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+The Project Gutenberg eBook of The Complete Poetical Works of Oliver Goldsmith
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: The Complete Poetical Works of Oliver Goldsmith
+
+Author: Oliver Goldsmith
+
+Editor: Austin Dobson
+
+Release Date: November, 2002 [eBook #3545]
+[Most recently updated: September 3, 2021]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: Amy E Zelmer, Barb Grow, Derek Thompson and David Widger
+
+*** START OF THE PROJECT GUTENBERG EBOOK THE COMPLETE POETICAL WORKS OF OLIVER GOLDSMITH ***
+
+
+
+
+[Illustration: Oliver Goldsmith]
+
+OLIVER GOLDSMITH
+ (Sir Joshua Reynolds)
+
+ _OXFORD EDITION_
+
+
+
+
+      THE COMPLETE
+      POETICAL WORKS
+      OF
+      OLIVER GOLDSMITH
+
+ Edited with Introduction and Notes
+ by
+ AUSTIN
+      DOBSON
+ HON. LL.D. EDIN.
+
+
+
+
+PREFATORY NOTE
+
+
+      This volume is a reprint, extended and revised, of the _Selected Poems_
+      of Goldsmith issued by the Clarendon Press in 1887. It is ‘extended,’
+      because it now contains the whole of Goldsmith’s poetry: it is ‘revised’
+      because, besides the supplementary text, a good deal has been added in the
+      way of annotation and illustration. In other words, the book has been
+      substantially enlarged. Of the new editorial material, the bulk has been
+      collected at odd times during the last twenty years; but fresh Goldsmith
+      facts are growing rare. I hope I have acknowledged obligation wherever it
+      has been incurred; I trust also, for the sake of those who come after me,
+      that something of my own will be found to have been contributed to the
+      literature of the subject.
+    
+
+      AUSTIN DOBSON.
+
+
+      Ealing, _September_, 1906.
+
+
+CONTENTS
+
+ Introduction
+ Chronology of Goldsmith’s Life and Poems
+
+ POEMS
+ Descriptive Poems
+ The Traveller; or, A Prospect of Society
+ The Deserted Village
+ Lyrical and Miscellaneous Pieces
+ Prologue of Laberius
+ On a Beautiful Youth struck Blind with Lightning
+ The Gift. To Iris, in Bow Street
+ The Logicians Refuted
+ A Sonnet
+ Stanzas on the Taking of Quebec
+ An Elegy on Mrs. Mary Blaize
+ Description of an Author’s Bedchamber
+ On seeing Mrs. *** perform in the Character of ****
+ On the Death of the Right Hon.***
+ An Epigram. Addressed to the Gentlemen reflected on in ‘The Rosciad’, a Poem, by the Author
+ To G. C. and R. L.
+ Translation of a South American Ode
+ The Double Transformation. A Tale
+ A New Simile, in the Manner of Swift
+ Edwin and Angelina
+ Elegy on the Death of a Mad Dog
+ Song (‘When Lovely Woman,’ etc.)
+ Epilogue to _The Good Natur’d Man_
+ Epilogue to _The Sister_
+ Prologue to _Zobeide_
+ Threnodia Augustalis: Sacred to the Memory of Her Late Royal Highness the Princess Dowager of Wales
+ Song (‘Let school-masters,’ etc.)
+ Epilogue to _She Stoops to Conquer_
+ Retaliation
+ Song (‘Ah, me! when shall I marry me?’)
+ Translation (‘Chaste are their instincts’)
+ The Haunch of Venison
+ Epitaph on Thomas Parnell
+ The Clown’s Reply
+ Epitaph on Edward Purdon
+ Epilogue for Lee Lewes
+ Epilogue written for _She Stoops to Conquer_ (1)
+ Epilogue written for _She Stoops to Conquer_ (2)
+ The Captivity. An Oratorio
+ Verses in Reply to an Invitation to Dinner
+ Letter in Prose and Verse to Mrs. Bunbury
+ Vida’s Game of Chess
+
+ NOTES
+ Introduction to the Notes
+ Editions of the Poems
+ The Traveller
+ The Deserted Village
+ Prologue of Laberius
+ On a Beautiful Youth struck Blind with Lightning
+ The Gift
+ The Logicians Refuted
+ A Sonnet
+ Stanzas on the Taking of Quebec
+ An Elegy on Mrs. Mary Blaize
+ Description of an Author’s Bedchamber
+ On seeing Mrs. *** perform in the Character of ****
+ On the Death of the Right Hon. ***
+ An Epigram
+ To G. C. and R. L.
+ Translation of a South American Ode
+ The Double Transformation
+ A New Simile
+ Edwin and Angelina
+ Elegy on the Death of a Mad Dog
+ Song (from _The Vicar of Wakefield_)
+ Epilogue (_The Good Natur’d Man_)
+ Epilogue (_The Sister_)
+ Prologue (_Zobeide_)
+ Threnodia Augustalis
+ Song (from _She Stoops to Conquer_)
+ Epilogue (_She Stoops to Conquer_)
+ Retaliation
+ Song intended for _She Stoops to Conquer_
+ Translation
+ The Haunch of Venison
+ Epitaph on Thomas Parnell
+ The Clown’s Reply
+ Epitaph on Edward Purdon
+ Epilogue for Lee Lewes’s Benefit
+ Epilogue (_She Stoops to Conquer_) (1)
+ Epilogue (_She Stoops to Conquer_) (2)
+ The Captivity
+ Verses in Reply to an Invitation to Dinner
+ Letter in Prose and Verse to Mrs. Bunbury
+ Vida’s Game of Chess
+
+ APPENDIXES
+ Portraits of Goldsmith
+ Descriptions of Newell’s Views of Lissoy, etc.
+ The Epithet ‘Sentimental’
+ Fragments of Translations, etc., by Goldsmith
+ Goldsmith on Poetry under Anne and George the First
+ Criticisms from Goldsmith’s _Beauties of English Poesy_
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+ OLIVER GOLDSMITH. From Joseph Marchi’s mezzotint of 1770 after the portrait by Sir Joshua Reynolds.
+ PANE OF GLASS with Goldsmith’s autograph signature, dated March, 1746, now at Trinity College, Dublin.
+ VIGNETTE TO THE TRAVELLER. Drawn by Samuel Wale, and engraved by Charles Grignion.
+ HEADPIECE TO THE TRAVELLER. Engraved on wood by Charlton Nesbit for Bulmer’s _Poems of Goldsmith and Parnell_, 1795.
+ THE TRAVELLER. From a design by Richard Westall, R. A., engraved on wood by Thomas Bewick for Bulmer’s _Poems of Goldsmith and Parnell_, 1795.
+ VIGNETTE TO THE DESERTED VILLAGE, 1770. Drawn and engraved by Isaac Taylor.
+ HEADPIECE TO THE DESERTED VILLAGE. Engraved on wood by Charlton Nesbit for Bulmer’s _Poems of Goldsmith and Parnell_, 1795.
+ THE WATER-CRESS GATHERER. Drawn and engraved on wood by John Bewick for Bulmer’s _Poems of Goldsmith and Parnell_, 1795.
+ THE DEPARTURE. Drawn by Robert Johnson, and engraved on wood by Thomas Bewick for Bulmer’s _ Poems of Goldsmith and Parnell_, 1795.
+ EDWIN AND ANGELINA. From an original washed drawing made by Thomas Stothard, R.A., for Aikin’s _Goldsmith’s Poetical Works_, 1805.
+ PORTRAIT OF GOLDSMITH, after Sir Joshua Reynolds. From an etching by James Basire on the title-page of _Retaliation_, 1774.
+ SONG FROM THE CAPTIVITY. Facsimile of Goldsmith’s writing and signature, from Prior’s _ Life of Oliver Goldsmith, M.B._, 1837, ii, frontispiece.
+ GREEN ARBOUR COURT, OLD BAILEY. From an engraving in the _European Magazine_ for January, 1803.
+ KILKENNY WEST CHURCH. From an aquatint by S. Alken of a sketch by R. H. Newell (_Goldsmith’s Poetical Works_, 1811).
+ HAWTHORN TREE. From the same.
+ SOUTH VIEW FROM GOLDSMITH’S MOUNT.  From the same . . . To face p. 183. [This picture is unavailable.]
+ THE SCHOOL HOUSE. From the same.
+ PORTRAIT OF GOLDSMITH. Drawn by Henry William Bunbury and etched by James Bretherton. From the _Haunch of Venison_, 1776.
+ PORTRAIT OF GOLDSMITH. From a silhouette by Ozias Humphry, R.A., in the National Portrait Gallery.
+ LISSOY (OR LISHOY) MILL. From an aquatint by S. Alken of a sketch by R. H. Newell (_Goldsmith’s Poetical Works_, 1811).
+ THE PARSONAGE. From the same.
+
+
+
+
+INTRODUCTION
+
+
+      Two of the earlier, and, in some respects, more important _Memoirs_
+      of Oliver Goldsmith open with a quotation from one of his minor works, in
+      which he refers to the generally uneventful life of the scholar. His own
+      chequered career was a notable exception to this rule. He was born on the
+      10th of November, 1728, at Pallas, a village in the county of Longford in
+      Ireland, his father, the Rev. Charles Goldsmith, being a clergyman of the
+      Established Church. Oliver was the fifth of a family of five sons and
+      three daughters. In 1730, his father, who had been assisting the rector of
+      the neighbouring parish of Kilkenny West, succeeded to that living, and
+      moved to Lissoy, a hamlet in Westmeath, lying a little to the right of the
+      road from Ballymahon to Athlone. Educated first by a humble relative named
+      Elizabeth Delap, the boy passed subsequently to the care of Thomas Byrne,
+      the village schoolmaster, an old soldier who had fought Queen Anne’s
+      battles in Spain, and had retained from those experiences a wandering and
+      unsettled spirit, which he is thought to have communicated to one at least
+      of his pupils. After an attack of confluent small-pox, which scarred him
+      for life, Oliver was transferred from the care of this not-uncongenial
+      preceptor to a school at Elphin. From Elphin he passed to Athlone; from
+      Athlone to Edgeworthstown, where he remained until he was thirteen or
+      fourteen years of age. The accounts of these early days are contradictory.
+      By his schoolfellows he seems to have been regarded as stupid and heavy,—‘little
+      better than a fool’; but they
+
+      admitted that he was remarkably active and athletic, and that he was an
+      adept in all boyish sports. At home, notwithstanding a variable
+      disposition, and occasional fits of depression, he showed to greater
+      advantage. He scribbled verses early; and sometimes startled those about
+      him by unexpected ‘swallow-flights’ of repartee. One of these, an
+      oft-quoted retort to a musical friend who had likened his awkward antics
+      in a hornpipe to the dancing of Aesop,—
+
+        Heralds! proclaim aloud! all saying,
+
+        See _Aesop_ dancing, and his _monkey_ playing,—
+      
+
+      reads more like a happily-adapted recollection than the actual impromptu
+      of a boy of nine. But another, in which, after a painful silence, he
+      replied to the brutal enquiry of a ne’er-do-well relative as to when he
+      meant to grow handsome, by saying that he would do so when the speaker
+      grew good,—is characteristic of the easily-wounded spirit and
+      ‘exquisite sensibility of contempt’ with which he was to enter upon the
+      battle of life.
+
+      In June, 1744, after anticipating in his own person, the plot of his later
+      play of _She Stoops to Conquer_ by mistaking the house of a
+      gentleman at Ardagh for an inn, he was sent to Trinity College, Dublin.
+      The special dress and semi-menial footing of a sizar or poor scholar—for
+      his father, impoverished by the imprudent portioning of his eldest
+      daughter, could not afford to make him a pensioner—were scarcely
+      calculated to modify his personal peculiarities. Added to these, his tutor
+      elect, Dr. Theaker Wilder, was a violent and vindictive man, with whom his
+      ungainly and unhopeful pupil found little favour. Wilder had a passion for
+      mathematics which was not shared by Goldsmith, who, indeed, spoke
+      contemptuously enough of that science in after life. He could, however, he
+      told Malone, ‘turn an Ode of Horace into English better than any of them.’
+      But his academic career was not a success.
+
+[Illustration: Goldsmith’s Autograph]
+PANE OF GLASS WITH GOLDSMITH’S AUTOGRAPH
+ (Trinity
+College, Dublin)
+
+      In May, 1747, the year in which his father died,—an event that
+      further contracted his already slender means,—he became involved in
+      a college riot, and was publicly admonished. From this disgrace he
+      recovered to some extent in the following month by obtaining a trifling
+      money exhibition, a triumph which he unluckily celebrated by a party at
+      his rooms. Into these festivities, the heinousness of which was aggravated
+      by the fact that they included guests of both sexes, the exasperated
+      Wilder made irruption, and summarily terminated the proceedings by
+      knocking down the host. The disgrace was too much for the poor lad. He
+      forthwith sold his books and belongings, and ran away, vaguely bound for
+      America. But after considerable privations, including the achievement of a
+      destitution so complete that a handful of grey peas, given him by a girl
+      at a wake, seemed a banquet, he turned his steps homeward, and, a
+      reconciliation having been patched up with his tutor, he was received once
+      more at college. In February, 1749, he took his degree, a low one, as
+      B.A., and quitted the university, leaving behind him, for relics of that
+      time, a scratched signature upon a window-pane, a _folio_ Scapula
+      scored liberally with ‘promises to pay,’ and a reputation for much
+      loitering at the college gates in the study of passing humanity. Another
+      habit which his associates recalled was his writing of ballads when in
+      want of funds. These he would sell at five shillings apiece; and would
+      afterwards steal out in the twilight to hear them sung to the
+      indiscriminate but applauding audience of the Dublin streets.
+
+      What was to be done with a genius so unstable, so erratic? Nothing,
+      apparently, but to let him qualify for orders, and for this he is too
+      young. Thereupon ensues a sort of ‘Martin’s summer’ in his changing life,—a
+      disengaged, delightful time when ‘Master Noll’ wanders
+      irresponsibly from house to house, fishing and flute-playing, or, of
+      winter evenings, taking the chair at the village inn. When at last the
+      moment came for his presentation to the Bishop of Elphin, that prelate,
+      sad to say, rejected him, perhaps because of his college reputation,
+      perhaps because of actual incompetence, perhaps even, as tradition
+      affirms, because he had the bad taste to appear before his examiner in
+      flaming scarlet breeches. After this rebuff, tutoring was next tried. But
+      he had no sooner saved some thirty pounds by teaching, than he threw up
+      his engagement, bought a horse, and started once more for America, by way
+      of Cork. In six weeks he had returned penniless, having substituted for
+      his roadster a sorry jade, to which he gave the contemptuous name of
+      Fiddleback. He had also the simplicity to wonder, on this occasion, that
+      his mother was not rejoiced to see him again. His next ambition was to be
+      a lawyer; and, to this end, a kindly Uncle Contarine equipped him with
+      fifty pounds for preliminary studies. But on his way to London he was
+      decoyed into gambling, lost every farthing, and came home once more in
+      bitter self-abasement. Having now essayed both divinity and law, his next
+      attempt was physic; and, in 1752, fitted out afresh by his long-suffering
+      uncle, he started for, and succeeded in reaching, Edinburgh. Here more
+      memories survive of his social qualities than of his studies; and two
+      years later he left the Scottish capital for Leyden, rather, it may be
+      conjectured, from a restless desire to see the world than really to
+      exchange the lectures of Monro for the lectures of Albinus. At Newcastle
+      (according to his own account) he had the good fortune to be locked up as
+      a Jacobite, and thus escaped drowning, as the ship by which he was to have
+      sailed to Bordeaux sank at the mouth of the Garonne. Shortly afterwards he
+      arrived in Leyden. Gaubius and other Dutch professors figure
+
+      sonorously in his future works; but whether he had much experimental
+      knowledge of their instructions may be doubted. What seems undeniable is,
+      that the old seduction of play stripped him of every shilling; so that,
+      like Holberg before him, he set out deliberately to make the tour of
+      Europe on foot. _Haud inexpertus loquor,_ he wrote in after days,
+      when praising this mode of locomotion. He first visited Flanders. Thence
+      he passed to France, Germany, Switzerland, and Italy, supporting himself
+      mainly by his flute, and by occasional disputations at convents or
+      universities. ‘Sir,’ said Boswell to Johnson, ‘he _disputed_ his
+      passage through Europe.’ When on the 1st February, 1756, he landed at
+      Dover, it was with empty pockets. But he had sent home to his brother in
+      Ireland his first rough sketch for the poem of _The Traveller_.
+
+      He was now seven-and-twenty. He had seen and suffered much, but he was to
+      have further trials before drifting definitely into literature. Between
+      Dover and London, it has been surmised, he made a tentative appearance as
+      a strolling player. His next ascertained part was that of an apothecary’s
+      assistant on Fish Street Hill. From this, with the opportune aid of an
+      Edinburgh friend, he proceeded—to use an eighteenth-century phrase—a
+      poor physician in the Bankside, Southwark, where least of all, perhaps,
+      was London’s fabled pavement to be found. So little of it, in fact, fell
+      to Goldsmith’s share, that we speedily find him reduced to the rank of
+      reader and corrector of the press to Samuel Richardson, printer, of
+      Salisbury Court, author of _Clarissa_. Later still he is acting
+      as help or substitute in Dr. Milner’s ‘classical academy’ at Peckham.
+      Here, at last, chance seemed to open to him the prospect of a literary
+      life. He had already, says report, submitted a manuscript tragedy to
+      Richardson’s judgement; and something he said at Dr. Milner’s table
+      attracted the attention of an occasional
+      visitor there, the bookseller Griffiths, who was also proprietor of the
+      _Monthly Review._ He invited Dr. Milner’s usher to try his hand
+      at criticism; and finally, in April, 1757, Goldsmith was bound over for a
+      year to that venerable lady whom George Primrose dubs ‘the _antiqua
+      mater_ of Grub Street’—in other words, he was engaged for bed,
+      board, and a fixed salary to supply copy-of-all-work to his master’s
+      magazine.
+
+      The arrangement thus concluded was not calculated to endure. After some
+      five months of labour from nine till two, and often later, it came
+      suddenly to an end. No clear explanation of the breach is forthcoming, but
+      mere incompatability of temper would probably supply a sufficient ground
+      for disagreement. Goldsmith, it is said, complained that the bookseller
+      and his wife treated him ill, and denied him ordinary comforts; added to
+      which the lady, a harder taskmistress even than the _ antiqua mater_
+      above referred to, joined with her husband in ‘editing’ his articles, a
+      course which, hard though it may seem, is not unprecedented. However this
+      may be, either in September or October, 1757, he was again upon the world,
+      existing precariously from hand to mouth. ‘By a very little practice as a
+      physician, and very little reputation as a poet [a title which, as Prior
+      suggests, possibly means no more than author], I make a shift to live.’ So
+      he wrote to his brother-in-law in December. What his literary occupations
+      were cannot be definitely stated; but, if not prepared before, they
+      probably included the translation of a remarkable work issued by Griffiths
+      and others in the ensuing February. This was the _Memoirs of a
+      Protestant, condemned to the Galleys of France for his Religion,_
+      being the authentic record of the sufferings of one Jean Marteilhe of
+      Bergerac, a book of which Michelet has said that it is ‘written as if
+      between earth and heaven.’ Marteilhe, who died at Cuylenberg
+
+      in 1777, was living in Holland in 1758; and it may be that Goldsmith had
+      seen or heard of him during his own stay in that country. The translation,
+      however, did not bear Goldsmith’s name, but that of James Willington, one
+      of his old class-fellows at Trinity College. Nevertheless, Prior says
+      distinctly that Griffiths (who should have known) declared it to be by
+      Goldsmith. Moreover, the French original had been catalogued in Griffiths’
+      magazine in the second month of Goldsmith’s servitude, a circumstance
+      which colourably supplies the reason for its subsequent rendering into
+      English.
+
+      The publication of Marteilhe’s _Memoirs_ had no influence upon
+      Goldsmith’s fortunes, for, in a short time, he was again installed at
+      Peckham, in place of Dr. Milner invalided, waiting hopefully for the
+      fulfilment of a promise by his old master to procure him a medical
+      appointment on a foreign station. It is probably that, with a view to
+      provide the needful funds for this expatriation, he now began to sketch
+      the little volume afterwards published under the title of _An Enquiry
+      into the Present State of Polite Learning in Europe_, for towards
+      the middle of the year we find him addressing long letters to his
+      relatives in Ireland to enlist their aid in soliciting subscriptions for
+      this book. At length the desired advancement was obtained,—a
+      nomination as a physician and surgeon to one of the factories on the coast
+      of Coromandel. But banishment to the East Indies was not to be his
+      destiny. For some unexplained reason the project came to nothing; and then—like
+      Roderick Random—he presented himself at Surgeons’ Hall for the more
+      modest office of a hospital mate. This was on the 21st of December, 1758.
+      The curt official record states that he was ‘found not qualified.’ What
+      made matters worse, the necessity for a decent appearance before the
+      examiners had involved him in new obligations to Griffiths,
+
+      out of which arose fresh difficulties. To pay his landlady, whose husband
+      was arrested for debt, he pawned the suit he had procured by Griffiths’
+      aid; and he also raised money on some volumes which had been sent him for
+      review. Thereupon ensued an angry and humiliating correspondence with the
+      bookseller, as a result of which Griffiths, nevertheless, appears to have
+      held his hand.
+
+      By this time Goldsmith had moved into those historic but now non-existent
+      lodgings in 12 Green Arbour Court, Old Bailey, which have been
+      photographed for ever in Irving’s _Tales of a Traveller._ It
+      was here that the foregoing incidents took place; and it was here also
+      that, early in 1759, ‘in a wretched dirty room, in which there was but one
+      chair,’ the Rev. Thomas Percy, afterwards Bishop of Dromore, found him
+      composing (or more probably correcting the proofs of) _The Enquiry._
+      ‘At least spare invective ’till my book with Mr. Dodsley shall be
+      publish’d,’—he had written not long before to the irate Griffiths—‘and
+      then perhaps you may see the bright side of a mind when my professions
+      shall not appear the dictates of necessity but of choice.’ _The
+      Enquiry_ came out on the 2nd of April. It had no author’s name, but
+      it was an open secret that Goldsmith had written it; and to this day it
+      remains to the critic one of the most interesting of his works. Obviously,
+      in a duodecimo of some two hundred widely-printed pages, it was impossible
+      to keep the high-sounding promise of its title; and at best its author’s
+      knowledge of the subject, notwithstanding his continental wanderings, can
+      have been but that of an external spectator. Still in an age when critical
+      utterance was more than ordinarily full-wigged and ponderous, it dared to
+      be sprightly and epigrammatic. Some of its passages, besides, bear upon
+      the writer’s personal experiences, and serve to piece the imperfections of
+      his biography. If it brought him no sudden wealth,
+
+      it certainly raised his reputation with the book-selling world. A
+      connexion already begun with Smollett’s _Critical Review_ was
+      drawn closer; and the shrewd Sosii of the Row began to see the importance
+      of securing so vivacious and unconventional a pen. Towards the end of the
+      year he was writing for Wilkie the collection of periodical essays
+      entitled _The Bee_; and contributing to the same publisher’s
+      _Lady’s Magazine_, as well as to _The Busy Body_ of
+      one Pottinger. In these, more than ever, he was finding his distinctive
+      touch; and ratifying anew, with every fresh stroke of his pen, his bondage
+      to authorship as a calling.
+
+      He had still, however, to conquer the public. _The Bee_,
+      although it contains one of his most characteristic essays (‘A City
+      Night-Piece’), and some of the most popular of his lighter verses (‘The
+      Elegy on Mrs. Mary Blaize’), never attained the circulation essential to
+      healthy existence. It closed with its eighth number in November, 1759. In
+      the following month two gentlemen called at Green Arbour Court to enlist
+      the services of its author. One was Smollett, with a new serial, _
+      The British Magazine_; the other was Johnson’s ‘Jack Whirler,’
+      bustling Mr. John Newbery from the ‘Bible and Sun’ in St. Paul’s
+      Churchyard, with a new daily newspaper, _The Public Ledger_.
+      For Smollett, Goldsmith wrote the ‘Reverie at the Boar’s Head Tavern’ and
+      the ‘Adventures of a Strolling Player,’ besides a number of minor papers.
+      For Newbery, by a happy recollection of the _Lettres Persanes_
+      of Montesquieu, or some of his imitators, he struck almost at once into
+      that charming epistolary series, brimful of fine observation, kindly
+      satire, and various fancy, which was ultimately to become the English
+      classic known as _The Citizen of the World_. He continued to
+      produce these letters periodically until the August of the following year,
+      when they were
+
+      announced for republication in ‘two volumes of the usual _Spectator_
+      size.’ In this form they appeared in May, 1762.
+
+      But long before this date a change for the better had taken place in
+      Goldsmith’s life. Henceforth he was sure of work,—mere journey-work
+      though much of it must have been;—and, had his nature been less
+      improvident, of freedom from absolute want. The humble lodgings in the Old
+      Bailey were discarded for new premises at No. 6 Wine Office Court, Fleet
+      Street; and here, on the 31st of May, 1761, with Percy, came one whose
+      name was often in the future to be associated with Goldsmith’s, the great
+      Dictator of London literary society, Samuel Johnson. Boswell, who made
+      Johnson’s acquaintance later, has not recorded the humours of that supper;
+      but it marks the beginning of Goldsmith’s friendship with the man who of
+      all others (Reynolds excepted) loved him most and understood him best.
+
+      During the remainder of 1761 he continued busily to ply his pen. Besides
+      his contributions to _The Ledger_ and _The British
+      Magazine_, he edited _The Lady’s Magazine_, inserting in
+      it the _Memoirs of Voltaire_, drawn up some time earlier to
+      accompany a translation of the _Henriade_ by his crony and
+      compatriot Edward Purdon. Towards the beginning of 1762 he was hard at
+      work on several compilations for Newbery, for whom he wrote or edited a
+      _History of Mecklenburgh_, and a series of monthly volumes of
+      an abridgement of _Plutarch’s Lives_. In October of the same
+      year was published the _Life of Richard Nash_, apparently the
+      outcome of special holiday-visits to the then fashionable watering-place
+      of Bath, whence its fantastic old Master of the Ceremonies had only very
+      lately made his final exit. It is a pleasantly gossiping, and not
+      unedifying little book, which still holds a respectable place among its
+      author’s minor works. But a recently discovered entry in an old ledger
+      shows that during the latter half
+
+      of 1762 he must have planned, if he had not, indeed, already in part
+      composed, a far more important effort, _The Vicar of Wakefield_.
+      For on the 28th of October in this year he sold to one Benjamin Collins,
+      printer, of Salisbury, for 21 pounds, a third in a work with that title,
+      further described as ‘2 vols. 12mo.’ How this little circumstance,
+      discovered by Mr. Charles Welsh when preparing his Life of John Newbery,
+      is to be brought into agreement with the time-honoured story, related
+      (with variations) by Boswell and others, to the effect that Johnson
+      negotiated the sale of the manuscript for Goldsmith when the latter was
+      arrested for rent by his incensed landlady—has not yet been
+      satisfactorily suggested. Possibly the solution is a simple one, referable
+      to some of those intricate arrangements favoured by ‘the Trade’ at a time
+      when not one but half a score publishers’ names figured in an imprint. At
+      present, the fact that Collins bought a third share of the book from the
+      author for twenty guineas, and the statement that Johnson transferred the
+      entire manuscript to a bookseller for sixty pounds, seem irreconcilable.
+      That _The Vicar of Wakefield_ was nevertheless written, or was
+      being written, in 1762, is demonstrable from internal evidence.
+
+      About Christmas in the same year Goldsmith moved into lodgings at
+      Islington, his landlady being one Mrs. Elizabeth Fleming, a friend of
+      Newbery, to whose generalship this step seems attributable. From the
+      curious accounts printed by Prior and Forster, it is clear that the
+      publisher was Mrs. Fleming’s paymaster, punctually deducting his
+      disbursements from the account current between himself and Goldsmith, an
+      arrangement which as plainly indicates the foresight of the one as it
+      implies the improvidence of the other. Of the work which Goldsmith did for
+      the businesslike and not unkindly little man, there is no very definite
+      evidence; but various prefaces,
+      introductions, and the like, belong to this time; and he undoubtedly was
+      the author of the excellent _ History of England in a Series of
+      Letters addressed by a Nobleman to his Son_, published anonymously
+      in June, 1764, and long attributed, for the grace of its style, to
+      Lyttelton, Chesterfield, Orrery, and other patrician pens. Meanwhile his
+      range of acquaintance was growing larger. The establishment, at the
+      beginning of 1764, of the famous association known afterwards as the
+      ‘Literary Club’ brought him into intimate relations with Beauclerk,
+      Reynolds, Langton, Burke, and others. Hogarth, too, is said to have
+      visited him at Islington, and to have painted the portrait of Mrs.
+      Fleming. Later in the same year, incited thereto by the success of
+      Christopher Smart’s _Hannah_, he wrote the Oratorio of _The
+      Captivity_, now to be found in most editions of his poems, but never
+      set to music. Then after the slow growth of months, was issued on the 19th
+      December the elaboration of that fragmentary sketch which he had sent
+      years before to his brother Henry from the Continent, the poem entitled
+      _The Traveller; or, A Prospect of Society_.
+
+      In the notes appended to _The Traveller_ in the present volume,
+      its origin and progress are sufficiently explained. Its success was
+      immediate and enduring. The beauty of the descriptive passages, the subtle
+      simplicity of the language, the sweetness and finish of the versification,
+      found ready admirers,—perhaps all the more because of the contrast
+      they afforded to the rough and strenuous sounds with which Charles
+      Churchill had lately filled the public ear. Johnson, who contributed a few
+      lines at the close, proclaimed _The Traveller_ to be the best
+      poem since the death of Pope; and it is certainly not easy to find its
+      equal among the works of contemporary bards. It at once raised Goldsmith
+      from the condition of a clever newspaper essayist, or—as men like
+      Sir John
+      Hawkins would have said—a mere ‘bookseller’s drudge,’ to the
+      foremost rank among the poets of the day. Another result of its success
+      was the revival of some of his earlier work, which, however neglected by
+      the author, had been freely appropriated by the discerning pirate. In
+      June, 1765, Griffin and Newbery published a little volume of _Essays
+      by Mr. Goldsmith_, including some of the best of his contributions
+      to _The Bee, The Busy Body, The Public Ledger_, and _The
+      British Magazine_, besides ‘The Double Transformation’ and ‘The
+      Logicians Refuted,’ two pieces of verse in imitation of Prior and Swift,
+      which have not been traced to an earlier source. To the same year belongs
+      the first version of a poem which he himself regarded as his best work,
+      and which still retains something of its former popularity. This was the
+      ballad of _Edwin and Angelina_, otherwise known as _The
+      Hermit_. It originated in certain metrical discussions with Percy,
+      then engaged upon his famous _Reliques of English Poetry_; and
+      in 1765, Goldsmith, who through his friend Nugent (afterwards Lord Clare)
+      had made the acquaintance of the Earl of Northumberland, printed it
+      privately for the amusement of the Countess. In a revised and amended form
+      it was subsequently given to the world in _The Vicar of Wakefield_.
+
+      With the exception of an abortive attempt to resume his practice as a
+      medical man,—an attempt which seems to have been frustrated by the
+      preternatural strength of his prescriptions,—the next memorable
+      thing in Goldsmith’s life is the publication of _The Vicar of
+      Wakefield_ itself. It made its appearance on the 27th of March,
+      1766. A second edition followed in May, a third in August. Why, having
+      been sold (in part) to a Salisbury printer as far back as October, 1762,
+      it had remained unprinted so long; and why, when published, it was
+      published by Francis Newbery and not by John Newbery, Goldsmith’s
+
+      employer,—are questions at present unsolved. But the charm of this
+      famous novel is as fresh as when it was first issued. Its inimitable
+      types, its happy mingling of Christianity and character, its wholesome
+      benevolence and its practical wisdom, are still unimpaired. We smile at
+      the inconsistencies of the plot; but we are carried onward in spite of
+      them, captivated by the grace, the kindliness, the gentle humour of the
+      story. Yet it is a mistake to suppose that its success was instantaneous.
+      Pirated it was, of course; but, according to expert investigations, the
+      authorized edition brought so little gain to its first proprietors that
+      the fourth issue of 1770 started with a loss. The fifth, published in
+      April, 1774, was dated 1773; and had apparently been withheld because the
+      previous edition, which consisted of no more than one thousand copies, was
+      not exhausted. Five years elapsed before the sixth edition made its tardy
+      appearance in 1779. These facts show that the writer’s contemporaries were
+      not his most eager readers. But he has long since appealed to the wider
+      audience of posterity; and his fame is not confined to his native country,
+      for he has been translated into most European languages. Dr. Primrose and
+      his family are now veritable ‘citizens of the world.’
+
+      A selection of _Poems for Young Ladies_, in the ‘Moral’
+      division of which he included his own _Edwin and Angelina_; two
+      volumes of _Beauties of English Poesy_, disfigured with strange
+      heedlessness, by a couple of the most objectionable pieces of Prior; a
+      translation of a French history of philosophy, and other occasional work,
+      followed the publication of the _Vicar_. But towards the middle
+      of 1766, he was meditating a new experiment in that line in which
+      Farquhar, Steele, Southerne, and others of his countrymen had succeeded
+      before him. A fervent lover of the stage, he detested the vapid and
+      colourless ‘genteel’
+      comedy which had gradually gained ground in England; and he determined to
+      follow up _The Clandestine Marriage_, then recently adapted by
+      Colman and Garrick from Hogarth’s _Marriage A-la-Mode_, with
+      another effort of the same class, depending exclusively for its interest
+      upon humour and character. Early in 1767 it was completed, and submitted
+      to Garrick for Drury Lane. But Garrick perhaps too politic to traverse the
+      popular taste, temporized; and eventually after many delays and
+      disappointments, _The Good Natur’d Man_, as it was called, was
+      produced at Covent Garden by Colman on the 29th of January, 1768. Its
+      success was only partial; and in deference to the prevailing craze for the
+      ‘genteel,’ an admirable scene of low humour had to be omitted in the
+      representation. But the piece, notwithstanding, brought the author 400
+      pounds, to which the sale of the book, with the condemned passages
+      restored, added another 100 pounds. Furthermore, Johnson, whose
+      ‘Suspirius’ in _The Rambler_ was, under the name of ‘Croaker,’
+      one of its most prominent personages, pronounced it to be the best comedy
+      since Cibber’s _Provok’d Husband_.
+
+      During the autumn of 1767, Goldsmith had again been living at Islington.
+      On this occasion he had a room in Canonbury Tower, Queen Elizabeth’s old
+      hunting-lodge, and perhaps occupied the very chamber generally used by
+      John Newbery, whose active life was, in this year, to close. When in
+      London he had modest housing in the Temple. But the acquisition of 500
+      pounds for _The Good Natur’d Man_ seemed to warrant a change of
+      residence, and he accordingly expended four-fifths of that sum for the
+      lease of three rooms on the second floor of No. 2 Brick Court, which he
+      straightway proceeded to decorate sumptuously with mirrors, Wilton
+      carpets, moreen curtains, and Pembroke tables. It was an unfortunate step;
+      and he would have done well to remember the _Nil_
+      _te quaesiveris extra_ with which his inflexible monitor, Johnson,
+      had greeted his apologies for the shortcomings of some earlier lodgings.
+      One of its natural results was to involve him in a new sequence of
+      task-work, from which he never afterwards shook himself free. Hence,
+      following hard upon a _Roman History_ which he had already
+      engaged to write for Davies of Russell Street, came a more ambitious
+      project for Griffin, _A History of Animated Nature_; and after
+      this again, another _History of England_ for Davies. The pay
+      was not inadequate; for the first he was to have 250 guineas, for the
+      second 800 guineas, and for the last 500 pounds. But as employment for the
+      author of a unique novel, an excellent comedy, and a deservedly successful
+      poem, it was surely—in his own words—‘to cut blocks with a
+      razor.’
+
+      And yet, apart from the anxieties of growing money troubles, his life
+      could not have been wholly unhappy. There are records of pleasant
+      occasional junketings—‘shoe-maker’s holidays’ he called them—in
+      the still countrified suburbs of Hampstead and Edgware; there was the
+      gathering at the Turk’s Head, with its literary magnates, for his severer
+      hours; and for his more pliant moments, the genial ‘free-and-easy’ or
+      shilling whist-club of a less pretentious kind, where the student of mixed
+      character might shine with something of the old supremacy of George
+      Conway’s inn at Ballymahon. And there must have been quieter and more
+      chastened resting-places of memory, when, softening towards the home of
+      his youth, with a sadness made more poignant by the death of his brother
+      Henry in May, 1768, he planned and perfected his new poem of _The
+      Deserted Village_.
+
+      In December, 1769, the recent appointment of his friend Reynolds as
+      President of the Royal Academy brought him the honorary office of
+      Professor of History to that
+      institution; and to Reynolds _The Deserted Village_ was
+      dedicated. It appeared on the 26th of May, 1770, with a success equal, if
+      not superior, to that of _The Traveller_. It ran through five
+      editions in the year of its publication; and has ever since retained its
+      reputation. If, as alleged, contemporary critics ranked it below its
+      predecessor, the reason advanced by Washington Irving, that the poet had
+      become his own rival, is doubtless correct; and there is always a
+      prejudice in favour of the first success. This, however, is not an
+      obstacle which need disturb the reader now; and he will probably decide
+      that in grace and tenderness of description _The Deserted Village_
+      in no wise falls short of _The Traveller_; and that its central
+      idea, and its sympathy with humanity, give it a higher value as a work of
+      art.
+
+      After _The Deserted Village_ had appeared, Goldsmith made a
+      short trip to Paris, in company with Mrs. and the two Miss Hornecks, the
+      elder of whom, christened by the poet with the pretty pet-name of ‘The
+      Jessamy Bride,’ is supposed to have inspired him with more than friendly
+      feelings. Upon his return he had to fall again to the old ‘book-building’
+      in order to recruit his exhausted finances. Since his last poem he had
+      published a short _Life of Parnell_; and Davies now engaged him
+      on a _Life of Bolingbroke_, and an abridgement of the _Roman
+      History_. Thus, with visits to friends, among others to Lord Clare,
+      for whom he wrote the delightful occasional verses called _The Haunch
+      of Venison_, the months wore on until, in December, 1770, the
+      print-shops began to be full of the well-known mezzotint which Marchi had
+      engraved from his portrait by Sir Joshua.
+
+      His chief publications in the next two years were the above-mentioned
+      _History of England_, 1771; _Threnodia Augustalis_,
+      a poetical lament-to-order on the death of the Princess Dowager of Wales,
+      1772; and the abridgement
+      of the _Roman History_, 1772. But in the former year he had
+      completed a new comedy, _She Stoops to Conquer; or, The Mistakes of a
+      Night_, which, after the usual vexatious negotiations, was brought
+      out by Colman at Covent Garden on Monday, the 15th of March, 1773. The
+      manager seems to have acted Goldsmith’s own creation of ‘Croaker’ with
+      regard to this piece, and even to the last moment predicted its failure.
+      But it was a brilliant success. More skilful in construction than _The
+      Good Natur’d Man_, more various in its contrasts of character,
+      richer and stronger in humour and _vis comica_, _She Stoops to
+      Conquer_ has continued to provide an inexhaustible fund of laughter
+      to more than three generations of playgoers, and still bids fair to retain
+      the character generally given to it, of being one of the three most
+      popular comedies upon the English stage. When published, it was gratefully
+      inscribed, in one of those admirable dedications of which its author above
+      all men possessed the secret, to Johnson, who had befriended it from the
+      first. ‘I do not mean,’ wrote Goldsmith, ‘so much to compliment you as
+      myself. It may do me some honour to inform the public, that I have lived
+      many years in intimacy with you. It may serve the interests of mankind
+      also to inform them, that the greatest wit may be found in a character,
+      without impairing the most unaffected piety.’
+
+      His gains from _She Stoops to Conquer_ were considerable; but
+      by this time his affairs had reached a stage of complication which nothing
+      short of a miracle could disentangle; and there is reason for supposing
+      that his involved circumstances preyed upon his mind. During the few
+      months of life that remained to him he published nothing, being doubtless
+      sufficiently occupied by the undertakings to which he was already
+      committed. The last of his poetical efforts was the poem entitled
+
+      _Retaliation_, a group of epitaph-epigrams prompted by some
+      similar _jeux d’esprit_ directed against himself by Garrick and other
+      friends, and left incomplete at his death. In March, 1774, the combined
+      effects of work and worry, added to a local disorder, brought on a nervous
+      fever, which he unhappily aggravated by the use of a patent medicine
+      called ‘James’s Powder.’ He had often relied upon this before, but in the
+      present instance it was unsuited to his complaint. On Monday, the 4th of
+      April, 1774, he died, in his forty-sixth year, and was buried on the 9th
+      in the burying-ground of the Temple Church. Two years later a monument,
+      with a medallion portrait by Nollekens, and a Latin inscription by
+      Johnson, was erected to him in Westminster Abbey, at the expense of the
+      Literary Club. But although the inscription contains more than one phrase
+      of felicitous discrimination, notably the oft-quoted _affectuum potens,
+      at lenis dominator_, it may be doubted whether the simpler words used
+      by his rugged old friend in a letter to Langton are not a fitter farewell
+      to Oliver Goldsmith,—‘Let not his frailties be remembered; he was a
+      very great man.’
+
+      In person Goldsmith was short and strongly built. His complexion was
+      rather fair, but he was deeply scarred with small-pox; and—if we
+      may believe his own account—the vicissitudes and privations of his
+      early life had not tended to diminish his initial disadvantages. ‘You
+      scarcely can conceive,’ he writes to his brother in 1759, ‘how much eight
+      years of disappointment, anguish, and study, have worn me down. . . .
+      Imagine to yourself a pale melancholy visage, with two great wrinkles
+      between the eye-brows, with an eye disgustingly severe, and a big wig; and
+      you may have a perfect picture of my present appearance,’ i.e. at thirty
+      years of age. ‘I can neither laugh nor drink,’ he goes on; ‘have
+      contracted an hesitating, disagreeable manner of speaking, and a visage
+      that looks ill-nature itself; in short, I have thought myself into a
+      settled melancholy, and an utter disgust of all that life brings with it.’
+      It is obvious that this description is largely coloured by passing
+      depression. ‘His features,’ says one contemporary, ‘were plain, but not
+      repulsive,—certainly not so when lighted up by conversation.’
+      Another witness—the ‘Jessamy Bride’—declares that ‘his
+      benevolence was unquestionable, and his countenance bore every trace of
+      it.’ His true likeness would seem to lie midway between the grotesquely
+      truthful sketch by Bunbury prefixed in 1776 to the _Haunch of Venison_,
+      and the portrait idealized by personal regard, which Reynolds painted in
+      1770. In this latter he is shown wearing, in place of his customary wig,
+      his own scant brown hair, and, on this occasion, masquerades in a furred
+      robe, and falling collar. But even through the disguise of a studio
+      ‘costume,’ the finely-perceptive genius of Reynolds has managed to suggest
+      much that is most appealing in his sitter’s nature. Past suffering,
+      present endurance, the craving to be understood, the mute deprecation of
+      contempt, are all written legibly in this pathetic picture. It has been
+      frequently copied, often very ineffectively, for so subtle is the art that
+      the slightest deviation hopelessly distorts and vulgarizes what Reynolds
+      has done supremely, once and for ever.
+
+      Goldsmith’s character presents but few real complexities. What seems most
+      to have impressed his contemporaries is the difference, emphasized by the
+      happily-antithetic epigram of Garrick, between his written style and his
+      conversation; and collaterally, between his eminence as a literary man and
+      his personal insignificance. Much of this is easily intelligible. He had
+      started in life with few temporal or physical advantages, and with a
+      native susceptibility that intensified his defects. Until
+      he became a middle-aged man, he led a life of which we do not even now
+      know all the degradations; and these had left their mark upon his manners.
+      With the publication of _The Traveller_, he became at once the
+      associate of some of the best talent and intellect in England,—of
+      fine gentlemen such as Beauclerk and Langton, of artists such as Reynolds
+      and Garrick, of talkers such as Johnson and Burke. Morbidly
+      self-conscious, nervously anxious to succeed, he was at once forced into a
+      competition for which neither his antecedents nor his qualifications had
+      prepared him. To this, coupled with the old habit of poverty, must be
+      attributed his oft-cited passion for fine clothes, which surely arose less
+      from vanity than from a mistaken attempt to extenuate what he felt to be
+      his most obvious shortcomings. As a talker especially he was ill-fitted to
+      shine. He was easily disconcerted by retort, and often discomfited in
+      argument. To the end of his days he never lost his native brogue; and (as
+      he himself tells us) he had that most fatal of defects to a narrator, a
+      slow and hesitating manner. The perspicuity which makes the charm of his
+      writings deserted him in conversation; and his best things were momentary
+      flashes. But some of these were undoubtedly very happy. His telling
+      Johnson that he would make the little fishes talk like whales; his
+      affirmation of Burke that he wound into a subject like a serpent; and
+      half-a-dozen other well-remembered examples—afford ample proof of
+      this. Something of the uneasy jealousy he is said to have exhibited with
+      regard to certain of his contemporaries may also be connected with the
+      long probation of obscurity during which he had been a spectator of the
+      good fortune of others, to whom he must have known himself superior. His
+      improvidence seems to have been congenital, since it is to be traced ‘even
+      from his boyish days.’ But though it cannot justly be ascribed to any
+      reaction from want to sufficiency, it can still less be supposed to have
+      been diminished by that change. If he was careless of money, it must also
+      be remembered that he gave much of it away; and fortune lingers little
+      with those whose ears are always open to a plausible tale of distress. Of
+      his sensibility and genuine kindheartedness there is no doubt. And it is
+      well to remember that most of the tales to his disadvantage come, not from
+      his more distinguished companions, but from such admitted detractors as
+      Hawkins and Boswell. It could be no mean individuality that acquired the
+      esteem, and deserved the regret, of Johnson and Reynolds.
+    
+
+In an edition of Goldsmith’s poems, any extended examination of his
+remaining productions would be out of place. Moreover, the bulk of these is
+considerably reduced when all that may properly be classed as hack-work has
+been withdrawn. The histories of Greece, of Rome, and of England; the
+_Animated Nature_; the lives of Nash, Voltaire, Parnell, and Bolingbroke,
+are merely compilations, only raised to the highest level in that line because
+they proceeded from a man whose gift of clear and easy exposition lent a charm
+to everything he touched. With the work which he did for himself, the case is
+different. Into _The Citizen of the World_, _The Vicar of Wakefield_,
+and his two comedies, he put all the best of his knowledge of human nature, his
+keen sympathy with his kind, his fine common-sense and his genial humour. The
+same qualities, tempered by a certain grace and tenderness, also enter into the
+best of his poems. Avoiding the epigram of Pope and the austere couplet of
+Johnson, he yet borrowed something from each, which he combined with a delicacy
+and an amenity that he had learned from neither. He himself, in all
+probability, would have rested his fame on his three chief metrical efforts,
+_The Traveller_, _The Hermit_, and _The Deserted Village_. But,
+as is often the case, he is remembered even more favourably by some of those
+delightful familiar verses, unprinted during his lifetime, which he threw off
+with no other ambition than the desire to amuse his friends.
+_Retaliation_, _ The Haunch of Venison_, the _Letter in Prose and
+Verse to Mrs. Bunbury_, all afford noteworthy exemplification of that
+playful touch and wayward fancy which constitute the chief attraction of this
+species of poetry. In his imitations of Swift and Prior, and his variations
+upon French suggestions, his personal note is scarcely so apparent; but the two
+Elegies and some of the minor pieces retain a deserved reputation. His
+ingenious prologues and epilogues also serve to illustrate the range and
+versatility of his talent. As a rule, the arrangement in the present edition is
+chronological; but it has not been thought necessary to depart from the
+practice which gives a time-honoured precedence to _The Traveller_ and
+_The Deserted Village_. The true sequence of the poems, in their order of
+publication, is, however, exactly indicated in the table which follows this
+Introduction.
+
+CHRONOLOGY OF GOLDSMITH’S LIFE AND POEMS.
+
+
+          1728
+        	
+          _November 10._ Born at Pallas, near Ballymahon, in the county of
+          Longford, Ireland.
+        
+
+          1730
+        	
+          Family remove to Lissoy, in the county of Westmeath.
+        
+
+          1731
+        	
+          Under Elizabeth Delap.
+        
+
+          1734
+        	
+          Under Mr. Thomas Byrne of the village school.
+        
+
+          1736–44
+        	
+          At school at Elphin (Mr. Griffin’s), Athlone (Mr. Campbell’s),
+          Edgeworthstown (Mr. Hughes’s).
+        
+
+          1744
+        	
+          _June 11._ Admitted a sizar of Trinity College, Dublin, _‘annum
+          agens_ 15.’
+        
+
+          1747
+        	
+          Death of his father, the Rev. Charles Goldsmith.
+ _May._
+          Takes part in a college riot.
+ _June 15._ Obtains a Smythe
+          exhibition.
+ Runs away from college.
+        
+
+          1749
+        	
+          _February 27._ Takes his degree as Bachelor of Arts.
+        
+
+          1751
+        	
+          Rejected for orders by the Bishop of Elphin.
+ Tutor to Mr. Flinn.
+
+          Sets out for America (via Cork), but returns.
+ Letter to Mrs.
+          Goldsmith (his mother).
+        
+
+          1752
+        	
+          Starts as a law student, but loses his all at play.
+ Goes to
+          Edinburgh to become a medical student.
+        
+
+          1753
+        	
+          _January 13._ Admitted a member of the ‘Medical Society’ of
+          Edinburgh.
+ _May 8._ Letter to his Uncle Contarine.
+ _September
+          26._ Letter to Robert Bryanton.
+ Letter to his Uncle Contarine.
+        
+
+          1754
+        	
+          Goes to Leyden. Letter to his Uncle Contarine.
+        
+
+          1755
+        	
+          _February._ Leaves Leyden.
+ Takes degree of Bachelor of
+          Medicine at Louvain (?).
+ Travels on foot in France, Germany,
+          Switzerland, and Italy.
+ Sketches _The Traveller_.
+        
+
+          1756
+        	
+          _February 1._ Returns to Dover. Low comedian; usher (?);
+          apothecary’s journeyman; poor physician in Bankside, Southwark.
+        
+
+          1757
+        	
+          Press corrector to Samuel Richardson, printer and novelist; assistant
+          at Peckham Academy (Dr. Milner’s).
+ _April._ Bound over to
+          Griffiths the bookseller. Quarrels with Griffiths.
+ _December
+          27._ Letter to his brother-in-law, Daniel Hodson.
+        
+
+          1758
+        	
+          _February._ Publishes _The Memoirs of a Protestant,
+          condemned to the Galleys of France for his Religion_.
+ Gives
+          up literature and returns to Peckham.
+ _August._ Leaves
+          Peckham. Letters to Edward Mills, Bryanton, Mrs. Jane Lawder.
+
+          Appointed surgeon and physician to a factory on the Coast of
+          Coromandel.
+ _November (?)._ Letter to Hodson.
+ Moves
+          into 12 Green Arbour Court, Old Bailey.
+ Coromandel appointment
+          comes to nothing.
+ _December 21._ Rejected at Surgeons’ Hall
+          as ‘not qualified’ for a hospital mate.
+        
+
+          1759
+        	
+          _February (?)._ Letter to Henry Goldsmith.
+ _March._
+          Visited by Percy at 12 Green Arbour Court.
+ _April 2._ _Enquiry
+          into the Present State of Polite Learning in Europe_ published.
+          ‘Prologue of Laberius’ (_Enquiry_).
+ _October 6._
+          _The Bee_ commenced. ‘On a Beautiful Youth struck blind
+          with Lightning’ (_Bee_).
+ _October 13._ ‘The Gift’
+          (_Bee_).
+ _October 18._ ‘The Logicians Refuted’ (_Busy
+          Body_).
+ _October 20._ ‘A Sonnet’ (_Bee_).
+
+          _October 22._ ‘Stanzas on the Taking of Quebec’ (_Busy Body_).
+
+          _October 27._ ‘Elegy on Mrs. Mary Blaize’ (_Bee_).
+
+          _November 24._ _The Bee_ closed.
+        
+
+          1760
+        	
+          _January 1._ _The British Magazine_ commenced.
+ _January
+          12._ _The Public Ledger_ commenced.
+ _January 24._
+          First Chinese Letter published (_Citizen of the World_).
+
+          _May 2._ ‘Description of an Author’s Bedchamber’ (‘Chinese
+          Letter’ in _Public Ledger_).
+ _October 21._ ‘On
+          seeing Mrs. . . . perform,’ etc. (‘Chinese Letter’ in _Public
+          Ledger_).
+ Editing _Lady’s Magazine_. Compiling
+          Prefaces.
+ Moves into 6 Wine Office Court, Fleet Street.
+        
+
+          1761
+        	
+          _March 4._ ‘On the Death of the Right Hon. . . . (‘Chinese
+          Letter’ in _Public Ledger_).
+ _April 4–14._ ‘An
+          Epigram’; to G. C. and R. L. (‘Chinese Letter in _Public Ledger_).
+
+          _May 13._ ‘Translation of a South American Ode.’ (‘Chinese
+          Letter’ in _Public Ledger_)
+ _August 14._ Last
+          Chinese Letter published (_Citizen of the World_).
+
+          _Memoirs of M. de Voltaire_ published in _Lady’s
+          Magazine_.
+        
+
+          1762
+        	
+          _February 23._ Pamphlet on Cock Lane Ghost published.
+ _February
+          26._ _History of Mecklenburgh_ published.
+ _May 1._
+          _Citizen of the World_ published.
+ _May 1 to Nov. 1._
+          _Plutarch’s Lives_, vol. i to vii, published.
+ At Bath
+          and Tunbridge.
+ _October 14._ _Life of Richard Nash_
+          published.
+ _October 28._ Sells third share of _Vicar of
+          Wakefield_ to B. Collins, printer, Salisbury.
+ At Mrs.
+          Fleming’s at Islington.
+        
+
+          1763
+        	
+          _March 31._ Agrees with James Dodsley to write a _
+          Chronological History of the Lives of Eminent Persons of Great Britain
+          and Ireland_. (Never done.)
+        
+
+          1764
+        	
+          ‘The Club,’ afterwards the Literary Club, founded.
+ Moves into
+          lodgings on the library staircase of the Temple.
+ _June 26._
+          _History of England, in a series of Letters from a Nobleman to
+          his Son_ published.
+ _October 31._ Oratorio of _The
+          Captivity_ sold to James Dodsley.
+ _December 19._ _The
+          Traveller_ published.
+        
+
+          1765
+        	
+          _June 4._ _Essays by Mr. Goldsmith_ published. ‘The
+          Double Transformation,’ ‘A New Simile’ (_Essays_).
+
+          _Edwin and Angelina_ (_The Hermit_) printed
+          privately for the amusement of the Countess of Northumberland.
+
+          Resumes practice as a physician.
+        
+
+          1766
+        	
+          _March 27._ _Vicar of Wakefield_ published. ‘Elegy on
+          a Mad Dog’; ‘Olivia’s Song’ (_Vicar of Wakefield_).
+ _May
+          31._ _Vicar of Wakefield_, 2nd edition.
+ _June._
+          Translation of Formey’s _Concise History of Philosophy and
+          Philosophers_ published.
+ _August 29._ _Vicar of
+          Wakefield_, 3rd edition.
+ _December 15._ _Poems
+          for Young Ladies_ published.
+        
+
+          1766
+        	
+          _December 28._ _English Grammar_ written.
+        
+
+          1767
+        	
+          _April._ _Beauties of English Poesy_ published.
+
+          _July 19._ Living in Garden Court, Temple.
+ _July 25._
+          Letter to the _St. James’s Chronicle_.
+ _December 22._
+          Death of John Newbery.
+        
+
+          1768
+        	
+          _February 5._ Publishes _The Good Natur’d Man_, a
+          Comedy, produced at Covent Garden, January 29. ‘Epilogue to _The
+          Good Natur’d Man_.’
+ Moves to 2 Brick Court, Middle Temple.
+
+          _May._ Death of Henry Goldsmith.
+ Living at Edgware.
+        
+
+          1769
+        	
+          _February 18._ ‘Epilogue to Mrs. Lenox’s _ Sister_.’
+
+          _February 29._ Agreement for ‘a new Natural History of Animals’ (_Animated
+          Nature_).
+ _May 18._ _Roman History_
+          published.
+ _June 13._ Agreement for _History of England_.
+
+          _December._ Appointed Professor of History to the Royal Academy.
+        
+
+          1770
+        	
+          _January._ Letter to Maurice Goldsmith.
+ _April 24–May 26._
+          Portrait by Reynolds exhibited.
+ _May 26._ _The Deserted
+          Village_ published.
+ _July 13._ _Life of Thomas
+          Parnell_ published.
+ _July._ On the Continent with the
+          Hornecks. Letters to Reynolds.
+ _September 15._ Agreement for
+          abridgement of _Roman History_.
+ _December 1._
+          Marchi’s print from Reynold’s portrait published.
+ _December 19._
+          _Life of Bolingbroke_ published.
+ _Vicar of
+          Wakefield_, 4th edition.
+        
+
+          1771
+        	
+          _Haunch of Venison_ written. (?)
+ _August 6._
+          _History of England_ published.
+ _December 11._
+          ‘Prologue to Cradock’s _ Zobeide_.’
