THE VICAR OF WAKEFIELD

- OLIVER GOLDSMITH

Author – Oliver Goldsmith

Years Published - 1766

Type – Novel

About the Novel

The Vicar of Wakefield is a popular 18th-century Irish novel by Oliver Goldsmith. It is a

complex novel of themes and characters. Considered an exemplary sentimental novel, The novel
has a complicated plot that follows the misfortunes of the Primrose family.
About the Author
Early Years and the Move to London
Oliver Goldsmith was born in Ireland on November 10, 1730. His father was an Anglo-
Irish minister serving at Kilkenny West, County Westmeath. The young Goldsmith studied at
Trinity College, Dublin, and then moved on to Edinburgh in Scotland to pursue a medical degree.
This venture was not successful, however, even though he became popularly known thereafter as
"Dr. Goldsmith." Lack of financial resources did not prevent the young student from touring
Europe. In 1756 he arrived in London, where he was to remain for the rest of his rather eccentric
and colorful literary career.
A Literary Life
In Goldsmith's time, "Grub Street" was the symbolic shorthand for indigent, or poor,
authors: writers striving to make a living in an era of revolutionary change in the world of books.
In the second half of the 18th century, serious reading began to grip the interest of the English
public. Literary reputations were there to be made yet at the same time competition was fierce and
rewards often scant. Numerous writers began by "hack writing": projects that included
compilations of the works of others, hastily knocked-off biographies, reports on fashions and
politics, and canned histories.
Oliver Goldsmith, blessed with an untiring curiosity and appealing writing style, made the
most of his gifts. By any standard, the diversity of his output is impressive. In the 1760s and early
1770s he composed minor classics in a variety of genres: essay-like letters in The Citizen of the
World (1762), pastoral poetry in The Deserted Village (1770), a picaresque novel in The Vicar of
Wakefield (1766), and comic drama in She Stoops to Conquer (1773).
In the first of these works Goldsmith satirized society through the device of recording the
experience of a Chinese visitor to London. In The Deserted Village he created picaresque, or
rascally and dishonest, characters against the background of a declining way of life: the 1760s saw
the peak of the enclosure movement in England in which wealthy landlords evicted poor farmers
and peasants in the name of agricultural efficiency. The Vicar of Wakefield also offered portraits
of village life along with a certain amount of sentimentality. In She Stoops to Conquer Goldsmith
foreshadowed in some ways his fellow dramatist Richard Brinsley Sheridan (1751–1816), who
triumphed on the comic stage with such plays as The Rivals (1775) and The School for
Scandal (1777).
Final Years and Legacy
By 1764 Goldsmith had made enough of a mark on the London literary scene to be included
as a founding member of the Literary Club, known at the time as the "Club," a group of writers,
artists, and statesmen who gathered weekly for supper and conversation under the guidance of
Samuel Johnson (1709–84), the most eminent writer of the age. Goldsmith had especially cordial
relations with Johnson and with several other Club members, such as the painter Joshua Reynolds
(1723–92), the statesman Edmund Burke (1729–97), and the biographer James Boswell (1740–
95). Johnson, a particularly energetic patron, later composed the inscription for Goldsmith's
memorial in Westminster Abbey, which begins by describing him as one who left scarcely any
kind of writing untouched and "touched nothing that he did not adorn."
Paradoxically, however, Goldsmith's elegant style of writing clashed with incompetence
and extravagance in his personal affairs. He tended to be brash and even foolish in other people's
company, striving for attention and admiration. A heavy gambler, he was often overwhelmed by
debt. Johnson is also said to have remarked of him, "No man was more foolish when he had not a
pen in his hand, or more wise when he had." Goldsmith died in London on April 4, 1774, at age
45. He is remembered and read today largely for his vivid characters, elegant use of the rhymed
couplet in verse, and sharp wit.
CHARACTERS
The vicar
The protagonist and narrator of the novel, the vicar is virtuous, intelligent, moral, and
religious. Though he has great pride in his family, he does not possess much worldly wisdom. He
is often deceived by the appearances and behavior of those around him. He has a difficult time
with the many misfortunes his family suffers, but learns the value of fortitude by the novel's end.
