presented in a highly idealized form, often disconnected from the harsh realities of life. In this genre, characters were frequently portrayed as suffering in almost melodramatic ways, yet they remained resolute in their virtuousness, trusting that ultimately, their good qualities would lead them to happiness or justice. While this led to the creation of moving narratives, it also resulted in characters who could appear overly perfect or unrelatable.
The Vicar of Wakefield and the Sentimental Novel
Goldsmith’s The Vicar of Wakefield presents a world that superficially aligns with the conventions of sentimental novels. The titular Vicar, Dr. Primrose, is a good and virtuous man, and much of the plot revolves around his moral struggles, the suffering of his family, and their ultimate restoration to happiness and virtue. However, Goldsmith subtly critiques this idealized notion of virtue and sentimentality through his characters, their actions, and the eventual resolution of their conflicts.
Goldsmith uses Dr. Primrose as the central figure who embodies the qualities associated with sentimental protagonists. The Vicar is shown to be a kind, well-intentioned man who maintains an idealistic and optimistic view of life, even in the face of adversity. His firm belief in the goodness of human nature and his tendency to see the best in others—whether it is his wife, his children, or even the people around him—mirrors the type of idealized virtuousness often found in sentimental novels. Yet, as the novel progresses, it becomes evident that Dr. Primrose’s optimism can lead to naiveté and misjudgments. His blind faith in human goodness often results in him being manipulated or taken advantage of by others.
For example, Dr. Primrose’s belief in the inherent goodness of his daughters, despite their obvious flaws and moral shortcomings, reflects the sentimentality that idealizes virtue without properly addressing the complexities of human nature. His daughter Olivia, for instance, is deeply in love with a man who ultimately betrays her, yet Dr. Primrose continues to attribute a high level of moral goodness to her. Goldsmith uses this idealization to mock the oversimplified moral assumptions inherent in sentimental novels, where virtue is portrayed as both flawless and unyielding, no matter the circumstances.
Critique of the Sentimental Hero
One of the more direct critiques Goldsmith makes of the sentimental novel is through his parody of the "sentimental hero." The figure of the sentimental hero is typically characterized by exaggerated emotions, moral perfection, and a constant quest for emotional fulfillment. These characters often express an idealized form of virtue, and their suffering serves as a moral lesson for the reader.
In The Vicar of Wakefield, Goldsmith subverts this figure through characters who embody the qualities of sentimental heroes but who are ultimately not as flawless as their counterparts in sentimental fiction. For instance, the character of Sir William Thornhill—who initially appears to be a good-natured, noble figure—ultimately reveals himself as selfish and deceitful. By setting up Sir William as a character who is outwardly charming yet morally compromised, Goldsmith critiques the sentimental novel’s tendency to present characters as one-dimensional paragons of virtue, incapable of possessing moral ambiguity. Goldsmith’s portrayal of Sir William, alongside other flawed characters in the novel, such as the Vicar himself, is a satirical reminder that real life is far more complex than the oversimplified moral dichotomies found in sentimental fiction.
Additionally, the role of money and material concerns is treated humorously in the novel, again drawing attention to the impracticality of the sentimental hero’s idealism. Dr. Primrose’s insistence that virtue will lead to divine reward is contrasted with the harsh realities of his financial struggles. His family’s descent into poverty due to a series of misfortunes serves to highlight the disconnect between the idealized notions of virtue and the difficult, often unfair, material world. Goldsmith uses this contrast to mock the unrealistic notion that virtue alone can triumph in a world that demands practical and material considerations.
Goldsmith’s Use of Humor and Irony
Goldsmith’s satire of sentimentalism is conveyed primarily through humor and irony. While The Vicar of Wakefield includes moments of sincere emotion and moral reflection, much of the novel’s narrative is framed by a comic tone that exposes the absurdities of sentimental expectations. Goldsmith regularly undercuts the overly earnest moments of emotional expression with moments of irony, making it clear that he views the exaggerated idealism of sentimental novels as both naïve and unsustainable.
The character of the Vicar himself is the embodiment of both comedy and moral seriousness. His constant optimism and unwavering belief in the goodness of others are presented in a way that is both laughable and sympathetic. His inability to see the moral flaws in his daughters or his failure to recognize the consequences of his idealistic actions can be read as a critique of the sentimental tendency to overlook human imperfections in favor of idealized virtue. While readers may feel sympathy for Dr. Primrose’s plight, they are also invited to recognize that his emotional responses often lead him into trouble, and his sentimental approach to life cannot ultimately overcome the harsh realities he faces.
The novel’s conclusion, in which the Primrose family is finally restored to prosperity and happiness, also carries an element of irony. While the narrative wraps up neatly with the moral restoration of the family, Goldsmith’s portrayal of these events is infused with a sense of detachment that questions the simplicity of the sentimental resolution. The sudden resolution of conflict in a way that restores moral and material order seems too convenient, almost parodying the overly optimistic endings typical of sentimental novels.
Conclusion
In The Vicar of Wakefield, Oliver Goldsmith crafts a story that both conforms to and critiques the conventions of the sentimental novel. Through his characters, particularly Dr. Primrose, Goldsmith mocks the idealization of virtue and emotional purity found in sentimental literature. He exposes the limitations of such idealization by highlighting the flaws and complexities of human nature, emphasizing that true moral and emotional growth requires more than just blind optimism. By employing humor, irony, and a critical eye on the exaggerated values of sentimental fiction, Goldsmith presents The Vicar of Wakefield not only as a charming narrative of family life but also as a biting satire of the sentimental genre. The novel’s balance of moral seriousness and comic critique encourages readers to question the realism of sentimental values while offering a more nuanced understanding of virtue, morality, and human nature.
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