+        
+
+          1772
+        	
+          _February 20._ _Threnodia Augustalis_ published.
+
+          Watson’s Engraving of _Resignation_ published.
+ _December._
+          Abridgement of _Roman History_ published.
+        
+
+          1773
+        	
+          _March 26._ Publishes _She Stoops to Conquer; or, The
+          Mistakes of a Night_, a Comedy, produced at Covent Garden, March
+          15. ‘Song in _She Stoops to Conquer_,’ ‘Epilogue to _She
+          Stoops to Conquer_.’
+        
+
+          1773
+        	
+          _March 24._ Kenrick’s libel in the _London Packet_.
+
+          _March 31._ Letter in the _Daily Advertiser_.
+ _May
+          8._ _The Grumbler_ produced.
+ Projects a _Dictionary
+          of Arts and Sciences_.
+        
+
+          1774
+        	
+          _March 25._ Illness.
+ _April 4._ Death.
+ _April 9._
+          ‘Buried 9th April, Oliver Goldsmith, MB, late of Brick-court, Middle
+          Temple’ (Register of Burials, Temple Church).
+ _April 19._
+          _Retaliation_ published.
+ _April._ _Vicar of
+          Wakefield_, 5th edition (dated 1773).
+ _June._ Song
+          (‘Ah me, when shall I marry me?’) published.
+ _June 28._
+          Letters of Administration granted.
+ _June._ _An History
+          of the Earth and Animated Nature_ published.
+ ‘Translation
+          from Addison.’ (_History_, etc., 1774.)
+        
+
+          1776
+        	
+          _The Haunch of Venison_ published. ‘Epitaph on Thomas
+          Parnell,’ and ‘Two Songs from _The Captivity_ (_Haunch
+          of Venison_).
+ Monument with medallion by Nollekens erected
+          in the south transept of Westminster Abbey.
+        
+
+          1777
+        	
+          _Poems and Plays_ published. ‘The Clown’s Reply,’ ‘Epitaph
+          on Edward Purdon’ (_Poems_, etc., 1777).
+        
+
+          1779
+        	
+          _Vicar of Wakefield_, 6th edition.
+        
+
+          1780
+        	
+          _Poetical and Dramatic Works_, Evans’s edition, published.
+
+          ‘Epilogue for Lee Lewes’ (_Poetical, etc., Works_, 1780).
+        
+
+          1801
+        	
+          _Miscellaneous Works_, Percy’s edition, published.
+          ‘Epilogues (unspoken) to _She Stoops to Conquer_’ (_Misc.
+          Works_, 1801).
+        
+
+          1820
+        	
+          _Miscellaneous Works_, ‘trade’ edition, published. An
+          Oratorio’ (_The Captivity_). (_Misc. Works_,
+          1820.)
+        
+
+          1837
+        	
+          _Miscellaneous Works_, Prior’s edition, published. ‘Verses
+          in Reply to an Invitation to Dinner’; ‘Letter in Prose and Verse to
+          Mrs. Bunbury’ (_Misc. Works_, 1837).
+ Tablet erected in
+          the Temple Church.
+        
+
+          1854
+        	
+          _Goldsmith’s Works_, Cunningham’s edition, published.
+          ‘Translation of Vida’s _Game of Chess_’ (_Works_,
+          1854, vol. iv).
+        
+
+          1864
+        	
+          _January 5._ J. H. Foley’s statue placed in front of Dublin
+          University.
+
+
+
+
+[Illustration: Vignette to ‘The Traveller’]
+VIGNETTE TO ‘THE TRAVELLER’
+ (Samuel Wale)
+
+
+
+
+DESCRIPTIVE POEMS
+
+
+ THE TRAVELLER
+ 
+ OR
+ 
+ A PROSPECT OF SOCIETY
+
+ DEDICATION
+ TO THE REV. HENRY GOLDSMITH
+
+
+      DEAR SIR,
+ I am sensible that the
+      friendship between us can acquire no new force from the ceremonies of a
+      Dedication; and perhaps it demands an excuse thus to prefix your name to
+      my attempts, which you decline giving with your own. But as a part of this
+      Poem was formerly written to you from Switzerland, the whole can now, with
+      propriety, be only inscribed to you. It will also throw a light upon many
+      parts of it, when the reader understands, that it is addressed to a man,
+      who, despising Fame and Fortune, has retired early to Happiness and
+      Obscurity, with an income of forty pounds a year.
+
+      I now perceive, my dear brother, the wisdom of your humble choice. You
+      have entered upon a sacred office, where the harvest is great, and the
+      labourers are but few; while you have left the field of Ambition, where
+      the labourers are many, and the harvest not worth carrying away. But of
+      all kinds of ambition, what from the refinement of the times, from
+      different systems of criticism, and from the divisions of party, that
+      which pursues poetical fame is the wildest.
+
+      Poetry makes a principal amusement among unpolished nations; but in a
+      country verging to the extremes of refinement, Painting and Music come in
+      for a share. As these offer the feeble mind a less laborious
+      entertainment,
+
+      they at first rival Poetry, and at length supplant her; they engross all
+      that favour once shown to her, and though but younger sisters, seize upon
+      the elder’s birthright.
+
+      Yet, however this art may be neglected by the powerful, it is still in
+      greater danger from the mistaken efforts of the learned to improve it.
+      What criticisms have we not heard of late in favour of blank verse, and
+      Pindaric odes, choruses, anapaests and iambics, alliterative care and
+      happy negligence! Every absurdity has now a champion to defend it; and as
+      he is generally much in the wrong, so he has always much to say; for error
+      is ever talkative.
+
+      But there is an enemy to this art still more dangerous, I mean Party.
+      Party entirely distorts the judgment, and destroys the taste. When the
+      mind is once infected with this disease, it can only find pleasure in what
+      contributes to increase the distemper. Like the tiger, that seldom desists
+      from pursuing man after having once preyed upon human flesh, the reader,
+      who has once gratified his appetite with calumny, makes, ever after, the
+      most agreeable feast upon murdered reputation. Such readers generally
+      admire some half-witted thing, who wants to be thought a bold man, having
+      lost the character of a wise one. Him they dignify with the name of poet;
+      his tawdry lampoons are called satires, his turbulence is said to be
+      force, and his frenzy fire.
+
+      What reception a Poem may find, which has neither abuse, party, nor blank
+      verse to support it, I cannot tell, nor am I solicitous to know. My aims
+      are right. Without espousing the cause of any party, I have attempted to
+      moderate the rage of all. I have endeavoured to show, that there may be
+      equal happiness in states, that are differently governed from our own;
+      that every state has a particular principle of happiness, and that this
+      principle in each may be carried to a mischievous excess. There are few
+      can judge, better than yourself, how far these positions are illustrated
+      in this Poem.
+
+      I am, dear Sir,
+ Your most affectionate Brother,
+         
+                       
+           OLIVER GOLDSMITH.
+
+
+
+
+[Illustration: ]
+
+
+      THE TRAVELLER
+ 
+ OR
+ 
+ A PROSPECT OF
+      SOCIETY
+
+
+REMOTE, unfriended, melancholy, slow,
+Or by the lazy Scheldt, or wandering Po;
+Or onward, where the rude Carinthian boor
+Against the houseless stranger shuts the door;
+Or where Campania’s plain forsaken lies,                       5
+A weary waste expanding to the skies:
+Where’er I roam, whatever realms to see,
+My heart untravell’d fondly turns to thee;
+Still to my brother turns with ceaseless pain,
+And drags at each remove a lengthening chain.                 10
+
+  Eternal blessings crown my earliest friend,
+And round his dwelling guardian saints attend:
+Bless’d be that spot, where cheerful guests retire
+To pause from toil, and trim their ev’ning fire;
+Bless’d that abode, where want and pain repair,               15
+And every stranger finds a ready chair;
+Bless’d be those feasts with simple plenty crown’d,
+Where all the ruddy family around
+Laugh at the jests or pranks that never fail,
+Or sigh with pity at some mournful tale,                      20
+Or press the bashful stranger to his food,
+And learn the luxury of doing good.
+
+  But me, not destin’d such delights to share,
+My prime of life in wand’ring spent and care,
+Impell’d, with steps unceasing, to pursue                     25
+Some fleeting good, that mocks me with the view;
+That, like the circle bounding earth and skies,
+Allures from far, yet, as I follow, flies;
+My fortune leads to traverse realms alone,
+And find no spot of all the world my own.                     30
+
+  E’en now, where Alpine solitudes ascend,
+I sit me down a pensive hour to spend;
+And, plac’d on high above the storm’s career,
+Look downward where a hundred realms appear;
+Lakes, forests, cities, plains, extending wide,               35
+The pomp of kings, the shepherd’s humbler pride.
+
+  When thus Creation’s charms around combine,
+Amidst the store, should thankless pride repine?
+Say, should the philosophic mind disdain
+That good, which makes each humbler bosom vain?               40
+Let school-taught pride dissemble all it can,
+These little things are great to little man;
+And wiser he, whose sympathetic mind
+Exults in all the good of all mankind.
+Ye glitt’ring towns, with wealth and splendour crown’d,       45
+Ye fields, where summer spreads profusion round,
+Ye lakes, whose vessels catch the busy gale,
+Ye bending swains, that dress the flow’ry vale,
+For me your tributary stores combine;
+Creation’s heir, the world, the world is mine!                50
+
+  As some lone miser visiting his store,
+Bends at his treasure, counts, re-counts it o’er;
+Hoards after hoards his rising raptures fill,
+Yet still he sighs, for hoards are wanting still:
+Thus to my breast alternate passions rise,                    55
+Pleas’d with each good that heaven to man supplies:
+Yet oft a sigh prevails, and sorrows fall,
+To see the hoard of human bliss so small;
+And oft I wish, amidst the scene, to find
+Some spot to real happiness consign’d,                        60
+Where my worn soul, each wand’ring hope at rest,
+May gather bliss to see my fellows bless’d.
+
+  But where to find that happiest spot below,
+Who can direct, when all pretend to know?
+The shudd’ring tenant of the frigid zone                      65
+Boldly proclaims that happiest spot his own,
+Extols the treasures of his stormy seas,
+And his long nights of revelry and ease;
+The naked negro, panting at the line,
+Boasts of his golden sands and palmy wine,                    70
+Basks in the glare, or stems the tepid wave,
+And thanks his gods for all the good they gave.
+Such is the patriot’s boast, where’er we roam,
+His first, best country ever is, at home.
+And yet, perhaps, if countries we compare,                    75
+And estimate the blessings which they share,
+Though patriots flatter, still shall wisdom find
+An equal portion dealt to all mankind,
+As different good, by Art or Nature given,
+To different nations makes their blessings even.              80
+
+  Nature, a mother kind alike to all,
+Still grants her bliss at Labour’s earnest call;
+With food as well the peasant is supplied
+On Idra’s cliffs as Arno’s shelvy side;
+And though the rocky-crested summits frown,                   85
+These rocks, by custom, turn to beds of down.
+From Art more various are the blessings sent;
+Wealth commerce, honour, liberty, content.
+Yet these each other’s power so strong contest,
+That either seems destructive of the rest.                    90
+Where wealth and freedom reign, contentment fails,
+And honour sinks where commerce long prevails.
+Hence every state to one lov’d blessing prone,
+Conforms and models life to that alone.
+Each to the favourite happiness attends,                      95
+And spurns the plan that aims at other ends;
+Till, carried to excess in each domain,
+This favourite good begets peculiar pain.
+
+  But let us try these truths with closer eyes,
+And trace them through the prospect as it lies:              100
+Here for a while my proper cares resign’d,
+Here let me sit in sorrow for mankind,
+Like yon neglected shrub at random cast,
+That shades the steep, and sighs at every blast.
+
+  Far to the right where Apennine ascends,                   105
+Bright as the summer, Italy extends;
+Its uplands sloping deck the mountain’s side,
+Woods over woods in gay theatric pride;
+While oft some temple’s mould’ring tops between
+With venerable grandeur mark the scene                       110
+
+
+[Illustration: ]
+THE TRAVELLER
+
+(R. Westall)
+
+  Could Nature’s bounty satisfy the breast,
+The sons of Italy were surely blest.
+Whatever fruits in different climes were found,
+That proudly rise, or humbly court the ground;
+Whatever blooms in torrid tracts appear,                     115
+Whose bright succession decks the varied year;
+Whatever sweets salute the northern sky
+With vernal lives that blossom but to die;
+These here disporting own the kindred soil,
+Nor ask luxuriance from the planter’s toil;                  120
+While sea-born gales their gelid wings expand
+To winnow fragrance round the smiling land.
+
+  But small the bliss that sense alone bestows,
+And sensual bliss is all the nation knows.
+In florid beauty groves and fields appear,                   125
+Man seems the only growth that dwindles here.
+Contrasted faults through all his manner reign;
+Though poor, luxurious; though submissive, vain;
+Though grave, yet trifling; zealous, yet untrue;
+And e’en in penance planning sins anew.                      130
+All evils here contaminate the mind,
+That opulence departed leaves behind;
+For wealth was theirs, not far remov’d the date,
+When commerce proudly flourish’d through the state;
+At her command the palace learn’d to rise,                   135
+Again the long-fall’n column sought the skies;
+The canvas glow’d beyond e’en Nature warm,
+The pregnant quarry teem’d with human form;
+Till, more unsteady than the southern gale,
+Commerce on other shores display’d her sail;                 140
+While nought remain’d of all that riches gave,
+But towns unmann’d, and lords without a slave;
+And late the nation found, with fruitless skill,
+Its former strength was but plethoric ill.
+
+  Yet still the loss of wealth is here supplied              145
+By arts, the splendid wrecks of former pride;
+From these the feeble heart and long-fall’n mind
+An easy compensation seem to find.
+Here may be seen, in bloodless pomp array’d,
+The paste-board triumph and the cavalcade;                   150
+Processions form’d for piety and love,
+A mistress or a saint in every grove.
+By sports like these are all their cares beguil’d,
+The sports of children satisfy the child;
+Each nobler aim, repress’d by long control,                  155
+Now sinks at last, or feebly mans the soul;
+While low delights, succeeding fast behind,
+In happier meanness occupy the mind:
+As in those domes, where Caesars once bore sway,
+Defac’d by time and tottering in decay,                      160
+There in the ruin, heedless of the dead,
+The shelter-seeking peasant builds his shed,
+And, wond’ring man could want the larger pile,
+Exults, and owns his cottage with a smile.
+
+  My soul, turn from them; turn we to survey                 165
+Where rougher climes a nobler race display,
+Where the bleak Swiss their stormy mansions tread,
+And force a churlish soil for scanty bread;
+No product here the barren hills afford,
+But man and steel, the soldier and his sword;                170
+No vernal blooms their torpid rocks array,
+But winter ling’ring chills the lap of May;
+No Zephyr fondly sues the mountain’s breast,
+But meteors glare, and stormy glooms invest.
+
+  Yet still, e’en here, content can spread a charm,          175
+Redress the clime, and all its rage disarm.
+Though poor the peasant’s hut, his feasts though small,
+He sees his little lot the lot of all;
+Sees no contiguous palace rear its head
+To shame the meanness of his humble shed;                    180
+No costly lord the sumptuous banquet deal
+To make him loathe his vegetable meal;
+But calm, and bred in ignorance and toil,
+Each wish contracting, fits him to the soil.
+Cheerful at morn he wakes from short repose,                 185
+Breasts the keen air, and carols as he goes;
+With patient angle trolls the finny deep,
+Or drives his vent’rous plough-share to the steep;
+Or seeks the den where snow-tracks mark the way,
+And drags the struggling savage into day.                    190
+At night returning, every labour sped,
+He sits him down the monarch of a shed;
+Smiles by his cheerful fire, and round surveys
+His children’s looks, that brighten at the blaze;
+While his lov’d partner, boastful of her hoard,              195
+Displays her cleanly platter on the board:
+And haply too some pilgrim, thither led,
+With many a tale repays the nightly bed.
+
+  Thus every good his native wilds impart,
+Imprints the patriot passion on his heart,                   200
+And e’en those ills, that round his mansion rise,
+Enhance the bliss his scanty fund supplies.
+Dear is that shed to which his soul conforms,
+And dear that hill which lifts him to the storms;
+And as a child, when scaring sounds molest,                  205
+Clings close and closer to the mother’s breast,
+So the loud torrent, and the whirlwind’s roar,
+But bind him to his native mountains more.
+
+  Such are the charms to barren states assign’d;
+Their wants but few, their wishes all confin’d.              210
+Yet let them only share the praises due,
+If few their wants, their pleasures are but few;
+For every want that stimulates the breast,
+Becomes a source of pleasure when redrest.
+Whence from such lands each pleasing science flies,          215
+That first excites desire, and then supplies;
+Unknown to them, when sensual pleasures cloy,
+To fill the languid pause with finer joy;
+Unknown those powers that raise the soul to flame,
+Catch every nerve, and vibrate through the frame.            220
+Their level life is but a smould’ring fire,
+Unquench’d by want, unfann’d by strong desire;
+Unfit for raptures, or, if raptures cheer
+On some high festival of once a year,
+In wild excess the vulgar breast takes fire,                 225
+Till, buried in debauch, the bliss expire.
+
+  But not their joys alone thus coarsely flow:
+Their morals, like their pleasures, are but low;
+For, as refinement stops, from sire to son
+Unalter’d, unimprov’d the manners run;                       230
+And love’s and friendship’s finely pointed dart
+Fall blunted from each indurated heart.
+Some sterner virtues o’er the mountain’s breast
+May sit, like falcons cow’ring on the nest;
+But all the gentler morals, such as play                     235
+Through life’s more cultur’d walks, and charm the way,
+These far dispers’d, on timorous pinions fly,
+To sport and flutter in a kinder sky.
+
+  To kinder skies, where gentler manners reign,
+I turn; and France displays her bright domain.               240
+Gay sprightly land of mirth and social ease,
+Pleas’d with thyself, whom all the world can please,
+How often have I led thy sportive choir,
+With tuneless pipe, beside the murmuring Loire!
+Where shading elms along the margin grew,                    245
+And freshen’d from the wave the Zephyr flew;
+And haply, though my harsh touch falt’ring still,
+But mock’d all tune, and marr’d the dancer’s skill;
+Yet would the village praise my wondrous power,
+And dance, forgetful of the noon-tide hour.                  250
+Alike all ages. Dames of ancient days
+Have led their children through the mirthful maze,
+And the gay grandsire, skill’d in gestic lore,
+Has frisk’d beneath the burthen of threescore.
+
+  So bless’d a life these thoughtless realms display,        255
+Thus idly busy rolls their world away:
+Theirs are those arts that mind to mind endear,
+For honour forms the social temper here:
+Honour, that praise which real merit gains,
+Or e’en imaginary worth obtains,                             260
+Here passes current; paid from hand to hand,
+It shifts in splendid traffic round the land:
+From courts, to camps, to cottages it strays,
+And all are taught an avarice of praise;
+They please, are pleas’d, they give to get esteem,           265
+Till, seeming bless’d, they grow to what they seem.
+
+  But while this softer art their bliss supplies,
+It gives their follies also room to rise;
+For praise too dearly lov’d, or warmly sought,
+Enfeebles all internal strength of thought;                  270
+And the weak soul, within itself unblest,
+Leans for all pleasure on another’s breast.
+Hence ostentation here, with tawdry art,
+Pants for the vulgar praise which fools impart;
+Here vanity assumes her pert grimace,                        275
+And trims her robes of frieze with copper lace;
+Here beggar pride defrauds her daily cheer,
+To boast one splendid banquet once a year;
+The mind still turns where shifting fashion draws,
+Nor weighs the solid worth of self-applause.                 280
+
+  To men of other minds my fancy flies,
+Embosom’d in the deep where Holland lies.
+Methinks her patient sons before me stand,
+Where the broad ocean leans against the land,
+And, sedulous to stop the coming tide,                       285
+Lift the tall rampire’s artificial pride.
+Onward, methinks, and diligently slow,
+The firm-connected bulwark seems to grow;
+Spreads its long arms amidst the wat’ry roar,
+Scoops out an empire, and usurps the shore;                  290
+While the pent ocean rising o’er the pile,
+Sees an amphibious world beneath him smile;
+The slow canal, the yellow-blossom’d vale,
+The willow-tufted bank, the gliding sail,
+The crowded mart, the cultivated plain,                      295
+A new creation rescu’d from his reign.
+
+  Thus, while around the wave-subjected soil
+Impels the native to repeated toil,
+Industrious habits in each bosom reign,
+And industry begets a love of gain.                          300
+Hence all the good from opulence that springs,
+With all those ills superfluous treasure brings,
+Are here displayed. Their much-lov’d wealth imparts
+Convenience, plenty, elegance, and arts;
+But view them closer, craft and fraud appear,                305
+E’en liberty itself is barter’d here.
+At gold’s superior charms all freedom flies,
+The needy sell it, and the rich man buys;
+A land of tyrants, and a den of slaves,
+Here wretches seek dishonourable graves,                     310
+And calmly bent, to servitude conform,
+Dull as their lakes that slumber in the storm.
+
+  Heavens! how unlike their Belgic sires of old!
+Rough, poor, content, ungovernably bold;
+War in each breast, and freedom on each brow;                315
+How much unlike the sons of Britain now!
+
+  Fir’d at the sound, my genius spreads her wing,
+And flies where Britain courts the western spring;
+Where lawns extend that scorn Arcadian pride,
+And brighter streams than fam’d Hydaspes glide.              320
+There all around the gentlest breezes stray,
+There gentle music melts on ev’ry spray;
+Creation’s mildest charms are there combin’d,
+Extremes are only in the master’s mind!
+Stern o’er each bosom reason holds her state,                325
+With daring aims irregularly great;
+Pride in their port, defiance in their eye,
+I see the lords of human kind pass by,
+Intent on high designs, a thoughtful band,
+By forms unfashion’d, fresh from Nature’s hand;              330
+Fierce in their native hardiness of soul,
+True to imagin’d right, above control,
+While e’en the peasant boasts these rights to scan,
+And learns to venerate himself as man.
+
+  Thine, Freedom, thine the blessings pictur’d here,         335
+Thine are those charms that dazzle and endear;
+Too bless’d, indeed, were such without alloy,
+But foster’d e’en by Freedom, ills annoy:
+That independence Britons prize too high,
+Keeps man from man, and breaks the social tie;               340
+The self-dependent lordlings stand alone,
+All claims that bind and sweeten life unknown;
+Here by the bonds of nature feebly held,
+Minds combat minds, repelling and repell’d.
+Ferments arise, imprison’d factions roar,                    345
+Repress’d ambition struggles round her shore,
+Till over-wrought, the general system feels
+Its motions stop, or frenzy fire the wheels.
+
+  Nor this the worst. As nature’s ties decay,
+As duty, love, and honour fail to sway,                      350
+Fictitious bonds, the bonds of wealth and law,
+Still gather strength, and force unwilling awe.
+Hence all obedience bows to these alone,
+And talent sinks, and merit weeps unknown;
+Time may come, when stripp’d of all her charms,              355
+The land of scholars, and the nurse of arms,
+Where noble stems transmit the patriot flame,
+Where kings have toil’d, and poets wrote for fame,
+One sink of level avarice shall lie,
+And scholars, soldiers, kings, unhonour’d die.               360
+
+  Yet think not, thus when Freedom’s ills I state,
+I mean to flatter kings, or court the great;
+Ye powers of truth, that bid my soul aspire,
+Far from my bosom drive the low desire;
+And thou, fair Freedom, taught alike to feel                 365
+The rabble’s rage, and tyrant’s angry steel;
+Thou transitory flower, alike undone
+By proud contempt, or favour’s fostering sun,
+Still may thy blooms the changeful clime endure,
+I only would repress them to secure:                         370
+For just experience tells, in every soil,
+That those who think must govern those that toil;
+And all that freedom’s highest aims can reach,
+Is but to lay proportion’d loads on each.
+Hence, should one order disproportion’d grow,                375
+Its double weight must ruin all below.
+
+  O then how blind to all that truth requires,
+Who think it freedom when a part aspires!
+Calm is my soul, nor apt to rise in arms,
+Except when fast-approaching danger warms:                   380
+But when contending chiefs blockade the throne,
+Contracting regal power to stretch their own;
+When I behold a factious band agree
+To call it freedom when themselves are free;
+Each wanton judge new penal statutes draw,                   385
+Laws grind the poor, and rich men rule the law;
+The wealth of climes, where savage nations roam,
+Pillag’d from slaves to purchase slaves at home;
+Fear, pity, justice, indignation start,
+Tear off reserve, and bare my swelling heart;                390
+Till half a patriot, half a coward grown,
+I fly from petty tyrants to the throne.
+
+  Yes, brother, curse with me that baleful hour,
+When first ambition struck at regal power;
+And thus polluting honour in its source,                     395
+Gave wealth to sway the mind with double force.
+Have we not seen, round Britain’s peopled shore,
+Her useful sons exchang’d for useless ore?
+Seen all her triumphs but destruction haste,
+Like flaring tapers bright’ning as they waste;               400
+Seen opulence, her grandeur to maintain,
+Lead stern depopulation in her train,
+And over fields where scatter’d hamlets rose,
+In barren solitary pomp repose?
+Have we not seen, at pleasure’s lordly call,                 405
+The smiling long-frequented village fall?
+Beheld the duteous son, the sire decay’d,
+The modest matron, and the blushing maid,
+Forc’d from their homes, a melancholy train,
+To traverse climes beyond the western main;                  410
+Where wild Oswego spreads her swamps around,
+And Niagara stuns with thund’ring sound?
+
+  E’en now, perhaps as there some pilgrim strays
+Through tangled forests, and through dangerous ways;
+Where beasts with man divided empire claim,                  415
+And the brown Indian marks with murd’rous aim;
+There, while above the giddy tempest flies,
+And all around distressful yells arise,
+The pensive exile, bending with his woe,
+To stop too fearful, and too faint to go,                    420
+Casts a long look where England’s glories shine,
+And bids his bosom sympathise with mine.
+
+  Vain, very vain, my weary search to find
+That bliss which only centres in the mind:
+Why have I stray’d from pleasure and repose,                 425
+To seek a good each government bestows?
+In every government, though terrors reign,
+Though tyrant kings, or tyrant laws restrain,
+How small, of all that human hearts endure,
+That part which laws or kings can cause or cure.             430
+Still to ourselves in every place consign’d,
+Our own felicity we make or find:
+With secret course, which no loud storms annoy,
+Glides the smooth current of domestic joy.
+The lifted axe, the agonising wheel,                         435
+Luke’s iron crown, and Damiens’ bed of steel,
+To men remote from power but rarely known,
+Leave reason, faith, and conscience all our own.
+
+
+
+
+[Illustration: Vignette to ‘The Deserted Village’]
+VIGNETTE TO ‘THE DESERTED VILLAGE’
+
+(Isaac Taylor)
+
+
+
+
+THE DESERTED VILLAGE
+
+
+ DEDICATION
+ 
+ TO SIR JOSHUA REYNOLDS
+
+
+      DEAR SIR,
+ I can have no expectations in
+      an address of this kind, either to add to your reputation, or to establish
+      my own. You can gain nothing from my admiration, as I am ignorant of that
+      art in which you are said to excel; and I may lose much by the severity of
+      your judgment, as few have a juster taste in poetry than you. Setting
+      interest therefore aside, to which I never paid much attention, I must be
+      indulged at present in following my affections. The only dedication I ever
+      made was to my brother, because I loved him better than most other men. He
+      is since dead. Permit me to inscribe this Poem to you.
+
+      How far you may be pleased with the versification and mere mechanical
+      parts of this attempt, I don’t pretend to enquire; but I know you will
+      object (and indeed several of our best and wisest friends concur in the
+      opinion) that the depopulation it deplores is no where to be seen, and the
+      disorders it laments are only to be found in the poet’s own imagination.
+      To this I can scarce make any other answer than that I sincerely believe
+      what I have written; that I have taken all possible pains, in my country
+      excursions, for these four or five years past, to be certain of what I
+      allege; and that all my views and enquiries have led me to believe those
+      miseries real, which I here attempt to display. But this is not the place
+      to enter into an enquiry, whether the country be depopulating or not; the
+      discussion would take up much room, and I should prove myself, at best, an
+      indifferent politician, to tire the reader with a long preface, when I
+      want his unfatigued attention to a long poem.
+
+      In regretting the depopulation of the country, I inveigh against the
+      increase of our luxuries; and here also I expect the shout of modern
+      politicians against me. For twenty or thirty years past, it has been the
+      fashion to consider luxury as one of the greatest national advantages; and
+      all the wisdom of antiquity in that particular, as erroneous. Still
+      however, I must remain a professed ancient on that head, and continue to
+      think those luxuries prejudicial to states, by which so many vices are
+      introduced, and so many kingdoms have been undone. Indeed so much has been
+      poured out of late on the other side of the question, that, merely for the
+      sake of novelty and variety, one would sometimes wish to be in the right.
+
+      I am, Dear Sir,
+
+      Your sincere friend, and ardent admirer,
+
+          OLIVER GOLDSMITH.
+
+
+
+
+[Illustration: ]
+
+
+
+
+THE DESERTED VILLAGE
+
+
+SWEET AUBURN! loveliest village of the plain,
+Where health and plenty cheer’d the labouring swain,
+Where smiling spring its earliest visit paid,
+And parting summer’s lingering blooms delay’d:
+Dear lovely bowers of innocence and ease,                      5
+Seats of my youth, when every sport could please,
+How often have I loiter’d o’er thy green,
+Where humble happiness endear’d each scene;
+How often have I paus’d on every charm,
+The shelter’d cot, the cultivated farm,                       10
+The never-failing brook, the busy mill,
+The decent church that topp’d the neighbouring hill,
+The hawthorn bush, with seats beneath the shade,
+For talking age and whisp’ring lovers made;
+How often have I bless’d the coming day,                      15
+When toil remitting lent its turn to play,
+And all the village train, from labour free,
+Led up their sports beneath the spreading tree;
+While many a pastime circled in the shade,
+The young contending as the old survey’d;                     20
+And many a gambol frolick’d o’er the ground,
+And sleights of art and feats of strength went round;
+And still as each repeated pleasure tir’d,
+Succeeding sports the mirthful band inspir’d;
+The dancing pair that simply sought renown,                   25
+By holding out to tire each other down;
+The swain mistrustless of his smutted face,
+While secret laughter titter’d round the place;
+The bashful virgin’s side-long looks of love,
+The matron’s glance that would those looks reprove:           30
+These were thy charms, sweet village; sports like these,
+With sweet succession, taught e’en toil to please;
+These round thy bowers their cheerful influence shed,
+These were thy charms—But all these charms are fled.
+
+  Sweet smiling village, loveliest of the lawn,               35
+Thy sports are fled, and all thy charms withdrawn;
+Amidst thy bowers the tyrant’s hand is seen,
+And desolation saddens all thy green:
+One only master grasps the whole domain,
+And half a tillage stints thy smiling plain:                  40
+No more thy glassy brook reflects the day,
+But chok’d with sedges, works its weedy way.
+Along thy glades, a solitary guest,
+The hollow-sounding bittern guards its nest;
+Amidst thy desert walks the lapwing flies,                    45
+And tires their echoes with unvaried cries.
+Sunk are thy bowers in shapeless ruin all,
+And the long grass o’ertops the mould’ring wall;
+And trembling, shrinking from the spoiler’s hand,
+Far, far away, thy children leave the land.                   50
+
+  Ill fares the land, to hast’ning ills a prey,
+Where wealth accumulates, and men decay:
+Princes and lords may flourish, or may fade;
+A breath can make them, as a breath has made;
+But a bold peasantry, their country’s pride,                  55
+When once destroy’d, can never be supplied.
+
+  A time there was, ere England’s griefs began,
+When every rood of ground maintain’d its man;
+For him light labour spread her wholesome store,
+Just gave what life requir’d, but gave no more:               60
+His best companions, innocence and health;
+And his best riches, ignorance of wealth.
+
+  But times are alter’d; trade’s unfeeling train
+Usurp the land and dispossess the swain;
+Along the lawn, where scatter’d hamlets rose,                 65
+Unwieldy wealth, and cumbrous pomp repose;
+And every want to opulence allied,
+And every pang that folly pays to pride.
+Those gentle hours that plenty bade to bloom,
+Those calm desires that ask’d but little room,                70
+Those healthful sports that grac’d the peaceful scene,
+Liv’d in each look, and brighten’d all the green;
+These, far departing, seek a kinder shore,
+And rural mirth and manners are no more.
+
+  Sweet AUBURN!  parent of the blissful hour,                 75
+Thy glades forlorn confess the tyrant’s power.
+Here as I take my solitary rounds,
+Amidst thy tangling walks, and ruin’d grounds,
+And, many a year elaps’d, return to view
+Where once the cottage stood, the hawthorn grew,              80
+Remembrance wakes with all her busy train,
+Swells at my breast, and turns the past to pain.
+
+  In all my wand’rings round this world of care,
+In all my griefs—and GOD has given my share—
+I still had hopes my latest hours to crown,                   85
+Amidst these humble bowers to lay me down;
+To husband out life’s taper at the close,
+And keep the flame from wasting by repose.
+I still had hopes, for pride attends us still,
+Amidst the swains to show my book-learn’d skill,              90
+Around my fire an evening group to draw,
+And tell of all I felt, and all I saw;
+And, as a hare, whom hounds and horns pursue,
+Pants to the place from whence at first she flew,
+I still had hopes, my long vexations pass’d,                  95
+Here to return—and die at home at last.
+
+  O blest retirement, friend to life’s decline,
+Retreats from care, that never must be mine,
+How happy he who crowns in shades like these,
+A youth of labour with an age of ease;                       100
+Who quits a world where strong temptations try
+And, since ’tis hard to combat, learns to fly!
+For him no wretches, born to work and weep,
+Explore the mine, or tempt the dangerous deep;
+No surly porter stands in guilty state                       105
+To spurn imploring famine from the gate;
+But on he moves to meet his latter end,
+Angels around befriending Virtue’s friend;
+Bends to the grave with unperceiv’d decay,
+While Resignation gently slopes the way;                     110
+And, all his prospects bright’ning to the last,
+His Heaven commences ere the world be pass’d!
+
+
+[Illustration: ]
+The Water-cress gatherer
+
+(John Bewick)
+
+  Sweet was the sound, when oft at evening’s close
+Up yonder hill the village murmur rose;
+There, as I pass’d with careless steps and slow,             115
+The mingling notes came soften’d from below;
+The swain responsive as the milk-maid sung,
+The sober herd that low’d to meet their young;
+The noisy geese that gabbled o’er the pool,
+The playful children just let loose from school;             120
+The watchdog’s voice that bay’d the whisp’ring wind,
+And the loud laugh that spoke the vacant mind;
+These all in sweet confusion sought the shade,
+And fill’d each pause the nightingale had made.
+But now the sounds of population fail,                       125
+No cheerful murmurs fluctuate in the gale,
+No busy steps the grass-grown foot-way tread,
+For all the bloomy flush of life is fled.
+All but yon widow’d, solitary thing
+That feebly bends beside the plashy spring;                  130
+She, wretched matron, forc’d in age, for bread,
+To strip the brook with mantling cresses spread,
+To pick her wintry faggot from the thorn,
+To seek her nightly shed, and weep till morn;
+She only left of all the harmless train,                     135
+The sad historian of the pensive plain.
+
+  Near yonder copse, where once the garden smil’d,
+And still where many a garden flower grows wild;
+There, where a few torn shrubs the place disclose,
+The village preacher’s modest mansion rose.                  140
+A man he was to all the country dear,
+And passing rich with forty pounds a year;
+Remote from towns he ran his godly race,
+Nor e’er had chang’d, nor wished to change his place;
+Unpractis’d he to fawn, or seek for power,                   145
+By doctrines fashion’d to the varying hour;
+Far other aims his heart had learned to prize,
+More skill’d to raise the wretched than to rise.
+His house was known to all the vagrant train,
+He chid their wand’rings, but reliev’d their pain;           150
+The long-remember’d beggar was his guest,
+Whose beard descending swept his aged breast;
+The ruin’d spendthrift, now no longer proud,
+Claim’d kindred there, and had his claims allow’d;
+The broken soldier, kindly bade to stay,                     155
+Sat by his fire, and talk’d the night away;
+Wept o’er his wounds, or tales of sorrow done,
+Shoulder’d his crutch, and show’d how fields were won.
+Pleas’d with his guests, the good man learn’d to glow,
+And quite forgot their vices in their woe;                   160
+Careless their merits, or their faults to scan,
+His pity gave ere charity began.
+
+  Thus to relieve the wretched was his pride,
+And e’en his failings lean’d to Virtue’s side;
+But in his duty prompt at every call,                        165
+He watch’d and wept, he pray’d and felt, for all.
+And, as a bird each fond endearment tries
+To tempt its new-fledg’d offspring to the skies,
+He tried each art, reprov’d each dull delay,
+Allur’d to brighter worlds, and led the way.                 170
+
+  Beside the bed where parting life was laid,
+And sorrow, guilt, and pain, by turns dismay’d,
+The reverend champion stood. At his control,
+Despair and anguish fled the struggling soul;
+Comfort came down the trembling wretch to raise,             175
+And his last falt’ring accents whisper’d praise.
+
+  At church, with meek and unaffected grace,
+His looks adorn’d the venerable place;
+Truth from his lips prevail’d with double sway,
+And fools, who came to scoff, remain’d to pray.              180
+The service pass’d, around the pious man,
+With steady zeal, each honest rustic ran;
+Even children follow’d with endearing wile,
+And pluck’d his gown, to share the good man’s smile.
+His ready smile a parent’s warmth express’d,                 185
+Their welfare pleas’d him, and their cares distress’d;
+To them his heart, his love, his griefs were given,
+But all his serious thoughts had rest in Heaven.
+As some tall cliff, that lifts its awful form,
+Swells from the vale, and midway leaves the storm,           190
+Though round its breast the rolling clouds are spread,
+Eternal sunshine settles on its head.
+
+  Beside yon straggling fence that skirts the way,
+With blossom’d furze unprofitably gay,
+There, in his noisy mansion, skill’d to rule,                195
+The village master taught his little school;
+A man severe he was, and stern to view;
+I knew him well, and every truant knew;
+Well had the boding tremblers learn’d to trace
+The day’s disasters in his morning face;                     200
+Full well they laugh’d, with counterfeited glee,
+At all his jokes, for many a joke had he;
+Full well the busy whisper, circling round,
+Convey’d the dismal tidings when he frown’d;
+Yet he was kind; or if severe in aught,                      205
+The love he bore to learning was in fault;
+The village all declar’d how much he knew;
+’Twas certain he could write, and cypher too;
+Lands he could measure, terms and tides presage,
+And e’en the story ran that he could gauge.                  210
+In arguing too, the parson own’d his skill,
+For e’en though vanquish’d, he could argue still;
+While words of learned length and thund’ring sound
+Amazed the gazing rustics rang’d around,
+And still they gaz’d, and still the wonder grew,             215
+That one small head could carry all he knew.
+
+  But past is all his fame. The very spot
+Where many a time he triumph’d, is forgot.
+Near yonder thorn, that lifts its head on high,
+Where once the sign-post caught the passing eye,             220
+Low lies that house where nut-brown draughts inspir’d,
+Where grey-beard mirth and smiling toil retir’d,
+Where village statesmen talk’d with looks profound,
+And news much older than their ale went round.
+Imagination fondly stoops to trace                           225
+The parlour splendours of that festive place;
+The white-wash’d wall, the nicely sanded floor,
+The varnish’d clock that click’d behind the door;
+The chest contriv’d a double debt to pay,
+A bed by night, a chest of drawers by day;                   230
+The pictures plac’d for ornament and use,
+The twelve good rules, the royal game of goose;
+The hearth, except when winter chill’d the day,
+With aspen boughs, and flowers, and fennel gay;
+While broken tea-cups, wisely kept for show,                 235
+Rang’d o’er the chimney, glisten’d in a row.
+
+  Vain, transitory splendours! Could not all
+Reprieve the tottering mansion from its fall!
+Obscure it sinks, nor shall it more impart
+An hour’s importance to the poor man’s heart;                240
+Thither no more the peasant shall repair
+To sweet oblivion of his daily care;
+No more the farmer’s news, the barber’s tale,
+No more the wood-man’s ballad shall prevail;
+No more the smith his dusky brown shall clear,               245
+Relax his pond’rous strength, and lean to hear;
+The host himself no longer shall be found
+Careful to see the mantling bliss go round;
+Nor the coy maid, half willing to be press’d,
+Shall kiss the cup to pass it to the rest.                   250
+
+  Yes! let the rich deride, the proud disdain,
+These simple blessings of the lowly train;
+To me more dear, congenial to my heart,
+One native charm, than all the gloss of art;
+Spontaneous joys, where Nature has its play,                 255
+The soul adopts, and owns their first-born sway;
+Lightly they frolic o’er the vacant mind,
+Unenvied, unmolested, unconfin’d:
+But the long pomp, the midnight masquerade,
+With all the freaks of wanton wealth array’d,                260
+In these, ere triflers half their wish obtain,
+The toiling pleasure sickens into pain;
+And, e’en while fashion’s brightest arts decoy,
+The heart distrusting asks, if this be joy.
+
+  Ye friends to truth, ye statesmen, who survey              265
+The rich man’s joys increase, the poor’s decay,
+’Tis yours to judge, how wide the limits stand
+Between a splendid and a happy land.
+Proud swells the tide with loads of freighted ore,
+And shouting Folly hails them from her shore;                270
+Hoards, e’en beyond the miser’s wish abound,
+And rich men flock from all the world around.
+Yet count our gains. This wealth is but a name
+That leaves our useful products still the same.
+Nor so the loss. The man of wealth and pride                 275
+Takes up a space that many poor supplied;
+Space for his lake, his park’s extended bounds,
+Space for his horses, equipage, and hounds;
+The robe that wraps his limbs in silken sloth
+Has robb’d the neighbouring fields of half their growth,     280
+His seat, where solitary sports are seen,
+Indignant spurns the cottage from the green;
+Around the world each needful product flies,
+For all the luxuries the world supplies:
+While thus the land adorn’d for pleasure, all                285
+In barren splendour feebly waits the fall.
+
+  As some fair female unadorn’d and plain,
+Secure to please while youth confirms her reign,
+Slights every borrow’d charm that dress supplies,
+Nor shares with art the triumph of her eyes:                 290
+But when those charms are pass’d, for charms are frail,
+When time advances, and when lovers fail,
+She then shines forth, solicitous to bless,
+In all the glaring impotence of dress.
+Thus fares the land, by luxury betray’d,                     295
+In nature’s simplest charms at first array’d;
+But verging to decline, its splendours rise,
+Its vistas strike, its palaces surprise;
+While scourg’d by famine from the smiling land,
+The mournful peasant leads his humble band;                  300
+And while he sinks, without one arm to save,
+The country blooms—a garden, and a grave.
+
+  Where then, ah! where, shall poverty reside,
+To ’scape the pressure of continuous pride?
+If to some common’s fenceless limits stray’d,                305
+He drives his flock to pick the scanty blade,
+Those fenceless fields the sons of wealth divide,
+And e’en the bare-worn common is denied.
+
+  If to the city sped—What waits him there?
+To see profusion that he must not share;                     310
+To see ten thousand baneful arts combin’d
+To pamper luxury, and thin mankind;
+To see those joys the sons of pleasure know
+Extorted from his fellow creature’s woe.
+Here, while the courtier glitters in brocade,                315
+There the pale artist plies the sickly trade;
+Here, while the proud their long-drawn pomps display,
+There the black gibbet glooms beside the way.
+The dome where Pleasure holds her midnight reign
+Here, richly deck’d, admits the gorgeous train;              320
+Tumultuous grandeur crowds the blazing square,
+The rattling chariots clash, the torches glare.
+Sure scenes like these no troubles e’er annoy!
+Sure these denote one universal joy!
+Are these thy serious thoughts?—Ah, turn thine eyes         325
+Where the poor houseless shiv’ring female lies.
+She once, perhaps, in village plenty bless’d,
+Has wept at tales of innocence distress’d;
+Her modest looks the cottage might adorn,
+Sweet as the primrose peeps beneath the thorn;               330
+Now lost to all; her friends, her virtue fled,
+Near her betrayer’s door she lays her head,
+And, pinch’d with cold, and shrinking from the shower,
+With heavy heart deplores that luckless hour,
+When idly first, ambitious of the town,                      335
+She left her wheel and robes of country brown.
+
+  Do thine, sweet AUBURN, thine, the loveliest train,
+Do thy fair tribes participate her pain?
+E’en now, perhaps by cold and hunger led,
+At proud men’s doors they ask a little bread!                340
+
+  Ah, no. To distant climes, a dreary scene,
+Where half the convex world intrudes between,
+Through torrid tracts with fainting steps they go,
+Where wild Altama murmurs to their woe.
+Far different there from all that charm’d before,            345
+The various terrors of that horrid shore;
+Those blazing suns that dart a downward ray,
+And fiercely shed intolerable day;
+Those matted woods where birds forget to sing,
+But silent bats in drowsy clusters cling;                    350
+Those pois’nous fields with rank luxuriance crown’d,
+Where the dark scorpion gathers death around;
+Where at each step the stranger fears to wake
+The rattling terrors of the vengeful snake;
+Where crouching tigers wait their hapless prey,              355
+And savage men more murd’rous still than they;
+While oft in whirls the mad tornado flies,
+Mingling the ravag’d landscape with the skies.
+Far different these from every former scene,
+The cooling brook, the grassy-vested green,                  360
+The breezy covert of the warbling grove,
+That only shelter’d thefts of harmless love.
+
+
+
+
+[Illustration: ]
+THE DEPARTURE
+
+(Thomas Bewick)
+
+  Good heaven! what sorrows gloom’d that parting day,
+That call’d them from their native walks away;
+When the poor exiles, every pleasure pass’d,                 365
+Hung round their bowers, and fondly look’d their last,
+And took a long farewell, and wish’d in vain
+For seats like these beyond the western main;
+And shudd’ring still to face the distant deep,
+Return’d and wept, and still return’d to weep.               370
+The good old sire, the first prepar’d to go
+To new-found worlds, and wept for others’ woe;
+But for himself, in conscious virtue brave,
+He only wish’d for worlds beyond the grave.
+His lovely daughter, lovlier in her tears,                   375
+The fond companion of his helpless years,
+Silent went next, neglectful of her charms,
+And left a lover’s for a father’s arms.
+With louder plaints the mother spoke her woes,
+And bless’d the cot where every pleasure rose                380
+And kiss’d her thoughtless babes with many a tear,
+And clasp’d them close, in sorrow doubly dear;
+Whilst her fond husband strove to lend relief
+In all the silent manliness of grief.
+
+  O Luxury! thou curs’d by Heaven’s decree,                  385
+How ill exchang’d are things like these for thee!
+How do thy potions, with insidious joy
+Diffuse their pleasures only to destroy!
+Kingdoms, by thee, to sickly greatness grown,
+Boast of a florid vigour not their own;                      390
+At every draught more large and large they grow,
+A bloated mass of rank unwieldy woe;
+Till sapp’d their strength, and every part unsound,
+Down, down they sink, and spread a ruin round.
+
+  E’en now the devastation is begun,                         395
+And half the business of destruction done;
+E’en now, methinks, as pond’ring here I stand,
+I see the rural virtues leave the land:
+Down where yon anchoring vessel spreads the sail,
+That idly waiting flaps with ev’ry gale,                     400
+Downward they move, a melancholy band,
+Pass from the shore, and darken all the strand.
+Contented toil, and hospitable care,
+And kind connubial tenderness, are there;
+And piety, with wishes plac’d above,                         405
+And steady loyalty, and faithful love.
+And thou, sweet Poetry, thou loveliest maid,
+Still first to fly where sensual joys invade;
+Unfit in these degenerate times of shame,
+To catch the heart, or strike for honest fame;               410
+Dear charming nymph, neglected and decried,
+My shame in crowds, my solitary pride;
+Thou source of all my bliss, and all my woe,
+That found’st me poor at first, and keep’st me so;
+Thou guide by which the nobler arts excel,                   415
+Thou nurse of every virtue, fare thee well!
+Farewell, and Oh! where’er thy voice be tried,
+On Torno’s cliffs, or Pambamarca’s side,
+Whether where equinoctial fervours glow,
+Or winter wraps the polar world in snow,                     420
+Still let thy voice, prevailing over time,
+Redress the rigours of th’ inclement clime;
+Aid slighted truth; with thy persuasive strain
+Teach erring man to spurn the rage of gain;
+Teach him, that states of native strength possess’d,         425
+Though very poor, may still be very bless’d;
+That trade’s proud empire hastes to swift decay,
+As ocean sweeps the labour’d mole away;
+While self-dependent power can time defy,
+As rocks resist the billows and the sky.                     430
+
+
+
+
+LYRICAL AND MISCELLANEOUS
+
+PIECES
+
+
+
+
+LYRICAL AND MISCELLANEOUS
+
+PIECES
+
+PART OF A PROLOGUE WRITTEN AND
+
+SPOKEN BY THE POET LABERIUS
+
+
+A ROMAN KNIGHT, WHOM CAESAR FORCED
+
+UPON THE STAGE
+
+
+PRESERVED BY MACROBIUS.
+
+
+    WHAT! no way left to shun th’ inglorious stage,
+    And save from infamy my sinking age!
+    Scarce half alive, oppress’d with many a year,
+    What in the name of dotage drives me here?
+    A time there was, when glory was my guide,             5
+    Nor force nor fraud could turn my steps aside;
+    Unaw’d by pow’r, and unappall’d by fear,
+    With honest thrift I held my honour dear;
+    But this vile hour disperses all my store,
+    And all my hoard of honour is no more.                10
+    For ah! too partial to my life’s decline,
+    Caesar persuades, submission must be mine;
+    Him I obey, whom heaven itself obeys,
+    Hopeless of pleasing, yet inclin’d to please.
+    Here then at once, I welcome every shame,             15
+    And cancel at threescore a life of fame;
+    No more my titles shall my children tell,
+    The old buffoon will fit my name as well;
+    This day beyond its term my fate extends,
+    For life is ended when our honour ends.               20
+
+
+
+
+ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING
+
+(_Imitated from the Spanish._)
+
+        SURE ’twas by Providence design’d,
+          Rather in pity, than in hate,
+        That he should be, like Cupid, blind,
+          To save him from Narcissus’ fate.
+
+
+
+
+THE GIFT
+
+TO IRIS, IN BOW STREET, CONVENT GARDEN
+
+
+        SAY, cruel IRIS, pretty rake,
+          Dear mercenary beauty,
+        What annual offering shall I make,
+          Expressive of my duty?
+
+        My heart, a victim to thine eyes,               5
+          Should I at once deliver,
+        Say, would the angry fair one prize
+          The gift, who slights the giver?
+
+        A bill, a jewel, watch, or toy,
+          My rivals give—and let ’em;                  10
+        If gems, or gold, impart a joy,
+          I’ll give them—when I get ’em.
+
+        I’ll give—but not the full-blown rose,
+          Or rose-bud more in fashion;
+        Such short-liv’d offerings but disclose        15
+          A transitory passion.
+
+        I’ll give thee something yet unpaid,
+          Not less sincere, than civil:
+        I’ll give thee—Ah! too charming maid,
+          I’ll give thee—To the devil.                 30
+
+
+
+
+THE LOGICIANS REFUTED
+
+      IN IMITATION OF DEAN SWIFT
+
+
+    LOGICIANS have but ill defin’d
+    As rational, the human kind;
+    Reason, they say, belongs to man,
+    But let them prove it if they can.
+    Wise Aristotle and Smiglecius,                         5
+    By ratiocinations specious,
+    Have strove to prove with great precision,
+    With definition and division,
+    _Homo est ratione praeditum,_—
+    But for my soul I cannot credit ’em;                  10
+    And must in spite of them maintain,
+    That man and all his ways are vain;
+    And that this boasted lord of nature
+    Is both a weak and erring creature;
+    That instinct is a surer guide                        15
+    Than reason-boasting mortals’ pride;
+    And that brute beasts are far before ’em,
+    _Deus est anima brutorum_.
+    Who ever knew an honest brute
+    At law his neighbour prosecute,                       20
+    Bring action for assault and battery,
+    Or friend beguile with lies and flattery?
+    O’er plains they ramble unconfin’d,
+    No politics disturb their mind;
+    They eat their meals, and take their sport,           25
+    Nor know who’s in or out at court;
+    They never to the levee go
+    To treat as dearest friend, a foe;
+    They never importune his grace,
+    Nor ever cringe to men in place;                      30
+    Nor undertake a dirty job,
+    Nor draw the quill to write for B——b.
+    Fraught with invective they ne’er go
+    To folks at Pater-Noster-Row;
+    No judges, fiddlers, dancing-masters,                 35
+    No pick-pockets, or poetasters,
+    Are known to honest quadrupeds;
+    No single brute his fellow leads.
+    Brutes never meet in bloody fray,
+    Nor cut each others’ throats, for pay.                40
+    Of beasts, it is confess’d, the ape
+    Comes nearest us in human shape;
+    Like man he imitates each fashion,
+    And malice is his ruling passion;
+    But both in malice and grimaces                       45
+    A courtier any ape surpasses.
+    Behold him humbly cringing wait
+    Upon a minister of state;
+    View him soon after to inferiors,
+    Aping the conduct of superiors;                       50
+    He promises with equal air,
+    And to perform takes equal care.
+    He in his turn finds imitators;
+    At court, the porters, lacqueys, waiters,
+    Their master’s manners still contract,                55
+    And footmen, lords and dukes can act.
+    Thus at the court both great an small
+    Behave alike—for all ape all.
+
+
+
+
+A SONNET
+
+
+        WEEPING, murmuring, complaining,
+          Lost to every gay delight;
+        MYRA, too sincere for feigning,
+          Fears th’ approaching bridal night.
+
+        Yet, why impair thy bright perfection?         5
+          Or dim thy beauty with a tear?
+        Had MYRA followed my direction,
+          She long had wanted cause of fear.
+
+
+
+
+STANZAS
+
+ON THE TAKING OF QUEBEC, AND DEATH OF GENERAL WOLFE
+
+
+    AMIDST the clamour of exulting joys,
+      Which triumph forces from the patriot heart,
+    Grief dares to mingle her soul-piercing voice,
+      And quells the raptures which from pleasures start.
+
+    O WOLFE! to thee a streaming flood of woe,             5
+      Sighing we pay, and think e’en conquest dear;
+    QUEBEC in vain shall teach our breast to glow,
+      Whilst thy sad fate extorts the heart-wrung tear.
+
+    Alive the foe thy dreadful vigour fled,
+      And saw thee fall with joy-pronouncing eyes:        10
+    Yet they shall know thou conquerest, though dead—
+      Since from thy tomb a thousand heroes rise!
+
+
+
+
+AN ELEGY ON THAT GLORY OF HER SEX,
+ MRS. MARY BLAIZE
+
+
+        GOOD people all, with one accord,
+          Lament for Madam BLAIZE,
+        Who never wanted a good word—
+          _From those who spoke her praise._
+
+        The needy seldom pass’d her door,              5
+          And always found her kind;
+        She freely lent to all the poor,—
+          _Who left a pledge behind._
+
+        She strove the neighbourhood to please,
+          With manners wond’rous winning,             10
+        And never follow’d wicked ways,—
+          _Unless when she was sinning._
+
+        At church, in silks and satins new,
+          With hoop of monstrous size,
+        She never slumber’d in her pew,—              15
+          _But when she shut her eyes._
+
+        Her love was sought, I do aver,
+          By twenty beaux and more;
+        The king himself has follow’d her,—
+          _When she has walk’d before._                 20
+
+        But now her wealth and finery fled,
+          Her hangers-on cut short all;
+        The doctors found, when she was dead,—
+          _Her last disorder mortal._
+
+        Let us lament, in sorrow sore,                25
+          For Kent-street well may say,
+        That had she liv’d a twelve-month more,—
+          _She had not died to-day._
+
+
+
+
+DESCRIPTION OF AN AUTHOR’S BEDCHAMBER
+
+
+    WHERE the Red Lion flaring o’er the way,
+    Invites each passing stranger that can pay;
+    Where Calvert’s butt, and Parsons’ black champagne,
+    Regale the drabs and bloods of Drury-lane;
+    There in a lonely room, from bailiffs snug,             5
+    The Muse found Scroggen stretch’d beneath a rug;
+    A window, patch’d with paper, lent a ray,
+    That dimly show’d the state in which he lay;
+    The sanded floor that grits beneath the tread;
+    The humid wall with paltry pictures spread:            10
+    The royal game of goose was there in view,
+    And the twelve rules the royal martyr drew;
+    The seasons, fram’d with listing, found a place,
+    And brave prince William show’d his lamp-black face:
+    The morn was cold, he views with keen desire           15
+    The rusty grate unconscious of a fire;
+    With beer and milk arrears the frieze was scor’d,
+    And five crack’d teacups dress’d the chimney board;
+    A nightcap deck’d his brows instead of bay,
+    A cap by night—a stocking all the day!                 20
+
+
+
+
+ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****
+
+
+    FOR you, bright fair, the nine address their lays,
+    And tune my feeble voice to sing thy praise.
+    The heartfelt power of every charm divine,
+    Who can withstand their all-commanding shine?
+    See how she moves along with every grace,              5
+    While soul-brought tears steal down each shining face.
+    She speaks! ’tis rapture all, and nameless bliss,
+    Ye gods! what transport e’er compared to this.