He is sometimes referred as Dr. Primrose.
Deborah
The vicar's wife, Deborah Primrose is smart and independent, but given over to vanity and
pretensions to a higher social status. She is particularly prideful of her daughters.
George
The vicar's eldest son, George Primrose is an educated but naive young man. His journey
into the wider world produces no great success, but does confirm his virtue and good character.
Olivia
The vicar's eldest daughter, Olivia Primrose is extremely vain, and concerned with her
social status. Her reputation is nearly ruined through her relationship with Squire Thornhill, and
she ends up consumed by guilt and resentment over it.
Sophia
The vicar's second eldest daughter, Sophia Primrose is less vapid than her sister is, but also
cares for her social status. She falls in love with the (seemingly) penniless Mr. Burchell, who is
impressed with her modesty and virtue.
Moses
The vicar's second eldest son, Moses Primrose is kind but gullible.
Dick
Dick Primrose is one of the vicar's two young sons.
Bill
Bill Primrose is one of the vicar's two young sons.
Mr. Burchell
Initially introduced as a handsome and intelligent, though penniless young man, Mr.
Burchell is eventually revealed to be a disguise behind which Sir William Thornhill hides. Through
this disguise, he and Sophia fall in love, and marry after he reveals his true identity.
Sir William Thornhill's reputation rests on his having led a profligate youth but having
reformed. Indeed, Burchell's virtue and wisdom - which is doubted by the Primrose family after
they suspect him of sabotaging their plans to send the girls to town - make sense when he finally
reveals his true identity.
Squire Thornhill
The Primrose family's young, handsome, and roguish landlord, who tricks his way into the
family's confidence and then seduces Olivia. It turns out that he has conned several women in this
way, leaving them to work as prostitutes after having his way with them. Eventually, his plan to
ensnare the Wilmot fortune through marriage to Arabella is foiled. Nephew to Sir William
Thornhill.
Ephraim Jenkinson
A scoundrel and a trickster, Jenkinson bilks the vicar and Moses out of their horses before
later reforming to act as the vicar's confidante and assistant in prison. At this point, he reveals how
much work he performs for Squire Thornhill, and is discovered to be young and attractive when
not covered by disguise.
Solomon Flamborough
One of the Primrose's neighbors, Solomon is a friendly and honorable man.
The Miss Flamboroughs
Solomon Flamborough's two daughters, and neighbors to the Primrose family. They are
slighted by the Primrose girls for being too low-class, despite their sweetness.
Arabella
George's fiancee at the beginning of the novel, Arabella Wilmot is elegant and modest.
Even after she is fooled into accepting Squire Thornhill's marriage proposal later in the novel, she
remains devoted to George. She is an heiress to a large fortune.
Mr. Wilmot
Arabella's father, who initially prevents the marriage between Arabella and George after
being insulted by the vicar's opinions of marriage, and learning about the vicar's loss of fortune.
Proud of his wealth and blustering, he later accepts George as an adequate son-inlaw.
Mr. Arnold
The wealthy master of the house where the vicar has lunch after accepting the invitation of
Mr. Arnold's butler, who is pretending to be the master. Mr. Arnold is also Arabella Wilmot's
uncle.
Mrs. Arnold
Mrs. Arnold is Mr. Arnold's wife and Arabella's aunt.
Lady Blarney
Lady Blarney is one of the fashionable ladies the Squire brings to the Primrose family to
impress them. She later turns out to be a disreputable and abandoned lady of the town.
Miss Carolina Wilelmina Amelia Skeggs
Miss Carolina Wilelmina Amelia Skeggs is one of the fashionable ladies the Squire brings
to the Primrose family to impress them. She later turns out to be a disreputable and abandoned
lady of the town.
Farmer Williams
Farmer Williams is a kind and amiable neighbor of the Primrose family. Knowing he has
feelings for Olivia, Deborah uses him as leverage to push the Squire into proposing to her.
