Scotland was inconceivably poor, and Scots, in England, were therefore ridiculous. The country had, so far, gained very little by the Union, and the Union was detested even by Scottish Whig Earls. It is recorded by Moore that, while at the Dumbarton Grammar School, Smollett wrote "verses to the memory of Wallace, of whom he became an early admirer," having read "Blind Harry's translation of the Latin poems of John Blair," chaplain to that hero. There probably never were any such Latin poems, but Smollett began with the same hero-worship as Burns. He had the attachment of a Scot to his native stream, the Leven, which later he was to celebrate. Now if Smollett had credited Roderick Random with these rural, poetical, and patriotic tastes, his hero would have been much more human and amiable. There was much good in Smollett which is absent in Random. But for some reason, probably because Scotland was unpopular after the Forty-Five, Smollett merely describes the woes, ill usage, and retaliations of Roderick. That he suffered as Random did is to the last degree improbable. He had a fair knowledge of Latin, and was not destitute of Greek, while his master, a Mr. Love, bore a good character both for humanity and scholarship. He must have studied the classics at Glasgow University, where he was apprenticed to Mr. Gordon, a surgeon.
Gordon, again, was an excellent man, appreciated by Smollett himself in after days, and the odious Potion of "Roderick Random"must, like his rival, Crab, have been merely a fancy sketch of meanness, hypocrisy, and profligacy. Perhaps the good surgeon became the victim of that "one continued string of epigrammatic sarcasms," such as Mr. Colquhoun told Ramsay of Ochtertyre, Smollett used to play off on his companions, "for which no talents could compensate." Judging by Dr. Carlyle's Memoirs this intolerable kind of display was not unusual in Caledonian conversation: but it was not likely to make Tobias popular in England.
Thither he went in 1739, with very little money, "and a very large assortment of letters of recommendation: whether his relatives intended to compensate for the scantiness of the one by their profusion in the other is uncertain; but he has often been heard to declare that their liberality in the last article was prodigious."The Smolletts were not "kinless loons"; they had connections: but who, in Scotland, had money? Tobias had passed his medical examinations, but he rather trusted in his MS. tragedy, "The Regicide." Tragical were its results for the author. Inspired by George Buchanan's Latin history of Scotland, Smollett had produced a play, in blank verse, on the murder of James I. That a boy, even a Scottish boy, should have an overweening passion for this unlucky piece, that he should expect by such a work to climb a step on fortune's ladder, is nowadays amazing. For ten years he clung to it, modified it, polished, improved it, and then published it in 1749, after the success of "Roderick Random." Twice he told the story of his theatrical mishaps and disappointments, which were such as occur to every writer for the stage. He wailed over them in "Roderick Random," in the story of Mr. Melopoyn; he prolonged his cry, in the preface to "The Regicide," and probably the noble whom he "lashed" (very indecently) in his two satires ("Advice,"1746, "Reproof," 1747, and in "Roderick Random") was the patron who could not get the tragedy acted. First, in 1739, he had a patron whom he "discarded." Then he went to the West Indies, and, returning in 1744, he lugged out his tragedy again, and fell foul again of patrons, actors, and managers. What befell him was the common fate. People did not, probably, hasten to read his play:
managers and "supercilious peers" postponed that entertainment, or, at least, the noblemen could not make the managers accept it if they did not want it. Our taste differs so much from that of the time which admired Home's "Douglas," and "The Regicide" was so often altered to meet objections, that we can scarcely criticise it. Of course it is absolutely unhistorical; of course it is empty of character, and replete with fustian, and ineffably tedious; but perhaps it is not much worse than other luckier tragedies of the age. Naturally a lover calls his wounded lady "the bleeding fair."Naturally she exclaims -
"Celestial powers Protect my father, shower upon his--oh!" (Dies).
Naturally her adorer answers with -
"So may our mingling souls To bliss supernal wing our happy--oh!" (Dies).
We are reminded of -
"Alas, my Bom!" (Dies).
"'Bastes' he would have said!"
The piece, if presented, must have been damned. But Smollett was so angry with one patron, Lord Lyttelton, that he burlesqued the poor man's dirge on the death of his wife. He was so angry with Garrick that he dragged him into "Roderick Random" as Marmozet.
Later, obliged by Garrick, and forgiving Lyttelton, he wrote respectfully about both. But, in 1746 (in "Advice"), he had assailed the "proud lord, who smiles a gracious lie," and "the varnished ruffians of the State." Because Tobias's play was unacted, people who tried to aid him were liars and ruffians, and a great deal worse, for in his satire, as in his first novel, Smollett charges men of high rank with the worst of unnamable crimes. Pollio and Lord Strutwell, whoever they may have been, were probably recognisable then, and were undeniably libelled, though they did not appeal to a jury. It is improbable that Sir John Cope had ever tried to oblige Smollett. His ignoble attack on Cope, after that unfortunate General had been fairly and honourably acquitted of incompetence and cowardice, was, then, wholly disinterested. Cope is "a courtier Ape, appointed General.""Then Pug, aghast, fled faster than the wind, Nor deign'd, in three-score miles, to look behind;While every band for orders bleat in vain, And fall in slaughtered heaps upon the plain," -of Preston Pans.