+    As when in Paphian groves the Queen of Love
+    With fond complaint addressed the listening Jove,     10
+    ’Twas joy, and endless blisses all around,
+    And rocks forgot their hardness at the sound.
+    Then first, at last even Jove was taken in,
+    And felt her charms, without disguise, within.
+
+
+
+
+OF THE DEATH OF THE LEFT HON. ***
+
+
+        YE Muses, pour the pitying tear
+          For Pollio snatch’d away;
+        O! had he liv’d another year!—
+          _He had not died to-day._
+
+        O! were he born to bless mankind,               5
+          In virtuous times of yore,
+        Heroes themselves had fallen behind!—
+          _Whene’er he went before._
+
+        How sad the groves and plains appear,
+          And sympathetic sheep;                       10
+        Even pitying hills would drop a tear!—
+          _If hills could learn to weep._
+
+        His bounty in exalted strain
+          Each bard might well display;
+        Since none implor’d relief in vain!—           15
+          _That went reliev’d away._
+
+        And hark! I hear the tuneful throng
+          His obsequies forbid,
+        He still shall live, shall live as long!—
+          _As ever dead man did._                        20
+
+
+
+
+AN EPIGRAM
+ 
+ ADDRESSED TO THE GENTLEMEN REFLECTED
+      ON IN
+ THE ROSCIAD, A POEM, BY THE AUTHOR
+
+        Worried with debts and past all hopes of bail,
+ His pen he
+        prostitutes t’ avoid a gaol.             
+
+                 ROSCOM.
+
+
+        LET not the _hungry_ Bavius’ angry stroke
+        Awake resentment, or your rage provoke;
+        But pitying his distress, let virtue shine,
+        And giving each your bounty, _let him dine_;
+        For thus retain’d, as learned counsel can,      5
+        Each case, however bad, he’ll new japan;
+        And by a quick transition, plainly show
+        ’Twas no defect of yours, but _pocket low_,
+        That caused his _putrid kennel_ to o’erflow.
+
+
+
+
+TO G. C. AND R. L.
+
+
+    ’TWAS you, or I, or he, or all together,
+    ’Twas one, both, three of them, they know not whether;
+    This, I believe, between us great or small,
+    You, I, he, wrote it not—’twas Churchill’s all.
+
+
+
+
+TRANSLATION OF A SOUTH AMERICAN ODE
+
+
+        IN all my Enna’s beauties blest,
+          Amidst profusion still I pine;
+        For though she gives me up her breast,
+          Its panting tenant is not mine.
+
+
+
+
+THE DOUBLE TRANSFORMATION
+ 
+ A TALE
+
+
+    SECLUDED from domestic strife,
+    Jack Book-worm led a college life;
+    A fellowship at twenty-five
+    Made him the happiest man alive;
+    He drank his glass and crack’d his joke,           5
+    And freshmen wonder’d as he spoke.
+
+      Such pleasures, unalloy’d with care,
+    Could any accident impair?
+    Could Cupid’s shaft at length transfix
+    Our swain, arriv’d at thirty-six?                 10
+    O had the archer ne’er come down
+    To ravage in a country town!
+    Or Flavia been content to stop
+    At triumphs in a Fleet-street shop.
+    O had her eyes forgot to blaze!                   15
+    Or Jack had wanted eyes to gaze.
+    O!——But let exclamation cease,
+    Her presence banish’d all his peace.
+    So with decorum all things carried;
+    Miss frown’d, and blush’d, and then was—married.  20
+
+      Need we expose to vulgar sight
+    The raptures of the bridal night?
+    Need we intrude on hallow’d ground,
+    Or draw the curtains clos’d around?
+    Let it suffice, that each had charms;             25
+    He clasp’d a goddess in his arms;
+    And though she felt his usage rough,
+    Yet in a man ’twas well enough.
+
+      The honey-moon like lightning flew,
+    The second brought its transports too.            30
+    A third, a fourth, were not amiss,
+    The fifth was friendship mix’d with bliss:
+    But when a twelvemonth pass’d away,
+    Jack found his goddess made of clay;
+    Found half the charms that deck’d her face        35
+    Arose from powder, shreds, or lace;
+    But still the worst remain’d behind,
+    That very face had robb’d her mind.
+
+      Skill’d in no other arts was she
+    But dressing, patching, repartee;                 40
+    And, just as humour rose or fell,
+    By turns a slattern or a belle;
+    ’Tis true she dress’d with modern grace,
+    Half naked at a ball or race;
+    But when at home, at board or bed,                45
+    Five greasy nightcaps wrapp’d her head.
+    Could so much beauty condescend
+    To be a dull domestic friend?
+    Could any curtain-lectures bring
+    To decency so fine a thing?                       50
+    In short, by night, ’twas fits or fretting;
+    By day, ’twas gadding or coquetting.
+    Fond to be seen, she kept a bevy
+    Of powder’d coxcombs at her levy;
+    The ’squire and captain took their stations,      55
+    And twenty other near relations;
+    Jack suck’d his pipe, and often broke
+    A sigh in suffocating smoke;
+    While all their hours were pass’d between
+    Insulting repartee or spleen.                     60
+
+      Thus as her faults each day were known,
+    He thinks her features coarser grown;
+    He fancies every vice she shows,
+    Or thins her lip, or points her nose:
+    Whenever rage or envy rise,                       65
+    How wide her mouth, how wild her eyes!
+    He knows not how, but so it is,
+    Her face is grown a knowing phiz;
+    And, though her fops are wond’rous civil,
+    He thinks her ugly as the devil.                  70
+
+      Now, to perplex the ravell’d noose,
+    As each a different way pursues,
+    While sullen or loquacious strife,
+    Promis’d to hold them on for life,
+    That dire disease, whose ruthless power           75
+    Withers the beauty’s transient flower:
+    Lo!  the small-pox, whose horrid glare
+    Levell’d its terrors at the fair;
+    And, rifling ev’ry youthful grace,
+    Left but the remnant of a face.                   80
+
+      The glass, grown hateful to her sight,
+    Reflected now a perfect fright:
+    Each former art she vainly tries
+    To bring back lustre to her eyes.
+    In vain she tries her paste and creams,           85
+    To smooth her skin, or hide its seams;
+    Her country beaux and city cousins,
+    Lovers no more, flew off by dozens:
+    The ’squire himself was seen to yield,
+    And e’en the captain quit the field.              90
+
+      Poor Madam, now condemn’d to hack
+    The rest of life with anxious Jack,
+    Perceiving others fairly flown,
+    Attempted pleasing him alone.
+    Jack soon was dazzl’d to behold                   95
+    Her present face surpass the old;
+    With modesty her cheeks are dy’d,
+    Humility displaces pride;
+    For tawdry finery is seen
+    A person ever neatly clean:                      100
+    No more presuming on her sway,
+    She learns good-nature every day;
+    Serenely gay, and strict in duty,
+    Jack finds his wife a perfect beauty.
+
+
+
+
+A NEW SIMILE
+ 
+ IN THE MANNER OF SWIFT
+
+
+    LONG had I sought in vain to find
+    A likeness for the scribbling kind;
+    The modern scribbling kind, who write
+    In wit, and sense, and nature’s spite:
+    Till reading, I forget what day on,                5
+    A chapter out of Tooke’s Pantheon,
+    I think I met with something there,
+    To suit my purpose to a hair;
+    But let us not proceed too furious,
+    First please to turn to god Mercurius;            10
+    You’ll find him pictur’d at full length
+    In book the second, page the tenth:
+    The stress of all my proofs on him I lay,
+    And now proceed we to our simile.
+
+      Imprimis, pray observe his hat,                 15
+    Wings upon either side—mark that.
+    Well! what is it from thence we gather?
+    Why these denote a brain of feather.
+    A brain of feather! very right,
+    With wit that’s flighty, learning light;          20
+    Such as to modern bard’s decreed:
+    A just comparison,—proceed.
+
+      In the next place, his feet peruse,
+    Wings grow again from both his shoes;
+    Design’d, no doubt, their part to bear,           25
+    And waft his godship through the air;
+    And here my simile unites,
+    For in a modern poet’s flights,
+    I’m sure it may be justly said,
+    His feet are useful as his head.                  30
+
+      Lastly, vouchsafe t’observe his hand,
+    Filled with a snake-encircl’d wand;
+    By classic authors term’d caduceus,
+    And highly fam’d for several uses.
+    To wit—most wond’rously endu’d,                   35
+    No poppy water half so good;
+    For let folks only get a touch,
+    Its soporific virtue’s such,
+    Though ne’er so much awake before,
+    That quickly they begin to snore.                 40
+    Add too, what certain writers tell,
+    With this he drives men’s souls to hell.
+
+      Now to apply, begin we then;
+    His wand’s a modern author’s pen;
+    The serpents round about it twin’d                45
+    Denote him of the reptile kind;
+    Denote the rage with which he writes,
+    His frothy slaver, venom’d bites;
+    An equal semblance still to keep,
+    Alike too both conduce to sleep.                  50
+    This diff’rence only, as the god
+    Drove souls to Tart’rus with his rod,
+    With his goosequill the scribbling elf,
+    Instead of others, damns himself.
+
+      And here my simile almost tript,                55
+    Yet grant a word by way of postscript.
+    Moreover, Merc’ry had a failing:
+    Well! what of that? out with it—stealing;
+    In which all modern bards agree,
+    Being each as great a thief as he:                60
+    But ev’n this deity’s existence
+    Shall lend my simile assistance.
+    Our modern bards! why what a pox
+    Are they but senseless stones and blocks?
+
+
+[Illustration: ]
+EDWIN AND ANGELINA
+
+(T. Stothard)
+
+
+
+
+EDWIN AND ANGELINA
+ 
+ A BALLAD
+
+
+        ‘TURN, 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,           5
+           With fainting steps and slow;
+         Where wilds immeasurably spread,
+           Seem length’ning as I go.’
+
+        ‘Forbear, my son,’ the hermit cries,
+          ‘To tempt the dangerous gloom;              10
+         For yonder faithless phantom flies
+           To lure thee to thy doom.
+
+        ‘Here to the houseless child of want
+           My door is open still;
+         And though my portion is but scant,          15
+           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.                    20
+
+        ‘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          25
+           A guiltless feast I bring;
+         A scrip with herbs and fruits supplied,
+           And water from the spring.
+
+        ‘Then, pilgrim, turn, thy cares forgo;
+           All earth-born cares are wrong:            30
+         Man wants but little here below,
+           Nor wants that little long.’
+
+         Soft as the dew from heav’n descends,
+           His gentle accents fell:
+         The modest stranger lowly bends,             35
+           And follows to the cell.
+
+         Far in a wilderness obscure
+           The lonely mansion lay;
+         A refuge to the neighbouring poor
+           And strangers led astray.                  40
+
+         No stores beneath its humble thatch
+           Requir’d a master’s care;
+         The wicket, opening with a latch,
+           Receiv’d the harmless pair.
+
+         And now, when busy crowds retire             45
+           To take their evening rest,
+         The hermit trimm’d his little fire,
+           And cheer’d his pensive guest:
+
+         And spread his vegetable store,
+           And gaily press’d, and smil’d;             50
+         And, skill’d in legendary lore,
+           The lingering hours beguil’d.
+      
+         Around in sympathetic mirth
+           Its tricks the kitten tries;
+         The cricket chirrups in the hearth;          55
+           The crackling faggot 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.                   60
+
+         His rising cares the hermit spied,
+           With answ’ring care oppress’d;
+        ‘And whence, unhappy youth,’ he cried,
+          ‘The sorrows of thy breast?
+
+        ‘From better habitations spurn’d,             65
+           Reluctant dost thou rove;
+         Or grieve for friendship unreturn’d,
+           Or unregarded love?
+
+        ‘Alas! the joys that fortune brings
+           Are trifling, and decay;                   70
+         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,         75
+           But leaves the wretch to weep?
+
+        ‘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.                 80
+      
+        ‘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.
+
+         Surpris’d, he sees new beauties rise,        85
+           Swift mantling to the view;
+         Like colours o’er the morning skies,
+           As bright, as transient too.
+
+         The bashful look, the rising breast,
+           Alternate spread alarms:                   90
+         The lovely stranger stands confess’d
+           A maid in all her charms.
+
+        ‘And, ah!  forgive a stranger rude,
+           A wretch forlorn,’ she cried;
+        ‘Whose feet unhallow’d thus intrude           95
+           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.                     100
+
+        ‘My father liv’d 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              105
+           Unnumber’d suitors came;
+         Who prais’d me for imputed charms,
+           And felt or feign’d a flame.
+      
+         Each hour a mercenary crowd
+           With richest proffers strove:             110
+         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,           115
+           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.                   120
+
+        ‘The blossom opening to the day,
+           The dews of heaven refin’d,
+         Could nought of purity display,
+           To emulate his mind.
+
+        ‘The dew, the blossom on the tree,           125
+           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:                     130
+         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,              135
+           In secret, where he died.
+
+        ‘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.              140
+
+        ‘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,       145
+           And clasp’d her to his breast:
+         The wondering fair one turn’d to chide,
+          ’Twas Edwin’s self that prest.
+
+        ‘Turn, Angelina, ever dear,
+           My charmer, turn to see                   150
+         Thy own, thy long-lost Edwin here,
+           Restor’d to love and thee.
+
+        ‘Thus let me hold thee to my heart,
+           And ev’ry care resign;
+         And shall we never, never part,             155
+           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.’             160
+
+
+
+
+ELEGY ON THE DEATH OF A MAD DOG
+
+
+        Good people all, of every sort,
+          Give ear unto my song;
+        And if you find it wond’rous short,
+          It cannot hold you long.
+
+        In Islington there was a man,                  5
+          Of whom the world might say,
+        That still a godly race he ran,
+          Whene’er he went to pray.
+
+        A kind and gentle heart he had,
+          To comfort friends and foes;                10
+        The naked every day he clad,
+          When he put on his clothes.
+
+        And in that town a dog was found,
+          As many dogs there be,
+        Both mongrel, puppy, whelp, and hound,        15
+          And curs of low degree.
+
+        This dog and man at first were friends;
+          But when a pique began,
+        The dog, to gain some private ends,
+          Went mad and bit the man.                   20
+
+        Around from all the neighbouring streets
+          The wond’ring neighbours ran,
+        And swore the dog had lost his wits,
+          To bite so good a man.
+
+        The wound it seem’d both sore and sad         25
+          To every Christian eye;
+        And while they swore the dog was mad,
+          They swore the man would die.
+
+        But soon a wonder came to light,
+          That show’d the rogues they lied:           30
+        The man recover’d of the bite,
+          The dog it was that died.
+
+
+
+
+SONG
+ 
+ FROM ‘THE VICAR OF WAKEFIELD’
+
+
+        WHEN lovely woman stoops to folly,
+          And finds too late that men betray,
+        What charm can soothe her melancholy,
+          What art can wash her guilt away?
+
+        The only art her guilt to cover,               5
+          To hide her shame from every eye,
+        To give repentance to her lover,
+          And wring his bosom, is—to die.
+
+
+
+
+EPILOGUE TO ‘THE GOOD NATUR’D MAN’
+
+
+    As puffing quacks some caitiff wretch procure
+    To swear the pill, or drop, has wrought a cure;
+    Thus on the stage, our play-wrights still depend
+    For Epilogues and Prologues on some friend,
+    Who knows each art of coaxing up the town,             5
+    And make full many a bitter pill go down.
+    Conscious of this, our bard has gone about,
+    And teas’d each rhyming friend to help him out.
+    ‘An Epilogue—things can’t go on without it;
+    It could not fail, would you but set about it.’       10
+    ‘Young man,’ cries one—a bard laid up in clover—
+    ‘Alas, young man, my writing days are over;
+    Let boys play tricks, and kick the straw; not I:
+    Your brother Doctor there, perhaps, may try.’
+    ‘What I? dear Sir,’ the Doctor interposes             15
+    ‘What plant my thistle, Sir, among his roses!
+    No, no; I’ve other contests to maintain;
+    To-night I head our troops at Warwick Lane:
+    Go, ask your manager.’ ‘Who, me? Your pardon;
+    Those things are not our forte at Covent Garden.’     20
+    Our Author’s friends, thus plac’d at happy distance,
+    Give him good words indeed, but no assistance.
+    As some unhappy wight, at some new play,
+    At the Pit door stands elbowing a way,
+    While oft, with many a smile, and many a shrug,       25
+    He eyes the centre, where his friends sit snug;
+    His simp’ring friends, with pleasure in their eyes,
+    Sink as he sinks, and as he rises rise;
+    He nods, they nod; he cringes, they grimace;
+    But not a soul will budge to give him place.          30
+    Since then, unhelp’d, our bard must now conform
+    ‘To ’bide the pelting of this pitiless storm’—
+    Blame where you must, be candid where you can;
+    And be each critic the _Good Natur’d Man._
+
+
+
+
+EPILOGUE TO ‘THE SISTER’
+
+
+    WHAT! five long acts—and all to make us wiser!
+    Our authoress sure has wanted an adviser.
+    Had she consulted _me_, she should have made
+    Her moral play a speaking masquerade;
+    Warm’d up each bustling scene, and in her rage            5
+    Have emptied all the green-room on the stage.
+    My life on’t, this had kept her play from sinking;
+    Have pleas’d our eyes, and sav’d the pain of thinking.
+    Well! since she thus has shown her want of skill,
+    What if I give a masquerade?—I will.                     10
+    But how? ay, there’s the rub! (_pausing_)—I’ve got my cue:
+    The world’s a masquerade! the maskers, you, you, you.
+                                (_To Boxes, Pit, and Gallery._)
+    ——, what a group the motley scene discloses!
+    False wits, false wives, false virgins, and false spouses!
+    Statesmen with bridles on; and, close beside ’em,        15
+    Patriots, in party-coloured suits, that ride ’em.
+    There Hebes, turn’d of fifty, try once more
+    To raise a flame in Cupids of threescore.
+    These in their turn, with appetites as keen,
+    Deserting fifty, fasten on fifteen,                      20
+    Miss, not yet full fifteen, with fire uncommon,
+    Flings down her sampler, and takes up the woman:
+    The little urchin smiles, and spreads her lure,
+    And tries to kill, ere she’s got power to cure.
+    Thus ’tis with all—their chief and constant care         25
+    Is to seem everything but what they are.
+    Yon broad, bold, angry spark, I fix my eye on,
+    Who seems to have robb’d his vizor from the lion;
+    Who frowns, and talks, and swears, with round parade,
+    Looking as who should say, D——! who’s afraid?            30
+                                                (_Mimicking_)
+
+    Strip but his vizor off, and sure I am
+    You’ll find his lionship a very lamb.
+    Yon politician, famous in debate,
+    Perhaps, to vulgar eyes, bestrides the state;
+    Yet, when he deigns his real shape t’ assume,            35
+    He turns old woman, and bestrides a broom.
+    Yon patriot, too, who presses on your sight,
+    And seems to every gazer all in white,
+    If with a bribe his candour you attack,
+    He bows, turns round, and whip—the man’s a black!        40
+    Yon critic, too—but whither do I run?
+    If I proceed, our bard will be undone!
+    Well then a truce, since she requests it too:
+    Do you spare her, and I’ll for once spare you.
+
+
+
+
+PROLOGUE TO ‘ZOBEIDE’
+
+
+    IN these bold times, when Learning’s sons explore
+    The distant climate and the savage shore;
+    When wise Astronomers to India steer,
+    And quit for Venus, many a brighter here;
+    While Botanists, all cold to smiles and dimpling,         5
+    Forsake the fair, and patiently—go simpling;
+    When every bosom swells with wond’rous scenes,
+    Priests, cannibals, and hoity-toity queens:
+    Our bard into the general spirit enters,
+    And fits his little frigate for adventures:              10
+    With Scythian stores, and trinkets deeply laden,
+    He this way steers his course, in hopes of trading—
+    Yet ere he lands he ’as ordered me before,
+    To make an observation on the shore.
+    Where are we driven? our reck’ning sure is lost!         15
+    This seems a barren and a dangerous coast.
+    —— what a sultry climate am I under!
+    Yon ill foreboding cloud seems big with thunder.
+                                  (_Upper Gallery._)
+    There Mangroves spread, and larger than I’ve seen ’em—
+                                  (_Pit._)
+    Here trees of stately size—and turtles in ’em—           20
+                                  (_Balconies._)
+    Here ill-condition’d oranges abound—
+                                  (_Stage._)
+    And apples (_takes up one and tastes it_), bitter apples
+      strew the ground.
+    The place is uninhabited, I fear!
+    I heard a hissing—there are serpents here!
+    O there the natives are—a dreadful race!                 25
+    The men have tails, the women paint the face!
+    No doubt they’re all barbarians.—Yes, ’tis so,
+    I’ll try to make palaver with them though;
+                                   (_Making signs._)
+    ’Tis best, however, keeping at a distance.
+    Good Savages, our Captain craves assistance;             30
+    Our ship’s well stor’d;—in yonder creek we’ve laid her;
+    His honour is no mercenary trader;
+    This is his first adventure; lend him aid,
+    Or you may chance to spoil a thriving trade.
+    His goods, he hopes are prime, and brought from far,     35
+    Equally fit for gallantry and war.
+    What! no reply to promises so ample?
+    I’d best step back—and order up a sample.
+
+
+
+
+THRENODIA  AUGUSTALIS:
+
+SACRED TO THE MEMORY
+      OF HER LATE ROYAL HIGHNESS
+ THE PRINCESS DOWAGER OF WALES.
+
+
+ OVERTURE—A SOLEMN DIRGE. AIR—TRIO.
+
+
+       ARISE, ye sons of worth, arise,
+         And waken every note of woe;
+       When truth and virtue reach the skies,
+         ’Tis ours to weep the want below!
+
+      CHORUS.
+
+       When truth and virtue, etc.                         5
+
+      MAN SPEAKER.
+
+        The praise attending pomp and power,
+          The incense given to kings,
+        Are but the trappings of an hour—
+          Mere transitory things!
+      The base bestow them: but the good agree            10
+      To spurn the venal gifts as flattery.
+        But when to pomp and power are join’d
+        An equal dignity of mind—
+    When titles are the smallest claim—
+        When wealth and rank and noble blood,             15
+        But aid the power of doing good—
+    Then all their trophies last; and flattery turns to fame.
+
+        Bless’d spirit thou, whose fame, just born to bloom
+        Shall spread and flourish from the tomb,
+          How hast thou left mankind for heaven!          20
+        Even now reproach and faction mourn.
+        And, wondering how their rage was borne,
+          Request to be forgiven.
+        Alas! they never had thy hate:
+          Unmov’d in conscious rectitude,                 25
+          Thy towering mind self-centred stood,
+        Nor wanted man’s opinion to be great.
+        In vain, to charm thy ravish’d sight,
+          A thousand gifts would fortune send;
+        In vain, to drive thee from the right,            30
+          A thousand sorrows urg’d thy end:
+    Like some well-fashion’d arch thy patience stood,
+    And purchas’d strength from its increasing load.
+    Pain met thee like a friend that set thee free;
+    Affliction still is virtue’s opportunity!             35
+        Virtue, on herself relying,
+          Ev’ry passion hush’d to rest,
+        Loses ev’ry pain of dying
+          In the hopes of being blest.
+        Ev’ry added pang she suffers                      40
+          Some increasing good bestows,
+        Ev’ry shock that malice offers
+          Only rocks her to repose.
+
+      SONG. BY A MAN—AFFETTUOSO.
+
+        Virtue, on herself relying,
+          Ev’ry passion hush’d to rest,                   45
+        Loses ev’ry pain of dying
+          In the hopes of being blest.
+
+        Ev’ry added pang she suffers
+          Some increasing good bestows,
+        Ev’ry shock that malice offers,                   50
+          Only rocks her to repose.
+
+
+      WOMAN SPEAKER.
+
+      Yet, ah! what terrors frowned upon her fate—
+        Death, with its formidable band,
+      Fever and pain and pale consumptive care,
+        Determin’d took their stand:                      55
+      Nor did the cruel ravagers design
+        To finish all their efforts at a blow;
+        But, mischievously slow,
+      They robb’d the relic and defac’d the shrine.
+        With unavailing grief,                            60
+        Despairing of relief,
+      Her weeping children round
+        Beheld each hour
+        Death’s growing power,
+      And trembled as he frown’d.                         65
+
+      As helpless friends who view from shore
+      The labouring ship, and hear the tempest roar,
+        While winds and waves their wishes cross—
+      They stood, while hope and comfort fail,
+      Not to assist, but to bewail                        70
+        The inevitable loss.
+      Relentless tyrant, at thy call
+      How do the good, the virtuous fall!
+    Truth, beauty, worth, and all that most engage,
+    But wake thy vengeance and provoke thy rage.          75
+
+      SONG.  BY A MAN.—BASSO.—STACCATO.—SPIRITOSO.
+
+      When vice my dart and scythe supply,
+      How great a king of terrors I!
+      If folly, fraud, your hearts engage,
+      Tremble, ye mortals, at my rage!
+      Fall, round me fall, ye little things,              80
+      Ye statesmen, warriors, poets, kings;
+      If virtue fail her counsel sage,
+      Tremble, ye mortals, at my rage!
+
+      MAN SPEAKER.
+
+      Yet let that wisdom, urged by her example,
+      Teach us to estimate what all must suffer;          85
+      Let us prize death as the best gift of nature—
+      As a safe inn, where weary travellers,
+      When they have journeyed through a world of cares,
+      May put off life and be at rest for ever.
+      Groans, weeping friends, indeed, and gloomy sables, 90
+      May oft distract us with their sad solemnity:
+      The preparation is the executioner.
+      Death, when unmasked, shows me a friendly face,
+      And is a terror only at a distance;
+      For as the line of life conducts me on              95
+      To Death’s great court, the prospect seems more fair.
+      ’Tis Nature’s kind retreat, that’s always open
+      To take us in when we have drained the cup
+      Of life, or worn our days to wretchedness.
+          In that secure, serene retreat,                100
+          Where all the humble, all the great,
+            Promiscuously recline;
+          Where wildly huddled to the eye,
+          The beggar’s pouch and prince’s purple lie,
+            May every bliss be thine.                    105
+      And ah!  bless’d spirit, wheresoe’er thy flight,
+      Through rolling worlds, or fields of liquid light,
+      May cherubs welcome their expected guest;
+      May saints with songs receive thee to their rest;
+      May peace that claimed while here thy warmest love, 110
+      May blissful endless peace be thine above!
+
+      SONG. BY A WOMAN.—AMOROSO.
+
+          Lovely, lasting Peace below,
+          Comforter of every woe,
+          Heav’nly born, and bred on high,
+          To crown the favourites of the sky—             115
+          Lovely, lasting Peace, appear;
+          This world itself, if thou art here,
+          Is once again with Eden blest,
+          And man contains it in his breast.
+
+      WOMAN SPEAKER.
+
+      Our vows are heard! Long, long to mortal eyes,      120
+      Her soul was fitting to its kindred skies:
+      Celestial-like her bounty fell,
+      Where modest want and patient sorrow dwell;
+      Want pass’d for merit at her door,
+        Unseen the modest were supplied,                  125
+      Her constant pity fed the poor—
+        Then only poor, indeed, the day she died.
+      And oh! for this! while sculpture decks thy shrine,
+        And art exhausts profusion round,
+      The tribute of a tear be mine,                      130
+        A simple song, a sigh profound.
+      There Faith shall come, a pilgrim gray,
+      To bless the tomb that wraps thy clay;
+      And calm Religion shall repair
+      To dwell a weeping hermit there.                    135
+      Truth, Fortitude, and Friendship shall agree
+      To blend their virtues while they think of thee.
+
+
+      AIR. CHORUS.—POMPOSO.
+
+      Let us, let all the world agree,
+      To profit by resembling thee.
+
+      PART II
+ 
+ OVERTURE—PASTORALE
+
+      
+ MAN SPEAKER.
+
+
+    FAST by that shore where Thames’ translucent stream
+      Reflects new glories on his breast,
+    Where, splendid as the youthful poet’s dream,
+      He forms a scene beyond Elysium blest—
+    Where sculptur’d elegance and native grace              5
+    Unite to stamp the beauties of the place,
+      While sweetly blending still are seen
+      The wavy lawn, the sloping green—
+    While novelty, with cautious cunning,
+    Through ev’ry maze of fancy running,                   10
+      From China borrows aid to deck the scene—
+    There, sorrowing by the river’s glassy bed,
+      Forlorn, a rural bard complain’d,
+    All whom Augusta’s bounty fed,
+      All whom her clemency sustain’d;                     15
+    The good old sire, unconscious of decay,
+    The modest matron, clad in homespun gray,
+    The military boy, the orphan’d maid,
+    The shatter’d veteran, now first dismay’d;
+    These sadly join beside the murmuring deep,            20
+          And, as they view
+          The towers of Kew,
+    Call on their mistress—now no more—and weep.
+
+      CHORUS.—AFFETTUOSO.—LARGO.
+
+    Ye shady walks, ye waving greens,
+    Ye nodding towers, ye fairy scenes—                    25
+    Let all your echoes now deplore
+    That she who form’d your beauties is no more.
+
+      MAN SPEAKER.
+
+    First of the train the patient rustic came,
+      Whose callous hand had form’d the scene,
+    Bending at once with sorrow and with age,              30
+      With many a tear and many a sigh between;
+    ‘And where,’ he cried, ‘shall now my babes have bread,
+      Or how shall age support its feeble fire?
+    No lord will take me now, my vigour fled,
+      Nor can my strength perform what they require;       35
+    Each grudging master keeps the labourer bare—
+    A sleek and idle race is all their care.
+    My noble mistress thought not so:
+      Her bounty, like the morning dew,
+    Unseen, though constant, used to flow;                 40
+      And as my strength decay’d, her bounty grew.’
+
+      WOMAN SPEAKER.
+
+    In decent dress, and coarsely clean,
+    The pious matron next was seen—
+    Clasp’d in her hand a godly book was borne,
+    By use and daily meditation worn;                      45
+    That decent dress, this holy guide,
+    Augusta’s care had well supplied.
+    ‘And ah!’ she cries, all woe-begone,
+      ‘What now remains for me?
+    Oh!  where shall weeping want repair,                  50
+      To ask for charity?
+    Too late in life for me to ask,
+      And shame prevents the deed,
+    And tardy, tardy are the times
+      To succour, should I need.                           55
+    But all my wants, before I spoke,
+      Were to my Mistress known;
+    She still reliev’d, nor sought my praise,
+      Contented with her own.
+    But ev’ry day her name I’ll bless,                     60
+      My morning prayer, my evening song,
+    I’ll praise her while my life shall last,
+      A life that cannot last me long.’
+
+      SONG. BY A WOMAN.
+
+    Each day, each hour, her name I’ll bless—
+      My morning and my evening song;                      65
+    And when in death my vows shall cease,
+      My children shall the note prolong.
+
+      MAN SPEAKER.
+
+    The hardy veteran after struck the sight,
+      Scarr’d, mangled, maim’d in every part,
+    Lopp’d of his limbs in many a gallant fight,           70
+      In nought entire—except his heart.
+    Mute for a while, and sullenly distress’d,
+    At last the impetuous sorrow fir’d his breast.
+        ‘Wild is the whirlwind rolling
+          O’er Afric’s sandy plain,                        75
+        And wild the tempest howling
+          Along the billow’d main:
+        But every danger felt before—
+        The raging deep, the whirlwind’s roar—
+        Less dreadful struck me with dismay,               80
+        Than what I feel this fatal day.
+    Oh, let me fly a land that spurns the brave,
+    Oswego’s dreary shores shall be my grave;
+    I’ll seek that less inhospitable coast,
+    And lay my body where my limbs were lost.’             85
+
+      SONG. BY A MAN.—BASSO. SPIRITOSO.
+
+      Old Edward’s sons, unknown to yield,
+    Shall crowd from Crecy’s laurell’d field,
+      To do thy memory right;
+    For thine and Britain’s wrongs they feel,
+    Again they snatch the gleamy steel,                    90
+      And wish the avenging fight.
+
+      WOMAN SPEAKER.
+
+        In innocence and youth complaining,
+          Next appear’d a lovely maid,
+        Affliction o’er each feature reigning,
+          Kindly came in beauty’s aid;                     95
+        Every grace that grief dispenses,
+          Every glance that warms the soul,
+        In sweet succession charmed the senses,
+          While pity harmonized the whole.
+    ‘The garland of beauty’—’tis thus she would say—     100
+      ‘No more shall my crook or my temples adorn,
+    I’ll not wear a garland—Augusta’s away,
+      I’ll not wear a garland until she return;
+    But alas! that return I never shall see,
+      The echoes of Thames shall my sorrows proclaim,     105
+    There promised a lover to come—but, O me!
+      ’Twas death,—’twas the death of my mistress that came.
+    But ever, for ever, her image shall last,
+      I’ll strip all the spring of its earliest bloom;
+    On her grave shall the cowslip and primrose be cast,  110
+      And the new-blossomed thorn shall whiten her tomb.’
+
+
+      SONG. BY A WOMAN.—PASTORALE.
+
+    With garlands of beauty the queen of the May
+      No more will her crook or her temples adorn;
+    For who’d wear a garland when she is away,
+      When she is remov’d, and shall never return.        115
+
+    On the grave of Augusta these garlands be plac’d,
+      We’ll rifle the spring of its earliest bloom,
+    And there shall the cowslip and primrose be cast,
+      And the new-blossom’d thorn shall whiten her tomb.
+
+      CHORUS.—ALTRO MODO.
+
+    On the grave of Augusta this garland be plac’d,       120
+      We’ll rifle the spring of its earliest bloom,
+    And there shall the cowslip and primrose be cast,
+      And the tears of her country shall water her tomb.
+
+
+
+
+SONG
+ 
+ FROM ‘SHE STOOPS TO CONQUER’
+
+
+    LET school-masters puzzle their brain,
+      With grammar, and nonsense, and learning;
+    Good liquor, I stoutly maintain,
+      Gives ‘genus’ a better discerning.
+    Let them brag of their heathenish gods,                5
+      Their Lethes, their Styxes, and Stygians:
+    Their Quis, and their Quaes, and their Quods,
+      They’re all but a parcel of Pigeons.
+                      Toroddle, toroddle, toroll.
+
+    When Methodist preachers come down
+      A-preaching that drinking is sinful,                10
+    I’ll wager the rascals a crown
+      They always preach best with a skinful.
+    But when you come down with your pence,
+      For a slice of their scurvy religion,
+    I’ll leave it to all men of sense,                    15
+      But you, my good friend, are the pigeon.
+                      Toroddle, toroddle, toroll.
+
+    Then come, put the jorum about,
+      And let us be merry and clever;
+    Our hearts and our liquors are stout;
+      Here’s the Three Jolly Pigeons for ever.            20
+    Let some cry up woodcock or hare,
+      Your bustards, your ducks, and your widgeons;
+    But of all the birds in the air,
+      Here’s a health to the Three Jolly Pigeons.
+                      Toroddle, toroddle, toroll.
+
+
+
+
+EPILOGUE TO ‘SHE STOOPS TO CONQUER’
+
+
+    WELL, having stoop’d to conquer with success,
+    And gain’d a husband without aid from dress,
+    Still, as a Bar-maid, I could wish it too,
+    As I have conquer’d him, to conquer you:
+    And let me say, for all your resolution,               5
+    That pretty Bar-maids have done execution.
+    Our life is all a play, compos’d to please,
+    ‘We have our exits and our entrances.’
+    The First Act shows the simple country maid,
+    Harmless and young, of ev’ry thing afraid;            10
+    Blushes when hir’d, and, with unmeaning action,
+    ‘I hopes as how to give you satisfaction.’
+    Her Second Act displays a livelier scene—
+    Th’ unblushing Bar-maid of a country inn,
+    Who whisks about the house, at market caters,         15
+    Talks loud, coquets the guests, and scolds the waiters.
+    Next the scene shifts to town, and there she soars,
+    The chop-house toast of ogling connoisseurs.
+    On ’Squires and Cits she there displays her arts,
+    And on the gridiron broils her lovers’ hearts:        20
+    And as she smiles, her triumphs to complete,
+    Even Common-Councilmen forget to eat.
+    The Fourth Act shows her wedded to the ’Squire,
+    And Madam now begins to hold it higher;
+    Pretends to taste, at Operas cries _caro_,              25
+    And quits her _Nancy Dawson_, for _Che faro_,
+    Doats upon dancing, and in all her pride,
+    Swims round the room, the Heinel of Cheapside;
+    Ogles and leers with artificial skill,
+    ’Till having lost in age the power to kill,       30
+    She sits all night at cards, and ogles at spadille.
+    Such, through our lives, the eventful history—
+    The Fifth and Last Act still remains for me.
+    The Bar-maid now for your protection prays.
+    Turns Female Barrister, and pleads for Bayes.     35
+
+
+
+
+[Illustration: ]
+PORTRAIT OF GOLDSMITH
+
+AFTER REYNOLDS
+
+(Vignette to ‘Retaliation’)
+
+
+
+
+RETALIATION
+ 
+ A POEM
+
+
+OF old, when Scarron his companions invited,
+Each guest brought his dish, and the feast was united;
+If our landlord supplies us with beef, and with fish,
+Let each guest bring himself, and he brings the best dish:
+Our Dean shall be venison, just fresh from the plains;      5
+Our Burke shall be tongue, with a garnish of brains;
+Our Will shall be wild-fowl, of excellent flavour,
+And Dick with his pepper shall heighten their savour:
+Our Cumberland’s sweet-bread its place shall obtain,
+And Douglas is pudding, substantial and plain:             10
+Our Garrick’s a salad; for in him we see
+Oil, vinegar, sugar, and saltness agree:
+To make out the dinner, full certain I am,
+That Ridge is anchovy, and Reynolds is lamb;
+That Hickey’s a capon, and by the same rule,               15
+Magnanimous Goldsmith a gooseberry fool.
+At a dinner so various, at such a repast,
+Who’d not be a glutton, and stick to the last?
+Here, waiter! more wine, let me sit while I’m able,
+Till all my companions sink under the table;               20
+Then, with chaos and blunders encircling my head,
+Let me ponder, and tell what I think of the dead.
+
+  Here lies the good Dean, re-united to earth,
+Who mix’d reason with pleasure, and wisdom with mirth:
+If he had any faults, he has left us in doubt,             25
+At least, in six weeks, I could not find ’em out;
+Yet some have declar’d, and it can’t be denied ’em,
+That sly-boots was cursedly cunning to hide ’em.
+
+  Here lies our good Edmund, whose genius was such,
+We scarcely can praise it, or blame it too much;           30
+Who, born for the Universe, narrow’d his mind,
+And to party gave up what was meant for mankind.
+Though fraught with all learning, yet straining his throat
+To persuade Tommy Townshend to lend him a vote;
+Who, too deep for his hearers, still went on refining,     35
+And thought of convincing, while they thought of dining;
+Though equal to all things, for all things unfit,
+Too nice for a statesman, too proud for a wit:
+For a patriot, too cool; for a drudge, disobedient;
+And too fond of the _right_ to pursue the _expedient._         40
+In short, ’twas his fate, unemploy’d, or in place, Sir,
+To eat mutton cold, and cut blocks with a razor.
+
+  Here lies honest William, whose heart was a mint,
+While the owner ne’er knew half the good that was in’t;
+The pupil of impulse, it forc’d him along,                 45
+His conduct still right, with his argument wrong;
+Still aiming at honour, yet fearing to roam,
+The coachman was tipsy, the chariot drove home;
+Would you ask for his merits? alas! he had none;
+What was good was spontaneous, his faults were his own.    50
+
+  Here lies honest Richard, whose fate I must sigh at;
+Alas, that such frolic should now be so quiet!
+What spirits were his! what wit and what whim!
+Now breaking a jest, and now breaking a limb;
+Now wrangling and grumbling to keep up the ball,           55
+Now teasing and vexing, yet laughing at all!
+In short, so provoking a devil was Dick,
+That we wish’d him full ten times a day at Old Nick;
+But, missing his mirth and agreeable vein,
+As often we wish’d to have Dick back again.                60
+
+  Here Cumberland lies, having acted his parts,
+The Terence of England, the mender of hearts;
+A flattering painter, who made it his care
+To draw men as they ought to be, not as they are.
+His gallants are all faultless, his women divine,          65
+And comedy wonders at being so fine;
+Like a tragedy queen he has dizen’d her out,
+Or rather like tragedy giving a rout.
+His fools have their follies so lost in a crowd
+Of virtues and feelings, that folly grows proud;           70
+And coxcombs, alike in their failings alone,
+Adopting his portraits, are pleas’d with their own.
+Say, where has our poet this malady caught?
+Or, wherefore his characters thus without fault?
+Say, was it that vainly directing his view                 75
+To find out men’s virtues, and finding them few,
+Quite sick of pursuing each troublesome elf,
+He grew lazy at last, and drew from himself?
+
+  Here Douglas retires, from his toils to relax,
+The scourge of impostors, the terror of quacks:            80
+Come, all ye quack bards, and ye quacking divines,
+Come, and dance on the spot where your tyrant reclines:
+When Satire and Censure encircl’d his throne,
+I fear’d for your safety, I fear’d for my own;
+But now he is gone, and we want a detector,                85
+Our Dodds shall be pious, our Kenricks shall lecture;
+Macpherson write bombast, and call it a style,
+Our Townshend make speeches, and I shall compile;
+New Lauders and Bowers the Tweed shall cross over,
+No countryman living their tricks to discover;             90
+Detection her taper shall quench to a spark,
+And Scotchman meet Scotchman, and cheat in the dark.
+
+  Here lies David Garrick, describe me, who can,
+An abridgment of all that was pleasant in man;
+As an actor, confess’d without rival to shine:             95
+As a wit, if not first, in the very first line:
+Yet, with talents like these, and an excellent heart,
+The man had his failings, a dupe to his art.
+Like an ill-judging beauty, his colours he spread,
+And beplaster’d with rouge his own natural red.           100
+On the stage he was natural, simple, affecting;
+’Twas only that when he was off he was acting.
+With no reason on earth to go out of his way,
+He turn’d and he varied full ten times a day.
+Though secure of our hearts, yet confoundedly sick        105
+If they were not his own by finessing and trick,
+He cast off his friends, as a huntsman his pack,
+For he knew when he pleas’d he could whistle them back.
+Of praise a mere glutton, he swallow’d what came,
+And the puff of a dunce he mistook it for fame;           110
+Till his relish grown callous, almost to disease,
+Who pepper’d the highest was surest to please.
+But let us be candid, and speak out our mind,
+If dunces applauded, he paid them in kind.
+Ye Kenricks, ye Kellys, and Woodfalls so grave,           115
+What a commerce was yours, while you got and you gave!
+How did Grub-street re-echo the shouts you rais’d,
+While he was be-Roscius’d, and you were be-prais’d!
+But peace to his spirit, wherever it flies,
+To act as an angel, and mix with the skies:               120
+Those poets, who owe their best fame to his skill,
+Shall still be his flatterers, go where he will.
+Old Shakespeare, receive him, with praise and with love,
+And Beaumonts and Bens be his Kellys above.
+
+  Here Hickey reclines, a most blunt, pleasant creature,  125
+And slander itself must allow him good nature:
+He cherish’d his friend, and he relish’d a bumper;
+Yet one fault he had, and that one was a thumper.
+Perhaps you may ask if the man was a miser!
+I answer, no, no, for he always was wiser:                130
+Too courteous, perhaps, or obligingly flat?
+His very worst foe can’t accuse him of that:
+Perhaps he confided in men as they go,
+And so was too foolishly honest! Ah no!
+Then what was his failing? come, tell it, and burn ye!    135
+He was, could he help it?—a special attorney.
+
+  Here Reynolds is laid, and, to tell you my mind,
+He has not left a better or wiser behind:
+His pencil was striking, resistless, and grand;
+His manners were gentle, complying, and bland;            140
+Still born to improve us in every part,
+His pencil our faces, his manners our heart:
+To coxcombs averse, yet most civilly steering,
+When they judg’d without skill he was still hard of hearing:
+When they talk’d of their Raphaels, Correggios, and stuff, 145
+He shifted his trumpet, and only took snuff.
+
+
+ POSTSCRIPT
+
+      After the Fourth Edition of this Poem was printed, the Publisher received
+      an Epitaph on Mr. Whitefoord, from a friend of the late Doctor Goldsmith,
+      inclosed in a letter, of which the following is an abstract:—
+
+      ‘I have in my possession a sheet of paper, containing near forty lines in
+      the Doctor’s own hand-writing: there are many scattered, broken verses, on
+      Sir Jos. Reynolds, Counsellor Ridge, Mr. Beauclerk, and Mr. Whitefoord.
+      The Epitaph on the last-mentioned gentleman is the only one that is
+      finished, and therefore I have copied it, that you may add it to the next
+      edition. It is a striking proof of Doctor Goldsmith’s good-nature. I saw
+      this sheet of paper in the Doctor’s room, five or six days before he died;
+      and, as I had got all the other Epitaphs, I asked him if I might take it.
+      “_In truth you may, my Boy_,” (replied he,) “_for it will be of no
+      use to me where I am going._”’
+
+HERE Whitefoord reclines, and deny it who can,
+Though he _merrily_ liv’d, he is now a ‘grave’ man;
+Rare compound of oddity, frolic, and fun!
+Who relish’d a joke, and rejoic’d in a pun;               150
+Whose temper was generous, open, sincere;
+A stranger to flatt’ry, a stranger to fear;
+Who scatter’d around wit and humour at will;
+Whose daily _bons mots_ half a column might fill;
+A Scotchman, from pride and from prejudice free;          155
+A scholar, yet surely no pedant was he.
+
+  What pity, alas! that so lib’ral a mind
+Should so long be to news-paper essays confin’d;
+Who perhaps to the summit of science could soar,
+Yet content ‘if the table he set on a roar’;              160
+Whose talents to fill any station were fit,
+Yet happy if Woodfall confess’d him a wit.
+
+  Ye news-paper witlings! ye pert scribbling folks
+Who copied his squibs, and re-echoed his jokes;
+Ye tame imitators, ye servile herd, come,                 165
+Still follow your master, and visit his tomb:
+To deck it, bring with you festoons of the vine,
+And copious libations bestow on his shrine:
+Then strew all around it (you can do no less)
+_Cross-readings, Ship-news_, and _Mistakes of the Press._
+                                                          170
+
+  Merry Whitefoord, farewell! for _thy_ sake I admit
+That a Scot may have humour, I had almost said wit:
+This debt to thy mem’ry I cannot refuse,
+‘Thou best humour’d man with the worst humour’d muse.’
+
+
+
+
+SONG
+ 
+ INTENDED TO HAVE BEEN SUNG IN
+
+‘SHE STOOPS TO CONQUER’
+
+
+     AH me! when shall I marry me?
+       Lovers are plenty; but fail to relieve me:
+     He, fond youth, that could carry me,
+       Offers to love, but means to deceive me.
+
+     But I will rally, and combat the ruiner:                5
+       Not a look, not a smile shall my passion discover:
+     She that gives all to the false one pursuing her,
+       Makes but a penitent, loses a lover.
+
+
+
+
+TRANSLATION
+
+
+     CHASTE are their instincts, faithful is their fire,
+     No foreign beauty tempts to false desire;
+     The snow-white vesture, and the glittering crown,
+     The simple plumage, or the glossy down
+     Prompt not their loves:—the patriot bird pursues         5
+     His well acquainted tints, and kindred hues.
+     Hence through their tribes no mix’d polluted flame,
+     No monster-breed to mark the groves with shame;
+     But the chaste blackbird, to its partner true,
+     Thinks black alone is beauty’s favourite hue.           10
+     The nightingale, with mutual passion blest,
+     Sings to its mate, and nightly charms the nest;
+     While the dark owl to court its partner flies,
+     And owns its offspring in their yellow eyes.
+
+
+
+
+THE HAUNCH OF VENISON
+ 
+ A POETICAL EPISTLE TO LORD
+      CLARE
+
+
+THANKS, my Lord, for your venison, for finer or fatter
+Never rang’d in a forest, or smok’d in a platter;
+The haunch was a picture for painters to study,
+The fat was so white, and the lean was so ruddy.
+Though my stomach was sharp, I could scarce help regretting  5
+To spoil such a delicate picture by eating;
+I had thoughts, in my chambers, to place it in view,
+To be shown to my friends as a piece of _virtù_;
+As in some Irish houses, where things are so so,
+One gammon of bacon hangs up for a show:                    10
+But for eating a rasher of what they take pride in,
+They’d as soon think of eating the pan it is fried in.
+But hold—let me pause—Don’t I hear you pronounce
+This tale of the bacon a damnable bounce?
+Well, suppose it a bounce—sure a poet may try,              15
+By a bounce now and then, to get courage to fly.
+
+  But, my Lord, it’s no bounce:  I protest in my turn,
+It’s a truth—and your Lordship may ask Mr. Byrne.
+To go on with my tale—as I gaz’d on the haunch,
+I thought of a friend that was trusty and staunch;          20
+So I cut it, and sent it to Reynolds undress’d,
+To paint it, or eat it, just as he lik’d best.
+Of the neck and the breast I had next to dispose;
+’Twas a neck and a breast—that might rival M—r—’s:
+But in parting with these I was puzzled again,              25
+With the how, and the who, and the where, and the when.
+There’s H—d, and C—y, and H—rth, and H—ff,
+I think they love venison—I know they love beef;
+There’s my countryman H—gg—ns—Oh! let him
+alone,
+For making a blunder, or picking a bone.                    30
+But hang it—to poets who seldom can eat,
+Your very good mutton’s a very good treat;
+Such dainties to them, their health it might hurt,
+It’s like sending them ruffles, when wanting a shirt.
+While thus I debated, in reverie centred,                   35
+An acquaintance, a friend as he call’d himself, enter’d;
+An under-bred, fine-spoken fellow was he,
+And he smil’d as he look’d at the venison and me.
+‘What have we got here?—Why, this is good eating!
+Your own, I suppose—or is it in waiting?’                   40
+‘Why, whose should it be?’ cried I with a flounce,
+‘I get these things often;’—but that was a bounce:
+‘Some lords, my acquaintance, that settle the nation,
+Are pleas’d to be kind—but I hate ostentation.’
+
+  ‘If that be the case, then,’ cried he, very gay,          45
+‘I’m glad I have taken this house in my way.
+To-morrow you take a poor dinner with me;
+No words—I insist on’t—precisely at three:
+We’ll have Johnson, and Burke; all the wits will be there;
+My acquaintance is slight, or I’d ask my Lord Clare.        50
+And now that I think on’t, as I am a sinner!
+We wanted this venison to make out the dinner.
+What say you—a pasty? it shall, and it must,
+And my wife, little Kitty, is famous for crust.
+Here, porter!—this venison with me to Mile-end;             55
+No stirring—I beg—my dear friend—my dear friend!
+Thus snatching his hat, he brush’d off like the wind,
+And the porter and eatables follow’d behind.
+
+  Left alone to reflect, having emptied my shelf,
+‘And nobody with me at sea but myself’;                     60
+Though I could not help thinking my gentleman hasty,
+Yet Johnson, and Burke, and a good venison pasty,
+Were things that I never dislik’d in my life,
+Though clogg’d with a coxcomb, and Kitty his wife.
+So next day, in due splendour to make my approach,          65
+I drove to his door in my own hackney coach.
+
+  When come to the place where we all were to dine,
+(A chair-lumber’d closet just twelve feet by nine:)
+My friend bade me welcome, but struck me quite dumb,
+With tidings that Johnson and Burke would not come;         70
+‘For I knew it,’ he cried, ‘both eternally fail,
+The one with his speeches, and t’other with Thrale;
+But no matter, I’ll warrant we’ll make up the party
+With two full as clever, and ten times as hearty.
+The one is a Scotchman, the other a Jew,                    75
+They[’re] both of them merry and authors like you;
+The one writes the _Snarler_, the other the _Scourge_;
+Some think he writes _Cinna_—he owns to _Panurge._’
+While thus he describ’d them by trade, and by name,
+They enter’d and dinner was serv’d as they came.            80
+
+  At the top a fried liver and bacon were seen,
+At the bottom was tripe in a swinging tureen;
+At the sides there was spinach and pudding made hot;
+In the middle a place where the pasty—was not.
+Now, my Lord as for tripe, it’s my utter aversion,          85
+And your bacon I hate like a Turk or a Persian;
+So there I sat stuck, like a horse in a pound,
+While the bacon and liver went merrily round.
+But what vex’d me most was that d—’d Scottish rogue,
+With his long-winded speeches, his smiles and his brogue;   90
+And, ‘Madam,’ quoth he, ‘may this bit be my poison,
+A prettier dinner I never set eyes on;
+Pray a slice of your liver, though may I be curs’d,
+But I’ve eat of your tripe till I’m ready to burst.’
+‘The tripe,’ quoth the Jew, with his chocolate cheek,       95
+‘I could dine on this tripe seven days in the week:
+I like these here dinners so pretty and small;
+But your friend there, the Doctor, eats nothing at all.’
+‘O—Oh!’ quoth my friend, ‘he’ll come on in a trice,
+He’s keeping a corner for something that’s nice:           100
+There’s a pasty’—‘A pasty!’ repeated the Jew,
+‘I don’t care if I keep a corner for’t too.’
+‘What the de’il, mon, a pasty!’ re-echoed the Scot,
+‘Though splitting, I’ll still keep a corner for thot.’
+‘We’ll all keep a corner,’ the lady cried out;             105
+‘We’ll all keep a corner,’ was echoed about.
+While thus we resolv’d, and the pasty delay’d,
+With look that quite petrified, enter’d the maid;
+A visage so sad, and so pale with affright,
+Wak’d Priam in drawing his curtains by night.              110
+But we quickly found out, for who could mistake her?
+That she came with some terrible news from the baker:
+And so it fell out, for that negligent sloven
+Had shut out the pasty on shutting his oven
+Sad Philomel thus—but let similes drop—                    115
+And now that I think on’t, the story may stop.
+To be plain, my good Lord, it’s but labour misplac’d
+To send such good verses to one of your taste;
+You’ve got an odd something—a kind of discerning—
+A relish—a taste—sicken’d over by learning;                120
+At least, it’s your temper, as very well known,
+That you think very slightly of all that’s your own:
+So, perhaps, in your habits of thinking amiss,
+You may make a mistake, and think slightly of this.
+
+
+
+
+EPITAPH ON THOMAS PARNELL
+
+
+     THIS tomb, inscrib’d to gentle Parnell’s name,
+     May speak our gratitude, but not his fame.
+     What heart but feels his sweetly-moral lay,
+     That leads to truth through pleasure’s flowery way!
+     Celestial themes confess’d his tuneful aid;             5
+     And Heaven, that lent him genius, was repaid.
+     Needless to him the tribute we bestow—
+     The transitory breath of fame below:
+     More lasting rapture from his works shall rise,
+     While Converts thank their poet in the skies.          10
+
+
+
+
+THE CLOWN’S REPLY
+
+
+     JOHN TROTT was desired by two witty peers
+     To tell them the reason why asses had ears?
+     ‘An’t please you,’ quoth John, ‘I’m not given to letters,
+     Nor dare I pretend to know more than my betters;
+     Howe’er, from this time I shall ne’er see your graces,  5
+     As I hope to be saved! without thinking on asses.’
+
+
+
+
+EPITAPH ON EDWARD PURDON
+
+
+          HERE lies poor Ned Purdon, from misery freed,
+            Who long was a bookseller’s hack;
+          He led such a damnable life in this world,—
+            I don’t think he’ll wish to come back.
+
+
+
+
+EPILOGUE FOR MR. LEE LEWES
+
+
+     HOLD! Prompter, hold! a word before your nonsense;
+     I’d speak a word or two, to ease my conscience.
+     My pride forbids it ever should be said,
+     My heels eclips’d the honours of my head;
+     That I found humour in a piebald vest,                  5
+     Or ever thought that jumping was a jest.
+                                (_Takes off his mask._)
+     Whence, and what art thou, visionary birth?
+     Nature disowns, and reason scorns thy mirth,
+     In thy black aspect every passion sleeps,
+     The joy that dimples, and the woe that weeps.          10
+     How has thou fill’d the scene with all thy brood,
+     Of fools pursuing, and of fools pursu’d!
+     Whose ins and outs no ray of sense discloses,
+     Whose only plot it is to break our noses;
+     Whilst from below the trap-door Demons rise,           15
+     And from above the dangling deities;
+     And shall I mix in this unhallow’d crew?
+     May rosined lightning blast me, if I do!
+     No—I will act, I’ll vindicate the stage:
+     Shakespeare himself shall feel my tragic rage.         20
+     Off! off! vile trappings! a new passion reigns!
+     The madd’ning monarch revels in my veins.
+     Oh! for a Richard’s voice to catch the theme:
+     ‘Give me another horse! bind up my wounds!—soft—
+       ’twas but a dream.’
+     Aye, ’twas but a dream, for now there’s no retreating: 25
+     If I cease Harlequin, I cease from eating.
+     ’Twas thus that Aesop’s stag, a creature blameless,
+     Yet something vain, like one that shall be nameless,
+     Once on the margin of a fountain stood,
+     And cavill’d at his image in the flood.                30
+     ‘The deuce confound,’ he cries, ‘these drumstick shanks,
+     They never have my gratitude nor thanks;
+     They’re perfectly disgraceful! strike me dead!
+     But for a head, yes, yes, I have a head.
+     How piercing is that eye! how sleek that brow!         35
+     My horns! I’m told horns are the fashion now.’