After this scheme fails, Farmer Williams and Olivia are engaged until she runs away.
The butler
The Arnold family servant pretends to be Mr. Arnold himself, and invites the vicar to lunch
at the house, where he reveals radical political opinions. When the vicar pleads for Mr. Arnold not
to fire him, the butler acts as an ally to the vicar.
Sir William Thornhill
Sir William Thornhill is uncle to Squire Thornhill. He spends most of the novel disguised
as Mr. Burchell.
SUMMARY
The Vicar opens his tale by describing for the reader the pleasures of rural life, the
characteristics of his family, and his views on monogamy. After presenting this background
material, he opens the narrative with an account of the romance between his eldest son, George
Primrose, and Arabella Wilmot. The first conflict of the plot occurs when the Vicar tells Mr.
Wilmot his views on monogamy and informs him of the loss of his fortune. This revelation results
in the separation of George and Arabella, Georges is being sent to the city, and the migration of
the family is from Wakefield to the estate of Squire Thornhill. At an inn on the route of their
journey, the family meets Mr. Burchell, who relates the reforming of Sir William Thornhill and
who later rescues Sophia, the Vicar's younger daughter, from a rapid stream.
Soon after they establish themselves in their new home, the Primroses are honored with a
visit from Squire Thornhill, their young landlord. Following the Squire's departure, Burchell stops
at the Primrose home and is offered a bed for the night. Refusing the offer, Burchell leaves, and
the family is free to discuss the latter's merits. A second call from the Squire follows the next day,
during which the Squire attempts to be witty on the subject of the Church, successfully debates the
same subject with Moses, the second son, and arouses the ambition of Mrs. Primrose by his
attention to Olivia, her older daughter.
The ensuing morning Burchell joins the family for lunch, during which he comments on
pathos in contemporary literature. The arrival of the chaplain, announcing the Squire's ball,
interrupts the peaceful meal. At the ball Lady Blarney and Miss Skeggs, two ladies of distinction,
encourage Olivia and Sophia to visit London, but the Vicar, suspicious, refuses to approve the
plan. A fortune-teller's prediction that Olivia shall marry a Squire and Sophia, a Lord raises the
genteel ambitions of Olivia and Sophia even higher. However, the futile attempts of Mrs. Primrose
and the children to ride the horses to church on a Sunday morning have a somewhat humbling
effect on the family. The Michaelmas Eve celebration of the next day presents a second opportunity
for the Primrose family to associate with Lady Blarney and Miss Skeggs. As a result of this
encounter, Mrs. Primrose suggests that the colt be sold immediately to buy a horse.
Moses is sent to the fair for this purpose but returns, not with a horse, but with green
spectacles. When Burchell expresses disapproval of the girls' visit to town, Mrs. Primrose expels
him from the house. The Vicar, now approving the proposed London trip for his daughters,
resolves to sell the remaining horse himself, but he, like Moses, returns home without horse or
money. At home he finds more misfortune, for a malicious letter from Burchell to Lady Blarney
and Miss Skeggs, a copy of which the family find the next morning, has cancelled his daughters'
intended excursion. Burchell, appearing on the morrow, reluctantly confesses his guilt. After
expelling the alleged scoundrel, the Vicar sermonizes on Guilt and Shame.
The attention of the family is now focused on persuading the Squire to marry Olivia. A
family portrait falls short of being a successful undertaking, since the neighbors ridicule its
enormous size and envy the Squire's being portrayed therein. Even the suggestion that Olivia may
marry Farmer Williams appears only questionably successful in arousing the Squire's interest.
Olivia promises to marry Williams if the Squire fails to propose by a specified date. The family
seems content with the prospects of her marriage to Williams but is aroused from complacency by
the announcement that Olivia has been taken away by a stranger fitting the Squire's description.
The Vicar, determined to find her, goes to the estate of the Squire, who leads him to believe
that Burchell has taken her away. At Wells, where Olivia was reported to be seen, the Vicar falls
ill but after three weeks is able to return home. He meets a company of strolling players, with one
of whom he is invited to the home of a gentleman. Reaching the gentleman's home, he is led into
a discussion on "modern politics," which is soon interrupted by the arrival of Mr. and Mrs. Arnold,
owners of the house, and their niece Arabella Wilmot.
