Book contents
- Oliver Goldsmith in Context
- Oliver Goldsmith in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Notes on Contributors
- Preface
- Chronology
- Abbreviations
- Part I Life and Career
- Part II Social, Cultural, and Intellectual Contexts
- Part III Literary Contexts
- Part IV Critical Fortunes and Afterlives
- Chapter 31 Editions
- Chapter 32 Critical Reception before 1900
- Chapter 33 Critical Reception after 1900
- Chapter 34 Afterlives 1: The Victorian Vicar
- Chapter 35 Afterlives 2: Theatre
- Chapter 36 Afterlives 3: Poetry
- Further Reading
- Index
Chapter 34 - Afterlives 1: The Victorian Vicar
from Part IV - Critical Fortunes and Afterlives
Published online by Cambridge University Press: 28 November 2024
- Oliver Goldsmith in Context
- Oliver Goldsmith in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Notes on Contributors
- Preface
- Chronology
- Abbreviations
- Part I Life and Career
- Part II Social, Cultural, and Intellectual Contexts
- Part III Literary Contexts
- Part IV Critical Fortunes and Afterlives
- Chapter 31 Editions
- Chapter 32 Critical Reception before 1900
- Chapter 33 Critical Reception after 1900
- Chapter 34 Afterlives 1: The Victorian Vicar
- Chapter 35 Afterlives 2: Theatre
- Chapter 36 Afterlives 3: Poetry
- Further Reading
- Index
Summary
Goldsmith’s popularity was evident everywhere in the mid-Victorian period. He was held in great affection by many of the most important writers of the period. There were pressing contemporary reasons why references to Goldsmith’s novel can be found everywhere in the fiction of the period. The Vicar of Wakefield had by then come to be understood as a reworking of the Book of Job, and therefore an attempt to address the so-called problem of evil, which, as Jan-Melissa Shramm has persuasively argued, was one of the main intellectual problems addressed by the Victorian novel. Writers of fiction directly tackled the theological questions troubling their readers, particularly after the vexing decade of the 1840s in which the sheer extent of human suffering and natural evil was made clear to British readers through print culture in very powerful ways. This chapter will examines the vogue for the Vicar in the mid-century as a response to a diminishing providential aesthetic and argue that its failure to provide adequate solutions to the problem of evil may have contributed to Goldsmith falling out of favour by the end of the century.
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- Oliver Goldsmith in Context , pp. 289 - 297Publisher: Cambridge University PressPrint publication year: 2024