+     Whilst thus he spoke, astonish’d, to his view,
+     Near, and more near, the hounds and huntsmen drew.
+     ‘Hoicks! hark forward!’ came thund’ring from behind,
+     He bounds aloft, outstrips the fleeting wind:          40
+     He quits the woods, and tries the beaten ways;
+     He starts, he pants, he takes the circling maze.
+     At length his silly head, so priz’d before,
+     Is taught his former folly to deplore;
+     Whilst his strong limbs conspire to set him free,      45
+     And at one bound he saves himself,—like me.
+                 (_Taking a jump through the stage door._)
+
+
+
+
+EPILOGUE
+ 
+ INTENDED TO HAVE BEEN SPOKEN FOR
+
+‘SHE STOOPS TO CONQUER’
+
+      
+    
+
+      _Enter_ MRS. BULKLEY, _who curtsies
+      very low as beginning to speak. Then enter_ MISS CATLEY,
+      _who stands full before her, and curtsies to the audience._
+
+      MRS. BULKLEY.
+    
+
+    HOLD, Ma’am, your pardon. What’s your business here?
+
+      MISS CATLEY.
+    
+
+    The Epilogue.
+
+      MRS. BULKLEY.
+    
+
+            The Epilogue?
+
+      MISS CATLEY.
+    
+
+                            Yes, the Epilogue, my dear.
+
+      MRS. BULKLEY.
+    
+
+    Sure you mistake, Ma’am. The Epilogue, _I_ bring it.
+
+      MISS CATLEY.
+    
+
+    Excuse me, Ma’am. The Author bid _me_ sing it.
+
+      _Recitative._
+    
+
+    Ye beaux and belles, that form this splendid ring,      5
+    Suspend your conversation while I sing.
+
+      MRS. BULKLEY.
+    
+
+    Why, sure the girl’s beside herself: an Epilogue of singing,
+    A hopeful end indeed to such a blest beginning.
+    Besides, a singer in a comic set!—
+    Excuse me, Ma’am, I know the etiquette.                10
+
+      MISS CATLEY.
+    
+
+    What if we leave it to the House?
+
+      MRS. BULKLEY.
+    
+
+                     The House!—Agreed.
+
+      MISS CATLEY.
+    
+
+                                            Agreed.
+
+      MRS. BULKLEY.
+    
+
+        And she, whose party’s largest, shall proceed.
+        And first I hope, you’ll readily agree
+        I’ve all the critics and the wits for me.
+        They, I am sure, will answer my commands:              15
+        Ye candid-judging few, hold up your hands.
+        What! no return? I find too late, I fear,
+        That modern judges seldom enter here.
+
+      MISS CATLEY.
+    
+
+    I’m for a different set.—Old men, whose trade is
+    Still to gallant and dangle with the ladies;—          20
+
+      _Recitative._
+    
+
+    Who mump their passion, and who, grimly smiling,
+    Still thus address the fair with voice beguiling:—
+
+      _Air—Cotillon._
+    
+
+          Turn, my fairest, turn, if ever
+            Strephon caught thy ravish’d eye;
+          Pity take on your swain so clever,                   25
+            Who without your aid must die.
+                        Yes, I shall die, hu, hu, hu, hu!
+                        Yes, I must die, ho, ho, ho, ho!
+                                                (_Da capo._)
+
+      MRS. BULKLEY.
+    
+
+          Let all the old pay homage to your merit;
+          Give me the young, the gay, the men of spirit.       30
+          Ye travell’d tribe, ye macaroni train,
+          Of French friseurs, and nosegays, justly vain,
+          Who take a trip to Paris once a year
+          To dress, and look like awkward Frenchmen here,
+          Lend me your hands.—Oh! fatal news to tell:          35
+          Their hands are only lent to the Heinel.
+
+      MISS CATLEY.
+    
+
+          Ay, take your travellers, travellers indeed!
+          Give me my bonny Scot, that travels from the Tweed.
+          Where are the chiels? Ah! Ah, I well discern
+          The smiling looks of each bewitching bairn.          40
+
+      _Air—A bonny young lad is my Jockey._
+
+          I’ll sing to amuse you by night and by day,
+          And be unco merry when you are but gay;
+          When you with your bagpipes are ready to play,
+          My voice shall be ready to carol away
+                 With Sandy, and Sawney, and Jockey            45
+                 With Sawney, and Jarvie, and Jockey.
+
+      MRS. BULKLEY.
+    
+
+          Ye gamesters, who, so eager in pursuit,
+          Make but of all your fortune one _va toute_;
+          Ye jockey tribe, whose stock of words are few,
+          ‘I hold the odds.—Done, done, with you, with you;’   50
+          Ye barristers, so fluent with grimace,
+          ‘My Lord,—your Lordship misconceives the case;’
+          Doctors, who cough and answer every misfortuner,
+          ‘I wish I’d been called in a little sooner:’
+          Assist my cause with hands and voices hearty;        55
+          Come, end the contest here, and aid my party.
+
+ MISS CATLEY.
+ 
+ _Air—Ballinamony._
+
+          Ye brave Irish lads, hark away to the crack,
+          Assist me, I pray, in this woful attack;
+          For sure I don’t wrong you, you seldom are slack,
+          When the ladies are calling, to blush and hang back; 60
+              For you’re always polite and attentive,
+              Still to amuse us inventive,
+              And death is your only preventive:
+                Your hands and your voices for me.
+
+      MRS. BULKLEY.
+    
+
+          Well, Madam, what if, after all this sparring,       65
+          We both agree, like friends, to end our jarring?
+
+      MISS CATLEY.
+    
+
+          And that our friendship may remain unbroken,
+          What if we leave the Epilogue unspoken?
+
+      MRS. BULKLEY.
+    
+
+          Agreed.
+
+
+      MISS CATLEY.
+    
+
+          Agreed.
+
+      MRS. BULKLEY.
+    
+
+                        And now with late repentance,
+          Un-epilogued the Poet waits his sentence.            70
+          Condemn the stubborn fool who can’t submit
+          To thrive by flattery, though he starves by wit.
+                                              (_Exeunt._)
+
+
+
+
+EPILOGUE
+ 
+ INTENDED TO HAVE BEEN SPOKEN FOR
+
+‘SHE STOOPS TO CONQUER’
+
+
+     THERE is a place, so Ariosto sings,
+     A treasury for lost and missing things;
+     Lost human wits have places assign’d them,
+     And they, who lose their senses, there may find them.
+     But where’s this place, this storehouse of the age?        5
+     The Moon, says he:—but _I_ affirm the Stage:
+     At least in many things, I think, I see
+     His lunar, and our mimic world agree.
+     Both shine at night, for, but at Foote’s alone,
+     We scarce exhibit till the sun goes down.                 10
+     Both prone to change, no settled limits fix,
+     And sure the folks of both are lunatics.
+     But in this parallel my best pretence is,
+     That mortals visit both to find their senses.
+     To this strange spot, Rakes, Macaronies, Cits             15
+     Come thronging to collect their scatter’d wits.
+     The gay coquette, who ogles all the day,
+     Comes here at night, and goes a prude away.
+     Hither the affected city dame advancing,
+     Who sighs for operas, and dotes on dancing,               20
+     Taught by our art her ridicule to pause on,
+     Quits the _Ballet_, and calls for _Nancy Dawson._
+     The Gamester too, whose wit’s all high or low,
+     Oft risks his fortune on one desperate throw,
+     Comes here to saunter, having made his bets,              25
+     Finds his lost senses out, and pay his debts.
+     The Mohawk too—with angry phrases stored,
+     As ‘D— —, Sir,’ and ‘Sir, I wear a sword’;
+     Here lesson’d for a while, and hence retreating,
+     Goes out, affronts his man, and takes a beating.          30
+     Here come the sons of scandal and of news,
+     But find no sense—for they had none to lose.
+     Of all the tribe here wanting an adviser
+     Our Author’s the least likely to grow wiser;
+     Has he not seen how you your favour place,                35
+     On sentimental Queens and Lords in lace?
+     Without a star, a coronet or garter,
+     How can the piece expect or hope for quarter?
+     No high-life scenes, no sentiment:—the creature
+     Still stoops among the low to copy nature.                40
+     Yes, he’s far gone:—and yet some pity fix,
+     The English laws forbid to punish lunatics.
+
+
+
+
+THE CAPTIVITY
+      AN
+ ORATORIO
+
+
+
+
+      THE PERSONS.
+
+
+          FIRST ISRAELITISH PROPHET.
+          SECOND ISRAELITISH PROPHET.
+          ISRAELITISH WOMAN.
+          FIRST CHALDEAN PRIEST.
+          SECOND CHALDEAN PRIEST.
+          CHALDEAN WOMAN.
+          CHORUS  OF YOUTHS  AND VIRGINS.
+
+ SCENE—The Banks of the River Euphrates, near
+      Babylon.
+
+
+
+
+      THE CAPTIVITY
+ 
+ ACT I—SCENE I.
+
+      
+ _Israelites sitting on the Banks of the Euphrates._
+
+
+      FIRST PROPHET.
+ 
+ RECITATIVE.
+
+    YE captive tribes, that hourly work and weep
+    Where flows Euphrates murmuring to the deep,
+    Suspend awhile the task, the tear suspend,
+    And turn to God, your Father and your Friend.
+    Insulted, chain’d, and all the world a foe,             5
+    Our God alone is all we boast below.
+
+      FIRST PROPHET.
+ 
+ AIR.
+
+        Our God is all we boast below,
+          To him we turn our eyes;
+        And every added weight of woe
+          Shall make our homage rise.                  10
+
+      SECOND PROPHET.
+
+        And though no temple richly drest,
+          Nor sacrifice is here;
+        We’ll make his temple in our breast,
+          And offer up a tear.
+            [_The first stanza repeated by the Chorus._
+
+
+      SECOND PROPHET.
+ 
+ RECITATIVE.
+
+    That strain once more; it bids remembrance rise,       15
+    And brings my long-lost country to mine eyes.
+    Ye fields of Sharon, dress’d in flow’ry pride,
+    Ye plains where Jordan rolls its glassy tide,
+    Ye hills of Lebanon, with cedars crown’d,
+    Ye Gilead groves, that fling perfumes around,          20
+    These hills how sweet! Those plains how wond’rous fair,
+    But sweeter still, when Heaven was with us there!
+
+      AIR.
+
+        O Memory, thou fond deceiver,
+          Still importunate and vain;
+        To former joys recurring ever,                 25
+          And turning all the past to pain;
+
+        Hence intruder, most distressing,
+          Seek the happy and the free:
+        The wretch who wants each other blessing,
+          Ever wants a friend in thee.                 30
+
+      FIRST PROPHET.
+ 
+ RECITATIVE.
+
+    Yet, why complain? What, though by bonds confin’d,
+    Should bonds repress the vigour of the mind?
+    Have we not cause for triumph when we see
+    Ourselves alone from idol-worship free?
+    Are not this very morn those feasts begun?             35
+    Where prostrate error hails the rising sun?
+    Do not our tyrant lords this day ordain
+    For superstitious rites and mirth profane?
+    And should we mourn? Should coward virtue fly,
+    When impious folly rears her front on high?            40
+    No; rather let us triumph still the more,
+    And as our fortune sinks, our wishes soar.
+
+      AIR.
+
+        The triumphs that on vice attend
+        Shall ever in confusion end;
+        The good man suffers but to gain,              45
+        And every virtue springs from pain:
+
+        As aromatic plants bestow
+        No spicy fragrance while they grow;
+        But crush’d, or trodden to the ground,
+        Diffuse their balmy sweets around.             50
+
+      SECOND PROPHET.
+ 
+ RECITATIVE.
+
+    But hush, my sons, our tyrant lords are near;
+    The sounds of barb’rous pleasure strike mine ear;
+    Triumphant music floats along the vale;
+    Near, nearer still, it gathers on the gale;
+    The growing sound their swift approach declares;—      55
+    Desist, my sons, nor mix the strain with theirs.
+
+      _Enter_ CHALDEAN PRIESTS _attended._
+      
+ FIRST PRIEST.
+ 
+ AIR.
+
+    Come on, my companions, the triumph display;
+      Let rapture the minutes employ;
+    The sun calls us out on this festival day,
+      And our monarch partakes in the joy.                 60
+
+
+      SECOND PRIEST.
+
+    Like the sun, our great monarch all rapture supplies,
+      Both similar blessings bestow;
+    The sun with his splendour illumines the skies,
+      And our monarch enlivens below.
+
+      A CHALDEAN WOMAN.
+ 
+ AIR.
+
+    Haste, ye sprightly sons of pleasure;                  65
+    Love presents the fairest treasure,
+      Leave all other joys for me.
+
+      A CHALDEAN ATTENDANT.
+
+    Or rather, Love’s delights despising,
+    Haste to raptures ever rising
+      Wine shall bless the brave and free.                 70
+
+      FIRST PRIEST.
+
+    Wine and beauty thus inviting,
+    Each to different joys exciting,
+      Whither shall my choice incline?
+
+      SECOND PRIEST.
+
+    I’ll waste no longer thought in choosing;
+    But, neither this nor that refusing,                   75
+      I’ll make them both together mine.
+
+      RECITATIVE.
+
+    But whence, when joy should brighten o’er the land,
+    This sullen gloom in Judah’s captive band?
+    Ye sons of Judah, why the lute unstrung?
+    Or why those harps on yonder willows hung?             80
+    Come, take the lyre, and pour the strain along,
+    The day demands it; sing us Sion’s song.
+    Dismiss your griefs, and join our warbling choir,
+    For who like you can wake the sleeping lyre?
+
+      SECOND PROPHET.
+
+    Bow’d down with chains, the scorn of all mankind,      85
+    To want, to toil, and every ill consign’d,
+    Is this a time to bid us raise the strain,
+    Or mix in rites that Heaven regards with pain?
+    No, never! May this hand forget each art
+    That speeds the power of music to the heart,           90
+    Ere I forget the land that gave me birth,
+    Or join with sounds profane its sacred mirth!
+
+      FIRST PRIEST.
+    
+
+    Insulting slaves! If gentler methods fail,
+    The whips and angry tortures shall prevail.
+                    [_Exeunt Chaldeans_
+
+      FIRST PROPHET.
+    
+
+    Why, let them come, one good remains to cheer;         95
+    We fear the Lord, and know no other fear.
+
+      CHORUS.
+    
+
+        Can whips or tortures hurt the mind
+        On God’s supporting breast reclin’d?
+        Stand fast, and let our tyrants see
+        That fortitude is victory.
+                        [_Exeunt._
+
+
+
+
+      ACT II.
+ 
+ _Scene as before._ CHORUS OF ISRAELITES.
+
+
+        O PEACE of mind, angelic guest!
+        Thou soft companion of the breast!
+          Dispense thy balmy store.
+        Wing all our thoughts to reach the skies,
+        Till earth, receding from our eyes,             5
+          Shall vanish as we soar.
+
+      FIRST PRIEST.
+ 
+ RECITATIVE.
+    
+
+    No more! Too long has justice been delay’d,
+    The king’s commands must fully be obey’d;
+    Compliance with his will your peace secures,
+    Praise but our gods, and every good is yours.          10
+    But if, rebellious to his high command,
+    You spurn the favours offer’d from his hand,
+    Think, timely think, what terrors are behind;
+    Reflect, nor tempt to rage the royal mind.
+
+      SECOND PRIEST.
+ 
+ AIR.
+
+        Fierce is the whirlwind howling               15
+          O’er Afric’s sandy plain,
+        And fierce the tempest rolling
+          Along the furrow’d main:
+            But storms that fly,
+            To rend the sky,                          20
+          Every ill presaging,
+            Less dreadful show
+            To worlds below
+          Than angry monarch’s raging.
+
+
+
+
+[Illustration: ]
+GOLDSMITH’S AUTOGRAPH
+
+(Stanzas from ‘The Captivity’)
+
+      ISRAELITISH WOMAN.
+ 
+ RECITATIVE.
+    
+
+    Ah, me! What angry terrors round us grow;              25
+    How shrinks my soul to meet the threaten’d blow!
+    Ye prophets, skill’d in Heaven’s eternal truth,
+    Forgive my sex’s fears, forgive my youth!
+    If, shrinking thus, when frowning power appears,
+    I wish for life, and yield me to my fears.             30
+    Let us one hour, one little hour obey;
+    To-morrow’s tears may wash our stains away.
+
+      AIR.
+    
+
+        To the last moment of his breath
+          On hope the wretch relies;
+        And e’en the pang preceding death              35
+          Bids expectation rise.
+
+        Hope, like the gleaming taper’s light,
+          Adorns and cheers our way;
+        And still, as darker grows the night,
+          Emits a brighter ray.                        40
+
+      SECOND PRIEST. RECITATIVE.
+    
+
+    Why this delay? At length for joy prepare;
+    I read your looks, and see compliance there.
+    Come on, and bid the warbling rapture rise,
+    Our monarch’s fame the noblest theme supplies.
+    Begin, ye captive bands, and strike the lyre,          45
+    The time, the theme, the place, and all conspire.
+
+      CHALDEAN WOMAN.
+ 
+ AIR.
+    
+
+        See the ruddy morning smiling,
+        Hear the grove to bliss beguiling;
+        Zephyrs through the woodland playing,
+        Streams along the valley straying.             50
+
+      FIRST PRIEST.
+    
+
+        While these a constant revel keep,
+        Shall Reason only teach to weep?
+        Hence, intruder! We’ll pursue
+        Nature, a better guide than you.
+
+      SECOND PRIEST.
+    
+
+        Every moment, as it flows,                     55
+        Some peculiar pleasure owes;
+        Then let us, providently wise,
+        Seize the debtor as it flies.
+
+        Think not to-morrow can repay
+        The pleasures that we lose to-day;             60
+        To-morrow’s most unbounded store
+        Can but pay its proper score.
+
+      FIRST PRIEST.
+ 
+ RECITATIVE.
+    
+
+    But hush! See, foremost of the captive choir,
+    The master-prophet grasps his full-ton’d lyre.
+    Mark where he sits, with executing art,                65
+    Feels for each tone, and speeds it to the heart;
+    See how prophetic rapture fills his form,
+    Awful as clouds that nurse the growing storm;
+    And now his voice, accordant to the string,
+    Prepares our monarch’s victories to sing.              70
+
+      FIRST PROPHET.
+ 
+ AIR.
+    
+
+      From north, from south, from east, from west,
+        Conspiring nations come;
+      Tremble thou vice-polluted breast;
+        Blasphemers, all be dumb.
+
+      The tempest gathers all around,                      75
+        On Babylon it lies;
+      Down with her! down—down to the ground;
+        She sinks, she groans, she dies.
+
+      SECOND PROPHET.
+    
+
+        Down with her, Lord, to lick the dust,
+          Ere yonder setting sun;                          80
+        Serve her as she hath served the just!
+          ’Tis fixed—it shall be done.
+
+      FIRST PRIEST.
+ 
+ RECITATIVE.
+    
+
+    No more! When slaves thus insolent presume,
+    The king himself shall judge, and fix their doom.
+    Unthinking wretches! have not you, and all,            85
+    Beheld our power in Zedekiah’s fall?
+    To yonder gloomy dungeon turn your eyes;
+    See where dethron’d your captive monarch lies,
+    Depriv’d of sight and rankling in his chain;
+    See where he mourns his friends and children slain.    90
+    Yet know, ye slaves, that still remain behind
+    More ponderous chains, and dungeons more confin’d.
+
+      CHORUS OF ALL.
+    
+
+        Arise, all potent ruler, rise,
+          And vindicate thy people’s cause;
+        Till every tongue in every land                95
+          Shall offer up unfeign’d applause.
+                        [_Exeunt._
+
+
+
+
+      ACT III.
+ 
+ _Scene as before._
+ 
+ FIRST PRIEST.
+
+      
+ RECITATIVE.
+
+    YES, my companions, Heaven’s decrees are past,
+    And our fix’d empire shall for ever last;
+    In vain the madd’ning prophet threatens woe,
+    In vain rebellion aims her secret blow;
+    Still shall our fame and growing power be spread,       5
+    And still our vengeance crush the traitor’s head.
+
+      AIR.
+    
+
+              Coeval with man
+              Our empire began,
+              And never shall fail
+              Till ruin shakes all;                    10
+              When ruin shakes all,
+              Then shall Babylon fall.
+
+
+      FIRST PROPHET.
+ 
+ RECITATIVE.
+    
+
+    ’Tis thus that pride triumphant rears the head,
+    A little while, and all their power is fled;
+    But ha! what means yon sadly plaintive train,          15
+    That this way slowly bend along the plain?
+    And now, methinks, to yonder bank they bear
+    A palled corse, and rest the body there.
+    Alas! too well mine eyes indignant trace
+    The last remains of Judah’s royal race:                20
+    Our monarch falls, and now our fears are o’er,
+    Unhappy Zedekiah is no more!
+
+      AIR.
+    
+
+        Ye wretches who, by fortune’s hate,
+          In want and sorrow groan;
+        Come ponder his severer fate,                  25
+          And learn to bless your own.
+
+        You vain, whom youth and pleasure guide,
+          Awhile the bliss suspend;
+        Like yours, his life began in pride,
+          Like his, your lives shall end.              30
+
+      SECOND PROPHET.
+ 
+ RECITATIVE.
+    
+
+    Behold his wretched corse with sorrow worn,
+    His squalid limbs with pond’rous fetters torn;
+    Those eyeless orbs that shock with ghastly glare,
+    Those ill-becoming rags—that matted hair!
+    And shall not Heaven for this its terrors show,        35
+    Grasp the red bolt, and lay the guilty low?
+    How long, how long, Almighty God of all,
+    Shall wrath vindictive threaten ere it fall!
+
+      ISRAELITISH WOMAN.
+ 
+ AIR.
+    
+
+        As panting flies the hunted hind,
+          Where brooks refreshing stray;               40
+        And rivers through the valley wind,
+          That stop the hunter’s way:
+
+        Thus we, O Lord, alike distrest,
+          For streams of mercy long;
+        Those streams which cheer the sore opprest,    45
+          And overwhelm the strong.
+
+      FIRST PROPHET.
+ 
+ RECITATIVE.
+    
+
+    But, whence that shout?  Good heavens! amazement all!
+    See yonder tower just nodding to the fall:
+    See where an army covers all the ground,
+    Saps the strong wall, and pours destruction round;     50
+    The ruin smokes, destruction pours along;
+    How low the great, how feeble are the strong!
+    The foe prevails, the lofty walls recline—
+    O God of hosts, the victory is thine!
+
+      CHORUS OF ISRAELITES.
+    
+
+        Down with them, Lord, to lick the dust;        55
+          Thy vengeance be begun:
+        Serve them as they have serv’d the just,
+          And let thy will be done.
+
+
+      FIRST PRIEST.
+ 
+ RECITATIVE.
+    
+
+    All, all is lost. The Syrian army fails,
+    Cyrus, the conqueror of the world, prevails,           60
+    The ruin smokes, the torrent pours along;
+    How low the proud, how feeble are the strong!
+    Save us, O Lord! to thee, though late, we pray,
+    And give repentance but an hour’s delay.
+
+      FIRST AND SECOND PRIEST.
+ 
+ AIR.
+    
+
+        Thrice happy, who in happy hour                65
+          To Heaven their praise bestow,
+        And own his all-consuming power
+          Before they feel the blow!
+
+      FIRST PROPHET.
+ 
+ RECITATIVE.
+    
+
+    Now, now’s our time! ye wretches bold and blind,
+    Brave but to God, and cowards to mankind,              70
+    Too late you seek that power unsought before,
+    Your wealth, your pride, your kingdom, are no more.
+
+      AIR.
+    
+
+      O Lucifer, thou son of morn,
+        Alike of Heaven and man the foe;
+          Heaven, men, and all,                            75
+          Now press thy fall,
+        And sink thee lowest of the low.
+
+
+      FIRST PROPHET.
+    
+
+      O Babylon, how art thou fallen!
+        Thy fall more dreadful from delay!
+          Thy streets forlorn                             80
+          To wilds shall turn,
+        Where toads shall pant, and vultures prey.
+
+      SECOND PROPHET.
+ 
+ RECITATIVE.
+    
+
+    Such be her fate. But listen! from afar
+    The clarion’s note proclaims the finish’d war!
+    Cyrus, our great restorer, is at hand,                 85
+    And this way leads his formidable band.
+    Give, give your songs of Sion to the wind,
+    And hail the benefactor of mankind:
+    He comes pursuant to divine decree,
+    To chain the strong, and set the captive free.         90
+
+      CHORUS OF YOUTHS.
+    
+
+        Rise to transports past expressing,
+          Sweeter from remember’d woes;
+        Cyrus comes, our wrongs redressing,
+          Comes to give the world repose.
+
+      CHORUS OF VIRGINS.
+    
+
+        Cyrus comes, the world redressing,             95
+          Love and pleasure in his train;
+        Comes to heighten every blessing,
+          Comes to soften every pain.
+
+
+      SEMI-CHORUS.
+    
+
+        Hail to him with mercy reigning,
+          Skilled in every peaceful art;              100
+        Who from bonds our limbs unchaining,
+          Only binds the willing heart.
+
+      THE LAST CHORUS.
+    
+
+    But chief to Thee, our God, defender, friend,
+      Let praise be given to all eternity;
+    O Thou, without beginning, without end,               105
+      Let us, and all, begin and end, in Thee!
+
+
+
+
+VERSES IN REPLY TO AN INVITATION TO
+ DINNER AT DR. BAKER’S.
+
+      
+ ‘This _is_ a poem! This _is_ a copy of verses!’
+
+
+        YOUR mandate I got,
+        You may all go to pot;
+        Had your senses been right,
+        You’d have sent before night;
+        As I hope to be saved,                          5
+        I put off being shaved;
+        For I could not make bold,
+        While the matter was cold,
+        To meddle in suds,
+        Or to put on my duds;                          10
+        So tell Horneck and Nesbitt,
+        And Baker and his bit,
+        And Kauffmann beside,
+        And the Jessamy Bride,
+        With the rest of the crew,                     15
+        The Reynoldses two,
+        Little Comedy’s face,
+        And the Captain in lace,
+        (By-the-bye you may tell him,
+        I have something to sell him;                  20
+        Of use I insist,
+        When he comes to enlist.
+        Your worships must know
+        That a few days ago,
+        An order went out,                             25
+        For the foot guards so stout
+        To wear tails in high taste,
+        Twelve inches at least:
+        Now I’ve got him a scale
+        To measure each tail,                          30
+        To lengthen a short tail,
+        And a long one to curtail.)—
+          Yet how can I when vext,
+        Thus stray from my text?
+        Tell each other to rue                         35
+        Your Devonshire crew,
+        For sending so late
+        To one of my state.
+        But ’tis Reynolds’s way
+        From wisdom to stray,                          40
+        And Angelica’s whim
+        To be frolick like him,
+But, alas! Your good worships, how could they be wiser,
+When both have been spoil’d in to-day’s _Advertiser_?
+
+
+      OLIVER GOLDSMITH.      
+
+
+
+
+LETTER IN PROSE AND VERSE TO MRS. BUNBURY
+
+
+      MADAM,
+ I read your letter with all that allowance
+      which critical candour could require, but after all find so much to object
+      to, and so much to raise my indignation, that I cannot help giving it a
+      serious answer.
+
+      I am not so ignorant, Madam, as not to see there are many sarcasms
+      contained in it, and solecisms also. (Solecism is a word that comes from
+      the town of Soleis in Attica, among the Greeks, built by Solon, and
+      applied as we use the word Kidderminster for curtains, from a town also of
+      that name;—but this is learning you have no taste for!)—I say,
+      Madam, there are sarcasms in it, and solecisms also. But not to seem an
+      ill-natured critic, I’ll take leave to quote your own words, and give you
+      my remarks upon them as they occur. You begin as follows:—
+    
+
+    ‘I hope, my good Doctor, you soon will be here,
+
+     And your spring-velvet coat very smart will appear,
+
+     To open our ball the first day of the year.’
+
+      Pray, Madam, where did you ever find the epithet ‘good,’ applied to the
+      title of Doctor? Had you called me ‘learned Doctor,’ or ‘grave Doctor,’ or
+      ‘noble Doctor,’ it might be allowable, because they belong to the
+      profession. But, not to cavil at trifles, you talk of my ‘spring-velvet
+      coat,’ and advise me to wear it the first day in the year,—that is,
+      in the middle of winter!—a spring-velvet in the middle of winter!!!
+      That would be
+
+      a solecism indeed! and yet, to increase the inconsistence, in another part
+      of your letter you call me a beau. Now, on one side or other, you must be
+      wrong. If I am a beau, I can never think of wearing a spring-velvet in
+      winter: and if I am not a beau, why then, that explains itself. But let me
+      go on to your two next strange lines:—
+    
+
+    ‘And bring with you a wig, that is modish and gay,
+
+    dance with the girls that are makers of hay.’
+
+      The absurdity of making hay at Christmas, you yourself seem sensible of:
+      you say your sister will laugh; and so indeed she well may! The Latins
+      have an expression for a contemptuous sort of laughter, ‘Naso contemnere
+      adunco’; that is, to laugh with a crooked nose. She may laugh at you in
+      the manner of the ancients if she thinks fit. But now I come to the most
+      extraordinary of all extraordinary propositions, which is, to take your
+      and your sister’s advice in playing at loo. The presumption of the offer
+      raises my indignation beyond the bounds of prose; it inspires me at once
+      with verse and resentment. I take advice! and from whom? You shall hear.
+
+First let me suppose, what may shortly be true,
+The company set, and the word to be, Loo;
+All smirking, and pleasant, and big with adventure,
+And ogling the stake which is fix’d in the centre.
+Round and round go the cards, while I inwardly damn             5
+At never once finding a visit from Pam.
+I lay down my stake, apparently cool,
+While the harpies about me all pocket the pool.
+I fret in my gizzard, yet, cautious and sly,
+I wish all my friends may be bolder than I:                    10
+Yet still they sit snug, not a creature will aim
+By losing their money to venture at fame.
+’Tis in vain that at niggardly caution I scold,
+’Tis in vain that I flatter the brave and the bold:
+All play their own way, and they think me an ass,—             15
+‘What does Mrs. Bunbury?’ ‘I, Sir? I pass.’
+‘Pray what does Miss Horneck? Take courage, come do,’—
+‘Who, I? let me see, Sir, why I must pass too.’
+Mr. Bunbury frets, and I fret like the devil,
+To see them so cowardly, lucky, and civil.                     20
+Yet still I sit snug, and continue to sigh on,
+Till made by my losses as bold as a lion,
+I venture at all,—while my avarice regards
+The whole pool as my own—‘Come, give me five cards.’
+‘Well done!’ cry the ladies; ‘Ah, Doctor, that’s good!         25
+The pool’s very rich—ah! the Doctor is loo’d!’
+Thus foil’d in my courage, on all sides perplex’d,
+I ask for advice from the lady that’s next:
+‘Pray, Ma’am, be so good as to give your advice;
+Don’t you think the best way is to venture for ’t twice?’      30
+‘I advise,’ cries the lady, ‘to try it, I own.—
+Ah! the Doctor is loo’d! Come, Doctor, put down.’
+Thus, playing, and playing, I still grow more eager,
+And so bold, and so bold, I’m at last a bold beggar.
+Now, ladies, I ask, if law-matters you’re skill’d in,          35
+Whether crimes such as yours should not come before Fielding?
+For giving advice that is not worth a straw,
+May well be call’d picking of pockets in law;
+And picking of pockets, with which I now charge ye,
+Is, by quinto Elizabeth, Death without Clergy.                 40
+What justice, when both to the Old Bailey brought!
+By the gods, I’ll enjoy it; though ’tis but in thought!
+Both are plac’d at the bar, with all proper decorum,
+With bunches of fennel, and nosegays before ’em;
+Both cover their faces with mobs and all that;                 45
+But the judge bids them, angrily, take off their hat.
+When uncover’d, a buzz of enquiry runs round,—
+‘Pray what are their crimes?’—‘They’ve been pilfering found.’
+‘But, pray, whom have they pilfer’d?’—‘A Doctor, I hear.’
+‘What, yon solemn-faced, odd-looking man that stands near!’    50
+‘The same.’—‘What a pity! how does it surprise one!
+Two handsomer culprits I never set eyes on!’
+Then their friends all come round me with cringing and leering,
+To melt me to pity, and soften my swearing.
+First Sir Charles advances with phrases well strung,           55
+‘Consider, dear Doctor, the girls are but young.’
+‘The younger the worse,’ I return him again,
+‘It shows that their habits are all dyed in grain.’
+‘But then they’re so handsome, one’s bosom it grieves.’
+‘What signifies _handsome_, when people are thieves?’            60
+‘But where is your justice? their cases are hard.’
+‘What signifies _justice_? I want the _reward_.
+
+
+      There’s the parish of Edmonton offers forty pounds;
+      there’s the parish of St. Leonard, Shoreditch, offers forty pounds;
+      there’s the parish of Tyburn, from the Hog-in-the-Pound to St. Giles’s
+      watchhouse, offers forty pounds,—I shall have all that if I convict
+      them!’—
+
+‘But consider their case,—it may yet be your own!
+And see how they kneel! Is your heart made of stone?’
+This moves:—so at last I agree to relent,                      65
+For ten pounds in hand, and ten pounds to be spent.
+
+
+      I challenge you all to answer this: I tell you, you cannot. It cuts deep;—but
+      now for the rest of the letter: and next— but I want room—so I
+      believe I shall battle the rest out at Barton some day next week.
+
+      I don’t value you all!    
+
+      O. G.
+
+
+
+
+VIDA’S GAME OF CHESS
+ 
+ TRANSLATED
+
+
+ARMIES of box that sportively engage
+And mimic real battles in their rage,
+Pleased I recount; how, smit with glory’s charms,
+Two mighty Monarchs met in adverse arms,
+Sable and white; assist me to explore,                       5
+Ye Serian Nymphs, what ne’er was sung before.
+No path appears: yet resolute I stray
+Where youth undaunted bids me force my way.
+O’er rocks and cliffs while I the task pursue,
+Guide me, ye Nymphs, with your unerring clue.               10
+For you the rise of this diversion know,
+You first were pleased in Italy to show
+This studious sport; from Scacchis was its name,
+The pleasing record of your Sister’s fame.
+  When Jove through Ethiopia’s parch’d extent               15
+To grace the nuptials of old Ocean went,
+Each god was there; and mirth and joy around
+To shores remote diffused their happy sound.
+Then when their hunger and their thirst no more
+Claim’d their attention, and the feast was o’er;            20
+Ocean with pastime to divert the thought,
+Commands a painted table to be brought.
+Sixty-four spaces fill the chequer’d square;
+Eight in each rank eight equal limits share.
+Alike their form, but different are their dyes,             25
+They fade alternate, and alternate rise,
+White after black; such various stains as those
+The shelving backs of tortoises disclose.
+Then to the gods that mute and wondering sate,
+You see (says he) the field prepared for fate.              30
+Here will the little armies please your sight,
+With adverse colours hurrying to the fight:
+On which so oft, with silent sweet surprise,
+The Nymphs and Nereids used to feast their eyes,
+And all the neighbours of the hoary deep,                   35
+When calm the sea, and winds were lull’d asleep
+But see, the mimic heroes tread the board;
+He said, and straightway from an urn he pour’d
+The sculptured box, that neatly seem’d to ape
+The graceful figure of a human shape:—                      40
+Equal the strength and number of each foe,
+Sixteen appear’d like jet, sixteen like snow.
+As their shape varies various is the name,
+Different their posts, nor is their strength the same.
+There might you see two Kings with equal pride              45
+Gird on their arms, their Consorts by their side;
+Here the Foot-warriors glowing after fame,
+There prancing Knights and dexterous Archers came
+And Elephants, that on their backs sustain
+Vast towers of war, and fill and shake the plain.           50
+  And now both hosts, preparing for the storm
+Of adverse battle, their encampments form.
+In the fourth space, and on the farthest line,
+Directly opposite the Monarchs shine;
+The swarthy on white ground, on sable stands                55
+The silver King; and then they send commands.
+Nearest to these the Queens exert their might;
+One the left side, and t’other guards the right:
+Where each, by her respective armour known.
+Chooses the colour that is like her own.                    60
+Then the young Archers, two that snowy-white
+Bend the tough yew, and two as black as night;
+(Greece call’d them Mars’s favourites heretofore,
+From their delight in war, and thirst of gore).
+These on each side the Monarch and his Queen                65
+Surround obedient; next to these are seen
+The crested Knights in golden armour gay;
+Their steeds by turns curvet, or snort or neigh.
+In either army on each distant wing
+Two mighty Elephants their castles bring,                   70
+Bulwarks immense! and then at last combine
+Eight of the Foot to form the second line,
+The vanguard to the King and Queen; from far
+Prepared to open all the fate of war.
+So moved the boxen hosts, each double-lined,                75
+Their different colours floating in the wind:
+As if an army of the Gauls should go,
+With their white standards, o’er the Alpine snow
+To meet in rigid fight on scorching sands
+The sun-burnt Moors and Memnon’s swarthy bands.             80
+  Then Father Ocean thus; you see them here,
+Celestial powers, what troops, what camps appear.
+Learn now the sev’ral orders of the fray,
+For e’en these arms their stated laws obey.
+To lead the fight, the Kings from all their bands           85
+Choose whom they please to bear their great commands.
+Should a black hero first to battle go,          |
+Instant a white one guards against the blow;     |
+But only one at once can charge or shun the foe. |
+Their gen’ral purpose on one scheme is bent,                90
+So to besiege the King within the tent,
+That there remains no place by subtle flight
+From danger free; and that decides the fight.
+Meanwhile, howe’er, the sooner to destroy
+Th’ imperial Prince, remorseless they employ                95
+Their swords in blood; and whosoever dare
+Oppose their vengeance, in the ruin share.
+Fate thins their camp; the parti-coloured field
+Widens apace, as they o’ercome or yield,
+But the proud victor takes the captive’s post;             100
+There fronts the fury of th’ avenging host
+One single shock: and (should he ward the blow),
+May then retire at pleasure from the foe.
+The Foot alone (so their harsh laws ordain)
+When they proceed can ne’er return again.                  105
+  But neither all rush on alike to prove
+The terror of their arms: The Foot must move
+Directly on, and but a single square;
+Yet may these heroes, when they first prepare
+To mix in combat on the bloody mead,                       110
+Double their sally, and two steps proceed;
+But when they wound, their swords they subtly guide
+With aim oblique, and slanting pierce his side.
+But the great Indian beasts, whose backs sustain
+Vast turrets arm’d, when on the redd’ning plain            115
+They join in all the terror of the fight,
+Forward or backward, to the left or right,
+Run furious, and impatient of confine
+Scour through the field, and threat the farthest line.
+Yet must they ne’er obliquely aim their blows;           | 120
+That only manner is allow’d to those                     |
+Whom Mars has favour’d most, who bend the stubborn bows. |
+These glancing sidewards in a straight career,
+Yet each confin’d to their respective sphere,
+Or white or black, can send th’ unerring dart              125
+Wing’d with swift death to pierce through ev’ry part.
+The fiery steed, regardless of the reins,
+Comes prancing on; but sullenly disdains
+The path direct, and boldly wheeling round,                    |
+Leaps o’er a double space at ev’ry bound:                  130 |
+And shifts from white or black to diff’rent colour’d ground.   |
+But the fierce Queen, whom dangers ne’er dismay,
+The strength and terror of the bloody day,
+In a straight line spreads her destruction wide,
+To left or right, before, behind, aside.                   135
+Yet may she never with a circling course
+Sweep to the battle like the fretful Horse;
+But unconfin’d may at her pleasure stray,
+If neither friend nor foe block up the way;
+For to o’erleap a warrior, ’tis decreed                    140
+Those only dare who curb the snorting steed.
+With greater caution and majestic state
+The warlike Monarchs in the scene of fate
+Direct their motions, since for these appear
+Zealous each hope, and anxious ev’ry fear.                 145
+While the King’s safe, with resolution stern
+They clasp their arms; but should a sudden turn
+Make him a captive, instantly they yield,
+Resolved to share his fortune in the field.
+He moves on slow; with reverence profound                  150
+His faithful troops encompass him around,
+And oft, to break some instant fatal scheme,
+Rush to their fates, their sov’reign to redeem;
+While he, unanxious where to wound the foe,
+Need only shift and guard against a blow.                  155
+But none, however, can presume t’ appear
+Within his reach, but must his vengeance fear;
+For he on ev’ry side his terror throws;
+But when he changes from his first repose,
+Moves but one step, most awfully sedate,                   160
+Or idly roving, or intent on fate.
+These are the sev’ral and establish’d laws:
+Now see how each maintains his bloody cause.
+  Here paused the god, but (since whene’er they wage
+War here on earth the gods themselves engage               165
+In mutual battle as they hate or love,
+And the most stubborn war is oft above),
+Almighty Jove commands the circling train
+Of gods from fav’ring either to abstain,
+And let the fight be silently survey’d;                    170
+And added solemn threats if disobey’d.
+Then call’d he Phoebus from among the Powers
+And subtle Hermes, whom in softer hours
+Fair Maia bore: youth wanton’d in their face;
+Both in life’s bloom, both shone with equal grace.         175
+Hermes as yet had never wing’d his feet;
+As yet Apollo in his radiant seat
+Had never driv’n his chariot through the air,
+Known by his bow alone and golden hair.
+These Jove commission’d to attempt the fray,               180
+And rule the sportive military day;
+Bid them agree which party each maintains,
+And promised a reward that’s worth their pains.
+The greater took their seats; on either hand
+Respectful the less gods in order stand,                   185
+But careful not to interrupt their play,
+By hinting when t’ advance or run away.
+  Then they examine, who shall first proceed
+To try their courage, and their army lead.
+Chance gave it for the White, that he should go            190
+First with a brave defiance to the foe.
+Awhile he ponder’d which of all his train
+Should bear his first commission o’er the plain;
+And then determined to begin the scene
+With him that stood before to guard the Queen.             195
+He took a double step: with instant care
+Does the black Monarch in his turn prepare
+The adverse champion, and with stern command
+Bid him repel the charge with equal hand.
+There front to front, the midst of all the field,          200
+With furious threats their shining arms they wield;
+Yet vain the conflict, neither can prevail
+While in one path each other they assail.
+On ev’ry side to their assistance fly
+Their fellow soldiers, and with strong supply              205
+Crowd to the battle, but no bloody stain
+Tinctures their armour; sportive in the plain
+Mars plays awhile, and in excursion slight
+Harmless they sally forth, or wait the fight.
+  But now the swarthy Foot, that first appear’d            210
+To front the foe, his pond’rous jav’lin rear’d
+Leftward aslant, and a pale warrior slays,
+Spurns him aside, and boldly takes his place.
+Unhappy youth, his danger not to spy!
+Instant he fell, and triumph’d but to die.                 215
+At this the sable King with prudent care
+Removed his station from the middle square,
+And slow retiring to the farthest ground,
+There safely lurk’d, with troops entrench’d around.
+Then from each quarter to the war advance                  220
+The furious Knights, and poise the trembling lance:
+By turns they rush, by turns the victors yield,
+Heaps of dead Foot choke up the crimson’d field:
+They fall unable to retreat; around
+The clang of arms and iron hoofs resound.                  225
+  But while young Phoebus pleased himself to view
+His furious Knight destroy the vulgar crew,
+Sly Hermes long’d t’ attempt with secret aim
+Some noble act of more exalted fame.
+For this, he inoffensive pass’d along                      230
+Through ranks of Foot, and midst the trembling throng
+Sent his left Horse, that free without confine
+Rov’d o’er the plain, upon some great design
+Against the King himself. At length he stood,
+And having fix’d his station as he would,                  235
+Threaten’d at once with instant fate the King
+And th’ Indian beast that guarded the right wing.
+Apollo sigh’d, and hast’ning to relieve
+The straiten’d Monarch, griev’d that he must leave
+His martial Elephant expos’d to fate,                      240
+And view’d with pitying eyes his dang’rous state.
+First in his thoughts however was his care
+To save his King, whom to the neighbouring square
+On the right hand, he snatch’d with trembling flight;
+At this with fury springs the sable Knight,                245
+Drew his keen sword, and rising to the blow,
+Sent the great Indian brute to shades below.
+O fatal loss! for none except the Queen
+Spreads such a terror through the bloody scene.
+Yet shall you ne’er unpunish’d boast your prize,           250 |
+The Delian god with stern resentment cries;                    |
+And wedg’d him round with Foot, and pour’d in fresh supplies.  |
+Thus close besieg’d trembling he cast his eye
+Around the plain, but saw no shelter nigh,
+No way for flight; for here the Queen oppos’d,             255
+The Foot in phalanx there the passage clos’d:
+At length he fell; yet not unpleas’d with fate,
+Since victim to a Queen’s vindictive hate.
+With grief and fury burns the whiten’d host,
+One of their Tow’rs thus immaturely lost.                  260
+As when a bull has in contention stern
+Lost his right horn, with double vengeance burn
+His thoughts for war, with blood he’s cover’d o’er,
+And the woods echo to his dismal roar,
+So look’d the flaxen host, when angry fate                 265
+O’erturn’d the Indian bulwark of their state.
+Fired at this great success, with double rage
+Apollo hurries on his troops t’ engage,
+For blood and havoc wild; and, while he leads
+His troops thus careless, loses both his steeds:           270
+For if some adverse warriors were o’erthrown,
+He little thought what dangers threat his own.
+But slyer Hermes with observant eyes
+March’d slowly cautious, and at distance spies
+What moves must next succeed, what dangers next arise.     275
+Often would he, the stately Queen to snare,
+The slender Foot to front her arms prepare,
+And to conceal his scheme he sighs and feigns
+Such a wrong step would frustrate all his pains.
+Just then an Archer, from the right-hand view,             280
+At the pale Queen his arrow boldly drew,
+Unseen by Phoebus, who, with studious thought,
+From the left side a vulgar hero brought.
+But tender Venus, with a pitying eye,
+Viewing the sad destruction that was nigh,                 285
+Wink’d upon Phoebus (for the Goddess sat
+By chance directly opposite); at that
+Roused in an instant, young Apollo threw
+His eyes around the field his troops to view:
+Perceiv’d the danger, and with sudden fright          |    290
+Withdrew the Foot that he had sent to fight,          |
+And sav’d his trembling Queen by seasonable flight.   |
+But Maia’s son with shouts fill’d all the coast:
+The Queen, he cried, the important Queen is lost.
+Phoebus, howe’er, resolving to maintain                    295
+What he had done, bespoke the heavenly train.
+What mighty harm, in sportive mimic flight,
+Is it to set a little blunder right,
+When no preliminary rule debarr’d?
+If you henceforward, Mercury, would guard                  300
+Against such practice, let us make the law:
+And whosoe’er shall first to battle draw,
+Or white, or black, remorseless let him go
+At all events, and dare the angry foe.
+  He said, and this opinion pleased around:                305
+Jove turn’d aside, and on his daughter frown’d,
+Unmark’d by Hermes, who, with strange surprise,
+Fretted and foam’d, and roll’d his ferret eyes,
+And but with great reluctance could refrain
+From dashing at a blow all off the plain.                  310
+Then he resolved to interweave deceits,—
+To carry on the war by tricks and cheats.
+Instant he call’d an Archer from the throng,
+And bid him like the courser wheel along:
+Bounding he springs, and threats the pallid Queen.         315
+The fraud, however, was by Phoebus seen;
+He smiled, and, turning to the Gods, he said:
+Though, Hermes, you are perfect in your trade,
+And you can trick and cheat to great surprise,          |
+These little sleights no more shall blind my eyes;      |  320
+Correct them if you please, the more you thus disguise. |
+The circle laugh’d aloud; and Maia’s son
+(As if it had but by mistake been done)
+Recall’d his Archer, and with motion due,
+Bid him advance, the combat to renew.                      325
+But Phoebus watch’d him with a jealous eye,
+Fearing some trick was ever lurking nigh,
+For he would oft, with sudden sly design,
+Send forth at once two combatants to join
+His warring troops, against the law of arms,               330
+Unless the wary foe was ever in alarms.
+  Now the white Archer with his utmost force
+Bent the tough bow against the sable Horse,
+And drove him from the Queen, where he had stood
+Hoping to glut his vengeance with her blood.               335
+Then the right Elephant with martial pride
+Roved here and there, and spread his terrors wide:
+Glittering in arms from far a courser came,
+Threaten’d at once the King and Royal Dame;
+Thought himself safe when he the post had seized,          340
+And with the future spoils his fancy pleased.
+Fired at the danger a young Archer came,
+Rush’d on the foe, and levell’d sure his aim;
+(And though a Pawn his sword in vengeance draws,
+Gladly he’d lose his life in glory’s cause).               345
+The whistling arrow to his bowels flew,
+And the sharp steel his blood profusely drew;
+He drops the reins, he totters to the ground,
+And his life issued murm’ring through the wound.
+Pierced by the Foot, this Archer bit the plain;     |      350
+The Foot himself was by another slain;              |
+And with inflamed revenge, the battle burns again.  |
+Towers, Archers, Knights, meet on the crimson ground,
+And the field echoes to the martial sound.
+Their thoughts are heated, and their courage fired,        355
+Thick they rush on with double zeal inspired;
+Generals and Foot, with different colour’d mien,    |
+Confusedly warring in the camps are seen,—          |
+Valour and fortune meet in one promiscuous scene.   |
+Now these victorious, lord it o’er the field;              360
+Now the foe rallies, the triumphant yield:
+Just as the tide of battle ebbs or flows.
+As when the conflict more tempestuous grows
+Between the winds, with strong and boisterous sweep
+They plough th’ Ionian or Atlantic deep!                   365
+By turns prevail the mutual blustering roar,
+And the big waves alternate lash the shore.
+  But in the midst of all the battle raged
+The snowy Queen, with troops at once engaged;
+She fell’d an Archer as she sought the plain,—             370
+As she retired an Elephant was slain:
+To right and left her fatal spears she sent,
+Burst through the ranks, and triumph’d as she went;
+Through arms and blood she seeks a glorious fate,
+Pierces the farthest lines, and nobly great                375
+Leads on her army with a gallant show,
+Breaks the battalions, and cuts through the foe.
+At length the sable King his fears betray’d,
+And begg’d his military consort’s aid:
+With cheerful speed she flew to his relief,                380
+And met in equal arms the female chief.
+  Who first, great Queen, and who at last did bleed?
+How many Whites lay gasping on the mead?
+Half dead, and floating in a bloody tide,
+Foot, Knights, and Archer lie on every side.               385
+Who can recount the slaughter of the day?
+How many leaders threw their lives away?
+The chequer’d plain is fill’d with dying box,
+Havoc ensues, and with tumultuous shocks
+The different colour’d ranks in blood engage,              390
+And Foot and Horse promiscuously rage.
+With nobler courage and superior might
+The dreadful Amazons sustain the fight,
+Resolved alike to mix in glorious strife,
+Till to imperious fate they yield their life.              395
+  Meanwhile each Monarch, in a neighbouring cell,
+Confined the warriors that in battle fell,
+There watch’d the captives with a jealous eye,
+Lest, slipping out again, to arms they fly.
+But Thracian Mars, in stedfast friendship join’d           400
+To Hermes, as near Phoebus he reclined,
+Observed each chance, how all their motions bend,
+Resolved if possible to serve his friend.
+He a Foot-soldier and a Knight purloin’d
+Out from the prison that the dead confined;                405
+And slyly push’d ’em forward on the plain;               |
+Th’ enliven’d combatants their arms regain,              |
+Mix in the bloody scene, and boldly war again.           |
+  So the foul hag, in screaming wild alarms
+O’er a dead carcase muttering her charms,                  410
+(And with her frequent and tremendous yell
+Forcing great Hecate from out of hell)
+Shoots in the corpse a new fictitious soul;              |
+With instant glare the supple eyeballs roll,             |
+Again it moves and speaks, and life informs the whole.   | 415
+  Vulcan alone discern’d the subtle cheat;
+And wisely scorning such a base deceit,
+Call’d out to Phoebus.  Grief and rage assail
+Phoebus by turns; detected Mars turns pale.
+Then awful Jove with sullen eye reproved                   420
+Mars, and the captives order’d to be moved
+To their dark caves; bid each fictitious spear
+Be straight recall’d, and all be as they were.
+  And now both Monarchs with redoubled rage
+Led on their Queens, the mutual war to wage.               425
+O’er all the field their thirsty spears they send,
+Then front to front their Monarchs they defend.
+But lo! the female White rush’d in unseen,
+And slew with fatal haste the swarthy Queen;
+Yet soon, alas! resign’d her royal spoils,                 430
+Snatch’d by a shaft from her successful toils.
+Struck at the sight, both hosts in wild surprise
+Pour’d forth their tears, and fill’d the air with cries;
+They wept and sigh’d, as pass’d the fun’ral train,
+As if both armies had at once been slain.                  435
+  And now each troop surrounds its mourning chief,
+To guard his person, or assuage his grief.
+One is their common fear; one stormy blast
+Has equally made havoc as it pass’d.
+Not all, however, of their youth are slain;                440
+Some champions yet the vig’rous war maintain.
+Three Foot, an Archer, and a stately Tower,
+For Phoebus still exert their utmost power.
+Just the same number Mercury can boast,
+Except the Tower, who lately in his post                   445
+Unarm’d inglorious fell, in peace profound,
+Pierced by an Archer with a distant wound;
+But his right Horse retain’d its mettled pride,—
+The rest were swept away by war’s strong tide.
+  But fretful Hermes, with despairing moan,                450
+Griev’d that so many champions were o’erthrown,
+Yet reassumes the fight; and summons round
+The little straggling army that he found,—
+All that had ’scaped from fierce Apollo’s rage,—
+Resolved with greater caution to engage                    455
+In future strife, by subtle wiles (if fate
+Should give him leave) to save his sinking state.
+The sable troops advance with prudence slow,
+Bent on all hazards to distress the foe.
+More cheerful Phoebus, with unequal pace,                  460
+Rallies his arms to lessen his disgrace.
+But what strange havoc everywhere has been!        |
+A straggling champion here and there is seen;      |
+And many are the tents, yet few are left within.   |
+  Th’ afflicted Kings bewail their consorts dead,          465
+And loathe the thoughts of a deserted bed;
+And though each monarch studies to improve
+The tender mem’ry of his former love,
+Their state requires a second nuptial tie.
+Hence the pale ruler with a love-sick eye                  470
+Surveys th’ attendants of his former wife,
+And offers one of them a royal life.
+These, when their martial mistress had been slain,
+Weak and despairing tried their arms in vain;
+Willing, howe’er, amidst the Black to go,                  475
+They thirst for speedy vengeance on the foe.
+Then he resolves to see who merits best,
+By strength and courage, the imperial vest;
+Points out the foe, bids each with bold design
+Pierce through the ranks, and reach the deepest line:      480
+For none must hope with monarchs to repose
+But who can first, through thick surrounding foes,
+Through arms and wiles, with hazardous essay,
+Safe to the farthest quarters force their way.
+Fired at the thought, with sudden, joyful pace             485
+They hurry on; but first of all the race
+Runs the third right-hand warrior for the prize,—
+The glitt’ring crown already charms her eyes.
+Her dear associates cheerfully give o’er             |
+The nuptial chase; and swift she flies before,       |     490
+And Glory lent her wings, and the reward in store.   |
+Nor would the sable King her hopes prevent,
+For he himself was on a Queen intent,
+Alternate, therefore, through the field they go.
+Hermes led on, but by a step too slow,                     495
+His fourth left Pawn: and now th’ advent’rous White
+Had march’d through all, and gain’d the wish’d for site.
+Then the pleased King gives orders to prepare
+The crown, the sceptre, and the royal chair,
+And owns her for his Queen: around exult                   500
+The snowy troops, and o’er the Black insult.
+  Hermes burst into tears,—with fretful roar
+Fill’d the wide air, and his gay vesture tore.
+The swarthy Foot had only to advance
+One single step; but oh! malignant chance!                 505
+A towered Elephant, with fatal aim,
+Stood ready to destroy her when she came:
+He keeps a watchful eye upon the whole,
+Threatens her entrance, and protects the goal.
+Meanwhile the royal new-created bride,                     510
+Pleased with her pomp, spread death and terror wide;
+Like lightning through the sable troops she flies,
+Clashes her arms, and seems to threat the skies.
+The sable troops are sunk in wild affright,
+And wish th’ earth op’ning snatch’d ’em from her sight.    515
+In burst the Queen, with vast impetuous swing:          |
+The trembling foes come swarming round the King,        |
+Where in the midst he stood, and form a valiant ring.   |
+So the poor cows, straggling o’er pasture land,
+When they perceive the prowling wolf at hand,              520
+Crowd close together in a circle full,
+And beg the succour of the lordly bull;
+They clash their horns, they low with dreadful sound,
+And the remotest groves re-echo round.
+  But the bold Queen, victorious, from behind              525
+Pierces the foe; yet chiefly she design’d
+Against the King himself some fatal aim,
+And full of war to his pavilion came.
+Now here she rush’d, now there; and had she been
+But duly prudent, she had slipp’d between,                 530
+With course oblique, into the fourth white square,
+And the long toil of war had ended there,
+The King had fallen, and all his sable state;
+And vanquish’d Hermes cursed his partial fate.
+For thence with ease the championess might go,             535
+Murder the King, and none could ward the blow.
+  With silence, Hermes, and with panting heart,
+Perceived the danger, but with subtle art,
+(Lest he should see the place) spurs on the foe,
+Confounds his thoughts, and blames his being slow.         540
+For shame! move on; would you for ever stay?