Following dinner the next night, the Vicar accompanies the ladies of the Arnold household
to the theater, where he finds George, his eldest son, to be a sensational new player. Brought to the
Arnolds' home, George, after much persuasion, gives an account of his travels. The arrival of the
Squire in town proves to be an obstacle to the renewal of the relationship between George and
Arabella. The Squire successfully disposes of his rival by securing a commission to the West Indies
for George. The Vicar, continuing his journey home, finds Olivia at an inn, impoverished and
abandoned. Leaving her at another inn, he approaches home only to find his house ablaze. After
he has comforted his family, the Vicar sends for Olivia, who is welcomed sarcastically by her
mother.
Since Olivia seems depressed, the Vicar tells the story of Matilda and resolves to prevent
the Squire's marriage to Arabella. In the midst of breakfast the following morning, Squire Thornhill
arrives only to be confronted with the Vicar's condemnation. The Squire's proposal to marry Olivia
to another arouses the father's insolence, whereupon the Squire warns that the Vicar may be
compelled to pay his rent or suffer the consequences of not paying. The next day Squire Thornhill’s
steward calls for the rent; in default of payment, the steward brings officers to arrest the debtor.
Willingly, the Vicar goes to jail, where in a conversation with a fellow prisoner, he
discovers the man to be Jenkinson, his deceiver at the fair. After the Vicar preaches to the other
prisoners on the folly of serving the devil, he invites Jenkinson to partake of the supper which the
family had brought. The next day he presents a plan for reforming the prisoners and preaches
against the penal code. Jenkinson advises approval of the approaching marriage of Squire
Thornhill, and upon the news of Olivia's death, the Vicar finally acquiesces.
The kidnapping of Sophia and a letter from George which brings hope for a change of
fortune are followed by the disheartening appearance of George himself in fetters. To comfort his
son, the Vicar preaches on the subject of religion versus philosophy. Upon finishing his sermon,
the Vicar is told of Sophia's arrival with Burchell. Slowly Burchell reveals his true identity: Sir
William Thornhill. He then secures permission for Jenkinson to produce Sophia's kidnapper. At
that moment Squire Thornhill arrives to defend himself.
His defense is successful until Jenkinson returns with Baxter, Sophia's kidnapper, and
exposes the Squire's part in the kidnapping. Miss Wilmot appears now and is reunited with George.
When the Squire threatens to hold Arabella’s fortune, Jenkinson produces Olivia, alive, as the
Squire’s lawful wife. Sir William Thornhill assigns a punishment for his nephew and proposes
marriage to Sophia. The double wedding and the gathering of the family around the fireside
conclude the narrative.
THEMES
Prudence
Especially in the first half of the novel, the vicar is defined by his sense of prudence. For
him, prudence (or wisdom) involves living a life of moral righteousness, trusting in mankind's
implicit goodness. However, the second half of the novel reveals the limits of such prudence.
Through the vicar's many mishaps - several of which he could have prevented had he employed a
more cynical view of people - Goldsmith suggests that man needs more than prudence to navigate
the world's evils. Instead, man also needs fortitude and a willingness to doubt and question the
motives of others. Certainly, the novel does not condone immoral behavior, but it does suggest
that a delusional assumption of wisdom can often cause serious problems.
Fortitude
The theme of fortitude serves as the guiding force of the novel's second half. The Vicar of
Wakefield has often been compared to the Bible's Book of Job, and with good reason. The
characters, particularly the vicar, are subject to many trials and tribulations throughout the story,
and must ultimately rely on intense fortitude in order to weather these trials. When faced with true
calamity, the vicar must rid himself of pride, and recognize the limits of his prudence, so that he
can become the true man of God he always thought himself to be. By the time he delivers his
sermon on fortitude to George and the prisoners, he truly represents a man poised to weather
difficulties through personal strength. The reader is thus exhorted to model his own behavior on
the vicar's.