+What sloth is this, what strange perverse delay?—
+How could you e’er my little pausing blame?—
+What! you would wait till night shall end the game?
+Phoebus, thus nettled, with imprudence slew                545
+A vulgar Pawn, but lost his nobler view.
+Young Hermes leap’d, with sudden joy elate;
+And then, to save the monarch from his fate,
+Led on his martial Knight, who stepp’d between,
+Pleased that his charge was to oppose the Queen—           550
+Then, pondering how the Indian beast to slay,
+That stopp’d the Foot from making farther way,—
+From being made a Queen; with slanting aim
+An archer struck him; down the monster came,
+And dying shook the earth: while Phoebus tries             555
+Without success the monarch to surprise.
+The Foot, then uncontroll’d with instant pride,
+Seized the last spot, and moved a royal bride.
+And now with equal strength both war again,
+And bring their second wives upon the plain;               560
+Then, though with equal views each hop’d and fear’d,
+Yet, as if every doubt had disappear’d,
+As if he had the palm, young Hermes flies
+Into excess of joy; with deep disguise,
+Extols his own Black troops, with frequent spite           565
+And with invective taunts disdains the White.
+Whom Phoebus thus reproved with quick return—
+As yet we cannot the decision learn
+Of this dispute, and do you triumph now?
+Then your big words and vauntings I’ll allow,              570
+When you the battle shall completely gain;
+At present I shall make your boasting vain.
+He said, and forward led the daring Queen;
+Instant the fury of the bloody scene
+Rises tumultuous, swift the warriors fly                   575
+From either side to conquer or to die.
+They front the storm of war: around ’em Fear,
+Terror, and Death, perpetually appear.
+All meet in arms, and man to man oppose,
+Each from their camp attempts to drive their foes;         580
+Each tries by turns to force the hostile lines;
+Chance and impatience blast their best designs.
+The sable Queen spread terror as she went
+Through the mid ranks: with more reserved intent
+The adverse dame declined the open fray,                   585
+And to the King in private stole away:
+Then took the royal guard, and bursting in,
+With fatal menace close besieged the King.
+Alarm’d at this, the swarthy Queen, in haste,
+From all her havoc and destructive waste                   590
+Broke off, and her contempt of death to show,          |
+Leap’d in between the Monarch and the foe,             |
+To save the King and state from this impending blow.   |
+But Phoebus met a worse misfortune here:
+For Hermes now led forward, void of fear,                  595
+His furious Horse into the open plain,
+That onward chafed, and pranced, and pawed amain.
+Nor ceased from his attempts until he stood
+On the long-wished-for spot, from whence he could
+Slay King or Queen.  O’erwhelm’d with sudden fears,        600
+Apollo saw, and could not keep from tears.
+Now all seem’d ready to be overthrown;
+His strength was wither’d, ev’ry hope was flown.
+Hermes, exulting at this great surprise,
+Shouted for joy, and fill’d the air with cries;            605
+Instant he sent the Queen to shades below,
+And of her spoils made a triumphant show.
+But in return, and in his mid career,
+Fell his brave Knight, beneath the Monarch’s spear.
+  Phoebus, however, did not yet despair,                   610
+But still fought on with courage and with care.
+He had but two poor common men to show,
+And Mars’s favourite with his iv’ry bow.
+The thoughts of ruin made ’em dare their best
+To save their King, so fatally distress’d.                 615
+But the sad hour required not such an aid;
+And Hermes breathed revenge where’er he stray’d.
+Fierce comes the sable Queen with fatal threat,
+Surrounds the Monarch in his royal seat;
+Rushed here and there, nor rested till she slew            620
+The last remainder of the whiten’d crew.
+Sole stood the King, the midst of all the plain,
+Weak and defenceless, his companions slain.
+As when the ruddy morn ascending high
+Has chased the twinkling stars from all the sky,           625
+Your star, fair Venus, still retains its light,
+And, loveliest, goes the latest out of sight.
+No safety’s left, no gleams of hope remain;
+Yet did he not as vanquish’d quit the plain,
+But tried to shut himself between the foe,—          |     630
+Unhurt through swords and spears he hoped to go,     |
+Until no room was left to shun the fatal blow.       |
+For if none threaten’d his immediate fate,
+And his next move must ruin all his state,
+All their past toil and labour is in vain,           |     635
+Vain all the bloody carnage of the plain,—           |
+Neither would triumph then, the laurel neither gain. |
+Therefore through each void space and desert tent,
+By different moves his various course he bent:
+The Black King watch’d him with observant eye,             640
+Follow’d him close, but left him room to fly.
+Then when he saw him take the farthest line,
+He sent the Queen his motions to confine,
+And guard the second rank, that he could go
+No farther now than to that distant row.                   645
+The sable monarch then with cheerful mien
+Approach’d, but always with one space between.
+But as the King stood o’er against him there,
+Helpless, forlorn, and sunk in his despair,
+The martial Queen her lucky moment knew,          |        650
+Seized on the farthest seat with fatal view,      |
+Nor left th’ unhappy King a place to flee unto.   |
+At length in vengeance her keen sword she draws,    |
+Slew him, and ended thus the bloody cause:          |
+And all the gods around approved it with applause.  |      655
+  The victor could not from his insults keep,
+But laugh’d and sneer’d to see Apollo weep.
+Jove call’d him near, and gave him in his hand
+The powerful, happy, and mysterious wand
+By which the Shades are call’d to purer day,               660
+When penal fire has purged their sins away;
+By which the guilty are condemn’d to dwell
+In the dark mansions of the deepest hell;
+By which he gives us sleep, or sleep denies,
+And closes at the last the dying eyes.                     665
+Soon after this, the heavenly victor brought
+The game on earth, and first th’ Italians taught.
+  For (as they say) fair Scacchis he espied
+Feeding her cygnets in the silver tide,
+(Sacchis, the loveliest Seriad of the place)               670
+And as she stray’d, took her to his embrace.
+Then, to reward her for her virtue lost,
+Gave her the men and chequer’d board, emboss’d
+With gold and silver curiously inlay’d;
+And taught her how the game was to be play’d.              675
+Ev’n now ’tis honour’d with her happy name;
+And Rome and all the world admire the game.
+All which the Seriads told me heretofore,
+When my boy-notes amused the Serian shore.
+
+
+
+
+NOTES
+
+INTRODUCTION
+
+
+      He was born . . . at Pallas. This is the usual
+      account. But it was maintained by the family of the poet’s mother, and has
+      been contended (by Dr. Michael F. Cox in a Lecture on ‘The Country and
+      Kindred of Oliver Goldsmith,’ published in vol. 1, pt. 2, of the _Journal_
+      of the ‘National Literary Society of Ireland.’ 1900) that his real
+      birth-place was the residence of Mrs. Goldsmith’s parents, Smith-Hill
+      House, Elphin, Roscommon, to which she was in the habit of paying frequent
+      visits. Meanwhile, in 1897, a window was placed to Goldsmith’s memory in
+      Forgney Church, Longford,—the church of which, at the time of his
+      birth, his father was curate.
+
+      his academic career was not a success. ‘Oliver
+      Goldsmith is recorded on two occasions as being remarkably diligent at
+      Morning Lecture; again, as cautioned for bad answering at Morning and
+      Greek Lectures; and finally, as put down into the next class for neglect
+      of his studies’ (Dr. Stubbs’s _History of the University of Dublin_,
+      1889, p. 201 n.)
+
+      a scratched signature upon a window-pane. This,
+      which is now at Trinity College, Dublin, is here reproduced in facsimile.
+      When the garrets of No. 35, Parliament Square, were pulled down in 1837,
+      it was cut out of the window by the last occupant of the rooms, who broke
+      it in the process. (Dr. J. F. Waller in Cassell’s _Works_ of
+      Goldsmith, [1864–5], pp. xiii-xiv n.)
+
+      a poor physician. Where he obtained his diploma
+      is not known. It was certainly not at Padua (_Athenaeum_, July
+      21, 1894). At Leyden and Louvain Prior made inquiries but, in each case,
+      without success. The annals of the University of Louvain were, however,
+      destroyed in the revolutionary wars. (Prior, _Life_, 1837, i,
+      pp. 171, 178).
+
+      declared it to be by Goldsmith. Goldsmith’s
+      authorship of this version has now been placed beyond a doubt by the
+      publication in facsimile of his signed receipt to Edward Dilly for
+      third share of ‘my translation,’ such third share amounting to 6 pounds
+      13s. 4d. The receipt, which belongs to Mr. J. W. Ford of Enfield Old Park,
+      is dated ‘January 11th, 1758.’ (_Memoirs of a Protestant_,
+      etc., Dent’s edition, 1895, i, pp. xii-xviii.)
+
+      12, Green Arbour Court, Old Bailey. This was a
+      tiny square occupying a site now absorbed by the Holborn Viaduct and
+      Railway Station. No. 12, where Goldsmith lived, was later occupied by
+      Messrs. Smith, Elder & Co. as a printing office. An engraving of the
+      Court forms the frontispiece to the _European Magazine_ for
+      January, 1803.
+
+      or some of his imitators. The proximate cause of
+      the _Citizen of the World_, as the present writer has suggested
+      elsewhere, _ may_ have been Horace Walpole’s _Letter from XoHo_
+      [Soho?], _a Chinese Philosopher at London, to his friend Lien Chi, at
+      Peking_. This was noticed as ‘in Montesquieu’s manner’ in the May issue
+      of the _Monthly Review_ for 1757, to which Goldsmith was a
+      contributor (_Eighteenth Century Vignettes_, first series,
+      second edition, 1897, pp. 108–9).
+
+       demonstrable from internal evidence. e.g.—The
+      references to the musical glasses (ch. ix), which were the rage in 1761–2;
+      and to the _Auditor_ (ch. xix) established by Arthur Murphy in
+      June of the latter year. The sale of the ‘Vicar’ is discussed at length in
+      chapter vii of the editor’s _Life of Oliver Goldsmith_ (‘Great
+      Writers’ series), 1888, pp. 110–21.
+
+      started with a loss. This, which to some critics
+      has seemed unintelliglble, rests upon the following: ‘The first three
+      editions, . . . resulted in a loss, and the fourth, which was not issued
+      until eight [four?] years after the first, started with a balance against
+      it of £2 16s. 6d., and it was not until that fourth edition had been
+      sold that the balance came out on the right side’ (_A Bookseller of
+      the Last Century_ [John Newbery] by Charles Welsh, 1885, p. 61). The
+      writer based his statement upon Collins’s ‘Publishing book, account of
+      books printed and shares therein, No. 3, 1770 to 1785.’
+
+      James’s Powder. This was a famous patent
+      panacea, invented by Johnson’s Lichfield townsman, Dr. Robert James of the
+      _Medicinal Dictionary_. It was sold by John Newbery, and had an
+      extraordinary vogue. The King dosed Princess Elizabeth with it; Fielding,
+      Gray, and Cowper all swore by it, and Horace Walpole, who wished to try it
+      upon Mme. du Deffand _in extremis_,
+      said he should use it if the house were on fire. William Hawes, the Strand
+      apothecary who attended Goldsmith, wrote an interesting _Account of the
+      late Dr. Goldsmith’s Illness, so far as relates to the Exhibition of Dr.
+      James’s Powders,_ etc., 1774, which he dedicated to Reynolds and Burke.
+      To Hawes once belonged the poet’s worn old wooden writing-desk, now in the
+      South Kensington Museum, where are also his favourite chair and cane.
+      Another desk-chair, which had descended from his friend, Edmund Bott, was
+      recently for sale at Sotheby’s (July, 1906).
+
+[Illustration:
+Green Arbour Court, Little Old Bailey.]
+GREEN ARBOUR COURT,
+
+LITTLE OLD BAILEY
+
+(as it appeared in 1803)
+
+
+
+
+EDITIONS OF THE POEMS.
+
+
+      No collected edition of Goldsmith’s poetical works appeared until after
+      his death. But, in 1775, W. Griffin, who had published the _Essays_
+      of ten years earlier, issued a volume entitled _The Miscellaneous
+      Works of Oliver Goldsmith, M.B., containing all his Essays and Poems_.
+      The ‘poems’ however were confined to ‘The Traveller,’ ‘The Deserted
+      Village,’ ‘Edwin and Angelina,’ ‘The Double Transformation,’ ‘A New
+      Simile,’ and ‘Retaliation,’—an obviously imperfect harvesting. In
+      the following year G. Kearsly printed an eighth edition of _Retaliation_,
+      with which he included ‘The Hermit’ (‘Edwin and Angelina’), ‘The Gift,’
+      ‘Madam Blaize,’ and the epilogues to _The Sister_ and _She
+      stoops to Conquer_;* while to an edition of _The Haunch of
+      Venison_, also put forth in 1776, he added the ‘Epitaph on Parnell’
+      and two songs from the oratorio of _The Captivity_. The next
+      collection appeared in a volume of _Poems and Plays_ published
+      at Dublin in 1777, where it was preceded by a ‘Life,’ written by W.
+      Glover, one of Goldsmith’s ‘Irish clients.’ Then, in 1780, came vol. i of
+      T. Evans’s _ Poetical and Dramatic Works, etc., now first collected_,
+      also having a ‘Memoir,’ and certainly fuller than anything which had gone
+      before. Next followed the long-deferred _Miscellaneous Works,_
+      etc., of 1801, in four volumes, vol. ii of which comprised the plays and
+      poems. Prefixed to this edition is the important biographical sketch,
+      compiled under the direction of Bishop Percy, and usually described as the
+      _Percy Memoir_, by which title it is referred to in the ensuing
+      notes. The next memorable edition was that edited for the Aldine Series in
+      1831, by the Rev. John Mitford. Prior and Wright’s edition in vol. iv of
+      the _Miscellaneous Works_, etc., of 1837, comes after this;
+      then Bolton Corney’s excellent _Poetical Works_ of 1845; and
+      vol. i of Peter Cunningham’s _Works_, etc. of 1854. There are
+      other issues of the poems, the latest of which is to be found in vol. ii
+      (1885) of the complete _Works_, in five volumes, edited for
+      Messrs. George Bell and Sons by J. W. M. Gibbs.
+    
+
+* Some copies of this are dated 1777, and contain _The Haunch
+      of Venison_ and a few minor pieces.
+
+      Most of the foregoing editions have been consulted for the following
+      notes; but chiefly those of Mitford, Prior, Bolton Corney, and Cunningham.
+      Many of the illustrations and explanations now supplied will not, however,
+      be found in any of the sources indicated. When an elucidatory or parallel
+      passage is cited, an attempt has been made, as far as possible, to give
+      the credit of it to the first discoverer. Thus, some of the illustrations
+      in Cunningham’s notes are here transferred to Prior, some of Prior’s to
+      Mitford, and so forth. As regards the notes themselves, care has been
+      taken to make them full enough to obviate the necessity, except in rare
+      instances, of further investigation. It is the editor’s experience that
+      references to external authorities are, as a general rule, sign-posts to
+      routes which are seldom travelled.*
+    
+
+* In this connexion may be recalled the dictum of Hume quoted by Dr.
+      Birkbeck Hill:—‘Every book should be as complete as possible within
+      itself, and should never refer for anything material to other books’ (_History
+      of England_, 1802, ii. 101).
+
+
+
+
+THE TRAVELLER.
+
+
+      It was on those continental wanderings which occupied Goldsmith between
+      February, 1755 and February, 1756 that he conceived his first idea of
+      this, the earliest of his poems to which he prefixed his name; and he
+      probably had in mind Addison’s _Letter from Italy to Lord Halifax_,
+      a work in which he found ‘a strain of political thinking that was, at that
+      time [1701]. new in our poetry.’ (_Beauties of English Poesy_,
+      1767, i. III). From the dedicatory letter to his brother—which says
+      expressly, ‘as a part of this Poem was formerly written to you from
+      Switzerland, the whole can now, with propriety, be only inscribed
+      to you’—it is plain that some portion of it must have been actually
+      composed abroad. It was not, however, actually published until the 19th of
+      December, 1764, and the title-page bore the date of 1765.* The publisher
+      was John Newbery, of St. Paul’s Churchyard, and the price of the book, a
+      quarto of 30 pages, was 1s. 6d. A second, third and fourth edition quickly
+      followed, and a ninth, from which it is here reprinted, was issued in
+      1774, the year of the author’s death. Between the first and the sixth
+      edition of 1770 there were numerous alterations, the more important of
+      which are indicated in the ensuing notes.
+    
+
+* This is the generally recognized first edition. But the late Mr.
+      Frederick Locker Lampson, the poet and collector, possessed a quarto copy,
+      dated 1764, which had no author’s name, and in which the dedication ran as
+      follows:—‘This poem is inscribed to the Rev. Henry Goldsmith, M.A.
+      By his most affectionate Brother Oliver Goldsmith.’ It was, in all
+      probability, unique, though it is alleged that there are octavo copies
+      which present similar characteristics. It has now gone to America with the
+      Rowfant Library.
+
+    In 1902 an interesting discovery was made by Mr. Bertram Dobell, to
+      whom the public are indebted for so many important literary ‘finds.’ In a
+      parcel of pamphlets he came upon a number of loose printed leaves entitled
+      _A Prospect of Society_. They obviously belonged to _The
+      Traveller_; but seemed to be its ‘formless unarranged material,’ and
+      contained many variations from the text of the first edition. Mr. Dobell’s
+      impression was that ‘the author’s manuscript, written on loose leaves, had
+      fallen into confusion, and was then printed without any attempt at
+      re-arrangement.’ This was near the mark; but the complete solution of the
+      riddle was furnished by Mr. Quiller Couch in an article in the _Daily
+      News_ for March 31, 1902, since recast in his charming volume _From
+      a Cornish Window_, 1906, pp. 86–92. He showed conclusively that
+      _The Prospect_ was ‘merely an early draft of _The
+      Traveller_ printed backwards in fairly regular sections.’ What had
+      manifestly happened was this. Goldsmith, turning over each page as
+      written, had laid it on the top of the preceding page of MS. and forgotten
+      to rearrange them when done. Thus the series of pages were reversed; and,
+      so reversed, were set up in type by a matter-of-fact compositor. Mr.
+      Dobell at once accepted this happy explanation; which—as Mr. Quiller
+      Couch points out—has the advantage of being a ‘blunder just so
+      natural to Goldsmith as to be almost postulable.’ One or two of the
+      variations of Mr. Dobell’s ‘find’—variations, it should be added,
+      antecedent to the first edition—are noted in their places.
+
+      The didactic purpose of _The Traveller_ is defined in the
+      concluding paragraph of the _Dedication_; and, like many of the
+      thoughts which it contains, had been anticipated in a passage
+      of _The Citizen of the World_, 1762, i. 185:—‘Every mind
+      seems capable of entertaining a certain quantity of happiness, which no
+      institutions can encrease, no circumstances alter, and entirely
+      independent on fortune.’ But the best short description of the poem is
+      Macaulay’s:—‘In the _Traveller_ the execution, though
+      deserving of much praise, is far inferior to the design. No philosophical
+      poem, ancient or modern, has a plan so noble, and at the same time so
+      simple. An English wanderer, seated on a crag among the Alps, near the
+      point where three great countries meet, looks down on the boundless
+      prospect, reviews his long pilgrimage, recalls the varieties of scenery,
+      of climate, of government, of religion, of national character, which he
+      has observed, and comes to the conclusion, just or unjust, that our
+      happiness depends little on political institutions, and much on the temper
+      and regulation of our own minds.’ (_Encyclop. Britannica_,
+      Goldsmith, February, 1856.)
+
+      The only definite record of payment for _ The Traveller_ is
+      ‘Copy of the Traveller, a Poem, 21_l_,’ in Newbery’s MSS.; but as the
+      same sum occurs in Memoranda of much later date than 1764, it is possible
+      that the success of the book may have prompted some supplementary fee.
+
+      A Prospect, i.e. ‘a view.’ ‘I went to Putney, and
+      other places on the Thames, to take ‘prospects’ in crayon, to carry into
+      France, where I thought to have them engraved’ (Evelyn, _Diary_,
+      20th June, 1649). And Reynolds uses the word of Claude in his Fourth
+      Discourse:—‘His pictures are a composition of the various draughts
+      which he had previously made from various beautiful scenes and prospects’
+      (_Works_, by Malone, 1798, i. 105). The word is common on old
+      prints, e.g. _An Exact Prospect of the Magnificent Stone Bridge at
+      Westminster_, etc., 1751.
+
+       Dedication. The Rev. Henry Goldsmith, says the
+      Percy _ Memoir_, 1801, p. 3, ‘had distinguished himself both at
+      school and at college, but he unfortunately married at the early age of
+      nineteen; which confined him to a Curacy, and prevented his rising to
+      preferment in the church.’
+
+      with an income of forty pounds a year. Cf. _The
+      Deserted Village_, ll. 141–2:—
+    
+
+    A man he was, to all the country dear,
+
+    And passing rich with _forty pounds a year_.
+
+
+      Cf. also Parson Adams in ch. iii of _Joseph Andrews_, who has
+      twenty-three; and Mr. Rivers, in the _Spiritual Quixote_,
+      1772:—‘I do not choose to go into orders to be a curate all my
+      life-time, and work for about fifteen-pence a day, or twenty-five pounds
+      a year’ (bk. vi, ch. xvii). Dr. Primrose’s stipend is thirty-five in the
+      first instance, fifteen in the second (_Vicar of Wakefield_,
+      chapters ii and iii). But Professor Hales (_Longer English Poems_,
+      1885, p. 351) supplies an exact parallel in the case of Churchill, who, he
+      says, when a curate at Rainham, ‘prayed and starved on _ forty pounds a
+      year_.’ The latter words are Churchill’s own, and sound like a
+      quotation; but he was dead long before _The Deserted Village_
+      appeared in 1770. There is an interesting paper in the _Gentleman’s
+      Magazine_ for November, 1763, on the miseries and hardships of the
+      ‘inferior clergy.’
+
+      But of all kinds of ambition, etc. In the first
+      edition of 1765, p. ii, this passage was as follows:—‘But of all
+      kinds of ambition, as things are now circumstanced, perhaps that which
+      pursues poetical fame, is the wildest. What from the encreased refinement
+      of the times, from the diversity of judgments produced by opposing systems
+      of criticism, and from the more prevalent divisions of opinion influenced
+      by party, the strongest and happiest efforts can expect to please but in a
+      very narrow circle. Though the poet were as sure of his aim as the
+      imperial archer of antiquity, who boasted that he never missed the heart;
+      yet would many of his shafts now fly at random, for the heart is too often
+      in the wrong place.’ In the second edition it was curtailed; in the sixth
+      it took its final form.
+
+      they engross all that favour once shown to her.
+      First version—‘They engross all favour to themselves.’
+
+      the elder’s birthright. Cunningham here aptly
+      compares Dryden’s epistle _To Sir Godfrey Kneller_, II. 89–92:—
+    
+
+    Our arts are sisters, though not twins in birth;
+
+    For hymns were sung in Eden’s happy earth:
+
+    But oh, the painter muse, though last in place,
+
+    Has seized the blessing first, like Jacob’s race.
+
+      _Party_=faction. Cf. lines 31–2 on Edmund Burke in
+      _ Retaliation_:—
+    
+
+    Who, born for the Universe, narrow’d his mind,
+
+    And to _party_ gave up what was meant for mankind.
+
+      Such readers generally admire, etc. ‘I suppose this
+      paragraph to be directed against Paul Whitehead, or Churchill,’ writes
+      Mitford. It was clearly aimed at Churchill, since Prior (_Life_,
+      1837, ii. 54) quotes a portion of a contemporary article in the _St.
+      James’s Chronicle_ for February 7–9, 1765, attributed to Bonnell
+      Thornton, which leaves little room for doubt upon the question. ‘The
+      latter part of this paragraph,’ says the writer, referring to the passage
+      now annotated, ‘we cannot help considering as a reflection on the memory
+      of the late Mr. Churchill, whose talents as a poet were so greatly and so
+      deservedly admired, that during his short reign, his merit in great
+      measure eclipsed that of others; and we think it no mean acknowledgment of
+      the excellencies of this poem [_The Traveller_] to say that,
+      like the stars, they appear the more brilliant now that the sun of our
+      poetry is gone down.’ Churchill died on the 4th of November, 1764, some
+      weeks before the publication of _The Traveller_. His powers, it
+      may be, were misdirected and misapplied; but his rough vigour and his
+      manly verse deserved a better fate at Goldsmith’s hands.
+
+      tawdry was added in the sixth edition of 1770.
+
+      blank verse. Cf. _The Present State of Polite
+      Learning_, 1759, p. 150—‘From a desire in the critic of
+      grafting the spirit of ancient languages upon the English, has proceeded
+      of late several disagreeable instances of pedantry. Among the number, I
+      think we may reckon _blank verse_. Nothing but the greatest sublimity
+      of subject can render such a measure pleasing; however, we now see it used
+      on the most trivial occasions’—by which last remark Goldsmith
+      probably, as Cunningham thinks, intended to refer to the efforts of
+      Akenside, Dyer, and Armstrong. His views upon blank verse were shared by
+      Johnson and Gray. At the date of the present dedication, the latest
+      offender in this way had been Goldsmith’s old colleague on _The
+      Monthly Review_, Dr. James Grainger, author of _The Sugar Cane_,
+      which was published in June, 1764. (Cf. also _The Bee_ for 24th
+      November, 1759, ‘An account of the Augustan Age of England.’)
+
+      and that this principle, etc. In the first edition
+      this read—‘and that this principle in each state, and in our own in
+      particular, may be carried to a mischievous excess.’
+
+      Remote, unfriended, melancholy, slow. Mitford
+      (Aldine edition, 1831, p. 7) compares the following lines from Ovid:—
+    
+
+        Solus, inops, exspes, leto poenaeque relictus.
+
+                    _Metamorphoses_, xiv. 217.
+
+        Exsul, inops erres, alienaque limina lustres, etc.
+
+                    _Ibis_. 113.
+
+      slow. A well-known passage from Boswell must here be
+      reproduced:—‘Chamier once asked him [Goldsmith], what he meant by _slow_,
+      the last word in the first line of _The Traveller_,
+    
+
+          Remote, unfriended, melancholy, slow.
+
+
+      Did he mean tardiness of locomotion? Goldsmith, who would say something
+      without consideration, answered “yes.” I [Johnson] was sitting by, and
+      said, “No, Sir, you do not mean tardiness of locomotion; you mean, that
+      sluggishness of mind which comes upon a man in solitude.” Chamier believed
+      then that I had written the line as much as if he had seen me write it.’
+      [Birkbeck Hill’s _Boswell_, 1887, iii. 252–3.) It is quite
+      possible, however, that Goldsmith meant no more than he said.
+
+      the rude Carinthian boor. ‘Carinthia,’ says
+      Cunningham, ‘was visited by Goldsmith in 1755, and still (1853) retains
+      its character for inhospitality.’
+
+      Campania. ‘Intended,’ says Bolton Corney, ‘to denote
+      _La campagna di Roma_. The portion of it which extends from Rome to
+      Terracina is scarcely habitable.’
+
+      a lengthening chain. Prior compares Letter iii of
+      _The Citizen of the World_, 1762, i. 5:—‘The farther I
+      travel I feel the pain of separation with stronger force, those ties that
+      bind me to my native country, and you, are still unbroken. By every
+      remove, I only drag a greater length of chain.’ But, as Mitford points
+      out, Cibber has a similar thought in his _Comical Lovers_,
+      1707, Act v:—‘When I am with Florimel, it [my heart] is still your
+      prisoner, _it only draws a longer chain after it_.’ And earlier still
+      in Dryden’s ‘All for Love’, 1678, Act ii, Sc. 1:—
+    
+
+        My life on’t, he still drags a chain along,
+
+        That needs must clog his flight.
+
+      with simple plenty crown’d. In the first edition
+      this read ‘where mirth and peace abound.’
+
+      the luxury of doing good. Prior compares Garth’s
+      _Claremont_, 1715, where he speaks of the Druids:—
+    
+
+        Hard was their Lodging, homely was their Food,
+
+        For all their _Luxury was doing Good_.
+
+      my prime of life. He was seven-and-twenty when he
+      landed at Dover in February, 1756.
+
+      That, like the circle bounding, etc. Cf. _Vicar
+      of Wakefield_, 1766, ii. 160–1 (ch. x):—‘Death, the only
+      friend of the wretched, for a little while mocks the weary traveller with
+      the view, and like his horizon, still flies before him.’ [Prior.]
+
+      And find no spot of all the world my own. Prior
+      compares his namesake’s lines _In the Beginning of_ [Jacques] _Robbe’s
+      Geography_, 1700:—
+    
+
+        My destin’d Miles I shall have gone,
+
+        By THAMES or MAESE, by PO or RHONE,
+
+        And _found no Foot of Earth my own._
+
+      above the storm’s career. Cf. 1. 190 of _The
+      Deserted Village._
+
+      should thankless pride repine? First edition,
+      ‘’twere thankless to repine.’
+
+      Say, should the philosophic mind, etc. First
+      edition:—
+    
+
+        ’Twere affectation all, and school-taught pride,
+
+        To spurn the splendid things by heaven supply’d
+
+      hoard. ‘Sum’ in the first edition.
+
+      Boldly proclaims that happiest spot his own. In the
+      first version this was—
+    
+
+        Boldly asserts that country for his own.
+
+      And yet, perhaps, etc. In the first edition, for
+      this and the following five lines appeared these eight:—
+    
+
+        And yet, perhaps, if states with states we scan,
+
+        Or estimate their bliss on Reason’s plan,
+
+        Though patriots flatter, and though fools contend,
+
+        We still shall find uncertainty suspend;
+
+        Find that each good, by Art or Nature given,
+
+        To these or those, but makes the balance even:
+
+        Find that the bliss of all is much the same,
+
+        And patriotic boasting reason’s shame!
+
+      On Idra’s cliffs. Bolton Corney conjectures that
+      Goldsmith meant ‘Idria, a town in Carniola, noted for its mines.’
+      ‘Goldsmith in his “History of Animated Nature” makes mention of the mines,
+      and spells the name in the same way as here.’ (Mr. J. H. Lobban’s _Select
+      Poems of Goldsmith_, 1900, p. 87). Lines 84–5, it may be added, are
+      not in the first edition.
+
+      And though the rocky-crested summits frown. In the
+      first edition:—
+    
+
+        And though rough rocks or gloomy summits frown.
+
+      lines 91–2. are not in the first editions.
+
+      peculiar, i.e. ‘proper,’ ‘appropriate.’
+
+      winnow, i.e. ‘waft,’ ‘disperse.’ John Evelyn refers
+      to these ‘sea-born gales’ in the ‘Dedication’ of his _Fumifugium_,
+      1661:— ‘Those who take notice of the scent of the orange-flowers
+      from the rivage of Genoa, and St. Pietro dell’ Arena; the blossomes of the
+      rosemary from the Coasts of Spain, many leagues off at sea; or the
+      manifest, and odoriferous wafts which flow from Fontenay and Vaugirard,
+      even to Paris in the season of roses, with the contrary effect of those
+      less pleasing smells from other accidents, will easily consent to what I
+      suggest [i.e. the planting of sweet-smelling trees].’ (_Miscellaneous
+      Writings_, 1825, p. 208.)
+
+      Till, more unsteady, etc. In the first edition:—
+    
+
+        But, more unsteady than the southern gale,
+
+        Soon Commerce turn’d on other shores her sail.
+
+      There is a certain resemblance between this passage and one of the later
+      paradoxes of Smollett’s Lismahago;—‘He affirmed, the nature of
+      commerce was such, that it could not be fixed or perpetuated, but, having
+      flowed to a certain height, would immediately begin to ebb, and so
+      continue till the channels should be left almost dry; but there was no
+      instance of the tide’s rising a second time to any considerable influx in
+      the same nation’ (_Humphry Clinker_, 1771, ii. 192. Letter of
+      Mr. Bramble to Dr. Lewis).
+
+      lines 141–2. are not in the first edition.
+
+      Its former strength was but plethoric ill. Cf.
+      _The Citizen of the World_, 1762, i. 98:—‘In short, the
+      state resembled one of those bodies bloated with disease, whose bulk is
+      only a symptom of its wretchedness.’ [Mitford.]
+
+      Yet still the loss, etc. In the first edition:—
+    
+
+        Yet, though to fortune lost, here still abide
+
+        Some splendid arts, the wrecks of former pride.
+
+      The paste-board triumph and the cavalcade. ‘Happy
+      Country [he is speaking of Italy], where the pastoral age begins to
+      revive! Where the wits even of Rome are united into a rural groupe of
+      nymphs and swains, under the appellation of modern Arcadians [i.e. the
+      Bolognese Academy of the _Arcadi_]. Where in the midst of porticos,
+      processions, and cavalcades, abbes turn’d into shepherds, and
+      shepherdesses without sheep, indulge their innocent _ divertimenti_.’
+      (_Present State of Polite Learning_, 1759, pp. 50–1.) Some of
+      the ‘paste-board triumphs’ may be studied in the plates of Jacques Callot.
+
+      By sports like these, etc. A pretty and well-known
+      story is told with regard to this couplet. Calling once on Goldsmith,
+      Reynolds, having vainly tried to attract attention, entered unannounced.
+      ‘His friend was at his desk, but with hand uplifted, and a look directed
+      to another part of the room; where a little dog sat with difficulty on his
+      haunches, looking imploringly at his teacher, whose rebuke for toppling
+      over he had evidently just received. Reynolds advanced, and looked past
+      Goldsmith’s shoulder at the writing on his desk. It seemed to be some
+      portions of a poem; and looking more closely, he was able to read a
+      couplet which had been that instant written. The ink of the second line
+      was wet:—
+    
+
+        By sports like these are all their cares beguil’d;
+
+        The sports of children satisfy the child.
+
+
+        (Forster’s _Life_, 1871, i. pp. 347–8).
+
+
+      The sports of children. This line, in the first
+      edition, was followed by:—
+    
+
+        At sports like these, while foreign arms advance,
+
+        In passive ease they leave the world to chance.
+
+      Each nobler aim, etc. The first edition reads:—
+    
+
+        When struggling Virtue sinks by long controul,
+
+        She leaves at last, or feebly mans the soul.
+
+      This was changed in the second, third, fourth, and fifth editions to:—
+    
+
+        When noble aims have suffer’d long controul,
+
+        They sink at last, or feebly man the soul.
+
+      No product here, etc. The Swiss mercenaries, here
+      referred to, were long famous in European warfare.
+    
+
+        They parted with a thousand kisses,
+
+        And fight e’er since for pay, like Swisses.
+
+                             Gay’s _Aye and No, a Fable_.
+
+      breasts This fine use of ‘breasts’—as
+      Cunningham points out—is given by Johnson as an example in his
+      Dictionary.
+
+      With patient angle, trolls the finny deep. ‘Troll,’
+      i.e. as for pike. Goldsmith uses ‘finny prey’ in _The Citizen of the
+      World_, 1762, ii. 99:—‘The best manner to draw up the _finny
+      prey_.’ Cf. also ‘warbling grove,’ _Deserted Village_, l.
+      361, as a parallel to ‘finny deep.’
+
+      the struggling savage, i.e. wolf or bear. Mitford
+      compares the following:—‘He is a beast of prey, and the laws should
+      make use of as many stratagems and as much force to drive the _
+      reluctant savage_ into the toils, as the Indians when they hunt the
+      hyena or the rhinoceros.’ (_Citizen of the World_, 1762, i.
+      112.) See also Pope’s _Iliad_, Bk. xvii:—
+    
+
+        But if the _savage_ turns his glaring eye,
+
+        They howl aloof, and round the forest fly.
+
+      lines 201–2 are not in the first edition.
+
+      For every want, etc. Mitford quotes a parallel
+      passage in _Animated Nature_, 1774, ii. 123:—‘Every want
+      thus becomes a means of pleasure, in the redressing.’
+
+      Their morals, like their pleasures, are but low.
+      Probably Goldsmith only uses ‘low’ here in its primitive sense, and not in
+      that which, in his own day, gave so much umbrage to so many
+      eighteenth-century students of humanity in the rough. Cf. Fielding, _Tom
+      Jones_, 1749, iii. 6:— ‘Some of the Author’s Friends cry’d—“Look’e,
+      Gentlemen, the Man is a Villain; but it is Nature for all that.” And all
+      the young Critics of the Age, the Clerks, Apprentices, etc., called it _Low_
+      and fell a Groaning.’ See also _Tom Jones_, iv. 94, and 226–30.
+      ‘There’s nothing comes out but the ‘most lowest’ stuff in nature’—says
+      Lady Blarney in ch. xi of the _ Vicar_, whose author is
+      eloquent on this topic in _The Present State of Polite Learning_,
+      1759, pp. 154–6, and in
+      _She Stoops to Conquer_, 1773 (Act i); while Graves (_Spiritual
+      Quixote_, 1772, bk. i, ch. vi) gives the fashion the scientific
+      appellation of _ tapino-phoby,_ which he defines as ‘a dread of
+      everything that is _low_, either in writing or in conversation.’ To
+      Goldsmith, if we may trust George Colman’s _Prologue_ to Miss
+      Lee’s _Chapter of Accidents_, 1780, belongs the credit of
+      exorcising this particular form of depreciation:—
+    
+
+        When Fielding, Humour’s fav’rite child, appear’d,
+
+        _Low_ was the word—a word each author fear’d!
+
+        Till chas’d at length, by pleasantry’s bright ray,
+
+        Nature and mirth resum’d their legal sway;
+
+        And Goldsmith’s genius bask’d in open day.
+
+      According to Borrow’s _Lavengro_, ch. xli, Lord Chesterfield
+      considered that the speeches of Homer’s heroes were frequently
+      ‘exceedingly low.’
+
+      How often, etc. This and the lines which
+      immediately follow are autobiographical. Cf. George Primrose’s story in
+      _The Vicar of Wakefield_, 1766, ii. 24–5 (ch. i):—‘I
+      passed among the harmless peasants of Flanders, and among such of the
+      French as were poor enough to be very merry; for I ever found them
+      sprightly in proportion to their wants. Whenever I approached a peasant’s
+      house towards night-fall, I played one of my most merry tunes, and that
+      procured me not only a lodging, but subsistence for the next day.’
+
+      gestic lore, i.e. traditional gestures or motions.
+      Scott uses the word ‘gestic’ in _Peveril of the Peak_, ch. xxx,
+      where King Charles the Second witnesses the dancing of Fenella:—‘He
+      bore time to her motions with the movement of his foot—applauded
+      with head and with hand—and seemed, like herself, carried away by
+      the enthusiasm of the _gestic_ art.’ [Hales.]
+
+      Thus idly busy rolls their world away. Pope has
+      ‘Life’s _idle business_’ (_Unfortunate Lady_, l. 81), and—
+    
+
+        The _busy, idle_ blockheads of the ball.
+
+                         Donne’s _Satires_, iv. l. 203.
+
+      And all are taught an avarice of praise. Professor
+      Hales (_Longer English Poems_) compares Horace of the Greeks:—
+    
+
+        Praeter laudem, nullius avaris.
+
+                                 _Ars Poetica_, l. 324.
+
+      copper lace. ‘St Martin’s lace,’ for which, in
+      Strype’s day, Blowbladder St. was famous. Cf. the actress’s ‘copper tail’
+      in _Citizen of the World_, 1762, ii. 60.
+
+      To men of other minds, etc. Prior compares with the
+      description that follows a passage in vol. i. p. 276 of _Animated
+      Nature_, 1774:—‘But we need scarce mention these, when we find
+      that the whole kingdom of Holland seems to be a conquest upon the sea, and
+      in a manner rescued from its bosom. The surface of the earth, in this
+      country, is below the level of the bed of the sea; and I remember, upon
+      approaching the coast, to have looked down upon it from the sea, as into a
+      valley.’
+
+      Where the broad ocean leans against the land. Cf.
+      Dryden in _Annus Mirabilis_, 1666, st. clxiv. l. 654:—
+    
+
+        And view the ocean leaning on the sky.
+
+      the tall rampire’s, i.e. rampart’s (Old French, _rempart,
+      rempar_). Cf. _Timon of Athens_, Act v. Sc. 4:—‘Our
+      rampir’d gates.’
+
+      bosom reign in the first edition was ‘breast
+      obtain.’
+
+      Even liberty itself is barter’d here. ‘Slavery,’
+      says Mitford, ‘was permitted in Holland; children were sold by their
+      parents for a certain number of years.’
+
+      A land of tyrants, and a den of slaves. Goldsmith
+      uses this very line as prose in Letter xxxiv of _The Citizen of the
+      World_, 1762, i. 147.
+
+      dishonourable graves. _Julius Caesar_,
+      Act i. Sc. 2.
+
+      Heavens! how unlike, etc. Prior compares a passage
+      from a manuscript _ Introduction to the History of the Seven Years’
+      War_:—‘How unlike the brave peasants their ancestors, who
+      spread terror into either India, and always declared themselves the allies
+      of those who drew the sword in defence of freedom.’*
+    
+
+* J. W. M. Gibbs (_Works_, v. 9) discovered that parts of
+      this _History_, hitherto supposed to have been written in 1761, were
+      published in the _Literary Magazine_, 1757–8.
+
+      famed Hydaspes, i.e. the _fabulosus Hydaspes_
+      of Horace, Bk. i. Ode xxii, and the _Medus Hydaspes_ of Virgil,
+      _ Georg_, iv. 211, of which so many stores were told. It is now
+      known as the Jhilum, one of the five rivers which give the Punjaub its
+      name.
+
+      Pride in their port, etc. In the first edition
+      these two lines were inverted.
+
+      Here by the bonds of nature feebly held. In the
+      first edition—
+    
+
+        See, though by circling deeps together held.
+
+      Nature’s ties was ‘social bonds’ in the first
+      edition.
+
+      Where kings have toil’d, and poets wrote for fame.
+      In the first edition this line read:—
+    
+
+        And monarchs toil, and poets pant for fame.
+
+      Yet think not, etc. ‘In the things I have hitherto
+      written I have neither allured the vanity of the great by flattery, nor
+      satisfied the malignity of the vulgar by scandal, but I have endeavoured
+      to get an honest reputation by liberal pursuits.’ (Preface to _
+      English History._) [Mitford.]
+
+      Ye powers of truth, etc. The first version has:—
+    
+
+        Perish the wish; for, inly satisfy’d,
+
+        Above their pomps I hold my ragged pride.
+
+      Mr. Forster thinks (_Life_, 1871, i. 375) that Goldsmith
+      altered this (i.e. ‘ragged pride’) because, like the omitted _Haud
+      inexpertus loquor_ of the _ Enquiry_, it involved an
+      undignified admission.
+
+      lines 365–80 are not in the first edition.
+
+      Contracting regal power to stretch their own. ‘It
+      is the interest of the great, therefore, to diminish kingly power as much
+      as possible; because whatever they take from it is naturally restored to
+      themselves; and all they have to do in a state, is to undermine the single
+      tyrant, by which they resume their primaeval authority.’ (_Vicar of
+      Wakefield_, 1766, i. 202, ch. xix.)
+
+      When I behold, etc. Prior compares a passage in
+      Letter xlix of _ The Citizen of the World_, 1762, i. 218, where
+      the Roman senators are spoken of as still flattering the people ‘with a
+      shew of freedom, while themselves only were free.’
+
+      Laws grind the poor, and rich men rule the law.
+      Prior notes a corresponding utterance in _The Vicar of Wakefield_,
+      1766, i. 206, ch. xix:—‘What they may then expect, may be seen by
+      turning our eyes to Holland, Genoa, or Venice, where the laws govern the
+      poor, and the rich govern the law.’
+
+      I fly from petty tyrants to the throne. Cf. Dr.
+      Primrose, _ut supra_, p. 201:—‘The generality of mankind also
+      are of my
+      way of thinking, and have unanimously created one king, whose election at
+      once diminishes the number of tyrants, and puts tyranny at the greatest
+      distance from the greatest number of people.’ Cf. also Churchill, _The
+      Farewell_, ll. 363–4 and 369–70:—
+    
+
+        Let not a Mob of Tyrants seize the helm,
+
+        Nor titled upstarts league to rob the realm...
+
+        Let us, some comfort in our griefs to bring,
+
+        Be slaves to one, and be that one a King.
+
+      lines 393–4. Goldsmith’s first thought was—
+    
+
+        Yes, my lov’d brother, cursed be that hour
+
+        When first ambition toil’d for foreign power,—
+
+
+      an entirely different couplet to that in the text, and certainly more
+      logical. (Dobell’s _Prospect of Society_, 1902, pp. xi, 2, and
+      Notes, v, vi). Mr. Dobell plausibly suggests that this Tory substitution
+      is due to Johnson.
+
+      Have we not seen, etc. These lines contain the
+      first idea of the subsequent poem of _The Deserted Village_ (_q.v._).
+
+      Where wild Oswego spreads her swamps around. The
+      Oswego is a river which runs between Lakes Oneida and Ontario. In the
+      _Threnodia Augustalis_, 1772, Goldsmith writes:—
+    
+
+        Oswego’s dreary shores shall be my grave.
+
+      The ‘desarts of Oswego’ were familiar to the eighteenth-century reader in
+      connexion with General Braddock’s ill-fated expedition of 1755, an
+      account of which Goldsmith had just given in _An History of England,
+      in a Series of Letters from a Nobleman to his Son_, 1764, ii. 202–4.
+
+      marks with murderous aim. In the first edition
+      ‘takes a deadly aim.’
+
+      pensive exile. This, in the version mentioned in
+      the next note, was ‘famish’d exile.’
+
+      To stop too fearful, and too faint to go. This
+      line, upon Boswell’s authority, is claimed for Johnson (Birkbeck Hill’s
+      _ Boswell_, 1887, ii. 6). Goldsmith’s original ran:—
+    
+
+        And faintly fainter, fainter seems to go.
+
+
+      (Dobell’s _Prospect of Society_, 1902, p. 3).
+
+      How small, of all, etc. Johnson wrote these
+      concluding
+      ten lines with the exception of the penultimate couplet. They and line 420
+      were all—he told Boswell—of which he could be sure (Birkbeck
+      Hill’s _Boswell_, _ut supra_). Like Goldsmith, he
+      sometimes worked his prose ideas into his verse. The first couplet is
+      apparently a reminiscence of a passage in his own _Rasselas_,
+      1759, ii. 112, where the astronomer speaks of ‘the task of a king . . .
+      who has the care only of a few millions, to whom he cannot do much good or
+      harm.’ (Grant’s _Johnson_, 1887, p. 89.) ‘I would not give half
+      a guinea to live under one form of government rather than another,’ he
+      told that ‘vile Whig,’ Sir Adam Fergusson, in 1772. ‘It is of no moment to
+      the happiness of an individual’ (Birkbeck Hill’s _ Boswell_,
+      1887, ii. 170).
+
+      The lifted axe. Mitford here recalls Blackmore’s
+    
+
+        Some the sharp axe, and some the painful wheel.
+
+      The ‘lifted axe’ he also traces to Young and Blackmore, with both of whom
+      Goldsmith seems to have been familiar; but it is surely not necessary to
+      assume that he borrowed from either in this instance.
+
+      Luke’s iron crown. George and Luke Dosa, or Doscha,
+      headed a rebellion in Hungary in 1513. The former was proclaimed king by
+      the peasants; and, in consequence suffered, among other things, the
+      torture of the red-hot iron crown. Such a punishment took place at
+      Bordeaux when Montaigne was seventeen (Morley’s Florio’s _ Montaigne_,
+      1886, p. xvi). Much ink has been shed over Goldsmith’s lapse of ‘Luke’ for
+      George. In the book which he cited as his authority, the family name of
+      the brothers was given as Zeck,—hence Bolton Corney, in his edition
+      of the _ Poetical Works_, 1845, p. 36, corrected the line to—
+    
+
+        _Zeck’s_ iron crown, etc.,
+
+
+      an alteration which has been adopted by other editors. (See also Forster’s
+      _Life_, 1871, i. 370.)
+
+      Damien’s bed of steel. Robert-Francois Damiens,
+      1714–57. Goldsmith writes ‘Damien’s.’ In the _Gentlemen’s Magazine_
+      for 1757, vol. xxvii. pp. 87 and 151, where there is an account of this
+      poor half-witted wretch’s torture and execution for attempting to
+      assassinate Louis XV, the name is thus spelled, as also in other
+      contemporary records and caricatures. The following passage explains the
+      ‘bed of steel’:—‘Being conducted
+      to the Conciergerie, an ‘iron bed’, which likewise served for a chair, was
+      prepared for him, and to this he was fastened with chains. The torture was
+      again applied, and a physician ordered to attend to see what degree of
+      pain he could support,’ etc. (Smollett’s _History of England_,
+      1823, bk. iii, ch. 7, § xxv.) Goldsmith’s own explanation—according
+      to Tom Davies, the bookseller—was that he meant the rack. But Davies
+      may have misunderstood him, or Goldsmith himself may have forgotten the
+      facts. (See Forster’s _Life_, 1871, i. 370.) At pp. 57–78 of
+      the _ Monthly Review_ for July, 1757 (upon which Goldsmith was
+      at this date employed), is a summary, ‘from our correspondent at Paris,’
+      of the official record of the Damiens’ Trial, 4 vols. 12 mo.; and his deed
+      and tragedy make a graphic chapter in the remarkable _Strange
+      Adventures of Captain Dangerous_, by George Augustus Sala, 1863,
+      iii. pp. 154–180.
+
+      line 438. In the first edition of ‘The Traveller’
+      there are only 416 lines.
+
+
+
+
+THE DESERTED VILLAGE.
+
+
+      After having been for some time announced as in preparation, _The
+      Deserted Village_ made its first appearance on May 26, 1770.* It was
+      received with great enthusiasm. In June a second, third, and fourth
+      edition followed, and in August a fifth was published. The text here given
+      is that of the fourth edition, which was considerably revised. Johnson, we
+      are told, thought _The Deserted Village_ inferior to _The
+      Traveller_: but ‘time,’ to use Mr. Forster’s words, ‘has not
+      confirmed _that_ judgment.’ Its germ is perhaps to be found in ll.
+      397–402 of the earlier poem.
+    
+
+* In the American _Bookman_ for February, 1901, pp.
+      563–7, Mr. Luther S. Livingston gives an account (with facsimile
+      title-pages) of three _octavo_ (or rather duodecimo) editions all
+      dated 1770; and ostensibly printed for ‘W. Griffin, at Garrick’s Head, in
+      Catherine-street, Strand.’ He rightly describes their existence as ‘a
+      bibliographical puzzle.’ They afford no important variations; are not
+      mentioned by the early editors; and are certainly not in the form in which
+      the poem was first advertised and reviewed, as this was a quarto. But they
+      are naturally of interest to the collector; and the late Colonel Francis
+      Grant, a good Goldsmith scholar, described one of them in the _Athenaeum_
+      for June 20, 1896 (No. 3582).
+
+      Much research has been expended in the endeavour to identify the scene
+      with Lissoy, the home of the poet’s youth (see _Introduction_, p.
+      ix); but the result has only been partially successful. The truth seems
+      that Goldsmith, living in England, recalled in a poem that was English in
+      its conception many of the memories and accessories of his early life in
+      Ireland, without intending or even caring to draw an exact picture. Hence,
+      as Lord Macaulay has observed, in a much criticized and characteristic
+      passage, ‘it is made up of incongruous parts. The village in its happy
+      days is a true English village. The village in its decay is an Irish
+      village. The felicity and the misery which Goldsmith has brought close
+      together belong to two different countries, and to two different stages in
+      the progress of society. He had assuredly never seen in his native island
+      such a rural paradise, such a seat of plenty, content, and tranquillity,
+      as his “Auburn.” He had assuredly never seen in England all the
+      inhabitants of such a paradise turned out of their homes in one day and
+      forced to emigrate in a body to America. The hamlet he had probably seen
+      in Kent; the ejectment he had probably seen in Munster; but, by joining
+      the two, he has produced something which never was and never will be seen
+      in any part of the world.’ (_Encyclop. Britannica_, 1856.) It
+      is obvious also that in some of his theories—the depopulation of the
+      kingdom, for example—Goldsmith was mistaken. But it was not for its
+      didactic qualities then, nor is it for them now, that _The Deserted
+      Village_’ delighted and delights. It maintains its popularity by its
+      charming _genre_-pictures, its sweet and tender passages, its
+      simplicity, its sympathetic hold upon the enduring in human nature. To
+      test it solely with a view to establish its topographical accuracy, or to
+      insist too much upon the value of its ethical teaching, is to mistake its
+      real mission as a work of art.
+
+      Dedication. I am ignorant of that art in which you are
+      said to excel. This modest confession did not prevent Goldsmith from
+      making fun of the contemporary connoisseur. See the letter from the young
+      virtuoso in _The Citizen of the World_, 1762, i. 145,
+      announcing that a famous ‘torse’ has been discovered to be not ‘a
+      Cleopatra bathing’ but ‘a Hercules spinning’; and Charles Primrose’s
+      experiences at Paris (_Vicar of Wakefield_, 1766, ii. 27–8).
+
+      He is since dead. Henry Goldsmith died in May,
+      1768, at the age of forty-five, being then curate of Kilkenny West. (See
+      note, p. 164.)
+
+      a long poem. ‘I might dwell upon such thoughts . .
+      . were I not afraid of making this preface too tedious; especially since I
+      shall want all the patience of the reader, for having enlarged it with the
+      following verses.’ (Tickell’s Preface to Addison’s _ Works_, at
+      end.)
+
+      the increase of our luxuries. The evil of luxury
+      was a ‘common topick’ with Goldsmith. (Birkbeck Hill’s _Boswell_,
+      1887, ii. 217–8.) Smollett also, speaking with the voice of Lismahago, and
+      continuing the quotation on p. 169, was of the opinion that ‘the sudden
+      affluence occasioned by trade, forced open all the sluices of luxury, and
+      overflowed the land with every species of profligacy and corruption.’ (_Humphry
+      Clinker_, 1771, ii. 192.—Letter of Mr. Bramble to Dr. Lewis.)
+
+
+      Sweet AUBURN. Forster, _Life_, 1871, ii.
+      206, says that Goldsmith obtained this name from Bennet Langton. There is
+      an Aldbourn or Auburn in Wiltshire, not far from Marlborough, which Prior
+      thinks may have furnished the suggestion.
+
+      Seats of my youth. This alone would imply that
+      Goldsmith had in mind the environment of his Irish home.
+
+      The decent church that topp’d the neighbouring hill.
+      This corresponds with the church of Kilkenny West as seen from the house
+      at Lissoy.
+
+[Illustration: ]
+KILKENNY WEST CHURCH
+
+(R. H. Newell)
+
+      The hawthorn bush. The Rev. Annesley Strean, Henry
+      Goldsmith’s successor at Kilkenny West, well remembered the hawthorn bush
+      in front of the village ale-house. It had originally three trunks; but
+      when he wrote in 1807 only one remained, ‘the other two having been cut,
+      from time to time, by persons carrying pieces of it away to be made into
+      toys, etc., in honour of the bard, and of the celebrity of his poem.’ (_Essay
+      on Light Reading_, by the Rev. Edward Mangin, M.A., 1808, 142–3.)
+      Its remains were enclosed by a Captain Hogan previously to 1819; but
+      nevertheless when Prior visited the place in 1830, nothing was apparent
+      but ‘a very tender shoot [which] had again forced its way to the surface.’
+      (Prior, _ Life_, 1837, ii. 264.) An engraving of the tree by S.
+      Alken, from a sketch made in 1806–9, is to be
+      found at p. 41 of Goldsmith’s _Poetical Works_, R. H. Newell’s
+      edition, 1811, and is reproduced in the present volume.
+
+[Illustration: ]
+HAWTHORN TREE
+
+(R. H. Newell)
+
+      How often have I bless’d the coming day. Prior,
+      _Life_, 1837, ii. 261, finds in this an allusion ‘to the
+      Sundays or numerous holidays, usually kept in Roman Catholic countries.’
+
+      Amidst thy bowers the tyrant’s hand is seen.
+      Strean’s explanation (Mangin, _ut supra_, pp. 140–1) of this is as
+      follows:—‘The poem of _The Deserted Village_, took its
+      origin from the circumstance of general Robert Napper [Napier or Naper],
+      (the grandfather of the gentleman who now [1807] lives in the house,
+      within half a mile of Lissoy, and built by the general) having purchased
+      an extensive tract of the country surrounding Lissoy, or _Auburn_; in
+      consequence of which many families, here called _cottiers_, were
+      removed, to make room for the intended improvements of what was now to
+      become the wide domain of a rich man, warm with the idea of changing the
+      face of his new acquisition; and were forced, “_with fainting steps,_”
+      to go in search of “_torrid tracts_” and “_distant climes._”’
+
+      Prior (_Life_, 1837, i. 40–3) points out that Goldsmith was not
+      the first to give poetical expression to the wrongs of the dispossessed
+      Irish peasantry; and he quotes a long extract from the _Works_
+      (1741) of a Westmeath poet, Lawrence Whyte, which contains such passages
+      as these:—
+    
+
+        Their native soil were forced to quit,
+
+        So Irish landlords thought it fit;
+
+        Who without ceremony or rout,
+
+        For their improvements turn’d them out ...
+
+        How many villages they razed,
+
+        How many parishes laid waste ...
+
+        Whole colonies, to shun the fate
+
+        Of being oppress’d at such a rate,
+
+        By tyrants who still raise their rent,
+
+        Sail’d to the Western Continent.
+
+      The hollow-sounding bittern guards its nest. ‘Of
+      all those sounds,’ says Goldsmith, speaking of the cries of waterfowl,
+      ‘there is none so dismally hollow as the booming of the bittern.’ . . . ‘I
+      remember in the place where I was a boy with what terror this bird’s note
+      affected the whole village; they
+      considered it as the presage of some sad event; and generally found or
+      made one to succeed it.’ (_Animated Nature_, 1774, vi. 1–2, 4.)
+
+      Bewick, who may be trusted to speak of a bird which he has drawn with such
+      exquisite fidelity, refers (_Water Birds_, 1847, p. 49) to ‘the
+      hollow booming noise which the bittern makes during the night, in the
+      breeding season, from its swampy retreats.’ Cf. also that close observer
+      Crabbe (_The Borough_, Letter xxii, ll. 197–8):—
+    
+
+        And the loud bittern, from the bull-rush home,
+
+        Gave from the salt-ditch side the bellowing boom.
+
+      Princes and lords may flourish, or may fade;
+
+      A breath can make them, as a breath has made.
+
+      Mitford compares _Confessio Amantis_, fol. 152:—
+    
+
+            A kynge may make a lorde a knave,
+
+              And of a knave a lord also;
+
+      and Professor Hales recalls Burns’s later line in the _Cotter’s
+      Saturday Night_, 1785:—
+    
+
+        Princes and lords are but the breath of kings.
+
+      But Prior finds the exact equivalent of the second line in the verses of
+      an old French poet, De. Caux, upon an hour-glass:—
+    
+
+                    C’est un verre qui luit,
+
+        Qu’un souffle peut détruire, et qu’un souffle a
+produit.
+
+      A time there was, ere England’s griefs began. Here
+      wherever the locality of Auburn, the author had clearly England in mind. A
+      caustic commentator has observed that the ‘time’ indicated must have been
+      a long while ago.
+
+      opulence. In the first edition the word is
+      ‘luxury.’
+
+      And, many a year elapsed, return to view. ‘It is
+      strongly contended at Lishoy, that “_the Poet_,” as he is usually
+      called there, after his pedestrian tour upon the Continent of Europe,
+      returned to and resided in the village some time. . . . It is moreover
+      believed, that the havock which had been made in his absence among those
+      favourite scenes of his youth, affected his mind so deeply, that he
+      actually composed great part of the Deserted Village ‘at’ Lishoy.’ (_Poetical
+      Works, with Remarks_, etc., by the Rev. R. H. Newell, 1811, p. 74.)
+
+      Notwithstanding the above, there is no evidence that Goldsmith ever
+      returned to his native island. In a letter to his brother-in-law, Daniel
+      Hodson, written in 1758, he spoke of hoping to do so ‘in five or six
+      years.’ (_Percy Memoir_, 1801, i. 49). But in another letter,
+      written towards the close of his life, it is still a thing to come. ‘I am
+      again,’ he says, ‘just setting out for Bath, and I honestly say I had much
+      rather it had been for Ireland with my nephew, but that pleasure I hope to
+      have before I die.’ (Letter to Daniel Hodson, no date, in possession of
+      the late Frederick Locker Lampson.)
+
+      Where once the cottage stood, the hawthorn grew.
+      Here followed, in the first edition:—
+    
+
+        Here, as with doubtful, pensive steps I range,
+
+        Trace every scene, and wonder at the change,
+
+        Remembrance, etc.
+
+      In all my griefs—and God has given my share.
+      Prior notes a slight similarity here to a line of Collins:—
+    
+
+        Ye mute companions of my toils, that bear,
+
+        _In all my griefs_, a more than equal share!
+
+                          _Hassan; or, The Camel Driver._
+
+      In _The Present State of Polite Learning_, 1759, p. 143,
+      Goldsmith refers feelingly to ‘the neglected author of the Persian
+      eclogues, which, however inaccurate, excel any in our language.’ He
+      included four of them in _The Beauties of English Poesy_, 1767,
+      i. pp. 239–53.
+
+      To husband out, etc. In the first edition this ran:—
+    
+
+        My anxious day to husband near the close,
+
+        And keep life’s flame from wasting by repose.
+
+      Here to return—and die at home at last.
+      Forster compares a passage in _The Citizen of the World_, 1762,
+      ii. 153:—‘There is something so seducing in that spot in which we
+      first had existence, that nothing but it can please; whatever vicissitudes
+      we experience in life, however we toil, or wheresoever we wander, our
+      fatigued wishes still recur to home for tranquillity, we long to die in
+      that spot which gave us birth, and in that pleasing expectation opiate
+      every calamity.’ The poet Waller too—he adds—wished to die
+      ‘like the stag where he was roused.’ (_Life_, 1871, ii. 202.)
+
+[Illustration: ]
+South View from Goldsmith’s Mount
+
+(R.H. Newell)
+
+      How happy he. ‘How blest is he’ in the first
+      edition.
+
+      And, since ’tis hard to combat, learns to fly.
+      Mitford compares _The Bee_ for October 13, 1759, p. 56:—‘By
+      struggling with misfortunes, we are sure to receive some wounds in the
+      conflict. The only method to come off victorious, is by running away.’
+
+      surly porter. Mr. J. M. Lobban compares the _Citizen
+      of the World_, 1762, i. 123:—‘I never see a nobleman’s door
+      half opened that some surly porter or footman does not stand full in the
+      breach.’ (_Select Poems of Goldsmith_, 1900, p. 98.)
+
+      Bends. ‘Sinks’ in the first edition. _unperceived
+      decay_. Cf. Johnson, _Vanity of Human Wishes_, 1749, l. 292:—
+    
+
+        An age that melts with unperceiv’d decay,
+
+        And glides in modest innocence away;
+
+
+      and _Irene_, Act ii, Sc. 7:—
+    
+
+        And varied life steal unperceiv’d away.
+
+      While Resignation, etc. In 1771 Sir Joshua
+      exhibited a picture of ‘An Old Man,’ studied from the beggar who was his
+      model for Ugolino. When it was engraved by Thomas Watson in 1772, he
+      called it ‘Resignation,’ and inscribed the print to Goldsmith in the
+      following words:—‘This attempt to express a Character in _The
+      Deserted Village_, is dedicated to Dr. Goldsmith, by his sincere
+      Friend and admirer, JOSHUA REYNOLDS.’
+
+      Up yonder hill. It has been suggested that
+      Goldsmith was here thinking of the little hill of Knockaruadh (Red Hill)
+      in front of Lissoy parsonage, of which there is a sketch in Newell’s _Poetical
+      Works_, 1811. When Newell wrote, it was already known as
+      ‘Goldsmith’s mount’; and the poet himself refers to it in a letter to his
+      brother-in-law Hodson, dated Dec. 27, 1757:—‘I had rather be placed
+      on the little mount before Lishoy gate, and there take in, to me, the most
+      pleasing horizon in nature.’ (_Percy Memoir_, 1801, p. 43.)
+
+      And fill’d each pause the nightingale had made. In
+      _Animated Nature_, 1774, v. 328, Goldsmith says:—‘The
+      nightingale’s pausing song would be the proper epithet for this bird’s
+      music.’ [Mitford.]
+
+      No cheerful murmurs fluctuate in the gale. (Cf.
+      Goldsmith’s Essay on _ Metaphors_ (_British Magazine_):—‘Armstrong
+      has used the word ‘fluctuate’ with admirable efficacy, in his
+      philosophical poem entitled _The Art of Preserving Health_.
+    
+
+        Oh! when the growling winds contend, and all
+
+        The sounding forest ‘fluctuates’ in the storm,
+
+        To sink in warm repose, and hear the din
+
+        Howl o’er the steady battlements.
+
+      The sad historian of the pensive plain. Strean (see
+      note to l. 13) identified the old watercress gatherer as a certain
+      Catherine Giraghty (or Geraghty). Her children (he said) were still living
+      in the neighbourhood of Lissoy in 1807. (Mangin’s _Essay on Light
+      Reading_, 1808, p. 142.)
+
+      The village preacher’s modest mansion rose. ‘The
+      Rev. Charles Goldsmith is allowed by all that knew him, to have been
+      faithfully represented by his son in the character of the Village
+      Preacher.’ So writes his daughter, Catharine Hodson (_Percy Memoir_,
+      1801, p. 3). Others, relying perhaps upon the ‘forty pounds a year’ of the
+      Dedication to _The Traveller_, make the poet’s brother Henry
+      the original; others, again, incline to kindly Uncle Contarine (_vide
+      Introduction_). But as Prior justly says (_Life_, 1837, ii.
+      249), ‘the fact perhaps is that he fixed upon no one individual, but
+      borrowing like all good poets and painters a little from each, drew the
+      character by their combination.’
+
+      with forty pounds a year. Cf. Dedication to _The
+      Traveller_, p. 3, l. 14.
+
+       Unpractis’d. ‘Unskilful’ in the first edition.
+
+      More skilled. ‘More bent’ in the first edition.
+
+      The long remember’d beggar. ‘The same persons,’
+      says Prior, commenting upon this passage, ‘are seen for a series of years
+      to traverse the same tract of country at certain intervals, intrude into
+      every house which is not defended by the usual outworks of wealth, a gate
+      and a porter’s lodge, exact their portion of the food of the family, and
+      even find an occasional resting-place for the night, or from severe
+      weather, in the chimney-corner of respectable farmers.’ (_Life_,
+      1837, ii. 269.) Cf. Scott on the Scottish mendicants in the
+      ‘Advertisement’ to _The Antiquary_, 1816, and Leland’s _Hist.
+      of Ireland_, 1773, i. 35.
+
+      The broken soldier. The disbanded soldier let loose
+      upon the country at the conclusion of the ‘Seven Years’ War’ was a
+      familiar figure at this period. Bewick, in his _Memoir_
+      (‘Memorial Edition’), 1887, pp. 44–5, describes some of these ancient
+      campaigners with their battered old uniforms and their endless stories of
+      Minden and Quebec; and a picture of two of them by T. S. Good of Berwick
+      belonged to the late Mr. Locker Lampson. Edie Ochiltree (_Antiquary_)—it
+      may be remembered—had fought at Fontenoy.
+
+      Allur’d to brighter worlds. Cf. Tickell on Addison—‘Saints
+      who taught and led the way to Heaven.’
+
+      And fools, who came to scoff, remained to pray.
+      Prior compares the opening lines of Dryden’s _Britannia Rediviva_:—
+    
+
+        Our vows are heard betimes, and heaven takes care
+
+        To grant, before we can conclude the prayer;
+
+        Preventing angels met it half the way,
+
+        And sent us back to praise, who came to pray.
+
+      As some tall cliff, etc. Lucan, Statius, and
+      Claudian have been supposed to have helped Goldsmith to this fine and
+      deservedly popular simile. But, considering his obvious familiarity with
+      French literature, and the rarity of his ‘obligations to the ancients,’ it
+      is not unlikely that, as suggested by a writer in the _Academy_
+      for Oct. 30, 1886, his source of suggestion is to be found in the
+      following passage of an Ode addressed by Chapelain (1595–1674) to
+      Richelieu:—
+    
+
+        Dans un paisible mouvement
+
+        Tu t’élèves au firmament,
+
+Et laisses contre toi murmurer cette terre;
+
+    Ainsi le haut Olympe, à son pied sablonneux,
+
+Laisse fumer la foudre et gronder le tonnerre,
+
+    Et garde son sommet tranquille et lumineux.
+
+      Or another French model—indicated by Mr. Forster (_Life_,
+      1871, ii. 115–16) by the late Lord Lytton—may have been these lines
+      from a poem by the Abbé de Chaulieu (1639–1720):—
+    
+
+        Au milieu cependant de ces peines cruelles
+
+        De notre triste hiver, compagnes trop fidèles,
+
+        Je suis tranquille et gai.  Quel bien plus précieux
+
+        Puis-je espérer jamais de la bonté des dieux!
+
+            Tel qu’un rocher dont la tête,
+
+            Égalant le Mont Athos,
+
+            Voit à ses pieds la tempête
+
+            Troubler le calme des flots,
+
+            La mer autour bruit et gronde;
+
+            Malgré ses emotions,
+
+        Sur son front élevé règne une paix profonde,
+
+            Que tant d’agitations
+
+            Et que ses fureurs de l’onde
+
+        Respectent à l’égal du nid des alcyons.
+
+      On the other hand, Goldsmith may have gone no further than Young’s _Complaint:
+      Night the Second_, 1742, p. 42, where, as Mitford points out, occur
+      these lines:—
+    
+
+        As some tall Tow’r, or lofty Mountain’s Brow,
+
+        Detains the Sun, Illustrious from its Height,
+
+        While rising Vapours, and descending Shades,
+
+        With Damps, and Darkness drown the Spatious Vale:
+
+        Undampt by Doubt, Undarken’d by Despair,
+
+        _Philander_, thus, augustly rears his Head.
+
+      Prior also (_Life_, 1837, ii. 252) prints a passage from _Animated
+      Nature_, 1774, i. 145, derived from Ulloa, which perhaps served as
+      the raw material of the simile.
+
+      Full well they laugh’d, etc. Steele, in _Spectator_,
+      No. 49 (for April 26, 1711) has a somewhat similar thought:—‘_Eubulus_
+      has so great an Authority in his little Diurnal Audience, that when he
+      shakes his Head at any Piece of publick News, they all of them appear
+      dejected; and, on the contrary, go home to their Dinners with a good
+      Stomach and chearful Aspect, when _Eubulus_ seems to intimate
+      that Things go well.’
+
+      Yet he was kind, etc. For the rhyme of ‘fault’ and
+      ‘aught’ in this couplet Prior cites the precedent of Pope:—
+    
+
+        Before his sacred name flies ev’ry fault,
+
+        And each exalted stanza teems with thought!
+
+      (_Essay on Criticism_, l. 422). He might also have cited
+      Waller, who elides the ‘l’:—
+    
+
+        Were we but less indulgent to our fau’ts,
+
+        And patience had to cultivate our thoughts.
+
+      Goldsmith uses a like rhyme in _Edwin and Angelina_, Stanza
+      xxxv:—
+    
+
+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.
+
+      Cf. also _Retaliation_, ll. 73–4. Perhaps—as indeed Prior
+      suggests—he pronounced ‘fault’ in this fashion.
+
+[Illustration: ]
+THE SCHOOL HOUSE
+
+(R. H. Newell)
+
+      That one small head could carry all he knew. Some
+      of the traits of this portrait are said to be borrowed from Goldsmith’s
+      own master at Lissoy:—‘He was instructed in reading, writing, and
+      arithmetic’—says his sister Catherine, Mrs. Hodson—‘by a
+      schoolmaster in his father’s village, who had been a quartermaster in the
+      army in Queen Anne’s wars, in that detachment which was sent to Spain:
+      having travelled over a considerable part of Europe and being of a very
+      romantic turn, he used to entertain Oliver with his adventures; and the
+      impressions these made on his scholar were believed by the family to have
+      given him that wandering and unsettled turn which so much appeared in his
+      future life.’ (_Percy Memoir_, 1801, pp. 3–4.) The name of this
+      worthy, according to Strean, was Burn (Byrne). (Mangin’s _ Essay on
+      Light Reading_, 1808, p. 142.)
+
+      Near yonder thorn. See note to l. 13.
+
+      The chest contriv’d a double debt to pay. Cf. the
+      _Description of an Author’s Bedchamber_, p. 48, l. ult.:—
+    
+
+A cap by night—a stocking all the day!
+
+      The twelve good rules. ‘A constant one’ (i.e.
+      picture) ‘in every house was “King Charles’ Twelve Good Rules.”’ (Bewick’s
+      _Memoir_, ‘Memorial Edition,’ 1887, p. 262.) This old
+      broadside, surmounted by a rude woodcut of the King’s execution, is still
+      prized by collectors. The rules, as ‘found in the study of King Charles
+      the First, of Blessed Memory,’ are as follow:— ‘1. Urge no healths;
+      2. Profane no divine ordinances; 3. Touch no state matters; 4. Reveal no
+      secrets; 5. Pick no quarrels; 6. Make no comparisons; 7. Maintain no ill
+      opinions; 8. Keep no bad company; 9. Encourage no vice; 10. Make no long
+      meals; 11. Repeat no grievances; 12. Lay no Wagers.’ Prior, _Misc.
+      Works_, 1837, iv. 63, points out that Crabbe also
+
+      makes the ‘Twelve Good Rules’ conspicuous in the _Parish Register_
+      (ll. 51–2):—
+    
+
+        There is King Charles, and all his Golden Rules,
+
+        Who proved Misfortune’s was the best of schools.
+
+      Her late Majesty, Queen Victoria, kept a copy of these rules in the
+      servants’ hall at Windsor Castle.
+
+      the royal game of goose. The ‘Royal and
+      Entertaining Game of the Goose’ is described at length in Strutt’s _Sports
+      and Pastimes_, bk. iv, ch. 2 (xxv). It may be briefly defined as a
+      game of compartments with different titles through which the player
+      progresses according to the numbers he throws with the dice. At every
+      fourth or fifth compartment is depicted a goose, and if the player’s cast
+      falls upon one of these, he moves forward double the number of his throw.
+
+      While broken tea-cups. Cf. the _Description of
+      an Author’s Bedchamber_, p. 48, l. 18:—
+    
+
+        And five crack’d teacups dress’d the chimney board.
+
+      Mr. Hogan, who repaired or rebuilt the ale-house at Lissoy, did not
+      forget, besides restoring the ‘Royal Game of Goose’ and the ‘Twelve Good
+      Rules,’ to add the broken teacups, ‘which for better security in the frail
+      tenure of an Irish publican, or the doubtful decorum of his guests, were
+      embedded in the mortar.’ (Prior, _Life_, 1837, ii. 265.)
+
+      Shall kiss the cup. Cf. Scott’s _Lochinvar_:—
+    
+
+        The bride kissed the goblet: the knight took it up,
+
+        He quaff’d off the wine and he threw down the cup.
+
+      Cf. also _The History of Miss Stanton_ (_British Magazine_,
+      July, 1760).—‘The earthen mug went round. _Miss touched the cup_,
+      the stranger pledged the parson,’ etc.
+
+      Between a splendid and a happy land. Prior compares
+      _The Citizen of the World_, 1762, i. 98:—‘Too much
+      commerce may injure a nation as well as too little; and . . . there is a
+      wide difference between a conquering and a flourishing empire.’
+
+      To see profusion that he must not share. Cf. _Animated
+      Nature_, iv. p. 43:—‘He only guards those luxuries he is not
+      fated to share.’ [Mitford.]
+
+      To see those joys. Up to the third edition the
+      words were _each joy_.
+
+      There the black gibbet glooms beside the way. The
+      gallows, under the savage penal laws of the eighteenth century, by which
+      horse-stealing, forgery, shop-lifting, and even the cutting of a hop-bind
+      in a plantation were punishable with death, was a common object in the
+      landscape. Cf. _Vicar of Wakefield_, 1706, ii. 122:—‘Our
+      possessions are paled up with new edicts every day, and hung round with
+      gibbets to scare every invader’; and _ Citizen of the World_,
+      1762, ii. 63–7. Johnson, who wrote eloquently on capital punishment in
+      _The Rambler_ for April 20, 1751, No. 114, also refers to the
+      ceaseless executions in his _London_, 1738, ll. 238–43:—
+    
+
+        Scarce can our fields, such crowds at Tyburn die,
+
+        With hemp the gallows and the fleet supply.
+
+        Propose your schemes, ye senatorian band,
+
+        Whose ways and means support the sinking land:
+
+        Lest ropes be wanting in the tempting spring,
+
+        To rig another convoy for the king.
+
+      Where the poor houseless shivering female lies.
+      Mitford compares Letter cxiv of _The Citizen of the World_,
+      1762, ii. 211:—‘These _poor shivering females_ have once seen
+      happier days, and been flattered into beauty. They have been prostituted
+      to the gay luxurious villain, and are now turned out to meet the severity
+      of winter. Perhaps now lying at the doors of their betrayers, they sue to
+      wretches whose hearts are insensible, or debauchees who may curse, but
+      will not relieve them.’ The same passage occurs in _The Bee_,
+      1759, p. 126 (_A City Night-Piece_).
+
+      Near her betrayer’s door, etc. Cf. the foregoing
+      quotation.
+
+      wild Altama, i.e. the Alatamaha, a river in
+      Georgia, North America. Goldsmith may have been familiar with this name in
+      connexion with his friend Oglethorpe’s expedition of 1733.
+
+      crouching tigers, a poetical licence, as there are
+      no tigers in the locality named. But Mr. J. H. Lobban calls attention to a
+      passage from _Animated Nature_ [1774, iii. 244], in which
+      Goldsmith seems to defend himself:—‘There is an animal of
+      America, which is usually called the Red Tiger, but Mr. Buffon calls it
+      the Cougar, which, no doubt, is very different from the tiger of the east.
+      Some, however, have thought proper to rank both together, and I will take
+      leave to follow their example.’
+
+      The good old sire. Cf. _Threnodia Augustalis_,
+      ll. 16–17:—
+    
+
+        The good old sire, unconscious of decay,
+
+        The modest matron, clad in homespun gray
+
+      a father’s. ‘Her father’s’ in the first edition.
+
+      silent. ‘Decent’ in the first edition.
+
+      On Torno’s cliffs, or Pambamarca’s side.
+      ‘Torno’=Tornea, a river which falls into the Gulf of Bothnia; Pambamarca
+      is a mountain near Quito, South America. ‘The author’—says Bolton
+      Corney—‘bears in memory the operations of the French philosophers in
+      the arctic and equatorial regions, as described in the celebrated
+      narratives of M. Maupertuis and Don Antonio de Ulloa.’
+
+      That trade’s proud empire, etc. These last four
+      lines are attributed to Johnson on Boswell’s authority:—‘Dr. Johnson
+      . . . favoured me by marking the lines which he furnished to Goldsmith’s
+      _ Deserted Village_, which are only the ‘last four’.’ (Birkbeck
+      Hill’s _Boswell_, 1887, ii. 7.)
+
+
+
+
+PROLOGUE OF LABERIUS.
+
+
+      This translation, or rather imitation, was first published at pp. 176–7 of
+      _An Enquiry into the Present State of Polite Learning in Europe_,
+      1759 (Chap. xii, ‘Of the Stage’), where it is prefaced as follows:—
+      ‘MACROBIUS has preserved a prologue, spoken and written by
+      the poet [Decimus] Laberius, a Roman knight, whom Caesar forced upon the
+      stage, written with great elegance and spirit, which shews what opinion
+      the Romans in general entertained of the profession of an actor.’ In the
+      second edition of 1774 the prologue was omitted. The original lines, one
+      of which Goldsmith quotes, are to found in the _Saturnalia_ of
+      Macrobius, lib. ii, cap. vii (_Opera_, London, 1694). He seems
+      to have confined himself to imitating the first fifteen:—
+    
+
+    Necessitas, cujus cursus transversi impetum
+
+    Voluerunt multi effugere, pauci potuerunt,
+
+    Quo me detrusit paene extremis sensibus?
+
+    Quem nulla ambitio, nulla umquam largitio,
+
+    Nullus timor, vis nulla, nulla auctoritas
+
+    Movere potuit in juventa de statu;
+
+    Ecce in senecta ut facile labefecit loco
+
+    Viri Excellentis mente clemente edita
+
+    Submissa placide blandiloquens oratio!
+
+    Etenim ipsi di negare cui nihil potuerunt,
+
+    Hominem me denegare quis posset pati?
+
+    Ergo bis tricenis annis actis sine tota
+
+    Eques Romanus Lare egressus meo
+
+    Domum revertar mimus.  nimirum hoc die
+
+    Uno plus vixi mihi quam vivendum fuit.
+
+
+      Rollin gives a French translation of this prologue in his _Traité
+      des Études_. It is quoted by Bolton Corney in his _Poetical
+      Works of Oliver Goldsmith_, 1845, pp. 203–4. In his Aldine edition
+      of 1831, p. 114, Mitford completed Goldsmith’s version as follows:—
+    
+
+    Too lavish still in good, or evil hour,
+
+    To show to man the empire of thy power,
+
+    If fortune, at thy wild impetuous sway,
+
+    The blossoms of my fame must drop away,
+
+    Then was the time the obedient plant to strain
+
+    When life was warm in every vigorous vein,
+
+    To mould young nature to thy plastic skill,
+
+    And bend my pliant boyhood to thy will.
+
+    So might I hope applauding crowds to hear,
+
+    Catch the quick smile, and HIS attentive ear.
+
+    But ah!  for what has thou reserv’d my age?
+
+    Say, how can I expect the approving stage;
+
+    Fled is the bloom of youth—the manly air—
+
+    The vigorous mind that spurn’d at toil and care;
+
+    Gone is the voice, whose clear and silver tone
+
+    The enraptur’d theatre would love to own.
+
+    As clasping ivy chokes the encumber’d tree,
+
+    So age with foul embrace has ruined me.
+
+    Thou, and the tomb, Laberius, art the same,
+
+    Empty within, what hast thou but a name?
+
+      Macrobius, it may be remembered, was the author, with a quotation from
+      whom Johnson, after a long silence, electrified the company upon his first
+      arrival at Pembroke College, thus giving (says Boswell) ‘the first
+      impression of that more extensive reading in which he had indulged
+      himself’ (Birkbeck Hill’s _Boswell_, 1887, i. 59). If the study
+      of Macrobius is to be regarded as a test of ‘more extensive reading’ that
+      praise must therefore be accorded to Goldsmith, who cites him in his first
+      book.
+
+
+
+
+ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING.
+
+
+      This quatrain, the original of which does not appear to have been traced,
+      was first published in _The Bee_ for Saturday, the 6th of
+      October, 1759, p. 8. It is there succeeded by the following Latin epigram,
+      ‘in the same spirit’:—
+    
+
+LUMINE Acon dextro capta est Leonida sinistro
+
+    Et poterat forma vincere uterque Deos.
+
+Parve puer lumen quod habes concede puellae
+
+    Sic tu caecus amor sic erit illa Venus.
+
+
+
+
+      There are several variations of this in the _Gentleman’s Magazine_
+      for 1745, pp. 104, 159, 213, 327, one of which is said to be ‘By a monk of
+      Winchester,’ with a reference to ‘Cambden’s _Remains_, p. 413.’
+      None of these corresponds exactly with Goldsmith’s text; and the lady’s
+      name is uniformly given as ‘Leonilla.’ A writer in the _ Quarterly
+      Review_, vol. 171, p. 296, prints the ‘original’ thus—
+    
+
+Lumine Acon dextro, capta est Leonilla sinistro,
+
+    Et potis est forma vincere uterque Deos.
+
+Blande puer, lumen quod habes concede sorori;
+
+    Sic tu caecus Amor, sic erit illa Venus;
+
+
+      and says ‘it was written by Girolamo Amalteo, and will be found in any of
+      the editions of the _Trium Fratrum Amaltheorum Carmina_, under
+      the title of ‘De gemellis, fratre et sorore, luscis.’ According to Byron
+      on Bowles (_Works_, 1836, vi. p. 390), the persons referred to
+      are the Princess of Eboli, mistress of Philip II of Spain, and Maugiron,
+      minion of Henry III of France, who had each of them lost an eye. But for
+      this the reviewer above quoted had found no authority.
+
+
+
+
+THE GIFT.
+
+
+      This little trifle, in which a French levity is wedded to the language of
+      Prior, was first printed in _The Bee_, for Saturday, the 13th
+      of October, 1759. Its original, which is as follows, is to be found where
+      Goldsmith found it, namely in Part iii of the _Ménagiana_,
+      (ed. 1729, iii, 397), and not far from the ditty of _le fameux la
+      Galisse_. (See _An Elegy on Mrs. Mary Blaize_, _ infra_,
+      p. 198):—
+
+
+      ETRENE A IRIS.
+
+            Pour témoigner de ma flame,
+
+            Iris, du meilleur de mon ame
+
+            Je vous donne à ce nouvel an
+
+            Non pas dentelle ni ruban,
+
+            Non pas essence, ni pommade,
+
+            Quelques boites de marmelade,
+
+            Un manchon, des gans, un bouquet,
+
+            Non pas heures, ni chapelet.
+
+            Quoi donc?  Attendez, je vous donne
+
+            O fille plus belle que bonne ...
+
+            Je vous donne: Ah! le puis-je dire?
+
+            Oui, c’est trop souffrir le martyre,
+
+            Il est tems de s’émanciper,
+
+            Patience va m’échaper,
+
+            Fussiez-vous cent fois plus aimable,
+
+            Belle Iris, je vous donne ... au Diable.
+
+
+      In Bolton Corney’s edition of Goldsmith’s _ Poetical Works_,
+      1845, p. 77, note, these lines are attributed to Bernard de la Monnoye
+      (1641–1728), who is said to have included them in a collection of _Étrennes
+      en vers_, published in 1715.
+
+      I’ll give thee. See an anecdote _à propos_
+      of this anticlimax in Trevelyan’s _Life and Letters of Lord Macaulay_,
+      ed. 1889, p. 600:—‘There was much laughing about Mrs. Beecher Stowe
+      [then (16th March, 1853) expected in England], and what we were to give
+      her. I referred the ladies to Goldsmith’s poems for what I should give.
+      Nobody but Hannah understood me; but some of them have since been thumbing
+      Goldsmith to make out the riddle.’
+
+
+
+
+THE LOGICIANS REFUTED.
+
+
+      These lines, which have often, and even of late years, been included among
+      Swift’s works, were first printed as Goldsmith’s by T. Evans at vol. i.
+      pp. 115–17 of _The Poetical and Dramatic Works of Oliver Goldsmith,
+      M.B._, 1780. They originally appeared in _The Busy Body_
+      for Thursday, October the 18th, 1759 (No. v), having this notification
+      above the title: ‘The following Poem written by DR. SWIFT,
+      is communicated to the Public by the BUSY BODY,
+      to whom it was presented by a Nobleman of distinguished Learning and
+      Taste.’ In No. ii they had already been advertised as forthcoming. The
+      sub-title, ‘In imitation of Dean Swift,’ seems to have been added by
+      Evans. The text here followed is that of the first issue.
+
+      Wise Aristotle and Smiglecius. Cf. _The Life
+      of Parnell_, 1770, p. 3:—‘His imagination might have been too
+      warm to relish the cold logic of Burgersdicius, or the dreary subtleties
+      of _ Smiglesius_; but it is certain that as a classical scholar, few
+      could equal him.’ Martin Smiglesius or Smigletius, a Polish Jesuit,
+      theologian and logician, who died in 1618, appears to have been a special
+      _bête noire_ to Goldsmith; and the reference to him here would
+      support the ascription of the poem to Goldsmith’s pen, were it not that
+      Swift seems also to have cherished a like antipathy:—‘He told me
+      that he had made many efforts, upon his entering the College [i.e. Trinity
+      College, Dublin], to read some of the old treatises on logic writ by _Smeglesius_,
+      Keckermannus, Burgersdicius, etc., and that he never had patience to go
+      through three pages of any of them, he was so disgusted at the stupidity
+      of the work.’ (Sheridan’s _Life of Swift_, 2nd ed., 1787, p.
+      4.)
+
+      Than reason-boasting mortal’s pride. So in _The
+      Busy Body_. Some editors—Mitford, for example—print the
+      line:—
+    
+
+        Than reason,—boasting mortals’ pride.
+
+      _Deus est anima brutorum_. Cf. Addison in
+      _Spectator_, No. 121 (July 19, 1711): ‘A modern Philosopher,
+      quoted by Monsieur _ Bale_ in his Learned Dissertation on the Souls
+      of Brutes delivers the same Opinion [i.e.—That Instinct is the
+      immediate direction of Providence], tho’ in a bolder form of words where
+      he says _Deus est Anima Brutorum_, God himself is the Soul of
+      Brutes.’ There is much in ‘Monsieur Bayle’ on this theme. Probably Addison
+      had in mind the following passage of the _Dict. Hist. et Critique_
+      (3rd ed., 1720, 2481_b_.) which Bayle cites from M. Bernard:—‘Il
+      me semble d’avoir lu quelque part cette Thèse, _Deus est anima
+      brutorum_: l’expression est un peu dure; mais elle peut recevoir un
+      fort bon sens.’
+    
+
+ B—b=Bob, i.e. Sir Robert Walpole, the Prime
+Minister, for whom many venal ‘quills were drawn’ _circa_
+1715–42. Cf. Pope’s _Epilogue to the Satires_, 1738, Dialogue i, ll.
+27–32:—
+
+        Go see Sir ROBERT—
+
+             P. See Sir ROBERT!—hum—
+
+        And never laugh—for all my life to come?
+
+        Seen him I have, but in his happier hour
+
+        Of Social Pleasure, ill-exchang’d for Pow’r;
+
+        Seen him, uncumber’d with the Venal tribe,
+
+        Smile without Art, and win without a Bribe.
+
+      A courtier any ape surpasses. Cf. Gay’s _Fables,
+      passim_. Indeed there is more of Gay than Swift in this and the
+      lines that follow. Gay’s life was wasted in fruitless expectations of
+      court patronage, and his disappointment often betrays itself in his
+      writings.
+
+      And footmen, lords and dukes can act. Cf. _Gil
+      Blas_, 1715–35, liv. iii, chap. iv:—‘Il falloit voir comme
+      nous nous portions des santés à tous moments, en nous
+      donnant les uns aux autres les surnoms de nos maîtres. Le valet de
+      don Antonio appeloit Gamb celuiet nous nous enivrions peu à peu
+      sous ces noms empruntés, tout aussi bien que les seigneurs qui les
+      portoient véritablement.’ But Steele had already touched this
+      subject in _Spectator_, No. 88, for June 11, 1711, ‘On the
+      Misbehaviour of Servants,’ a paper supposed to have afforded the hint for
+      Townley’s farce of _High Life below Stairs_, which, about a
+      fortnight after _The Logicians Refuted_ appeared, was played
+      for the first time at Drury Lane, not much to the gratification of the
+      gentlemen’s gentlemen in the upper gallery. Goldsmith himself wrote ‘A
+      Word or two on the late Farce, called _High Life below Stairs_,’
+      in _ The Bee_ for November 3, 1759, pp. 154–7.
+
+
+
+
+A SONNET.
+
+
+      This little piece first appears in _The Bee_ for October 20,
+      1759 (No. iii). It is there called ‘A Sonnet,’ a title which is only
+      accurate in so far as it is ‘a little song.’ Bolton Corney affirms that it
+      is imitated from the French of Saint-Pavin (i.e. Denis Sanguin de
+      Saint-Pavin, d. 1670), whose works were edited in 1759, the year in which
+      Goldsmith published the collection of essays and verses in which it is to
+      be found. The text here followed is that of the ‘new edition’ of _The
+      Bee_, published by W. Lane, Leadenhall Street, no date, p. 94.
+      Neither by its motive nor its literary merits—it should be added—did
+      the original call urgently for translation; and the poem is here included
+      solely because, being Goldsmith’s, it cannot be omitted from his complete
+      works.
+
+      This and the following line in the first version
+      run:—
+    
+
+        Yet, why this killing soft dejection?
+
+          Why dim thy beauty with a tear?
+
+
+
+
+STANZAS ON THE TAKING OF QUEBEC.
+
+
+      Quebec was taken on the 13th September, 1759. Wolfe was wounded pretty
+      early in the action, while leading the advance of the Louisbourg
+      grenadiers. ‘A shot shattered his wrist. He wrapped his handkerchief about
+      it and kept on. Another shot struck him, and he still advanced, when a
+      third lodged in his breast. He staggered, and sat on the ground.
+      Lieutenant Brown, of the grenadiers, one Henderson, a volunteer in the
+      same company, and a private soldier, aided by an officer of artillery who
+      ran to join them, carried him in their arms to the rear. He begged them to
+      lay him down. They did so, and asked if he would have a surgeon. “There’s
+      no need,” he answered; “it’s all over with me.” A moment after, one of
+      them cried out, “They run; see how they run!” “Who run?” Wolfe demanded,
+      like a man roused from sleep. “The enemy, sir. They give way everywhere!”
+      “Go, one of you, to Colonel Burton,” returned the dying man; “tell him to
+      march Webb’s regiment down to Charles River, to cut off their retreat from
+      the bridge.” Then, turning on his side, he
+      murmured, “Now, God be praised, I will die in peace!” and in a few moments
+      his gallant soul had fled.’ (Parkman’s _Montcalm and Wolfe_,
+      1885, ii. 296–7.) In his _ History of England in a Series of Letters_,
+      1764, ii. 241, Goldsmith says of this event:—‘Perhaps the loss of
+      such a man was greater to the nation than the conquering of all Canada was
+      advantageous; but it is the misfortune of humanity, that we can never know
+      true greatness till the moment when we are going to lose it.’* The present
+      stanzas were first published in _The Busy Body_ (No. vii) for
+      Tuesday, the 22nd October, 1759, a week after the news of Wolfe’s death
+      had reached this country (Tuesday the 16th). According to Prior (_Life_,
+      1837, i. 6), Goldsmith claimed to be related to Wolfe by the father’s
+      side, the maiden name of the General’s mother being Henrietta Goldsmith.
+      It may be noted that Benjamin West’s popular rendering of Wolfe’s death
+      (1771)—a rendering which Nelson never passed in a print shop without
+      being stopped by it—was said to be based upon the descriptions of an
+      eye-witness. It was engraved by Woollett and Ryland in 1776. A key to the
+      names of those appearing in the picture was published in the _Army
+      and Navy Gazette_ of January 20, 1893.
+    
+
+* He repeats this sentiment, in different words, in the later _History
+      of England_ of 1771, iv. 400.
+
+
+
+
+AN ELEGY ON MRS. MARY BLAIZE.
+
+
+      The publication in February, 1751, of Gray’s _Elegy Wrote in a
+      Country Church Yard_ had set a fashion in poetry which long
+      continued. Goldsmith, who considered that work ‘a very fine poem, but
+      overloaded with epithet’ (_Beauties of English Poesy_, 1767, i.
+      53), and once proposed to amend it ‘by leaving out an idle word in every
+      line’ [!] (Cradock’s _ Memoirs_, 1826, i. 230), resented these
+      endless imitations, and his antipathy to them frequently reveals itself.
+      Only a few months before the appearance of Mrs. Blaize in _The Bee_
+      for October 27, 1759, he had written in the _Critical Review_,
+      vii. 263, when noticing Langhorne’s _Death of Adonis_, as
+      follows:—‘It is not thus that many of our moderns have composed what
+      they call elegies; they seem scarcely to have known its real character. If
+      an hero or a poet
+      happens to die with us, the whole band of elegiac poets raise the dismal
+      chorus, adorn his herse with all the paltry escutcheons of flattery, rise
+      into bombast, paint him at the head of his thundering legions, or reining
+      Pegasus in his most rapid career; they are sure to strew cypress enough
+      upon the bier, dress up all the muses in mourning, and look themselves
+      every whit as dismal and sorrowful as an undertaker’s shop.’ He returned
+      to the subject in a _Chinese Letter_ of March 4, 1761, in the
+      _Public Ledger_ (afterwards Letter ciii of _The Citizen of
+      the World_, 1762, ii. 162–5), which contains the lines _On the
+      Death of the Right Honourable ***_; and again, in _The Vicar of
+      Wakefield_, 1766, i. 174, _ à propos_ of the _Elegy
+      on the Death of a Mad Dog_, he makes Dr. Primrose say, ‘I have wept
+      so much at all sorts of elegies of late, that without an enlivening glass
+      I am sure this will overcome me.’
+
+      The model for _An Elegy on Mrs. Mary Blaize_ is to be found in
+      the old French popular song of Monsieur de la Palisse or Palice, about
+      fifty verses of which are printed in Larousse’s _Grand Dictionnaire
+      Universel du XIX_ me _Siècle_, x. p. 179. It is
+      there stated to have originated in some dozen stanzas suggested to la
+      Monnoye (_v. supra_, p. 193) by the extreme artlessness of a military
+      quatrain dating from the battle of Pavia, and the death upon that occasion
+      of the famous French captain, Jacques de Chabannes, seigneur de la Palice:—
+    
+
+Monsieur d’La Palice est mort,
+
+    Mort devant Pavie;
+
+Un quart d’heure avant sa mort,
+
+    _Il était encore en vie._
+
+      The remaining verses, i.e. in addition to those of la Monnoye, are the
+      contributions of successive generations. Goldsmith probably had in mind
+      the version in Part iii of the _Ménagiana_, (ed. 1729,
+      iii, 384–391) where apparently by a typographical error, the hero is
+      called _‘le fameux la Galisse, homme imaginaire.’_ The verses he
+      imitated most closely are reproduced below. It may be added that this poem
+      supplied one of its last inspirations to the pencil of Randolph Caldecott,
+      who published it as a picture-book in October, 1885. (See also _An
+      Elegy on the Death of a Mad Dog_, p. 212.)
+
+      Who left a pledge behind. Caldecott cleverly
+      converted this line into the keynote of the poem, by making the heroine a
+      pawnbroker.
+
+      When she has walk’d before. Cf. the French:—
+    
+
+On dit que dans ses amours
+
+    Il fut caresse des belles,
+
+Qui le suivirent toujours,
+
+    _Tant qu’il marcha devant elles._
+
+      Her last disorder mortal. Cf. the French:—
+    
+
+Il fut par un triste sort
+
+    Blesse d’une main cruelle.
+
+On croit, puis qu’il en est mort,
+
+    _Que la plaie étoit mortelle._
+
+      Kent Street, Southwark, ‘chiefly inhabited,’ said
+      Strype, ‘by Broom Men and Mumpers’; and Evelyn tells us (_Diary_
+      5th December, 1683) that he assisted at the marriage, to her fifth
+      husband, of a Mrs. Castle, who was ‘the daughter of one Burton, a
+      broom-man . . . in Kent Street’ who had become not only rich, but Sheriff
+      of Surrey. It was a poor neighbourhood corresponding to the present ‘old
+      Kent-road, from Kent to Southwark and old London Bridge’ (Cunningham’s
+      _London_).* Goldsmith himself refers to it in _The Bee_
+      for October 20, 1759, being the number immediately preceding that in which
+      _Madam Blaize_ first appeared:—‘You then, O ye beggars of
+      my acquaintance, whether in rags or lace; whether in _Kent-street_
+      or the Mall; whether at the Smyrna or St. Giles’s, might I advise as a
+      friend, never seem in want of the favour which you solicit’ (p. 72). Three
+      years earlier he had practised as ‘a physician, in a humble way’ in
+      Bankside, Southwark, and was probably well acquainted with the humours of
+      Kent Street.
+    
+
+* In contemporary maps Kent (now Tabard) Street is shown extending
+      between the present New Kent Road and Blackman Street.
+
+
+
+
+DESCRIPTION OF AN AUTHOR’S BEDCHAMBER.
+
+
+      In a letter written to the Rev. Henry Goldsmith in 1759 (_Percy
+      Memoir_, 1801, pp. 53–9), Goldsmith thus refers to the first form of
+      these verses:—‘Your last letter, I repeat it, was
+      too short; you should have given me your opinion of the design of the
+      heroicomical poem which I sent you: you remember I intended to introduce
+      the hero of the poem, as lying in a paltry alehouse. You may take the
+      following specimen of the manner, which I flatter myself is quite
+      original. The room in which he lies, may be described somewhat this way:—
+    
+
+        The window, patch’d with paper, lent a ray,
+
+        That feebly shew’d the state in which he lay.
+
+        The sanded floor, that grits beneath the tread:
+
+        The humid wall with paltry pictures spread;
+
+        The game of goose was there expos’d to view
+
+        And the twelve rules the royal martyr drew:
+
+        The seasons, fram’d with listing, found a place,
+
+        And Prussia’s monarch shew’d his lamp-black face
+
+        The morn was cold; he views with keen desire,
+
+        A rusty grate unconscious of a fire.
+
+        An unpaid reck’ning on the frieze was scor’d,
+
+        And five crack’d tea-cups dress’d the chimney board.
+
+
+      And now imagine after his soliloquy, the landlord to make his appearance,
+      in order to dun him for the reckoning:—
+    
+
+        Not with that face, so servile and so gay,
+
+        That welcomes every stranger that can pay,
+
+        With sulky eye he smoak’d the patient man,
+
+        Then pull’d his breeches tight, and thus began, etc.
+
+
+      All this is taken, you see, from nature. It is a good remark of
+      Montaign[e]’s, that the wisest men often have friends, with whom they do
+      not care how much they play the fool. Take my present follies as instances
+      of regard. Poetry is a much easier, and more agreeable species of
+      composition than prose, and could a man live by it, it were no unpleasant
+      employment to be a poet.’
+
+      In Letter xxix of _The Citizen of the World_, 1762, i. 119–22,
+      which first appeared in _The Public Ledger_ for May 2, 1760,
+      they have a different setting. They are read at a club of authors by a
+      ‘poet, in shabby finery,’ who asserts that he has composed them the day
+      before. After some preliminary difficulties, arising from the fact that
+      the laws of the club do not permit any author to inflict his own works
+      upon the assembly without a money payment, he introduces them as
+      follows:—‘Gentlemen, says he,
+      the present piece is not one of your common epic
+      poems, which come from the press like paper kites in summer; there are
+      none of your Turnuses or Dido’s in it; it is an heroical description of
+      nature. I only beg you’ll endeavour to make your souls unison* with mine,
+      and hear with the same enthusiasm with which I have written. The poem
+      begins with the description of an author’s bedchamber: the picture was
+      sketched in my own apartment; for you must know, gentlemen, that I am
+      myself the heroe. Then putting himself into the attitude of an orator,
+      with all the emphasis of voice and action, he proceeded.
+    
+
+        Where the Red Lion, etc.’
+
+
+* i.e. accord, conform.
+
+      The verses then follow as they are printed in this volume; but he is
+      unable to induce his audience to submit to a further sample. In a slightly
+      different form, some of them were afterwards worked into _The
+      Deserted Village_, 1770. (See ll. 227–36.)
+
+      Where Calvert’s butt, and Parsons’ black champagne.
+      The Calverts and Humphrey Parsons were noted brewers of ‘entire butt beer’
+      or porter, also known familiarly as ‘British Burgundy’ and ‘black
+      Champagne.’ Calvert’s ‘Best Butt Beer’ figures on the sign in Hogarth’s
+      _ Beer Street_, 1751.
+
+      The humid wall with paltry pictures spread. Bewick
+      gives the names of some of these popular, if paltry, decorations:—‘In
+      cottages everywhere were to be seen the “Sailor’s Farewell” and his “Happy
+      Return,” “Youthful Sports,” and the “Feats of Manhood,” “The Bold Archers
+      Shooting at a Mark,” “The Four Seasons,” etc.’ (_Memoir_,
+      ‘Memorial Edition,’ 1887, p. 263.)
+
+      The royal game of goose was there in view. (See
+      note, p. 188.)
+
+      And the twelve rules the royal martyr drew. (See
+      note, p. 187.)
+
+      The Seasons, fram’d with listing. See note to l. 10
+      above, as to ‘The Seasons.’ Listing, ribbon, braid, or tape is still used
+      as a primitive _encadrement_. In a letter dated August 15, 1758, to
+      his cousin, Mrs. Lawder (Jane Contarine), Goldsmith again refers to this
+      device. Speaking of some ‘maxims of frugality’ with which he intends to
+      adorn his room, he adds—‘my
+      landlady’s daughter shall frame them with the parings of my black
+      waistcoat.’ (Prior, _Life_, 1837, i. 271.)
+
+      And brave Prince William. William Augustus, Duke of
+      Cumberland, 1721–65. The ‘lamp-black face’ would seem to imply that the
+      portrait was a silhouette. In the letter quoted on p. 200 it is ‘Prussia’s
+      monarch’ (i.e. Frederick the Great).
+
+      With beer and milk arrears. See the lines relative
+      to the landlord in Goldsmith’s above-quoted letter to his brother. In
+      another letter of August 14, 1758, to Robert Bryanton, he describes
+      himself as ‘in a garret writing for bread, and expecting to be dunned for
+      a milk score.’ Hogarth’s _Distrest Poet_, 1736, it will be
+      remembered, has already realized this expectation.
+
+      A cap by night—a stocking all the day. ‘With
+      this last line,’ says _The Citizen of the World_, 1762, i. 121,
+      ‘he [the author] seemed so much elated, that he was unable to proceed:
+      “There gentlemen, cries he, there is a description for you; Rab[e]lais’s
+      bed-chamber is but a fool to it:
+    
+
+        _A cap by night—a stocking all the day!_
+
+
+      There is sound and sense, and truth, and nature in the trifling compass of
+      ten little syllables.”’ (Letter xxix.) Cf. also _The Deserted Village_,
+      l. 230:—
+    
+
+        A bed by night, a chest of drawers by day.
+
+      If Goldsmith’s lines did not belong to 1759, one might suppose he had in
+      mind the later _Pauvre Diable_ of his favourite Voltaire. (See
+      also APPENDIX B.)
+
+
+
+
+ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****.
+
+
+      These verses, intended for a specimen of the newspaper Muse, are from
+      Letter lxxxii of _The Citizen of the World_, 1762, ii. 87,
+      first printed in _The Public Ledger_, October 21, 1760.
+
+
+
+
+ON THE DEATH OF THE RIGHT HON. ***
+
+
+      From Letter ciii of _The Citizen of the World_, 1762, ii. 164,
+      first printed in _The Public Ledger_, March 4, 1761. The verses
+      are
+      given as a ‘specimen of a poem on the decease of a great man.’ Goldsmith
+      had already used the trick of the final line of the quatrain in _An
+      Elegy on Mrs. Mary Blaize_, ante, p. 198.
+
+
+
+
+AN EPIGRAM.
+
+
+      From Letter cx of _The Citizen of the World_, 1762, ii. 193,
+      first printed in _The Public Ledger_, April 14, 1761. It had,
+      however, already been printed in the ‘Ledger’, ten days before.
+      Goldsmith’s animosity to Churchill (cf. note to l. 41 of the dedication to
+      _The Traveller_) was notorious; but this is one of his doubtful
+      pieces.
+
+      virtue. ‘Charity’ (_Author’s note_).
+
+      bounty. ‘Settled at One Shilling—the Price of
+      the Poem’ (_Author’s note_).
+
+
+
+
+TO G. C. AND R. L.
+
+
+      From the same letter as the preceding. George Colman and Robert Lloyd of
+      the _St. James’s Magazine_ were supposed to have helped
+      Churchill in _The Rosciad_, the ‘it’ of the epigram.
+
+
+
+
+TRANSLATION OF A SOUTH AMERICAN ODE.
+
+
+      From Letter cxiii of _The Citizen of the World_, 1762, ii. 209,
+      first printed in _The Public Ledger_, May 13, 1761.
+
+
+
+
+THE DOUBLE TRANSFORMATION.
+
+
+      _The Double Transformation_ first appeared in _Essays: By
+      Mr. Goldsmith_, 1765, where it figures as Essay xxvi, occupying pp.
+      229–33. It was revised for the second edition of 1766, becoming Essay
+      xxviii, pp. 241–45. This is the text here followed. The poem is an obvious
+      imitation of what its author calls (_Letters from a Nobleman to his
+      Son_, 1764, ii. 140) that ‘French elegant easy manner of telling a
+      story,’ which Prior had caught from La Fontaine. But the inherent
+      simplicity of Goldsmith’s style is
+      curiously evidenced by the absence of those illustrations and ingenious
+      allusions which are Prior’s chief characteristic. And although Goldsmith
+      included _The Ladle_ and _Hans Carvel_ in his _Beauties
+      of English Poesy_, 1767, he refrained wisely from copying the
+      licence of his model.
+
+      Jack Book-worm led a college life. The version of
+      1765 reads ‘liv’d’ for ‘led’.
+
+      And freshmen wonder’d as he spoke. The earlier
+      version adds here—
+    
+
+        Without politeness aim’d at breeding,
+
+        And laugh’d at pedantry and reading.
+
+      Her presence banish’d all his peace. Here in the
+      first version the paragraph closes, and a fresh one is commenced as
+      follows:—
+    
+
+    Our alter’d Parson now began
+
+        To be a perfect ladies’ man;
+
+        Made sonnets, lisp’d his sermons o’er,
+
+        And told the tales he told before,
+
+        Of bailiffs pump’d, and proctors bit,
+
+        At college how he shew’d his wit;
+
+        And, as the fair one still approv’d,
+
+        He fell in love—or thought he lov’d.
+
+        So with decorum, etc.
+
+      The fifth line was probably a reminiscence of the college riot in which
+      Goldsmith was involved in May, 1747, and for his part in which he was
+      publicly admonished. (See _Introduction_,
+      p. xi, l. 3.)
+
+      usage. This word, perhaps by a printer’s error, is
+      ‘visage’ in the first version.
+
+      Skill’d in no other arts was she. Cf. Prior:—
+    
+
+        For in all Visits who but She,
+
+        To Argue, or to Repartee.
+
+      Five greasy nightcaps wrapp’d her head. Cf. _Spectator_,
+      No. 494— ‘At length the Head of the Colledge came out to him, from
+      an inner Room, with half a Dozen Night-Caps upon his Head.’ See also
+      Goldsmith’s essay on the Coronation (_Essays_, 1766, p. 238),
+      where Mr. Grogan speaks of his wife as habitually
+      ‘mobbed up in flannel night caps, and trembling at a breath of air.’
+
+      By day, ’twas gadding or coquetting. The first
+      version after ‘coquetting’ begins a fresh paragraph with—
+    
+
+        Now tawdry madam kept, etc.
+
+      A sigh in suffocating smoke. Here in the first
+      version follows:—
+    
+
+        She, in her turn, became perplexing,
+
+        And found substantial bliss in vexing.
+
+        Thus every hour was pass’d, etc.
+
+      Thus as her faults each day were known. First
+      version: ‘Each day, the more her faults,’ etc.
+
+      Now, to perplex. The first version has ‘Thus.’ But
+      the alteration in line 61 made a change necessary.
+
+      paste. First version ‘pastes.’
+
+      condemn’d to hack, i.e. to hackney, to plod.
+
+
+
+
+A NEW SIMILE.
+
+
+      The _New Simile_ first appears in _Essays: By Mr.
+      Goldsmith_, 1765, pp. 234–6, where it forms Essay xxvii. In the
+      second edition of 1766 it occupies pp. 246–8 and forms Essay xix. The
+      text here followed is that of the second edition, which varies slightly
+      from the first. In both cases the poem is followed by the enigmatical
+      initials ‘*J. B.,’ which, however, as suggested by Gibbs, may simply stand
+      for ‘Jack Bookworm’ of _The Double Transformation_. (See p.
+      204.)
+
+      Long had I sought in vain to find. The text of 1765
+      reads—
+    
+
+        ‘I long had rack’d my brains to find.’
+
+      Tooke’s Pantheon. Andrew Tooke (1673–1732) was
+      first usher and then Master at the Charterhouse. In the latter capacity he
+      succeeded Thomas Walker, the master of Addison and Steele. His _
+      Pantheon_, a revised translation from the Latin of the Jesuit,
+      Francis Pomey, was a popular school-book of mythology, with copper-plates.
+
+      Wings upon either side—mark that. The petasus
+      of Mercury, like his sandals (l. 24), is winged.
+    
+
+No poppy-water half so good. Poppy-water, made by
+boiling the heads of the white, black, or red poppy, was a favourite
+eighteenth-century soporific:—‘Juno shall give her peacock
+_poppy-water_, that he may fold his ogling tail.’ (Congreve’s
+_Love for Love_, 1695, iv. 3.)
+
+
+      With this he drives men’s souls to hell.
+    
+
+        Tu....
+
+        ....virgaque levem coerces
+
+        Aurea turbam.—Hor. _Od_. i. 10.
+
+      Moreover, Merc’ry had a failing.
+    
+
+        Te canam....
+
+        Callidum, quidquid placuit, iocoso
+
+        Condere furto.—Hor. _Od_. i. 10.
+
+
+      Goldsmith, it will be observed, rhymes ‘failing’ and ‘stealing.’ But Pope
+      does much the same:—
+    
+
+        That Jelly’s rich, this Malmsey healing,
+
+        Pray dip your Whiskers and your tail in.
+
+                  (_Imitation of Horace_, Bk. ii, Sat. vi.)
+
+
+      Unless this is to be explained by poetical licence, one of these words
+      must have been pronounced in the eighteenth century as it is not
+      pronounced now.
+
+      In which all modern bards agree. The text of 1765
+      reads ‘our scribling bards.’
+
+
+
+
+EDWIN AND ANGELINA.
+
+
+      This ballad, usually known as _The Hermit_, was written in or
+      before 1765, and printed privately in that year ‘for the amusement of the
+      Countess of Northumberland,’ whose acquaintance Goldsmith had recently
+      made through Mr. Nugent. (See the prefatory note to _The Haunch of
+      Venison_.) Its title was ‘_Edwin and Angelina. A Ballad_.
+      By Mr. Goldsmith.’ It was first published in _The Vicar of Wakefield_,
+      1766, where it appears at pp. 70–7, vol. i. In July, 1767, Goldsmith was
+      accused [by Dr. Kenrick] in the _St. James’s Chronicle_ of
+      having taken it from Percy’s _ Friar of Orders Gray_. Thereupon
+      he addressed a letter to the paper, of which the following is the material
+      portion:—‘Another Correspondent of yours accuses me of having
+      taken a Ballad, I published some Time ago, from one by the ingenious Mr.