Religion
Religion is obviously an important theme in the novel, considering the protagonist's job.
Though the book does have a moral message, it reflects an ambivalent relationship with God.
Despite his flaws, the vicar does try to model a good, virtuous life for his family and strangers
alike. And many of Goldsmith's contemporary critics were impressed by his ultimate message, that
man must endure hardship on Earth in anticipation of a greater life in heaven. However, the vicar
has a discernible lack of intimacy with God; he certainly tries to live a godly life, but does not
necessarily engage in any deep prayer or communion. Instead, he uses his sanctimony to favor
behavior he approves of, and to validate his more selfish desires for his family. The overall
suggestion is that a sense of God permeates the vicar's life, but that it might often only operate on
a superficial level.
Disguise and Deception
The novel is rife with disguise and deception. Characters are never who they seem to be,
and adapt different masks, identities, and personas both to confuse the reader and each other. In
many ways, this repeated trait reveals some of Goldsmith's view of humanity. The vicar and his
family assume Squire Thornhill is a good person and that Mr. Burchell is not. Moses and the vicar
are duped by Ephraim Jenkinson, and the vicar is fooled by Mr. Arnold's butler. The two rich,
fashionable ladies prove to be frauds. All of this deception reinforces Goldsmith's point that
prudence has limits, since the family eventually realizes that virtue alone cannot ensure success,
happiness, or safety in a world of duplicity. The Primrose family lacks true wisdom because they
assume their godly wisdom serves them well, and they as a result are almost destroyed.
Family
Family is extremely important to the vicar - he derives a great deal of pride and satisfaction
in his wife and children. However, this love of family also serves to blind him to reality. He praises
their excellent temperaments, and overlooks their flaws and foibles. Further, he lapses into a gentle
hypocrisy because of his pride in them. Though he often outwardly argues that people should
accept their station in life, the hopes of his daughters infect him, leaving him blind to the
machinations of Squire Thornhill. The family thus operates as an insulated organism in the novel,
and one that does not necessarily prove the most successful way of navigating the world. This is
not to say that Goldsmith does not find value in the family; rather, he seems to counsel the reader
that one must uphold one's individuality and discernment, and not fall prey to the cloistered
ignorance that often comes from remaining too close to one's family.
Social Class
In many ways, social class is one of the most pernicious forces in the novel. Despite the
vicar's outward support of poverty, the Primrose family cannot accept having lost its uppermiddle
class status. Because they continue to see the world in terms of social class, they prove blind to
Squire Thornhill's machinations, and question good people like Mr. Burchell and the Flamborough
girls. Even as their attempts to act above their station embarrass them, the Primrose family
continues to push for a certain level of appearance.
Goldsmith is clearly mocking their pretensions, and yet his views on class are a bit more
nuanced than immediately apparent. While the squire is the grossest manifestation of the upper
class, Sir William proves a benevolent and noble man. The sense is that money and title can
corrupt, but also that they can be channeled in virtuous and altruistic ways. The Primrose family
eventually does attain their desired social station after the vicar's fortune is restored and Sophia
marries Sir William, but this success only comes after many trials that effectively curtail the
family's pride and teach them the error of their pretensions.
Gender
Gender proves an interesting theme because of how closely the novel adheres to the
traditional gender norms of 18th century British society. The men make the decisions and hold the
power; the vicar is the unequivocal patriarch who determines the conduct of his family members.
His daughters are vain and romance-oriented, and are notable only for their nubile, marriageable
status. Arabella is viewed in the same way, despite being more genteel and elegant. Only the vicar
and his sons are allowed to enter the public sphere and engage in commercial transactions. By
contrast, when Olivia leaves the family home to elope with the squire, she is considered utterly
ruined and beyond redemption. Her virtue is her most salient characteristic, as it was with all young
women during the time. The novel is a perfect encapsulation of the way gender was viewed in
Goldsmith's era, which is interesting considering how wonderfully he challenges narrative
conventions throughout the story.