+      Percy. I do not think there is any great Resemblance between the two
+      Pieces in Question. If there be any, his Ballad is taken from mine. I read
+      it to Mr. Percy some Years ago, and he (as we both considered these Things
+      as Trifles at best) told me, with his usual Good Humour, the next Time I
+      saw him, that he had taken my Plan to form the fragments of Shakespeare
+      into a Ballad of his own. He then read me his little Cento, if I may so
+      call it, and I highly approved it. Such petty Anecdotes as these are
+      scarce worth printing, and were it not for the busy Disposition of some of
+      your Correspondents, the Publick should never have known that he owes me
+      the Hint of his Ballad, or that I am obliged to his Friendship and
+      Learning for Communications of a much more important Nature.—I am,
+      Sir, your’s etc. OLIVER GOLDSMITH.’ (_St.
+      James’s Chronicle_, July 23–5, 1767.) No contradiction of this
+      statement appears to have been offered by Percy; but in re-editing his
+      _Reliques of Ancient English Poetry_ in 1775, shortly after
+      Goldsmith’s death, he affixed this note to _The Friar of Orders Gray_:—‘As
+      the foregoing song has been thought to have suggested to our late
+      excellent poet, Dr. Goldsmith, the plan of his beautiful ballad of _Edwin
+      and Emma_ [_Angelina_], first printed [published?] in his
+      _ Vicar of Wakefield_, it is but justice to his memory to
+      declare, that his poem was written first, and that if there is any
+      imitation in the case, they will be found both to be indebted to the
+      beautiful old ballad, _Gentle Herdsman, etc._, printed in the
+      second volume of this work, which the doctor had much admired in
+      manuscript, and has finely improved’ (vol. i. p. 250). The same story is
+      told, in slightly different terms, at pp. 74–5 of the _Memoir_
+      of Goldsmith drawn up under Percy’s superintendence for the _Miscellaneous
+      Works_ of 1801, and a few stanzas of _Gentle Herdsman_,
+      which Goldsmith is supposed to have had specially in mind, are there
+      reproduced. References to them will be found in the ensuing notes. The
+      text here adopted (with exception of ll. 117–20) is that of the fifth
+      edition of _The Vicar of Wakefield_, 1773[4], i. pp. 78–85; but
+      the variations of the earlier version of 1765 are duly chronicled,
+      together with certain hitherto neglected differences between the first and
+      later editions of the novel. The poem was also printed in the _Poems
+      for Young Ladies_, 1767, pp. 91–8.* The author himself, it may be added,
+      thought highly of it. ‘As to my “Hermit,” that poem,’ he is reported to
+      have said, ‘cannot be amended.’ (Cradock’s _Memoirs_, 1828, iv.
+      286.)
+    
+
+* This version differs considerably from the others, often following
+      that of 1765; but it has not been considered necessary to record the
+      variations here. That Goldsmith unceasingly revised the piece is
+      sufficiently established.
+
+      Turn, etc. The first version has—
+    
+
+Deign saint-like tenant of the dale,
+
+    To guide my nightly way,
+
+To yonder fire, that cheers the vale
+
+    With hospitable ray.
+
+      For yonder faithless phantom flies. _The Vicar
+      of Wakefield_, first edition, has—
+    
+
+        ‘For yonder phantom only flies.’
+
+      All. _ Vicar of Wakefield_, first
+      edition, ‘For.’
+
+      Man wants but little here below. Cf. Young’s _Complaint_,
+      1743, _Night_ iv. 9, of which this and the next line are a
+      recollection. According to Prior (_Life_, 1837, ii. 83), they
+      were printed as a quotation in the version of 1765. Young’s line is—
+    
+
+        Man wants but Little; nor that Little, long.
+
+      modest. _Vicar of Wakefield_, first
+      edition, ‘grateful.’
+
+      Far in a wilderness obscure. First version, and
+      _Vicar of Wakefield_, first edition:—
+    
+
+        Far shelter’d in a glade obscure
+
+          The modest mansion lay.
+
+      The wicket, opening with a latch. First version,
+      and _Vicar of Wakefield_, first edition:—
+    
+
+        The door just opening with a latch.
+
+      And now, when busy crowds retire. First version,
+      and _Vicar of Wakefield_, first edition:—
+    
+
+        And now, when worldly crowds retire
+
+          To revels or to rest.
+
+      But nothing, etc. In the first version this stanza
+      runs as follows:—
+    
+
+But nothing mirthful could assuage
+
+    The pensive stranger’s woe;
+
+For grief had seized his early age,
+
+    And tears would often flow.
+
+      modern. _Vicar of Wakefield_, first
+      edition, reads ‘haughty.’
+
+      His love-lorn guest betray’d. First version, and
+      _Vicar of Wakefield_, first edition:—
+    
+
+        The bashful guest betray’d.
+
+      Surpris’d, he sees, etc. First version, and _Vicar
+      of Wakefield_, first edition:—
+    
+
+He sees unnumber’d beauties rise,
+
+    Expanding to the view;
+
+Like clouds that deck the morning skies,
+
+    As bright, as transient too.
+
+      The bashful look, the rising breast. First version,
+      and _Vicar of Wakefield_, first edition:—
+    
+
+        Her looks, her lips, her panting breast.
+
+      But let a maid, etc. For this, and the next two
+      stanzas, the first version substitutes:—
+    
+
+Forgive, and let thy pious care
+
+    A heart’s distress allay;
+
+That seeks repose, but finds despair
+
+    Companion of the way.
+
+My father liv’d, of high degree,
+
+    Remote beside the Tyne;
+
+And as he had but only me,
+
+    Whate’er he had was mine.
+
+To win me from his tender arms,
+
+    Unnumber’d suitors came;
+
+Their chief pretence my flatter’d charms,
+
+    My wealth perhaps their aim.
+
+      a mercenary crowd. _Vicar of Wakefield_,
+      first edition, has:—‘the gay phantastic crowd.’
+
+      Amongst the rest young Edwin bow’d. First version:—
+    
+
+Among the rest young Edwin bow’d,
+
+    Who offer’d only love.
+
+      Wisdom and worth, etc. First version, and _Vicar
+      of Wakefield_, first edition:—
+    
+
+A constant heart was all he had,
+
+    But that was all to me.
+
+      And when beside me, etc. For this ‘additional
+      stanza,’ says the _Percy Memoir_, p. 76, ‘the reader is
+      indebted to Richard Archdal, Esq., late a member of the Irish Parliament,
+      to whom it was presented by the author himself.’ It was first printed in
+      the _Miscellaneous Works_, 1801, ii. 25. In Prior’s edition of
+      the _Miscellaneous Works_, 1837, iv. 41, it is said to have
+      been ‘written some years after the rest of the poem.’
+
+      The blossom opening to the day, etc. For this and
+      the next two stanzas the first version substitutes:—
+    
+
+Whene’er he spoke amidst the train,
+
+    How would my heart attend!
+
+And till delighted even to pain,
+
+    How sigh for such a friend!
+
+And when a little rest I sought
+
+    In Sleep’s refreshing arms,
+
+How have I mended what he taught,
+
+    And lent him fancied charms!
+
+Yet still (and woe betide the hour!)
+
+    I spurn’d him from my side,
+
+And still with ill-dissembled power
+
+    Repaid his love with pride.
+
+      For still I tried each fickle art, etc. Percy finds
+      the prototype of this in the following stanza of _Gentle Herdsman_:—
+    
+
+And grew soe coy and nice to please,
+
+    As women’s lookes are often soe,
+
+He might not kisse, nor hand forsoothe,
+
+    Unlesse I willed him soe to doe.
+
+      Till quite dejected with my scorn, etc. The first
+      edition reads this stanza and the first two lines of the next thus:—
+    
+
+Till quite dejected by my scorn,
+
+    He left me to deplore;
+
+And sought a solitude forlorn,
+
+    And ne’er was heard of more.
+
+Then since he perish’d by my fault,
+
+    This pilgrimage I pay, etc.
+
+      And sought a solitude forlorn. Cf. _Gentle
+      Herdsman_:—
+    
+
+He gott him to a secrett place,
+
+    And there he dyed without releeffe.
+
+      And there forlorn, despairing, hid, etc. The first
+      edition for this and the next two stanzas substitutes the following:—
+    
+
+And there in shelt’ring thickets hid,
+
+    I’ll linger till I die;
+
+’Twas thus for me my lover did,
+
+    And so for him will I.
+
+‘Thou shalt not thus,’ the Hermit cried,
+
+    And clasp’d her to his breast;
+
+The astonish’d fair one turned to chide,—
+
+    ’Twas Edwin’s self that prest.
+
+For now no longer could he hide,
+
+    What first to hide he strove;
+
+His looks resume their youthful pride,
+
+    And flush with honest love.
+
+      ’Twas so for me, etc. Cf. _Gentle Herdsman_:—
+    
+
+Thus every day I fast and pray,
+
+    And ever will doe till I dye;
+
+And gett me to some secret place,
+
+    For soe did hee, and soe will I.
+
+      Forbid it, Heaven. _Vicar of Wakefield_,
+      first edition, like the version of 1765, has ‘Thou shalt not thus.’
+
+      My life. _Vicar of Wakefield_, first
+      edition, has ‘O thou.’
+
+      No, never from this hour, etc. The first edition
+      reads:—
+    
+
+No, never, from this hour to part,
+
+    Our love shall still be new;
+
+And the last sigh that rends thy heart,
+
+    Shall break thy Edwin’s too.
+
+      The poem then concluded thus:—
+    
+
+Here amidst sylvan bowers we’ll rove,
+
+    From lawn to woodland stray;
+
+Blest as the songsters of the grove,
+
+    And innocent as they.
+
+To all that want, and all that wail,
+
+    Our pity shall be given,
+
+And when this life of love shall fail,
+
+    We’ll love again in heaven.
+
+      These couplets, with certain alterations in the first and last lines, are
+      to be found in the version printed in _Poems for Young Ladies_,
+      1767, p. 98.
+
+
+
+
+AN ELEGY ON THE DEATH OF A MAD DOG.
+
+
+      This poem was first published in _The Vicar of Wakefield_,
+      1766, i. 175–6, where it is sung by one of the little boys. In common
+      with the _Elegy on Mrs. Mary Blaize_ (p. 47) it owes something
+      of its origin to Goldsmith’s antipathy to fashionable elegiacs, something
+      also to the story of M. de la Palisse. As regards mad dogs, its author
+      seems to have been more reasonable than many of his contemporaries, since
+      he ridiculed, with much common sense, their exaggerated fears on this
+      subject (_v. Chinese Letter_ in _The Public Ledger_
+      for August 29, 1760, afterwards Letter lxvi of _ The Citizen of the
+      World_, 1762, ii. 15). But it is ill jesting with hydrophobia. Like
+      _Madam Blaize_, these verses have been illustrated by Randolph
+      Caldecott.
+
+      In Islington there was a man. Goldsmith had
+      lodgings at Mrs. Elizabeth Fleming’s in Islington (or ‘Isling town’ as the
+      earlier editions have it) in 1763–4; and the choice of the locality may
+      have been determined by this circumstance. But the date of the composition
+      of the poem is involved in the general obscurity which hangs over the _Vicar_
+      in its unprinted state. (See _Introduction_,
+      pp. xviii-xix.)
+
+      The dog, to gain some private ends. The first
+      edition reads ‘his private ends.’
+
+      The dog it was that died. This catastrophe suggests
+      the couplet from the _Greek Anthology_, ed. Jacobs, 1813–7, ii.
+      387:—
+    
+
+        Kappadoken pot exidna kake daken alla kai aute
+
+          katthane, geusamene aimatos iobolou.
+
+      Goldsmith, however, probably went no farther back than Voltaire on Fréron:—
+    
+
+        L’autre jour, au fond d’un vallon,
+
+        Un serpent mordit Jean Fréron.
+
+        Devinez ce qu’il arriva?
+
+        Ce fut le serpent qui creva.
+
+
+      This again, according to M. Edouard Fournier (_L’Esprit des Autres_,
+      sixth edition, 1881, p. 288), is simply the readjustment of an earlier
+      quatrain, based upon a Latin distich in the _Epigrammatum delectus_,
+      1659:—
+    
+
+        Un gros serpent mordit Aurelle.
+
+        Que croyez-vous qu’il arriva?
+
+        Qu’Aurelle en mourut?—Bagatelle!
+
+        Ce fut le serpent qui creva.
+
+
+
+
+SONG
+
+FROM ‘THE VICAR OF WAKEFIELD.’
+
+
+      First published in _The Vicar of Wakefield_, 1766, ii. 78
+      (chap. v). It is there sung by Olivia Primrose, after her return home with
+      her father. ‘Do, my pretty Olivia,’ says Mrs. Primrose, let us have that
+      little melancholy air your pappa was so fond of, your sister Sophy has
+      already obliged us. Do child, it will please your old father.’ ‘She
+      complied in a manner so exquisitely pathetic,’ continues Dr. Primrose, ‘as
+      moved me.’ The charm of the words, and the graceful way in which they are
+      introduced, seem to have blinded criticism to the impropriety, and even
+      inhumanity, of requiring poor Olivia to sing a song so completely
+      applicable to her own case. No source has been named for this piece; and
+      its perfect conformity with the text would appear to indicate that
+      Goldsmith was not indebted to any earlier writer for his idea.
+
+      His well-known obligations to French sources seem, however, to have
+      suggested that, if a French original could not be discovered for the
+      foregoing lyric, it might be desirable to invent one. A clever
+      paragraphist in the _St. James’s Gazette_ for January 28th,
+      1889, accordingly reproduced the following stanzas, which he alleged, were
+      to be found in the poems of Segur, ‘printed in Paris in 1719’:—
+    
+
+Lorsqu’une femme, après trop de tendresse,
+
+    D’un homme sent la trahison,
+
+Comment, pour cette si douce foiblesse
+
+    Peut-elle trouver une guérison?
+
+Le seul remède qu’elle peut ressentir,
+
+    La seul revanche pour son tort,
+
+Pour faire trop tard l’amant repentir,
+
+    Helas! trop tard—est la mort.
+
+      As a correspondent was not slow to point out, Goldsmith, if a copyist, at
+      all events considerably improved his model (see in particular lines 7 and
+      8 of the French). On the 30th of the month the late Sir William Fraser
+      gave it as his opinion, that, until the volume of 1719 should be produced,
+      the ‘very inferior verses quoted’ must be classed with the fabrications of
+      ‘Father Prout,’ and he instanced that very version of the _ Burial of
+      Sir John Moore_ (_Les Funérailles de Beaumanoir_)
+      which has recently (August 1906) been going the round of the papers once
+      again. No Ségur volume of 1719 was, of course, forthcoming.
+
+      Kenrick, as we have already seen, had in 1767 accused Goldsmith of taking
+      _Edwin and Angelina_ from Percy (p. 206). Thirty years later,
+      the charge of plagiarism was revived in a different way when _Raimond
+      and Angéline_, a French translation of the same poem,
+      appeared, as Goldsmith’s original, in a collection of Essays called _The
+      Quiz_, 1797. It was eventually discovered to be a translation ‘from’
+      Goldsmith by a French poet named Léonard, who had included it in a
+      volume dated 1792, entitled _Lettres de deux Amans, Habitans de Lyon_
+      (Prior’s _Life_, 1837, ii. 89–94). It may be added that,
+      according to the _ Biographie Universelle_, 1847, vol. 18 (Art.
+      ‘Goldsmith’), there were then no fewer than at least three French
+      imitations of _The Hermit_ besides Léonard’s.
+
+
+
+
+EPILOGUE TO ‘THE GOOD NATUR’D MAN.’
+
+
+      Goldsmith’s comedy of _The Good Natur’d Man_ was produced by
+      Colman, at Covent Garden, on Friday, January 29, 1768. The following note
+      was appended to the Epilogue when printed:—‘The Author, in
+      expectation of an Epilogue from a friend at Oxford, deferred writing one
+      himself till the very last hour. What is here offered, owes all its
+      success to the graceful manner of the Actress who spoke it.’ It was spoken
+      by Mrs. Bulkley, the ‘Miss Richland’ of the piece. In its first form it is
+      to be
+      found in _The Public Advertiser_ for February 3. Two days later
+      the play was published, with the version here followed.
+
+      As puffing quacks. Goldsmith had devoted a Chinese
+      letter to this subject. See _Citizen of the World_, 1762, ii.
+      10 (Letter lxv).
+
+      No, no: I’ve other contests, etc. This couplet is
+      not in the first version. The old building of the College of Physicians
+      was in Warwick Lane; and the reference is to the long-pending dispute,
+      occasionally enlivened by personal collision, between the Fellows and
+      Licentiates respecting the exclusion of certain of the latter from
+      Fellowships. On this theme Bonnell Thornton, himself an M.B. like
+      Goldsmith, wrote a satiric additional canto to Garth’s _ Dispensary_,
+      entitled _The Battle of the Wigs_, long extracts from which are
+      printed in _The Gentleman’s Magazine_ for March, 1768, p. 132.
+      The same number also reviews _The Siege of the Castle of Æsculapius,
+      an heroic Comedy, as it is acted in Warwick-Lane_. Goldsmith’s
+      couplet is, however, best illustrated by the title of one of Sayer’s
+      caricatures, _The March of the Medical Militants to the Siege of
+      Warwick-Lane-Castle in the Year_ 1767. The quarrel was finally
+      settled in favour of the college in June, 1771.
+
+      Go, ask your manager. Colman, the manager of Covent
+      Garden, was not a prolific, although he was a happy writer of prologues
+      and epilogues.
+
+      The quotation is from _King Lear_, Act
+      iii, Sc. 4.
+
+      In the first version the last line runs:—
+    
+
+        And view with favour, the ‘Good-natur’d Man.’
+
+
+
+
+EPILOGUE TO ‘THE SISTER.’
+
+
+      _The Sister_, produced at Covent Garden February 18, 1769, was
+      a comedy by Mrs. Charlotte Lenox or Lennox, ‘an ingenious lady,’ says
+      _The Gentleman’s Magazine_ for April in the same year, ‘well
+      known in the literary world by her excellent writings, particularly the
+      Female Quixote, and Shakespeare illustrated. . . . The audience expressed
+      their disapprobation of it with so much clamour and appearance of
+      prejudice, that she would not suffer an attempt to exhibit it a second
+      time (p. 199).’ According to the
+
+      same authority it was based upon one of the writer’s own novels, _Henrietta_,
+      published in 1758. Though tainted with the prevailing sentimentalism,
+      _The Sister_ is described by Forster as ‘both amusing and
+      interesting’; and it is probable that it was not fairly treated when it
+      was acted. Mrs. Lenox (1720–1804), daughter of Colonel Ramsay,
+      Lieut.-Governor of New York, was a favourite with the literary magnates of
+      her day. Johnson was half suspected of having helped her in her book on
+      Shakespeare; Richardson admitted her to his readings at Parson’s Green;
+      Fielding, who knew her, calls her, in the _Journal of a Voyage to
+      Lisbon_, 1755, p. 35 (first version), ‘the inimitable author of the
+      Female Quixote’; and Goldsmith, though he had no kindness for genteel
+      comedy (see _ post_, p. 228), wrote her this lively epilogue, which
+      was spoken by Mrs. Bulkley, who personated the ‘Miss Autumn’ of the piece.
+      Mrs. Lenox died in extremely reduced circumstances, and was buried by the
+      Right Hon. George Ross, who had befriended her later years. There are
+      several references to her in Boswell’s _Life of Johnson_. (See
+      also Hawkins’ _Life_, 2nd ed. 1787, pp. 285–7.)
+
+
+
+
+PROLOGUE TO ‘ZOBEIDE.’
+
+
+      _Zobeide_, a play by Joseph Cradock (1742–1826), of Gumley, in
+      Leicestershire, was produced by Colman at Covent Garden on Dec. 11, 1771.
+      It was a translation from three acts of _Les Scythes_, an
+      unfinished tragedy by Voltaire. Goldsmith was applied to, through the
+      Yates’s, for a prologue, and sent that here printed to the author of the
+      play with the following note:—‘Mr. Goldsmith presents his best
+      respects to Mr. Cradock, has sent him the Prologue, such as it is. He
+      cannot take time to make it better. He begs he will give Mr. Yates the
+      proper instructions; and so, even so, commits him to fortune and the
+      publick.’ (Cradock’s _Memoirs_, 1826, i. 224.) Yates, to the
+      acting of whose wife in the character of the heroine the success of the
+      piece, which ran for thirteen nights, was mainly attributable, was to have
+      spoken the prologue, but it ultimately fell to Quick, later the ‘Tony
+      Lumpkin’ of _She Stoops to Conquer_, who delivered it in the
+      character of a sailor. Cradock seems
+      subsequently to have sent a copy of _ Zobeide_ to Voltaire, who
+      replied in English as follows:—
+    
+
+                              9e. 8bre. 1773. à ferney.
+
+
+        Sr.
+
+          Thanks to yr muse a foreign copper shines
+          Turn’d in to gold, and coin’d in sterling lines.
+          You have done to much honour to an old sick man of eighty.
+
+
+             I am with the most sincere esteem and gratitude
+
+                 Sr.
+
+                     Yr. obdt. Servt. Voltaire.
+
+        A Monsieur Monsieur J. Cradock.
+
+      The text of the prologue is here given as printed in Cradock’s _Memoirs_,
+      1828, iii. 8–9. It is unnecessary to specify the variations between this
+      and the earlier issue of 1771.
+
+      In these bold times, etc. The reference is to Cook,
+      who, on June 12, 1771, had returned to England in the _Endeavour_,
+      after three years’ absence, having gone to Otaheite to observe the transit
+      of Venus (l. 4).
+
+      Botanists. Mr. (afterward Sir Joseph) Banks and Dr.
+      Solander, of the British Museum, accompanied Cook.
+
+      go simpling, i.e. gathering simples, or herbs. Cf.
+      _Merry Wives of Windsor_, Act iii, Sc. 3:—
+    
+
+‘—These lisping hawthorn buds that ... smell like Bucklersbury
+in _simple_-time.’
+
+      In the caricatures of the day Solander figured as ‘The _simpling_
+      Macaroni.’ (See note, p. 247, l. 31.)
+
+      With Scythian stores. The scene of the play was
+      laid in Scythia (_v. supra_).
+
+      to make palaver, to hold a parley, generally with
+      the intention of cajoling. Two of Goldsmith’s notes to Garrick in 1773 are
+      endorsed by the actor—‘Goldsmith’s parlaver.’ (Forster’s _ Life_,
+      1871, ii. 397.)
+
+      mercenary. Cradock gave the profits of _Zobeide_
+      to Mrs. Yates. ‘I mentioned the disappointment it would be to you’—she
+      says in a letter to him dated April 26, 1771—‘as you had generously
+      given the emoluments of the piece to me.’ (_Memoirs_, 1828, iv.
+      211.)
+
+
+
+
+THRENODIA AUGUSTALIS.
+
+
+      Augusta, widow of Frederick, Prince of Wales, and mother of George the
+      Third, died at Carlton House, February 8, 1772. This piece was spoken and
+      sung in Mrs. Teresa Cornelys’s Great Room in Soho Square, on the Thursday
+      following (the 20th), being sold at the door as a small quarto pamphlet,
+      printed by William Woodfall. The author’s name was not given; but it was
+      prefaced by this ‘advertisement,’ etc.:—
+
+      ‘The following may more properly be termed a compilation than a poem. It
+      was prepared for the composer in little more than two days: and may be
+      considered therefore rather as an industrious effort of gratitude than of
+      genius. In justice to the composer it may likewise be right to inform the
+      public, that the music was adapted in a period of time equally short.
+    
+
+      SPEAKERS.
+ _Mr. Lee and Mrs. Bellamy._
+
+      SINGERS.
+
+      _Mr. Champnes, Mr. Dine, and Miss Jameson;
+      with twelve chorus singers. The music prepared and adapted by Signor
+      Vento._
+
+It is—as Cunningham calls it—a ‘hurried and unworthy
+off-spring of the muse of Goldsmith.’
+
+
+      (Part I).
+ Celestial-like her bounty fell. The
+      Princess’s benefactions are not exaggerated. ‘She had paid off the whole
+      of her husband’s debts, and she had given munificent sums in charity. More
+      than 10,000 pounds a year were given away by her in pensions to
+      individuals whom she judged deserving, very few of whom were aware, until
+      her death, whence the bounty came. The whole of her income she spent in
+      England, and very little on herself’ (_Augusta: Princess of Wales_,
+      by W. H. Wilkins, _ Nineteenth Century_, October, 1903, p.
+      675).
+
+      There faith shall come. This, and the three lines
+      that follow, are borrowed from Collins’s _Ode written in the
+      beginning of the year_ 1746.
+
+      (Part II).
+ The towers of Kew. ‘The
+      embellishments of Kew palace and gardens, under the direction of [Sir
+      William] Chambers, and others, was the favourite object of her [Royal Highness’s]
+      widowhood’ (Bolton Corney).
+
+      Along the billow’d main. Cf. _The Captivity_,
+      Act ii, l. 18.
+
+      Oswego’s dreary shores. Cf. _The Traveller_,
+      l. 411.
+
+      And with the avenging fight. Varied from Collins’s
+      _Ode on the Death of Colonel Charles Ross at Fontenoy_.
+
+      Its earliest bloom. Cf. Collins’s _Dirge in
+      Cymbeline_.
+
+
+
+
+SONG
+
+FROM ‘SHE STOOPS TO CONQUER.’
+
+
+      This thoroughly characteristic song, for a parallel to which one must go
+      to Congreve, or to the ‘Here’s to the maiden of bashful fifteen’ of _The
+      School for Scandal_, has one grave defect,—it is too good to
+      have been composed by Tony Lumpkin, who, despite his inability to read
+      anything but ‘print-hand,’ declares, in Act i. Sc. 2 of _She Stoops
+      to Conquer_, 1773, that he himself made it upon the ale-house (‘The
+      Three Pigeons’) in which he sings it, and where it is followed by the
+      annexed comments, directed by the author against the sentimentalists, who,
+      in _The Good Natur’d Man_ of five years before, had insisted
+      upon the omission of the Bailiff scene:—
+
+      ‘OMNES.
+
+      Bravo, bravo!
+
+      _First_ FELLOW.
+
+      The ’Squire has got spunk in him.
+
+      _Second_ FELLOW.
+
+      I loves to hear him sing, bekeays he never gives us nothing that’s _low_
+      . . .
+
+      _Fourth_ FELLOW.
+
+      The genteel thing is the genteel thing at any time. If so be that a
+      gentleman bees in a concatenation accordingly.
+
+      _Third_ FELLOW.
+
+      I like the maxum of it, Master Muggins. What, tho’ I am obligated to dance
+      a bear, a man may be a gentleman for all that. May this be my poison if my
+      bear ever dances but to
+      the very genteelest of tunes. _Water Parted_,* or the minuet in
+      _Ariadne_.’
+    
+
+* i.e. Arne’s _Water Parted from the Sea_,—the song
+      of Arbaces in the opera of _ Artaxerxes_ 1762. The minuet in
+      _Ariadne_ was by Handel. It came at the end of the overture,
+      and is said to have been the best thing in the opera.
+
+      When Methodist preachers, etc. Tony Lumpkin’s
+      utterance accurately represents the view of this sect taken by some of his
+      contemporaries. While moderate and just spectators of the Johnson type
+      could recognize the sincerity of men, who, like Wesley, travelled ‘nine
+      hundred miles in a month, and preached twelve times a week’ for no
+      ostensibly adequate reward, there were others who saw in Methodism, and
+      especially in the extravagancies of its camp followers, nothing but cant
+      and duplicity. It was this which prompted on the stage Foote’s _Minor_
+      (1760) and Bickerstaffe’s _ Hypocrite_ (1768); in art the _Credulity,
+      Superstition, and Fanaticism_ of Hogarth (1762); and in literature
+      the _New Bath Guide_ of Anstey (1766), the _Spiritual
+      Quixote_ of Graves, 1772, and the sarcasms of Sterne, Smollett and
+      Walpole.
+
+      It is notable that the most generous contemporary portrait of these much
+      satirised sectaries came from one of the originals of the _Retaliation_
+      gallery. Scott highly praises the character of Ezekiel Daw in Cumberland’s
+      _ Henry_, 1795, adding, in his large impartial fashion, with
+      reference to the general practice of representing Methodists either as
+      idiots or hypocrites, ‘A very different feeling is due to many, perhaps to
+      most, of this enthusiastic sect; nor is it rashly to be inferred, that he
+      who makes religion the general object of his life, is for that sole reason
+      to be held either a fool or an impostor.’ (Scott’s _Miscellaneous
+      Prose Works_, 1834, iii. 222.)
+
+      But of all the birds in the air. Hypercriticism may
+      object that ‘the hare’ is not a bird. But exigence of rhyme has to answer
+      for many things. Some editors needlessly read ‘the _gay_ birds’ to
+      lengthen the line. There is no sanction for this in the earlier editions.
+
+
+
+
+EPILOGUE TO ‘SHE STOOPS TO CONQUER.’
+
+
+      This epilogue was spoken by Mrs. Bulkley in the character of Miss
+      Hardcastle. It is probably the epilogue described by
+      Goldsmith to Cradock, in the letter quoted at p. 246, as ‘a very mawkish
+      thing,’ a phrase not so incontestable as Bolton Corney’s remark that it is
+      ‘an obvious imitation of Shakespere.’
+
+      That pretty Bar-maids have done execution. Cf.
+      _The Vicar of Wakefield_, 1766, i. 7:—‘Sophia’s features
+      were not so striking at first; but often did more certain execution.’
+
+      coquets the guests. Johnson explains this word ‘to
+      entertain with compliments and amorous tattle,’ and quotes the following
+      illustration from Swift, ‘You are _coquetting_ a maid of honour, my
+      lord looking on to see how the gamesters play, and I railing at you both.’
+
+      Nancy Dawson. Nancy Dawson was a famous ‘toast’ and
+      horn-pipe dancer, who died at Haverstock Hill, May 27, 1767, and was
+      buried behind the Foundling, in the burial-ground of St. George the
+      Martyr. She first appeared at Sadler’s Wells, and speedily passed to the
+      stage of Covent Garden, where she danced in the _Beggar’s Opera_.
+      There is a portrait of her in the Garrick Club, and there are several
+      contemporary prints. She was the heroine of a popular song, here referred
+      to, beginning:—
+    
+
+Of all the girls in our town,
+
+The black, the fair, the red, the brown,
+
+Who dance and prance it up and down,
+
+    There’s none like Nancy Dawson:
+
+Her easy mien, her shape so neat,
+
+She foots, she trips, she looks so sweet,
+
+Her ev’ry motion is complete;
+
+    I die for Nancy Dawson.
+
+      Its tune—says J. T. Smith (_Book for a Rainy Day_,
+      Whitten’s ed., 1905, p. 10) was ‘as lively as that of “Sir Roger de
+      Coverley.”’
+
+      Che farò, i.e. _Che farò senza
+      Euridice_, the lovely lament from Glück’s _Orfeo_,
+      1764.
+
+      the Heinel of Cheapside. The reference is to
+      Mademoiselle Anna-Frederica Heinel, 1752–1808, a beautiful Prussian,
+      subsequently the wife of Gaetano Apollino Balthazar Vestris, called
+      ‘Vestris the First.’ After extraordinary success as a _danseuse_ at
+      Stuttgard and Paris, where Walpole saw her in 1771
+      (Letter to the Earl of Strafford 25th August), she had come to London;
+      and, at this date, was the darling of the Macaronies (cf. the note on p.
+      247, l. 31), who, from their club, added a _regallo_ (present) of six
+      hundred pounds to the salary allowed her at the Haymarket. On April 1,
+      1773, Metastasio’s _Artaserse_ was performed for her benefit,
+      when she was announced to dance a minuet with Monsieur Fierville, and
+      ‘Tickets were to be hand, at her house in Piccadilly, two doors from Air
+      Street.’
+
+      spadille, i.e. the ace of spades, the first trump
+      in the game of Ombre. Cf. Swift’s _Journal of a Modern Lady in a
+      Letter to a Person of Quality_, 1728:—
+    
+
+        She draws up card by card, to find
+
+        Good fortune peeping from behind;
+
+        With panting heart, and earnest eyes,
+
+        In hope to see _spadillo_ rise;
+
+        In vain, alas! her hope is fed;
+
+        She draws an ace, and sees it red.
+
+      Bayes. The chief character in Buckingham’s _Rehearsal_,
+      1672, and intended for John Dryden. Here the name is put for the ‘poet’ or
+      ‘dramatist.’ Cf. Murphy’s Epilogue to Cradock’s _ Zobeide_,
+      1771:—
+    
+
+        Not e’en poor ‘Bayes’ within must hope to be
+
+        Free from the lash:—His Play he writ for me
+
+        ’Tis true—and now my gratitude you’ll see;
+
+
+      and Colman’s Epilogue to _The School for Scandal_, 1777:—
+    
+
+        So wills our virtuous bard—the motley _Bayes_
+
+        Of crying epilogues and laughing plays!
+
+
+
+
+RETALIATION.
+
+
+      _Retaliation: A Poem. By Doctor Goldsmith. Including Epitaphs on the
+      Most Distinguished Wits of this Metropolis_, was first published by
+      G. Kearsly in April, 1774, as a 4to pamphlet of 24 pp. On the title-page
+      is a vignette head of the author, etched by James Basire, after Reynolds’s
+      portrait; and the verses are prefaced by an anonymous letter to the
+      publisher, concluding as follows:—‘Dr. Goldsmith _belonged to a
+      Club of_ Beaux Esprits, _where Wit sparkled sometimes at the Expence
+      of Good-nature.It was proposed to write Epitaphs on the Doctor; his Country, Dialect
+      and Person, furnished Subjects of Witticism.—The Doctor was called
+      on for’ Retaliation, ‘and at their next Meeting produced the following
+      Poem, which I think adds one Leaf to his immortal Wreath._ This account
+      seems to have sufficed for Evans, Percy, and the earlier editors. But in
+      vol. i. p. 78 of his edition of Goldsmith’s _Works_, 1854, Mr.
+      Peter Cunningham published for the first time a fuller version of the
+      circumstances, derived from a manuscript lent to him by Mr. George Daniel
+      of Islington; and (says Mr. Cunningham) ‘evidently designed as a preface
+      to a collected edition of the poems which grew out of Goldsmith’s trying
+      his epigrammatic powers with Garrick.’ It is signed ‘D. Garrick.’ ‘At a
+      meeting’—says the writer—‘of a company of gentlemen, who were
+      well known to each other, and diverting themselves, among many other
+      things, with the peculiar oddities of Dr. Goldsmith, who would never allow
+      a superior in any art, from writing poetry down to dancing a horn-pipe,
+      the Dr. with great eagerness insisted upon trying his epigrammatic powers
+      with Mr. Garrick, and each of them was to write the other’s epitaph. Mr.
+      Garrick immediately said that his epitaph was finished, and spoke the
+      following distich extempore:—
+    
+
+        Here lies NOLLY Goldsmith, for shortness call’d Noll,
+
+        Who wrote like an angel, but talk’d like poor Poll.
+
+
+      Goldsmith, upon the company’s laughing very heartily, grew very
+      thoughtful, and either would not, or could not, write anything at that
+      time: however, he went to work, and some weeks after produced the
+      following printed poem called _ Retaliation_, which has been
+      much admired, and gone through several editions.’ This account, though
+      obviously from Garrick’s point of view, is now accepted as canonical, and
+      has superseded those of Davies, Cradock, Cumberland, and others, to which
+      some reference is made in the ensuing notes. A few days after the
+      publication of the first edition, which appeared on the 18th or 19th of
+      April, a ‘new’ or second edition was issued, with four pages of
+      ‘Explanatory Notes, Observations, etc.’ At the end came the following
+      announcement:—‘G. Kearsly, the Publisher, thinks it his duty to
+      declare, that
+      Dr. Goldsmith wrote the Poem as it is here printed, a few errors of the
+      press excepted, which are taken notice of at the bottom of this page.’
+      From this version _ Retaliation_ is here reproduced. In the
+      third edition, probably in deference to some wounded susceptibilities, the
+      too comprehensive ‘most Distinguished Wits of the Metropolis’ was
+      qualified into ‘_some of the most_ Distinguished Wits,’ etc., but no
+      further material alteration was made in the text until the suspicious
+      lines on Caleb Whitefoord were added to the fifth edition.
+
+      With the exception of Garrick’s couplet, and the fragment of Whitefoord
+      referred to at p. 234, none of the original epitaphs upon which Goldsmith
+      was invited to ‘retaliate’ have survived. But the unexpected ability of
+      the retort seems to have prompted a number of _ex post facto_
+      performances, some of which the writers would probably have been glad to
+      pass off as their first essays. Garrick, for example, produced three short
+      pieces, one of which (‘Here, Hermes! says Jove, who with nectar was
+      mellow’) hits off many of Goldsmith’s contradictions and foibles with
+      considerable skill (_v._ Davies’s _Garrick_, 2nd ed.,
+      1780, ii. 157). Cumberland (_v. Gent. Mag._, Aug. 1778, p. 384)
+      parodied the poorest part of _ Retaliation_, the comparison of
+      the guests to dishes, by likening them to liquors, and Dean Barnard in
+      return rhymed upon Cumberland. He wrote also an apology for his first
+      attack, which is said to have been very severe, and conjured the poet to
+      set his wit at Garrick, who, having fired his first shot, was keeping out
+      of the way:—
+    
+
+On him let all thy vengeance fall;
+
+    On me you but misplace it:
+
+Remember how he called thee _Poll_—
+
+    But, ah! he dares not face it.
+
+
+      For these, and other forgotten pieces arising out of _Retaliation_,
+      Garrick had apparently prepared the above-mentioned introduction. It may
+      be added that the statement, prefixed to the first edition, that
+      _Retaliation_, as we now have it, was produced at the ‘next meeting’ of
+      the Club, is manifestly incorrect. It was composed and circulated in
+      detached fragments, and Goldsmith was still working at it when he was
+      seized with his last illness.
+
+      Of old, when Scarron, etc. Paul Scarron (1610–60),
+      the author _inter alia_ of the _Roman Comique_, 1651–7,
+      upon a translation
+      of which Goldsmith was occupied during the last months of his life. It was
+      published by Griffin in 1776.
+
+      Each guest brought his dish. ‘Chez Scarron,’—says
+      his editor, M. Charles Baumet, when speaking of the poet’s entertainments,—‘venait
+      d’ailleurs l’élite des dames, des courtisans & des hommes de
+      lettres. On y dinait joyeusement. _Chacun apportait son plat_.’ (_Œuvres
+      de Scarron_, 1877, i. viii.) Scarron’s company must have been as
+      brilliant as Goldsmith’s. Villarceaux, Vivonne, the Maréchal
+      d’Albret, figured in his list of courtiers; while for ladies he had
+      Mesdames Deshoulières, de Scudéry, de la Sablière,
+      and de Sévigné, to say nothing of Ninon de Lenclos and
+      Marion Delorme. (Cf. also Guizot, _ Corneille et son Temps_,
+      1862, 429–30.)
+
+      If our landlord. The ‘explanatory note’ to the
+      second edition says—‘The master of the St. James’s coffee-house,
+      where the Doctor, and the friends he has characterized in this Poem, held
+      an occasional club.’ This, it should be stated, was not the famous
+      ‘Literary Club,’ which met at the Turk’s Head Tavern in Gerrard Street.
+      The St. James’s Coffee-house, as familiar to Swift and Addison at the
+      beginning, as it was to Goldsmith and his friends at the end of the
+      eighteenth century, was the last house but one on the south-west corner
+      of St. James’s Street. It now no longer exists. Cradock (_Memoirs_,
+      1826, i. 228–30) speaks of dining _at the bottom of St. James’s Street_
+      with Goldsmith, Percy, the two Burkes (_v. infra_), Johnson, Garrick,
+      Dean Barnard, and others. ‘We sat very late;’ he adds in conclusion, ‘and
+      the conversation that at last ensued, was the direct cause of my friend
+      Goldsmith’s poem, called “_Retaliation._”’
+
+      Our Dean. Dr. Thomas Barnard, an Irishman, at this
+      time Dean of Derry. He died at Wimbledon in 1806. It was Dr. Barnard who,
+      in reply to a rude sally of Johnson, wrote the charming verses on
+      improvement after the age of forty-five, which end—
+    
+
+If I have thoughts, and can’t express them,
+
+Gibbon shall teach me how to dress them,
+
+    In terms select and terse;
+
+Jones teach me modesty and Greek,
+
+Smith how to think, Burke how to speak,
+
+    And Beauclerk to converse.
+
+Let Johnson teach me how to place
+
+In fairest light, each borrow’d grace,
+
+    From him I’ll learn to write;
+
+Copy his clear, familiar style,
+
+And from the roughness of his file
+
+    Grow like himself—polite.
+
+      (Northcote’s _Life of Reynolds_, 2nd ed., 1819, i. 221.)
+      According to Cumberland (_Memoirs_, 1807, i. 370), ‘The dean
+      also gave him [Goldsmith] an epitaph, and Sir Joshua illuminated the
+      dean’s verses with a sketch of his bust in pen and ink inimitably
+      caricatured.’ What would collectors give for that sketch and epitaph!
+      Unfortunately in Cumberland’s septuagenarian recollections the ‘truth
+      severe’ is mingled with an unusual amount of ‘fairy fiction.’ However Sir
+      Joshua _did_ draw caricatures, for a number of them were exhibited at
+      the Grosvenor Gallery (by the Duke of Devonshire) in the winter of 1883–4.
+
+      Our Burke. The Right Hon. Edmund Burke, 1729–97.
+
+      Our Will. ‘Mr. William Burke, late Secretary to
+      General Conway, and member for Bedwin, Wiltshire’ (Note to second
+      edition). He was a kinsman of Edmund Burke, and one of the supposed
+      authors of Junius’s _ Letters_. He died in 1798. ‘It is said
+      that the notices Goldsmith first wrote of the Burkes were so severe that
+      Hugh Boyd persuaded the poet to alter them, and entirely rewrite the
+      character of William, for he was sure that if the Burkes saw what was
+      originally written of them the peace of the Club would be disturbed.’
+      (Rev. W. Hunt in _Dict. Nat. Biography_, Art. ‘William Burke.’)
+
+      And Dick. Richard Burke, Edmund Burke’s younger
+      brother. He was for some years Collector to the Customs at Grenada, being
+      on a visit to London when _Retaliation_ was written (Forster’s
+      _ Life_, 1871, ii. 404). He died in 1794, Recorder of Bristol.
+
+      Our Cumberland’s sweetbread. Richard Cumberland,
+      the poet, novelist, and dramatist, 1731–1811, author of _The West
+      Indian_, 1771, _The Fashionable Lover_, 1772, and many
+      other more or less sentimental plays. In his _Memoirs_, 1807,
+      i. 369–71, he gives an account of the origin of _ Retaliation_,
+      which adds a few dubious particulars to that of Garrick. But it was
+      written from memory long after the events it records.
+
+      Douglas. ‘Dr. Douglas, since Bishop of Salisbury,’
+      says Cumberland. He died in 1807 (_v. infra_).
+
+      Ridge. ‘Counsellor John Ridge, a gentleman
+      belonging to the Irish Bar’ (Note to second edition). ‘Burke,’ says Bolton
+      Corney, ‘in 1771, described him as “one of the honestest and best-natured
+      men living, and inferior to none of his profession in ability.”’ (See also
+      note to line 125.)
+
+      Hickey. The commentator of the second edition of
+      _Retaliation_ calls this gentleman ‘honest Tom Hickey’. His
+      Christian name, however, was _Joseph_ (Letter of Burke, November 8,
+      1774). He was a jovial, good-natured, over-blunt Irishman, the legal
+      adviser of both Burke and Reynolds. Indeed it was Hickey who drew the
+      conveyance of the land on which Reynolds’s house ‘next to the Star and
+      Garter’ at Richmond (Wick House) was built by Chambers the architect.
+      Hickey died in 1794. Reynolds painted his portrait for Burke, and it was
+      exhibited at the Royal Academy in 1772 (No. 208). In 1833 it belonged to
+      Mr. T. H. Burke. Sir Joshua also painted Miss Hickey in 1769–73. Her
+      father, not much to Goldsmith’s satisfaction, was one of the Paris party
+      in 1770. See also note to l. 125.
+
+      Magnanimous Goldsmith. According to Malone
+      (Reynolds’s _Works_, second edition, 1801, i. xc), Goldsmith
+      intended to have concluded with his own character.
+
+      Tommy Townshend, M.P. for Whitchurch, Hampshire,
+      afterwards first Viscount Sydney. He died in 1800. Junius says Bolton
+      Corney, gives a portrait of him as _still life_. His presence in
+      _ Retaliation_ is accounted for by the fact that he had
+      commented in Parliament upon Johnson’s pension. ‘I am well assured,’ says
+      Boswell, ‘that Mr. Townshend’s attack upon Johnson was the occasion of his
+      “hitching in a rhyme”; for, that in the original copy of Goldsmith’s
+      character of Mr. Burke, in his _ Retaliation_ another person’s
+      name stood in the couplet where Mr. Townshend is now introduced.’
+      (Birkbeck Hill’s _ Boswell_, 1887, iv. 318.)
+
+      too deep for his hearers. ‘The emotion to which he
+      commonly appealed was that too rare one, the love of wisdom, and he
+      combined his thoughts and knowledge in propositions of wisdom so weighty
+      and strong, that the minds of ordinary hearers
+      were not on the instant prepared for them.’ (Morley’s _Burke_,
+      1882, 209–10.)
+
+      And thought of convincing, while they thought of
+      dining. For the reason given in the previous note, many of Burke’s
+      hearers often took the opportunity of his rising to speak, to retire to
+      dinner. Thus he acquired the nickname of the ‘Dinner Bell.’
+
+      To eat mutton cold. There is a certain resemblance
+      between this character and Gray’s lines on himself written in 1761,
+      beginning ‘Too poor for a bribe, and too proud to importune.’ (See Gosse’s
+      _Gray’s Works_, 1884, i. 127.) But both Gray and Goldsmith may
+      have been thinking of a line in the once popular song of _Ally
+      Croaker_:—
+    
+
+        Too dull for a wit, too grave for a joker.
+
+      honest William, i.e. William Burke (_v. supra_).
+
+      Now breaking a jest, and now breaking a limb. A
+      note to the second edition says—‘The above Gentleman [Richard Burke,
+      _v. supra_] having slightly fractured one of his arms and legs, at
+      different times, the Doctor [i.e. Goldsmith] has rallied him on those
+      accidents, as a kind of _retributive_ justice for breaking his jests
+      on other people.’
+
+      Here Cumberland lies. According to Boaden’s _Life
+      of Kemble_, 1825, i. 438, Mrs. Piozzi rightly regarded this portrait
+      as wholly ironical; and Bolton Corney, without much expenditure of acumen,
+      discovers it to have been written in a spirit of _persiflage_.
+      Nevertheless, Cumberland himself (_Memoirs_, 1807, i. 369)
+      seems to have accepted it in good faith. Speaking of Goldsmith he says—I
+      conclude my account of him with gratitude for the epitaph he bestowed on
+      me in his poem called _ Retaliation_.’ From the further details
+      which he gives of the circumstances, it would appear that his own
+      performance, of which he could recall but one line—
+    
+
+        All mourn the poet, I lament the man—
+
+      was conceived in a less malicious spirit than those of the others, and had
+      predisposed the sensitive bard in his favour. But no very genuine
+      cordiality could be expected to exist between the rival authors of _The
+      West Indian_ and _She Stoops to Conquer_.
+
+      And Comedy wonders at being so fine. It is
+      instructive
+      here to transcribe Goldsmith’s serious opinion of the kind of work which
+      Cumberland essayed:—‘A new species of Dramatic Composition has been
+      introduced, under the name of _ Sentimental_ Comedy, in which the
+      virtues of Private Life are exhibited, rather than the Vices exposed; and
+      the Distresses rather than the Faults of Mankind, make our interest in the
+      piece. . . . In these Plays almost all the Characters are good, and
+      exceedingly generous; they are lavish enough of their _Tin_ Money on
+      the Stage, and though they want Humour, have abundance of Sentiment and
+      Feeling. If they happen to have Faults or Foibles, the Spectator is taught
+      not only to pardon, but to applaud them, in consideration of the goodness
+      of their hearts; so that Folly, instead of being ridiculed, is commended,
+      and the Comedy aims at touching our Passions without the power of being
+      truly pathetic.’ (_Westminster Magazine_, 1772, i. 5.) Cf. also
+      the _Preface to The Good Natur’d Man_, where he ‘hopes that too
+      much refinement will not banish humour and character from our’s, as it has
+      already done from the French theatre. Indeed the French comedy is now
+      become so very elevated and sentimental, that it has not only banished
+      humour and _Moliere_ from the stage, but it has banished all
+      spectators too.’
+
+      The scourge of impostors, the terror of quacks. Dr.
+      John Douglas (_v. supra_) distinguished himself by his exposure of
+      two of his countrymen, Archibald Bower, 1686–1766, who, being secretly a
+      member of the Catholic Church, wrote a _History of the Popes_;
+      and William Lauder 1710–1771, who attempted to prove Milton a plagiarist.
+      Cf. Churchill’s _Ghost_, Bk. ii:—
+    
+
+        By TRUTH inspir’d when _Lauder’s_ spight
+
+        O’er MILTON cast the Veil of Night,
+
+        DOUGLAS arose, and thro’ the maze
+
+        Of intricate and winding ways,
+
+        Came where the subtle Traitor lay,
+
+        And dragg’d him trembling to the day.
+
+
+      ‘Lauder on Milton’ is one of the books bound to the trunk-maker’s in
+      Hogarth’s _Beer Street_, 1751. He imposed on Johnson, who wrote
+      him a ‘Preface’ and was consequently trounced by Churchill (_ut supra_)
+      as ‘_our Letter’d_ POLYPHEME.’
+
+      Our Dodds shall be pious. The reference is to the
+      Rev. Dr. William Dodd, who three years after the publication of _Retaliation_
+      (i.e. June 27, 1777) was hanged at Tyburn for forging the signature of the
+      fifth Earl of Chesterfield, to whom he had been tutor. His life previously
+      had long been scandalous enough to justify Goldsmith’s words. Johnson made
+      strenuous and humane exertions to save Dodd’s life, but without avail.
+      (See Birkbeck Hill’s _Boswell_, 1887, iii. 139–48.) There is an
+      account of Dodd’s execution at the end of vol. i of Angelo’s _Reminiscences_,
+      1830.
+
+      our Kenricks. Dr. William Kenrick—say the
+      earlier annotators—who ‘read lectures at the Devil Tavern, under the
+      Title of “The School of Shakespeare.”’ The lectures began January 19,
+      1774, and help to fix the date of the poem. Goldsmith had little reason
+      for liking this versatile and unprincipled Ishmaelite of letters, who,
+      only a year before, had penned a scurrilous attack upon him in _The
+      London Packet_. Kenrick died in 1779.
+
+      Macpherson. ‘David [James] Macpherson, Esq.; who
+      lately, from the mere _force of his style_, wrote down the first poet
+      of all antiquity.’ (Note to second edition.) This was ‘Ossian’ Macpherson,
+      1738–96, who, in 1773, had followed up his Erse epics by a prose
+      translation of Homer, which brought him little but opprobrium. ‘Your
+      abilities, since your Homer, are not so formidable,’ says Johnson in the
+      knockdown letter which he addressed to him in 1775. (Birkbeck Hill’s _Boswell_,
+      1887, ii. 298.)
+
+      Our Townshend. See note to line 34.
+
+      New Lauders and Bowers. See note to l. 80.
+
+      And Scotchman meet Scotchman, and cheat in the dark.
+      Mitford compares Farquhar’s _Love and a Bottle_, 1699, Act iii—
+    
+
+        But gods meet gods and jostle in the dark.
+
+
+      But Farquhar was quoting from Dryden and Lee’s _Oedipus_, 1679,
+      Act iv (at end).
+
+      Here lies David Garrick. ‘The sum of all that can
+      be said for and against Mr. Garrick, some people think, may be found in
+      these lines of Goldsmith,’ writes Davies in his _Life of Garrick_,
+      2nd ed., 1780, ii. 159. Posterity has been less hesitating in its verdict.
+      ‘The lines on Garrick,’ says Forster, _Life of Goldsmith_,
+      1871, ii. 409, ‘are quite perfect writing. Without anger, the satire is
+      finished, keen, and uncompromising; the wit is adorned by most
+      discriminating praise; and the truth is
+      only the more unsparing for its exquisite good manners and good taste.’
+
+      Ye Kenricks. See note to line 86.
+
+      ye Kellys. Hugh Kelly (1739–1777), an Irishman,
+      the author of _False Delicacy_, 1768; _A Word to the Wise_,
+      1770; _The School for Wives_, 1774, and other _sentimental
+      dramas,_ is here referred to. His first play, which is described in
+      Garrick’s prologue as a ‘Sermon,’ ‘preach’d in Acts,’ was produced at
+      Drury Lane just six days before Goldsmith’s comedy of _The Good
+      Natur’d Man_ appeared at Covent Garden, and obtained a success which
+      it ill deserved. _False Delicacy_—said Johnson truly
+      (Birkbeck Hill’s _ Boswell_, 1887, ii. 48)—‘was totally
+      void of character,’—a crushing accusation to make against a drama.
+      But Garrick, for his private ends, had taken up Kelly as a rival to
+      Goldsmith; and the _comédie sérieuse_ or _ larmoyante_
+      of La Chaussée, Sedaine, and Diderot had already found votaries in
+      England. _False Delicacy_, weak, washy, and invertebrate as it
+      was, completed the transformation of ‘genteel’ into ‘sentimental’ comedy,
+      and establishing that _genre_ for the next few years, effectually retarded
+      the wholesome reaction towards humour and character which Goldsmith had
+      tried to promote by _The Good Natur’d Man_. (See note to l.
+      66.)
+
+      Woodfalls. ‘William Woodfall’—says Bolton
+      Corney—‘successively editor of _The London Packet_ and
+      _The Morning Chronicle_, was matchless as a reporter of
+      speeches, and an able theatrical critic. He made lofty pretensions to
+      editorial impartiality—but the actor [i.e. Garrick] was not _
+      always_ satisfied.’ He died in 1803. He must not be confounded with
+      Henry Sampson Woodfall, the editor of Junius’s _ Letters_. (See
+      note to l. 162.)
+
+      To act as an angel. There is a sub-ironic touch in
+      this phrase which should not be overlooked. Cf. l. 102.
+
+      Here Hickey reclines. See note to l. 15. In
+      Cumberland’s _Poetical Epistle to Dr. Goldsmith; or Supplement to his
+      Retaliation_ (_Gentleman’s Magazine_, Aug. 1778, p. 384)
+      Hickey’s genial qualities are thus referred to:—
+    
+
+        Give RIDGE and HICKY, generous souls!
+
+        Of WHISKEY PUNCH convivial bowls.
+
+      a special attorney. A special attorney was merely
+      an attorney who practised in one court only. The species is now said to be
+      extinct.
+
+      burn ye. The annotator of the second edition,
+      apologizing for this ‘forced’ rhyme to ‘attorney,’ informs the English
+      reader that the phrase of ‘burn ye’ is ‘a familiar method of salutation in
+      Ireland amongst the lower classes of the people.’
+
+      Here Reynolds is laid. This shares the palm with
+      the admirable epitaphs on Garrick and Burke. But Goldsmith loved Reynolds,
+      and there are no satiric strokes in the picture. If we are to believe
+      Malone (Reynolds’s _Works_, second edition, 1801, i. xc),
+      ‘these were the last lines the author wrote.’
+
+      bland. Malone (_ut supra_, lxxxix) notes this
+      word as ‘eminently happy, and characteristick of his [Reynolds’s] easy and
+      placid manners.’ Boswell (Dedication of _Life of Johnson_)
+      refers to his ‘equal and placid temper.’ Cf. also Dean Barnard’s verses
+      (Northcote’s _Life of Reynolds_, 2nd ed., 1819, i. 220), and
+      Mrs. Piozzi’s lines in her _Autobiography_, 2nd ed., 1861, ii.
+      175–6.
+
+      He shifted his trumpet. While studying Raphael in
+      the Vatican in 1751, Reynolds caught so severe a cold ‘as to occasion a
+      deafness which obliged him to use an ear-trumpet for the remainder of his
+      life.’ (Taylor and Leslie’s _Reynolds_, 1865, i. 50.) This
+      instrument figures in a portrait of himself which he painted for Thrale
+      about 1775. See also Zoffany’s picture of the ‘Academicians gathered about
+      the model in the Life School at Somerset House,’ 1772, where he is shown
+      employing it to catch the conversation of Wilton and Chambers.
+
+      and only took snuff. Sir Joshua was a great
+      snuff-taker. His snuff-box, described in the Catalogue as the one
+      ‘immortalized in Goldsmith’s _Retaliation_,’ was exhibited,
+      with his spectacles and other personal relics, at the Grosvenor Gallery in
+      1883–4. In the early editions this epitaph breaks off abruptly at the word
+      ‘snuff.’ But Malone says that half a line more had been written. Prior
+      gives this half line as ‘By flattery unspoiled—,’ and affirms that
+      among several erasures in the manuscript sketch devoted to Reynolds it
+      ‘remained unaltered.’ (_Life_, 1837, ii. 499.) See notes to ll.
+      53, 56, and 91 of _The Haunch of Venison_.
+
+      Here Whitefoord reclines. The circumstances which
+      led to the insertion of these lines in the fifth edition are detailed in
+      the prefatory words of the publisher given at p. 92. There is more than a
+      suspicion that Whitefoord wrote them himself; but they have too long been
+      accepted as an appendage to the poem to be now displaced. Caleb Whitefoord
+      (born 1734) was a Scotchman, a wine-merchant, and an art connoisseur, to
+      whom J. T. Smith, in his _Life of Nollekens_, 1828, i. 333–41,
+      devotes several pages. He was one of the party at the St. James’s
+      Coffee-house. He died in 1810. There is a caricature of him in
+      ‘Connoisseurs inspecting a Collection of George Morland,’ November, 16,
+      1807; and Wilkie’s _Letter of Introduction_, 1814, was a
+      reminiscence of a visit which, when he first came to London, he paid to
+      Whitefoord. He was also painted by Reynolds and Stuart. Hewins’s _Whitefoord
+      Papers_, 1898, throw no light upon the story of the epitaph.
+
+      a grave man. Cf. _Romeo and Juliet_, Act
+      iii, Sc. 1:—‘Ask for me to-morrow, and you shall find me _a grave
+      man_.’ This Shakespearean recollection is a little like Goldsmith’s
+      way. (See note to _The Haunch of Venison_, l. 120.)
+
+      and rejoic’d in a pun. ‘Mr. W. is so notorious a
+      punster, that Doctor Goldsmith used to say, it was impossible to keep him
+      company, without being _infected_ with the _itch of punning_.’
+      (Note to fifth edition.)
+
+      ‘if the table he set on a roar.’ Cf. _Hamlet_,
+      Act v, Sc. I.
+
+      Woodfall, i.e. Henry Sampson Woodfall, printer of
+      _The Public Advertiser_. He died in 1805. (See note to l. 115.)
+
+      Cross-Readings, Ship-News, and Mistakes of the Press.
+      Over the _nom de guerre_ of ‘Papyrius Cursor,’ a real Roman name, but
+      as happy in its applicability as Thackeray’s ‘Manlius Pennialinus,’
+      Whitefoord contributed many specimens of this mechanic wit to _The
+      Public Advertiser_. The ‘Cross Readings’ were obtained by taking two
+      or three columns of a newspaper horizontally and ‘onwards’ instead of
+      ‘vertically’ and downwards, thus:—
+    
+
+        Colds caught at this season are
+
+        The Companion to the Playhouse.
+
+
+      or
+    
+
+        To be sold to the best Bidder,
+
+        My seat in Parliament being vacated.
+
+
+      A more elaborate example is
+    
+
+        On Tuesday an address was presented;
+
+        it unhappily missed fire and the villain made off,
+
+        when the honour of knighthood was conferred on him
+
+        to the great joy of that noble family
+
+
+      Goldsmith was hugely delighted with Whitefoord’s ‘lucky inventions’ when
+      they first became popular in 1766. ‘He declared, in the heat of his
+      admiration of them, it would have given him more pleasure to have been the
+      author of them than of all the works he had ever published of his own’
+      (Northcote’s _Life of Reynolds_, 2nd ed., 1819, i. 217). What
+      is perhaps more remarkable is, that Johnson spoke of Whitefoord’s
+      performances as ‘ingenious and diverting’ (Birkbeck Hill’s _Boswell_,
+      1887, iv. 322); and Horace Walpole laughed over them till he cried (Letter
+      to Montagu, December 12, 1766). To use Voltaire’s witticism, he is _bien
+      heureux_ who can laugh now. It may be added that Whitefoord did not, as
+      he claimed, originate the ‘Cross Readings.’ They had been anticipated in
+      No. 49 of Harrison’s spurious _Tatler_, vol. v [1720].
+
+      The fashion of the ‘Ship-News’ was in this wise: ‘August 25 [1765]. We
+      hear that his Majestys Ship _Newcastle_ will soon have a new
+      figurehead, the old one being almost worn out.’ The ‘Mistakes of the
+      Press’ explain themselves. (See also Smith’s _Life of Nollekens_,
+      1828, i. 336–7; Debrett’s _New Foundling Hospital for Wit_,
+      1784, vol. ii, and _Gentleman’s Magazine_, 1810, p. 300.)
+
+      That a Scot may have humour, I had almost said wit.
+      Goldsmith,—if he wrote these verses,—must have forgotten that
+      he had already credited Whitefoord with ‘wit’ in l. 153.
+
+      Thou best humour’d man with the worst humour’d muse.
+      Cf. Rochester of Lord Buckhurst, afterwards Earl of Dorset:—
+    
+
+        The best good man, with the worst-natur’d muse.
+
+      Whitefoord’s contribution to the epitaphs on Goldsmith is said to have
+      been unusually severe,—so severe that four only of its eight lines
+      are quoted in the _ Whitefoord Papers_, 1898, the rest being
+      ‘unfit for publication’ (p. xxvii). He afterwards addressed a metrical
+      apology to Sir Joshua, which is printed at pp. 217–8 of Northcote’s _
+      Life_, 2nd ed., 1819. See also Forster’s _ Goldsmith_,
+      1871, ii. 408–9.
+
+
+
+
+SONG FOR ‘SHE STOOPS TO CONQUER.’
+
+
+      Boswell, to whom we are indebted for the preservation of this lively song,
+      sent it to _The London Magazine_ for June, 1774 (vol. xliii, p.
+      295), with the following:—
+
+      ‘To the Editor of _The London Magazine_.
+
+      SIR,—I send you a small production of the late Dr. _Goldsmith_,
+      which has never been published, and which might perhaps have been totally
+      lost had I not secured it. He intended it as a song in the character of
+      Miss _ Hardcastle_, in his admirable comedy, _She stoops to
+      conquer_; but it was left out, as Mrs. _Bulkley_ who played the
+      part did not sing. He sung it himself in private companies very agreeably.
+      The tune is a pretty Irish air, called _The Humours of Balamagairy_,
+      to which, he told me, he found it very difficult to adapt words; but he
+      has succeeded happily in these few lines. As I could sing the tune, and
+      was fond of them, he was so good as to give me them about a year ago, just
+      as I was leaving London, and bidding him adieu for that season, little
+      apprehending that it was a last farewell. I preserve this little relick in
+      his own handwriting with an affectionate care.
+    
+
+      I am, Sir,
+
+      Your humble Servant,
+       
+ JAMES BOSWELL.’ 
+
+      When, seventeen years later, Boswell published his _Life of Samuel
+      Johnson, LL.D._, he gave an account of his dining at General
+      Oglethorpe’s in April, 1773, with Johnson and Goldsmith; and he says that
+      the latter sang the _Three Jolly Pigeons_, and this song, to
+      the ladies in the tea-room. Croker, in a note, adds that the younger
+      Colman more appropriately employed the ‘essentially low comic’ air for
+      Looney Mactwolter in the [_Review; or the_] _Wags of Windsor_,
+      1808 [i.e. in that character’s song beginning—‘Oh, whack! Cupid’s a
+      mannikin’], and that Moore tried to bring it into good company in the
+      ninth number of the _Irish Melodies_. But Croker did not admire
+      the tune, and thought poorly of Goldsmith’s words. Yet they are certainly
+      fresher than Colman’s or Moore’s:—
+    
+
+Sing—sing—Music was given,
+
+    To brighten the gay, and kindle the loving;
+
+Souls here, like planets in Heaven,
+
+    By harmony’s laws alone are kept moving, etc.
+
+
+
+
+TRANSLATION.
+
+
+      These lines, which appear at p. 312 of vol. V of the _History of the
+      Earth and Animated Nature_, 1774, are freely translated from some
+      Latin verses by Addison in No 412 of the _Spectator_, where
+      they are introduced as follows:—‘Thus we see that every different
+      Species of sensible Creatures has its different Notions of Beauty, and
+      that each of them is most affected with the Beauties of its own kind. This
+      is nowhere more remarkable than in Birds of the same Shape and Proportion,
+      where we often see the Male determined in his Courtship by the single
+      Grain or Tincture of a Feather, and never discovering any Charms but in
+      the Colour of its own Species.’ Addison’s lines, of which Goldsmith
+      translated the first fourteen only, are printed from his corrected MS. at
+      p. 4 of _Some Portions of Essays contributed to the Spectator by Mr.
+      Joseph Addison_ [by the late J. Dykes Campbell], 1864.
+
+
+
+
+THE HAUNCH OF VENISON.
+
+
+      It is supposed that this poem was written early in 1771, although it was
+      not printed until 1776, when it was published by G. Kearsly and J. Ridley
+      under the title of _The Haunch of Venison, a Poetical Epistle to the
+      Lord Clare. By the late Dr. Goldsmith. With a Head of the Author, Drawn by
+      Henry Bunbury, Esq; and Etched by_ [_James_] _ Bretherton._
+      A second edition, the text of which is here followed, appeared in the same
+      year ‘With considerable Additions and Corrections, Taken from the Author’s
+      _last_ Transcript.’ The Lord Clare to whom the verses are addressed
+      was Robert Nugent, of Carlanstown, Westmeath, M.P. for St. Mawes in
+      1741–54. In 1766 he was created Viscount Clare; in 1776 Earl Nugent. In
+      his youth he had himself been an easy if not very original versifier; and
+      there are several of his performances in the second volume of Dodsley’s
+      _Collection of Poems by Several Hands_, 4th ed., 1755. One of
+      the Epistles, beginning ‘Clarinda, dearly lov’d, attend The Counsels of a
+      faithful friend,’ seems to have betrayed Goldsmith into the blunder of
+      confusing it, in the _Poems for Young Ladies_. 1767, p. 114,
+      with Lyttelton’s better-known _ Advice to a Lady_ (‘The
+      counsels of
+      a friend, Belinda, hear’), also in Dodsley’s miscellany; while another
+      piece, an _Ode to William Pultney, Esq._, contains a stanza so
+      good that Gibbon worked it into his character of Brutus:—
+    
+
+What tho’ the good, the brave, the wise,
+
+With adverse force undaunted rise,
+
+    To break th’ eternal doom!
+
+Tho’ CATO liv’d, tho’ TULLY spoke,
+
+Tho’ BRUTUS dealt the godlike stroke,
+
+    Yet perish’d fated ROME.
+
+      Detraction, however, has insinuated that Mallet, his step-son’s tutor, was
+      Nugent’s penholder in this instance. ‘Mr. Nugent sure did not write his
+      own Ode,’ says Gray to Walpole (Gray’s _Works_, by Gosse, 1884,
+      ii. 220). Earl Nugent died in Dublin in October, 1788, and was buried at
+      Gosfield in Essex, a property he had acquired with his second wife. A _
+      Memoir_ of him was written in 1898 by Mr. Claud Nugent. He is described
+      by Cunningham as ‘a big, jovial, voluptuous Irishman, with a loud voice, a
+      strong Irish accent, and a ready though coarse wit.’ According to Percy (_Memoir_,
+      1801, p. 66), he had been attracted to Goldsmith by the publication of
+      _The Traveller_ in 1764, and he mentioned him favourably to the
+      Earl of Northumberland, then Lord Lieutenant of Ireland. A note in
+      Forster’s _Life_, 1871, ii. 329–30, speaks of Goldsmith as a
+      frequent visitor at Gosfield, and at Nugent’s house in Great George
+      Street, Westminster, where he had often for playmate his host’s daughter,
+      Mary, afterwards Marchioness of Buckingham.
+
+      Scott and others regarded _The Haunch of Venison_ as
+      autobiographical. To what extent this is the case, it is difficult to say.
+      That it represents the actual thanks of the poet to Lord Clare for an
+      actual present of venison, part of which he promptly transferred to
+      Reynolds, is probably the fact. But, as the following notes show, it is
+      also clear that Goldsmith borrowed, if not his entire fable, at least some
+      of its details from Boileau’s third satire; and that, in certain of the
+      lines, he had in memory Swift’s _Grand Question Debated_, the
+      measure of which he adopts. This throws more than a doubt upon the truth
+      of the whole. ‘His genius’ (as Hazlitt says) ‘was a mixture of originality
+      and imitation’; and fact and fiction often mingle inseparably
+      in his work. The author of the bailiff scene in the _Good Natur’d Man_
+      was quite capable of inventing for the nonce the tragedy of the unbaked
+      pasty, or of selecting from the Pilkingtons and Purdons of his
+      acquaintance such appropriate guests for his Mile End Amphitryon as the
+      writers of the _Snarler_ and the _Scourge_. It may
+      indeed even be doubted whether, if _The Haunch of Venison_ had
+      been absolute personal history, Goldsmith would ever have retailed it to
+      his noble patron at Gosfield, although it may include enough of real
+      experience to serve as the basis for a _jeu d’esprit_.
+
+      The fat was so white, etc. The first version reads—‘The
+      white was so white, and the red was so ruddy.’
+
+      Though my stomach was sharp, etc. This couplet is
+      not in the first version.
+
+      One gammon of bacon. Prior compared a passage from
+      Goldsmith’s _Animated Nature_, 1774, iii. 9, _à propos_
+      of a similar practice in Germany, Poland, and Switzerland. ‘A piece of
+      beef,’ he says, ‘hung up there, is considered as an elegant piece of
+      furniture, which, though seldom touched, at least argues the possessor’s
+      opulence and ease.’
+
+      a bounce, i.e. a braggart falsehood. Steele, in No.
+      16 of _The Lover_, 1715, p. 110, says of a manifest piece of
+      brag, ‘But this is supposed to be only a _Bounce_.’
+
+      Mr. Byrne, spelled ‘Burn’ in the earlier editions,
+      was a relative of Lord Clare.
+
+       M—r—’s. MONROE’s in the
+      first version. ‘Dorothy Monroe,’ says Bolton Corney, ‘whose various charms
+      are celebrated in verse by Lord Townshend.’
+
+      There’s H—d, and C—y, and H—rth, and
+      H—ff. In the first version—
+     ‘There’s
+      COLEY, and WILLIAMS, and HOWARD,
+      and HIFF.’—Hiff was Paul Hiffernan, M.B., 1719–77, a
+      Grub Street author and practitioner. Bolton Corney hazards some
+      conjectures as to the others; but Cunningham wisely passes them over.
+
+       H—gg—ns. Perhaps, suggests Bolton
+      Corney, this was the Captain Higgins who assisted at Goldsmith’s absurd
+      ‘fracas’ with Evans the bookseller, upon the occasion of Kenrick’s letter
+      in _The London Packet_ for March 24, 1773. Other accounts,
+      however, state that his companion was Captain Horneck (Prior, _Life_,
+      1837, ii. 411–12). This couplet is not in the first version.
+
+      Such dainties to them, etc. The first version
+      reads:—
+    
+
+Such dainties to them! It _would_ look like a flirt,
+
+Like sending ’em Ruffles when wanting a Shirt.
+
+
+      Cunningham quotes a similar idea from T. Brown’s _Laconics, Works_,
+      1709, iv. 14. ‘To treat a poor wretch with a bottle of Burgundy, or fill
+      his snuff-box, is like giving a pair of lace ruffles to a man that has
+      never a shirt on his back.’ But Goldsmith, as was his wont, had already
+      himself employed the same figure. ‘Honours to one in my situation,’ he
+      says in a letter to his brother Maurice, in January, 1770, when speaking
+      of his appointment as Professor of Ancient History to the Royal Academy,
+      ‘are something like ruffles to a man that wants a shirt’ (_Percy
+      Memoir_, 1801, 87–8). His source was probably, not Brown’s _Laconics_,
+      but those French ‘ana’ he knew so well. According to M. J. J. Jusserand (_English
+      Essays from a French Pen_, 1895, pp. 160–1), the originator of this
+      conceit was M. Samuel de Sorbieres, the traveller in England who was
+      assailed by Bishop Sprat. Considering himself inadequately rewarded by his
+      patrons, Mazarin, Louis XIV, and Pope Clement IX, he said bitterly—‘They
+      give lace cuffs to a man without a shirt’; a ‘consolatory witticism’ which
+      he afterwards remodelled into, ‘I wish they would send me bread for the
+      butter they kindly provided me with.’ In this form it appears in the
+      Preface to the _Sorberiana_, Toulouse, 1691.
+
+      _a flirt_ is a jibe or jeer. ‘He would sometimes . . . cast out a
+      jesting _flirt_ at me.’ (Morley’s _History of Thomas Ellwood_,
+      1895, p. 104.) Swift also uses the word.
+
+      An under-bred, fine-spoken fellow, etc. The first
+      version reads—
+    
+
+        A fine-spoken Custom-house Officer he,
+
+        Who smil’d as he gaz’d on the Ven’son and me.
+
+      but I hate ostentation. Cf. Beau Tibbs:—‘She
+      was bred, _but that’s between ourselves_, under the inspection of the
+      Countess of All-night.’ (_Citizen of the World_, 1762, i.
+      238.)
+
+      We’ll have Johnson, and Burke. Cf. Boileau, _Sat._
+      iii. ll. 25–6, which Goldsmith had in mind:—
+    
+
+        Molière avec Tartufe y doit jouer son rôle,
+
+        Et Lambert, qui plus est, m’a donné sa parole.
+
+      What say you—a pasty? It shall, and it must.
+      The first version reads—
+    
+
+        I’ll take no denial—you shall, and you must.
+
+      Mr. J. H. Lobban, _Goldsmith, Select Poems_, 1900, notes a
+      hitherto undetected similarity between this and the ‘It _must_, and
+      it _shall_ be a barrack, my life’ of Swift’s _Grand Question
+      Debated_. See also ll. 56 and 91.
+
+      No stirring, I beg—my dear friend—my dear
+      friend. In the first edition—
+    
+
+        No words, my dear GOLDSMITH! my very good Friend!
+
+
+      Mr. Lobban compares:—
+    
+
+        ‘Good morrow, good captain.’ ‘I’ll wait on you down,’—
+
+        ‘You shan’t stir a foot.’ ‘You’ll think me a clown.’
+
+      ‘And nobody with me at sea but myself.’ This is
+      almost a textual quotation from one of the letters of Henry Frederick,
+      Duke of Cumberland, to Lady Grosvenor, a correspondence which in 1770 gave
+      great delight to contemporary caricaturists and scandal-mongers. Other
+      poets besides Goldsmith seem to have been attracted by this particular
+      lapse of his illiterate Royal Highness, since it is woven into a ballad
+      printed in _The Public Advertiser_ for August 2 in the above
+      year:—
+    
+
+        The Miser who wakes in a Fright for his Pelf,
+
+        And finds _no one by him except his own Self_, etc.
+
+      When come to the place, etc. Cf. Boileau, _ut
+      supra_, ll. 31–4:—
+    
+
+        A peine étais-je entré, que ravi de me voir,
+
+        Mon homme, en m’embrassant, m’est venu recevoir;
+
+        Et montrant à mes yeux une allégresse entière,
+
+        Nous n’avons, m’a-t-il dit, ni Lambert ni Molière.
+
+      Lambert the musician, it may be added, had the special reputation of
+      accepting engagements which he never kept.
+
+      and t’other with Thrale. Henry Thrale, the
+      Southwark brewer, and the husband of Mrs. Thrale, afterwards Mrs. Piozzi.
+      Johnson first made his acquaintance in 1765. Strahan complained to Boswell
+      that, by this connexion, Johnson ‘was in a great measure absorbed from the
+      society of his old friends.’
+      (Birkbeck Hill’s _Boswell_, 1887, iii. 225.) Line 72 in the
+      first edition reads—
+    
+
+        The one at the House, and the other with THRALE.
+
+      They both of them merry and authors like you.
+      ‘They’ should apparently be ‘they’re.’ The first version reads—
+    
+
+        Who dabble and write in the Papers—like you.
+
+      Some think he writes Cinna—he owns to Panurge.
+      ‘Panurge’ and ‘Cinna’ are signatures which were frequently to be found at
+      the foot of letters addressed to the _Public Advertiser_ in
+      1770–1 in support of Lord Sandwich and the Government. They are said to
+      have been written by Dr. W. Scott, Vicar of Simonburn, Northumberland, and
+      chaplain of Greenwich Hospital, both of which preferments had been given
+      him by Sandwich. In 1765 he had attacked Lord Bute and his policy over the
+      signature of ‘Anti-Sejanus.’ ‘Sandwich and his parson Anti-Sejanus [are]
+      hooted off the stage’—writes Walpole to Mann, March 21, 1766.
+      According to Prior, it was Scott who visited Goldsmith in his Temple
+      chambers, and invited him to ‘draw a venal quill’ for Lord North’s
+      administration. Goldsmith’s noble answer, as reported by his reverend
+      friend, was—‘I can earn as much as will supply my wants without
+      writing for any party; the assistance therefore you offer is unnecessary
+      to me.’ (_Life_, 1837, ii. 278.) There is a caricature portrait
+      of Scott at p. 141 of _The London Museum_ for February, 1771,
+      entitled ‘Twitcher’s Advocate,’ ‘Jemmy Twitcher’ being the nickname of
+      Lord Sandwich.
+
+      Swinging, great, huge. ‘Bishop Lowth has just
+      finished the Dramas, and sent me word, that although I have paid him the
+      most _swinging_ compliment he ever received, he likes the whole book
+      more than he can say.’ (_Memoirs of Hannah More_, 1834, i.
+      236.)
+
+      pasty. The first version has Ven’son.’
+
+      So there I sat, etc. This couplet is not in the
+      first version.
+
+      And, ‘Madam,’ quoth he. Mr. Lobban again quotes
+      Swift’s _Grand Question Debated_:—
+    
+
+        And ‘Madam,’ says he, ‘if such dinners you give
+
+        You’ll ne’er want for parsons as long as you live.’
+
+      These slight resemblances, coupled with the more obvious likeness of the
+      ‘Raphaels, Correggios, and stuff’ of _ Retaliation_ (ll. 145–6)
+      to the _Noueds_ and _ Bluturks_ and _Omurs_ and stuff’
+      (also pointed out by Mr. Lobban) are interesting, because they show
+      plainly that Goldsmith remembered the works of Swift far better than _The
+      New Bath Guide_, which has sometimes been supposed to have set the
+      tune to the _Haunch_ and _Retaliation_.
+
+      ‘may this bit be my poison.’ The gentleman in _She
+      Stoops to Conquer_, Act i, who is ‘obligated to dance a bear.’ Uses
+      the same asseveration. Cf. also Squire Thornhill’s somewhat similar
+      formula in chap. vii of _The Vicar of Wakefield_, 1766, i. 59.
+
+      ‘The tripe,’ quoth the Jew, etc. The first version
+      reads—
+    
+
+        ‘Your Tripe!’ quoth the _Jew_, ‘if the truth I may speak,
+
+        I could eat of this Tripe seven days in the week.’
+
+      Re-echoed, i.e. ‘returned’ in the first edition.
+
+      thot. This, probably by a printer’s error, is
+      altered to ‘that’ in the second version. But the first reading is the more
+      in keeping, besides being a better rhyme.
+
+      Wak’d Priam. Cf. 2 _Henry IV_, Act I,
+      Sc. 1:—
+    
+
+        Even such a man, so faint, so spiritless,
+
+        So dull, so dead in look, so woe-begone,
+
+        Drew Priam’s curtain in the dead of night.
+
+        And would have told him half his Troy was burnt.
+
+      sicken’d over by learning. Cf. _Hamlet_,
+      Act iii, Sc. 1:
+    
+
+        And thus the native hue of resolution
+
+        Is _sicklied o’er_ with the pale cast of thought.
+
+      Notwithstanding the condemnation of Shakespeare in the _Present State
+      of Polite Learning_, and elsewhere, Goldsmith frequently weaves
+      Shakespearean recollections into his work. Cf. _She Stoops to Conquer_,
+      1773, Act i, p. 13, ‘We wanted no ghost to tell us that’ (_Hamlet_,
+      Act i, Sc. 5); and Act i, p. 9, where he uses Falstaff’s words (1 _Henry
+      IV_, Act v, Sc. 1):—
+    
+
+        Would it were bed-time and all were well.
+
+      as very well known. The first version has, ‘’tis
+      very well known.’
+
+
+
+
+EPITAPH ON THOMAS PARNELL.
+
+
+      This epitaph, apparently never used, was published with _The Haunch
+      of Venison_, 1776; and is supposed to have been written about 1770.
+      In that year Goldsmith wrote a _Life of Thomas Parnell, D.D._,
+      to accompany an edition of his poems, printed for Davies of Russell
+      Street. Parnell was born in 1679, and died at Chester in 1718, on his way
+      to Ireland. He was buried at Trinity Church in that town, on the 24th of
+      October. Goldsmith says that his father and uncle both knew Parnell (_Life
+      of Parnell_, 1770, p. v), and that he received assistance from the
+      poet’s nephew, Sir John Parnell, the singing gentleman who figures in
+      Hogarth’s _Election Entertainment_. Why Goldsmith should write
+      an epitaph upon a man who died ten years before his own birth, is not easy
+      to explain. But Johnson also wrote a Latin one, which he gave to Boswell.
+      (Birkbeck Hill’s _Life_, 1887, iv. 54.)
+
+      gentle Parnell’s name. Mitford compares Pope on
+      Parnell [_Epistle to Harley_, l. iv]:—
+    
+
+        With softest manners, gentlest Arts adorn’d.
+
+      Pope published Parnell’s _Poems_ in 1722, and his sending them
+      to Harley, Earl of Oxford, after the latter’s disgrace and retirement, was
+      the occasion of the foregoing epistle, from which the following lines
+      respecting Parnell may also be cited:—
+    
+
+        For him, thou oft hast bid the World attend,
+
+        Fond to forget the statesman in the friend;
+
+        For SWIFT and him despis’d the farce of state,
+
+        The sober follies of the wise and great;
+
+        Dext’rous the craving, fawning crowd to quit,
+
+        And pleas’d to ’scape from Flattery to Wit.
+
+      his sweetly-moral lay. Cf. _The Hermit_,
+      the _Hymn to Contentment_, the _Night Piece on Death_—which
+      Goldsmith certainly recalled in his own _City Night-Piece_. Of
+      the last-named Goldsmith says (_Life of Parnell_, 1770, p.
+      xxxii), not without an obvious side-stroke at Gray’s too-popular _Elegy_,
+      that it ‘deserves every praise, and I should suppose with very little
+      amendment, might be made to surpass all those night pieces and church yard
+      scenes that have since appeared.’ This is certainly (as Longfellow sings)
+      to
+    
+
+    rustling hear in every breeze
+
+The laurels of Miltiades.
+
+      Of Parnell, Hume wrote (_Essays_, 1770, i. 244) that ‘after the
+      fiftieth reading; [he] is as fresh as at the first.’ But Gray (speaking—it
+      should be explained—of a dubious volume of his posthumous works)
+      said: ‘Parnell is the dung-hill of Irish Grub Street’ (Gosse’s Gray’s
+      _Works_, 1884, ii. 372). Meanwhile, it is his fate to-day to be
+      mainly remembered by three words (not always attributed to him) in a
+      couplet from what Johnson styled ‘perhaps the meanest’ of his
+      performances, the _Elegy— to an Old Beauty_:—
+    
+
+        And all that’s madly wild, or oddly gay,
+
+        We call it only _pretty Fanny’s way_.
+
+
+
+
+THE CLOWN’S REPLY.
+
+
+      This, though dated ‘Edinburgh 1753,’ was first printed in _Poems and
+      Plays_, 1777, p. 79.
+
+      John Trott is a name for a clown or commonplace
+      character. Miss Burney (_Diary_, 1904, i. 222) says of Dr.
+      Delap:—‘As to his person and appearance, they are much in the _John-trot_
+      style.’ Foote, Chesterfield, and Walpole use the phrase; Fielding
+      Scotticizes it into ‘John Trott-Plaid, Esq.’; and Bolingbroke employs it
+      as a pseudonym.
+
+      I shall ne’er see your graces. ‘I shall never see
+      a Goose again without thinking on Mr. _Neverout_,’—says the
+      ‘brilliant Miss Notable’ in Swift’s _Polite Conversation_,
+      1738, p. 156.
+
+
+
+
+EPITAPH ON EDWARD PURDON.
+
+
+      The occasion of this quatrain, first published as Goldsmith’s* in _Poems
+      and Plays_, 1777, p. 79, is to be found in Forster’s _Life and
+      Times of Oliver Goldsmith_, 1871, ii. 60. Purdon died on March 27,
+      1767 (_Gentleman’s Magazine_, April, 1767, p. 192). ‘“Dr.
+      Goldsmith made this epitaph,” says William Ballantyne [the author of _Mackliniana_],
+      “in his way from his chambers in the Temple to the Wednesday evening’s
+      club at the Globe. _I think he will never come back_, I believe he
+      said. I was
+      sitting by him, and he repeated it more than twice. (I think he will never
+      come back.)”’ Purdon had been at Trinity College, Dublin, with Goldsmith;
+      he had subsequently been a foot soldier; ultimately he became a
+      ‘bookseller’s hack.’ He wrote an anonymous letter to Garrick in 1759, and
+      translated the _ Henriade_ of Voltaire. This translation
+      Goldsmith is supposed to have revised, and his own life of Voltaire was to
+      have accompanied it, though finally the Memoir and Translation seem to
+      have appeared separately. (Cf. prefatory note to _Memoirs of M. de
+      Voltaire_ in Gibbs’s _Works of Oliver Goldsmith_, 1885,
+      iv. 2.)
+    
+
+* It had previously appeared as an extempore by a correspondent in
+      the _Weekly Magazine_, Edin., August 12, 1773 (_Notes and
+      Queries_, February 14, 1880).
+
+      Forster says further, in a note, ‘The original . . . is the epitaph on “La
+      Mort du Sieur Etienne”:—
+    
+
+Il est au bout de ses travaux,
+
+    Il a passé, le Sieur Etienne;
+
+En ce monde il eut tant des maux
+
+    Qu’on ne croit pas qu’il revienne.
+
+
+      With this perhaps Goldsmith was familiar, and had therefore less scruple
+      in laying felonious hands on the epigram in the _Miscellanies_
+      (Swift, xiii. 372):—
+    
+
+Well, then, poor G—— lies underground!
+
+    So there’s an end of honest Jack.
+
+So little justice here he found,
+
+    ’Tis ten to one he’ll ne’er come back.’
+
+
+      Mr. Forster’s ‘felonious hands’ recalls a passage in Goldsmith’s _Life
+      of Parnell_, 1770, in which, although himself an habitual sinner in
+      this way, he comments gravely upon the practice of plagiarism:—‘It
+      was the fashion with the wits of the last age, to conceal the places from
+      whence they took their hints or their subjects. A trifling acknowledgment
+      would have made that lawful prize, which may now be considered as plunder’
+      (p. xxxii).
+
+
+
+
+EPILOGUE FOR LEE LEWES’S BENEFIT.
+
+
+      This benefit took place at Covent Garden on May 7, 1773, the pieces
+      performed being Rowe’s _Lady Jane Grey_, and a popular
+      pantomimic after-piece by Theobald, called _Harlequin Sorcerer_,
+      Charles Lee Lewes (1740–1803) was the original ‘Young Marlow’ of _She
+      Stoops to Conquer_. When that part was thrown up by
+      ‘Gentleman’ Smith, Shuter, the ‘Mr. Hardcastle’ of the comedy, suggested
+      Lewes, who was the harlequin of the theatre, as a substitute, and the
+      choice proved an admirable one. Goldsmith was highly pleased with his
+      performance, and in consequence wrote for him this epilogue. It was first
+      printed by Evans, 1780, i. 112–4.
+
+      in thy black aspect, i.e. the half-mask of
+      harlequin, in which character the Epilogue was spoken.
+
+      rosined lightning, stage-lightning, in which
+      rosin is an ingredient.
+
+
+
+
+EPILOGUE INTENDED FOR
+‘SHE STOOPS TO CONQUER.’
+
+
+      This epilogue was first printed at pp. 82–6, vol. ii, of the _Miscellaneous
+      Works of_ 1801. Bolton Corney says it had been given to Percy by
+      Goldsmith. It is evidently the ‘quarrelling Epilogue’ referred to in the
+      following letter from Goldsmith to Cradock (_Miscellaneous Memoirs_,
+      1826, i. 225–6):—
+
+      ‘MY DEAR SIR,
+ The Play [_She
+      Stoops to Conquer_] has met with a success much beyond your
+      expectations or mine. I thank you sincerely for your Epilogue, which,
+      however could not be used, but with your permission, shall be printed.*
+      The story in short is this; Murphy sent me rather the outline of an
+      Epilogue than an Epilogue, which was to be sung by Mrs. Catley, and which
+      she approved. Mrs. Bulkley hearing this, insisted on throwing up her part,
+      unless according to the custom of the theatre, she were permitted to speak
+      the Epilogue. In this embarrassment I thought of making a quarrelling
+      Epilogue between Catley and her, debating who should speak the Epilogue,
+      but then Mrs. Catley refused, after I had taken the trouble of drawing it
+      out. I was then at a loss indeed; an Epilogue was to be made, and for none
+      but Mrs. Bulkley. I made one, and Colman thought it too bad to be spoken;
+      I was obliged therefore to try a fourth time, and I made a very mawkish
+      thing, as you’ll shortly see. Such is the history of my Stage adventures,
+      and which I have at last done with. I cannot help saying that I am very
+      sick of the
+      stage; and though I believe I shall get three tolerable benefits, yet I
+      shall upon the whole be a loser, even in a pecuniary light; my ease and
+      comfort I certainly lost while it was in agitation.
+    
+
+      I am, my dear Cradock,
+ your obliged, and obedient servant,
+
+ OLIVER GOLDSMITH.
+
+      P.S.—Present my most humble respects to Mrs. Cradock.’
+    
+
+* It is so printed with the note—‘This came too late to be Spoken.’
+
+      According to Prior (_Miscellaneous Works_, 1837, iv. 154),
+      Goldsmith’s friend, Dr. Farr, had a copy of this epilogue which still,
+      when Prior wrote, remained in that gentleman’s family.
+
+      Who mump their passion, i.e. grimace their
+      passion.
+
+      ye macaroni train. The Macaronies were the
+      foplings, fribbles, or beaux of Goldsmith’s day. Walpole refers to them as
+      early as 1764; but their flourishing time was 1770–3, when the
+      print-shops, and especially Matthew Darly’s in the Strand, No. 39, swarmed
+      with satirical designs of which they were the subject. Selwyn, March—many
+      well-known names—are found in their ranks. Richard Cosway figured as
+      ‘The Macaroni Painter’; Angelica Kauffmann as ‘The Paintress of
+      Maccaroni’s’; Thrale as ‘The Southwark Macaroni.’ Another caricature (‘The
+      Fluttering Macaroni’) contains a portrait of Miss Catley, the singing
+      actress of the present epilogue; while Charles Horneck, the brother of
+      ‘The Jessamy Bride’ (see p. 251, l. 14) is twice satirized as ‘The Martial
+      Macaroni’ and ‘The Military Macaroni.’ The name, as may be guessed, comes
+      from the Italian dish first made fashionable by the ‘Macaroni Club,’ being
+      afterwards applied by extension to ‘the younger and gayer part of our
+      nobility and gentry, who, at the same time that they gave in to the
+      luxuries of eating, went equally into the extravagancies of dress.’ (_Macaroni
+      and Theatrical Magazine_, Oct. 1772.) Cf. Sir Benjamin Backbite’s
+      later epigram in _The School for Scandal_, 1777, Act ii, Sc. 2:—
+    
+
+        Sure never was seen two such beautiful ponies;
+
+        Other horses are clowns, but these _macaronies_:
+
+        To give them this title I’m sure can’t be wrong,
+
+        Their legs are so slim and their tails are so long.
+
+      Their hands are only lent to the Heinel. See note
+      to l. 28, p. 85.
+
+
+
+
+EPILOGUE INTENDED FOR
+
+‘SHE STOOPS TO CONQUER.’
+
+
+      This epilogue, given by Goldsmith to Dr. Percy in MS., was first published
+      in the _Miscellaneous Works_ of 1801, ii. 87–8, as _An
+      Epilogue intended for Mrs. Bulkley_. Percy did not remember for what
+      play it was intended; but it is plainly (see note to l. 40) the second
+      epilogue for _She Stoops to Conquer_ referred to in the letter
+      printed in this volume.
+
+      There is a place, so Ariosto sings. ‘The poet
+      alludes to the thirty-fourth canto of _The Orlando furioso_.
+      Ariosto, as translated by Mr. Stewart Rose, observes of the _lunar world_;
+    
+
+        There thou wilt find, if thou wilt thither post,
+
+        Whatever thou on earth beneath hast lost.
+
+
+      Astolpho undertakes the journey; discovers a portion of his own sense;
+      and, in an ample flask, the lost wits of Orlando.’ (Bolton Corney.) Cf.
+      also _Rape of the Lock_, Canto v, ll. 113–14:
+    
+
+        Some thought it mounted to the Lunar sphere,
+
+        Since all things lost on earth are treasur’d there.
+
+
+      Lord Chesterfield also refers to the ‘happy extravagancy’ of Astolpho’s
+      journey in his _Letters_, 1774, i. 557.
+
+      at Foote’s Alone. ‘Foote’s’ was the Little Theatre
+      in the Haymarket, where, in February, 1773, he brought out what he
+      described as a ‘Primitive Puppet Show,’ based upon the Italian Fantoccini,
+      and presenting a burlesque sentimental Comedy called _The Handsome
+      Housemaid; or, Piety in Pattens_, which did as much as _ She
+      Stoops_ to laugh false sentiment away. Foote warned his audience
+      that they would not discover ‘much wit or humour’ in the piece, since ‘his
+      brother writers had all agreed that it was highly improper, and beneath
+      the dignity of a mixed assembly, to show any signs of joyful satisfaction;
+      and that creating a laugh was forcing the higher order of an audience to a
+      vulgar and mean use of their muscles’—for which reason, he
+      explained, he had, like them, given up the sensual for the sentimental
+      style. And thereupon followed the story of a maid of low degree who, ‘by
+      the mere effects of morality and virtue, raised herself [like Richardson’s
+      _Pamela_], to riches and honours.’ The
+      public, who for some time had acquiesced in the new order of things under
+      the belief that it tended to the reformation of the stage, and who were
+      beginning to weary of the ‘moral essay thrown into dialogue,’ which had
+      for some time supplanted humorous situation, promptly came round under the
+      influence of Foote’s Aristophanic ridicule, and the _ comédie
+      larmoyante_ received an appreciable check. Goldsmith himself had
+      prepared the way in a paper contributed to the _Westminster Magazine_
+      for December, 1772 (vol. i. p. 4), with the title of ‘An Essay on the
+      Theatre; or, A Comparison between Laughing and Sentimental Comedy.’ The
+      specific reference in the Prologue is to the fact that Foote gave morning
+      performances of _The Handsome Housemaid_. There was one, for
+      instance, on Saturday, March 6, 1773.
+
+      The Mohawk. This particular species of the genus
+      ‘rake’ belongs more to Swift’s than Goldsmith’s time, though the race is
+      eternal. There is an account of the ‘Mohock Club’ in _Spectator_,
+      No. 324. See also _Spectator_, No. 347; Gay’s _ Trivia_,
+      1716, Book iii. p. 74; Swift’s _Journal to Stella_, March 8 and
+      26, 1712; and the _Wentworth Papers_, 1883, pp. 277–8.
+
+      Still stoops among the low to copy nature. This
+      line, one would think, should have helped to convince Percy that the
+      epilogue was intended for _She Stoops to Conquer_, and for no
+      other play.
+
+
+
+
+THE CAPTIVITY.
+
+
+      The Oratorio of the _Captivity_ was written in 1764; but never
+      set to music. It was first printed in 1820 at pp. 451–70 of vol. ii of the
+      octavo edition of the _ Miscellaneous Works_ issued by the
+      trade in that year. Prior reprinted it in 1837 (_Works_, iv.
+      Pp. 79–95) from the ‘original manuscript’ in Mr. Murray’s possession; and
+      Cunningham again in 1854 (_Works_, i. pp. 63–76). It is here
+      reproduced from Prior. James Dodsley, who bought the MS. for Newbery and
+      himself, gave Goldsmith ten guineas. Murray’s copy was the one made for
+      Dodsley, October 31, 1764; the one printed in 1820, that made for Newbery.
+      The latter, which once belonged to the autograph collector, William
+      Upcott, was in the market in 1887.
+
+      AIR. Act i. This song had been published in the
+      first edition
+      of _The Haunch of Venison_, 1776, with the second stanza varied
+      thus:—
+    
+
+Thou, like the world, th’ opprest oppressing,
+
+    Thy smiles increase the wretch’s woe’
+
+And he who wants each other blessing,
+
+    In thee must ever find a foe.
+
+      AIR. Act ii. This song also had appeared in the
+      first edition of _The Haunch of Venison_, 1776, in a different
+      form:—
+    
+
+The Wretch condemn’d with life to part,
+
+    Still, still on Hope relies;
+
+And ev’ry pang that rends the heart,
+
+    Bids Expectation rise.
+
+Hope, like the glim’ring taper’s light,
+
+    Adorns and chears the way;
+
+And still, as darker grows the night,
+
+    Emits a brighter ray.
+
+      Mitford, who printed _The Captivity_ from Newbery’s version,
+      records a number of ‘first thoughts’ afterwards altered or improved by the
+      author in his MS. Modern editors have not reproduced them, and their
+      example has been followed here. _The Captivity_ is not, in any
+      sense, one of Goldsmith’s important efforts.
+
+
+
+
+VERSES IN REPLY TO AN INVITATION TO DINNER.
+
+
+      These were first published in the _ Miscellaneous Works_ of
+      1837, iv. 132–3, having been communicated to the editor by Major-General
+      Sir H. E. Bunbury, Bart., the son of Henry William Bunbury, the well-known
+      comic artist, and husband of Catherine Horneck, the ‘Little Comedy’ to
+      whom Goldsmith refers. Dr. Baker, to whose house the poet was invited, was
+      Dr. (afterwards Sir George) Baker, 1722–1809. He was Sir Joshua’s doctor;
+      and in 1776 became physician to George III, whom he attended during his
+      illness of 1788–9. He is often mentioned by Fanny Burney and Hannah More.
+
+      Horneck, i.e. Mrs. Hannah Horneck—the
+      ‘Plymouth Beauty’—widow of Captain Kane William Horneck, grandson
+      of Dr. Anthony Horneck of the Savoy, mentioned in Evelyn’s _Diary_,
+      for whose _Happy Ascetick_, 1724, Hogarth designed a
+      frontispiece. Mrs. Horneck died in 1803. Like Sir Joshua, the Hornecks
+      came from Devonshire; and through him, had made the acquaintance of
+      Goldsmith.
+
+      Nesbitt. Mr. Nesbitt was the husband of one of Mr.
+      Thrale’s handsome sisters. He was a member of the Devonshire Club, and
+      twice (1759–61) sat to Reynolds, with whom he was intimate. He died in
+      1779, and his widow married a Mr. Scott.
+
+      Kauffmann. Angelica Kauffmann, the artist,
+      1741–1807. She had come to London in 1766. At the close of 1767 she had
+      been cajoled into a marriage with an impostor, Count de Horn, and had
+      separated from him in 1768. In 1769 she painted a ‘weak and
+      uncharacteristic’ portrait of Reynolds for Mr. Parker of Saltram
+      (afterwards Baron Boringdon), which is now in the possession of the Earl
+      of Morley. It was exhibited at the Royal Academy in the winter of 1876,
+      and is the portrait referred to at l. 44 below.
+
+      the Jessamy Bride. This was Goldsmith’s pet-name
+      for Mary, the elder Miss Horneck. After Goldsmith’s death she married
+      Colonel F. E. Gwyn (1779). She survived until 1840. ‘Her own picture with
+      a turban,’ painted by Reynolds, was left to her in his will (_Works_
+      by Malone, 2nd ed., 1798, p. cxviii). She was also painted by Romney and
+      Hoppner. ‘Jessamy,’ or ‘jessimy,’ with its suggestion of jasmine flowers,
+      seems in eighteenth-century parlance to have stood for ‘dandified,’
+      ‘superfine,’ ‘delicate,’ and the whole name was probably coined after the
+      model of some of the titles to Darly’s prints, then common in all the
+      shops.
+
+      The Reynoldses two, i.e. Sir Joshua and his
+      sister, Miss Reynolds.
+
+      Little Comedy’s face. ‘Little Comedy’ was
+      Goldsmith’s name for the younger Miss Horneck, Catherine, and already
+      engaged to H. W. Bunbury (_v. supra_), to whom she was married in
+      1771. She died in 1799, and had also been painted by Reynolds.
+
+      the Captain in lace. This was Charles Horneck,
+      Mrs. Horneck’s son, an officer in the Foot-guards. He afterwards became a
+      general, and died in 1804. (See note, p. 247, l. 31.)
+
+      to-day’s Advertiser. The lines referred to are
+      said by Prior to have been as follows:—
+    
+
+        While fair Angelica, with matchless grace,
+
+        Paints Conway’s lovely form and Stanhope’s face;
+
+        Our hearts to beauty willing homage pay,
+
+        We praise, admire, and gaze our souls away.
+
+        But when the likeness she hath done for thee,
+
+        O Reynolds! with astonishment we see,
+
+        Forced to submit, with all our pride we own,
+
+        Such strength, such harmony, excell’d by none,
+
+        And thou art rivall’d by thyself alone.
+
+      They probably appeared in the newspaper at some date between 1769, when
+      the picture was painted, and August 1771, when ‘Little Comedy’ was
+      married, after which time Goldsmith would scarcely speak of her except as
+      ‘Mrs. Bunbury’ (see p. 132, l. 15).
+
+
+
+
+LETTER IN PROSE AND VERSE TO MRS. BUNBURY.
+
+
+      This letter, which contains some of the brightest and easiest of
+      Goldsmith’s familiar verses, was addressed to Mrs. Bunbury (the ‘Little
+      Comedy’ of the _Verses in Reply to an Invitation to Dinner_,
+      pp. 250–2), in answer to a rhymed summons on her part to spend Christmas
+      at Great Barton in Suffolk, the family seat of the Bunburys. It was first
+      printed by Prior in the _Miscellaneous Works_ of 1837, iv.
+      148–51, and again in 1838 in Sir Henry Bunbury’s _Correspondence of
+      Sir Thomas Hanmer, Bart._, pp. 379–83. The text of the latter issue
+      is here followed. When Prior published the verses, they were assigned to
+      the year 1772; in the _Hanmer Correspondence_ it is stated that
+      they were ‘probably written in 1773 or 1774.’
+
+      your spring velvet coat. Goldsmith’s pronounced
+      taste in dress, and his good-natured simplicity, made his costume a
+      fertile subject for playful raillery,—sometimes, for rather
+      discreditable practical jokes. (See next note.)
+
+      a wig, that is modish and gay. ‘He always wore a
+      wig’—said the ‘Jessamy Bride’ in her reminiscences to Prior—‘a
+      peculiarity which those who judge of his appearance only from the fine poetical head
+      of Reynolds, would not suspect; and on one occasion some person contrived
+      to seriously injure this important adjunct to dress. It was the only one
+      he had in the country, and the misfortune seemed irreparable until the
+      services of Mr. Bunbury’s valet were called in, who however performed his
+      functions so indifferently that poor Goldsmith’s appearance became the
+      signal for a general smile’ (Prior’s _Life_, 1837, ii. 378–9).
+
+      Naso contemnere adunco. Cf. Horace, _Sat_.
+      i. 6. 5:—
+    
+
+          naso suspendis adunco
+
+        Ignotos,
+
+
+      and Martial, _Ep_. i. 4. 6:—
+    
+
+        Et pueri nasum Rhinocerotis habent.
+
+      Loo, i.e. Lanctre- or Lanterloo, a popular
+      eighteenth-century game, in which _Pam_, l. 6, the knave of clubs, is
+      the highest card. Cf. Pope, _Rape of the Lock_, 1714, iii. 61:—
+    
+
+        Ev’n might _Pam_, that Kings and Queens o’erthrew,
+
+        And mow’d down armies in the fights of Lu;
+
+
+      and Colman’s epilogue to _The School for Scandal_, 1777:—
+    
+
+        And at backgammon mortify my soul,
+
+        That pants for _loo_, or flutters at a vole?
+
+      Miss Horneck. Miss Mary Horneck, the ‘Jessamy
+      Bride’ _vide_ note, p. 251, l. 14).
+
+      Fielding. Sir John Fielding, d. 1780, Henry
+      Fielding’s blind half-brother, who succeeded him as a Justice of the Peace
+      for the City and Liberties of Westminster. He was knighted in 1761. There
+      are two portraits of him by Nathaniel Hone.
+
+      by quinto Elizabeth, Death without Clergy. Legal
+      authorities affirm that the Act quoted should be 8 Eliz. cap. iv, under
+      which those who stole more than twelvepence ‘privately from a man’s
+      person’ were debarred from benefit of clergy. But ‘quint. Eliz.’ must have
+      offered some special attraction to poets, since Pope also refers to it in
+      the _Satires and Epistles_, i. 147–8:—
+    
+
+        Consult the Statute: _quart_. I think, it is,
+
+        _Edwardi sext._ or _prim. et quint. Eliz._
+
+      With bunches of fennel, and nosegays before ’em.
+      This was a custom dating from the fearful jail fever of 1750, which
+      carried off, not only prisoners, but a judge (Mr. Justice Abney) ‘and many
+      jurymen and witnesses.’ ‘From that time up to this day [i.e. 1855] it has
+      been usual to place sweet-smelling herbs in the prisoner’s dock, to
+      prevent infection.’ (Lawrence’s _Life of Henry Fielding_, 1855,
+      p. 296.) The close observation of Cruikshank has not neglected this detail
+      in the Old Bailey plate of _The Drunkard’s Children_, 1848, v.
+
+      mobs. The mob was a loose undress or _dèshabillè_,
+      sometimes a hood. ‘When we poor souls had presented ourselves with a
+      contrition suitable to our worthlessness, some pretty young ladies in _mobs_,
+      popped in here and there about the church.’ (_Guardian_, No.
+      65, May 26, 1713.) Cf. also Addison’s ‘Fine Lady’s Diary’ (_Spectator_,
+      No. 323); ‘Went in our _Mobbs_ to the Dumb Man’ (Duncan Campbell).
+
+      yon solemn-faced. Cf. _Introduction_,
+      p. xxvii. According to the ‘Jessamy Bride,’ Goldsmith sometimes aggravated
+      his plainness by an ‘assumed frown of countenance’ (Prior, _Life_,
+      1837, ii. 379).
+
+      Sir Charles, i.e. Sir Thomas Charles Bunbury,
+      Bart., M. P., Henry Bunbury’s elder brother. He succeeded to the title in
+      1764, and died without issue in 1821. Goldsmith, it may be observed, makes
+      ‘Charles’ a disyllable. Probably, like many of his countrymen, he so
+      pronounced it. (Cf. Thackeray’s _Pendennis_, 1850, vol. ii,
+      chap. 5 [or xliii], where this is humorously illustrated in Captain
+      Costigan’s ‘Sir _Chorlus_, I saw your neem at the Levee.’ Perhaps
+      this accounts for ‘failing’ and ‘stealing,’—‘day on’ and ‘Pantheon,’
+      in the _New Simile_. Cooke (_European Magazine_, October, 1793,
+      p. 259) says that Goldsmith ‘rather cultivated (than endeavoured to get
+      rid of) his brogue.’
+
+      dy’d in grain, i.e. fixed, ineradicable. To ‘dye
+      in grain’ means primarily to colour with the scarlet or purple dye
+      produced by the _kermes_ insect, called _granum_ in Latin, from
+      its similarity to small seeds. Being what is styled a ‘fast’ dye the
+      phrase is used by extension to signify permanence.
+
+
+
+
+      VIDA’S GAME OF CHESS.
+
+
+      Forster thus describes the MS. of this poem in his _Life of Goldsmith_:—‘It
+      is a small quarto manuscript of thirty-four pages, containing 679 lines,
+      to which a fly-leaf is appended in which Goldsmith notes the differences
+      of nomenclature between Vida’s chessmen and our own. It has occasional
+      interlineations and corrections, but such as would occur in transcription
+      rather than in a first or original copy. Sometimes indeed choice appears
+      to have been made (as at page 29) between two words equally suitable to
+      the sense and verse, as “to” for “toward”; but the insertions and erasures
+      refer almost wholly to words or lines accidentally omitted and replaced.
+      The triplet is always carefully marked; and seldom as it is found in any
+      other of Goldsmith’s poems. I am disposed to regard its frequent
+      recurrence here as even helping, in some degree, to explain the motive
+      which had led him to the trial of an experiment in rhyme comparatively new
+      to him. If we suppose him, half consciously, it may be, taking up the
+      manner of the great master of translation, Dryden, who was at all times so
+      much a favourite with him, he would at least, in so marked a peculiarity,
+      be less apt to fall short than to err perhaps a little on the side of
+      excess. Though I am far from thinking such to be the result in the present
+      instance. The effect of the whole translation is pleasing to me, and the
+      mock-heroic effect I think not a little assisted by the reiterated use of
+      the triplet and alexandrine. As to any evidence of authorship derivable
+      from the appearance of the manuscript, I will only add another word. The
+      lines in the translation have been carefully counted, and the number is
+      marked in Goldsmith’s hand at the close of his transcription. Such a fact
+      is, of course, only to be taken in aid of other proof; but a man is not
+      generally at the pains of counting, still less, I should say in such a
+      case as Goldsmith’s, of elaborately transcribing, lines which are not his
+      own.’ (Forster’s _Goldsmith_, 1871, ii. 235–6).
+
+      When Forster wrote the above, the MS. was in the possession of Mr. Bolton
+      Corney, who had not been aware of its existence when he edited Goldsmith’s
+      Poems in 1845. In 1854 it was, with his permission, included in vol. iv of
+      Cunningham’s _ Works_ of 1854, and subsequently in the Aldine
+      _ Poems_ of 1866.
+
+      Mark Jerome Vida of Cremona, 1490–1566, was Bishop of Alba, and favourite
+      of Leo the Magnificent. Several translators had tried their hand at his
+      _Game of Chess_ before Goldsmith. Lowndes mentions Rowbotham,
+      1562; Jeffreys, 1736; Erskine, 1736; Pullin, 1750; and _Anon_.
+      (Eton), 1769 (who may have preceded Goldsmith). But after his
+      (Goldsmith’s) death appeared another Oxford anonymous version, 1778, and
+      one by Arthur Murphy, 1786.
+
+
+
+
+APPENDIXES
+
+ A. PORTRAITS OF GOLDSMITH.
+ B. DESCRIPTIONS OF NEWELL’S VIEWS OF LISSOY, ETC.
+ C. THE EPITHET ‘SENTIMENTAL.’
+ D. FRAGMENTS OF TRANSLATIONS, ETC. BY GOLDSMITH.
+ E. GOLDSMITH ON POETRY UNDER ANNE AND GEORGE THE FIRST.
+ F. CRITICISMS FROM GOLDSMITH’S ‘BEAUTIES OF ENGLISH POESY.’
+
+
+[Illustration: ]
+OLIVER GOLDSMITH
+
+(M. W. Bunbury)
+
+      APPENDIX A
+
+ PORTRAITS OF GOLDSMITH. 
+
+
+      PORTRAITS of Goldsmith are not numerous; and the best known
+      are those of Reynolds and H. W. Bunbury. That by Sir Joshua was painted in
+      1766–70, and exhibited in the Royal Academy (No. 151) from April 24th to
+      May 28th in the latter year. It represents the poet in a plain white
+      collar, furred mantle open at the neck, and holding a book in his right
+      hand. Its general characteristics are given at p. xxviii of the
+      ‘Introduction.’ It was scraped in mezzotint in 1770 by Reynolds’s Italian
+      pupil, Giuseppe, or Joseph Marchi; and it is dated 1st December.*
+      Bunbury’s portrait first appeared, after Goldsmith’s death, as a
+      frontispiece to the _Haunch of Venison_; and it was etched in
+      facsimile by James Bretherton. The plate is dated May 24, 1776. In his
+      loyal but despotic _Life of Goldsmith_ (Bk. iv, ch. 6), Mr.
+      John Forster reproduces these portraits side by side; in order, he
+      professes, to show ‘the distinction between truth and a caricature of it.’
+      Bunbury, it may be, was primarily a caricaturist, and possibly looked at
+      most things from a more or less grotesque point of view; but this sketch—it
+      should be observed—was meant for a likeness, and we have the express
+      testimony of one who, if she was Bunbury’s sister-in-law, was also
+      Goldsmith’s friend, that it rendered Goldsmith accurately. It ‘gives the
+      head with admirable fidelity’—says the ‘Jessamy Bride’ (afterwards
+      Mrs. Gwyn)—‘as he actually lived among us; nothing can exceed its
+      truth’ (Prior’s _Life_, 1837, ii. 380). In other words, it
+      delineates Goldsmith as his contemporaries saw him, with bulbous
+      forehead, indecisive chin, and long protruding upper lip,—awkward,
+      insignificant, ill at ease,—restlessly burning ‘to get in and
+      shine.’ It enables us moreover to understand how people who knew nothing
+      of his better and more lovable qualities, could speak of him as an
+      ‘inspired idiot,’ as ‘silly Dr. Goldsmith,’ as ‘talking like poor Poll.’
+      It is, in short, his external, objective presentment. The picture by Sir
+      Joshua, on the contrary, is almost wholly subjective. Draped judiciously
+      in a popular studio costume, which is not that of the sitter’s day, it
+      reveals to us the author of _The Deserted Village_ as Reynolds
+      conceived him to be at his best, serious, dignified, introspective, with
+      his physical defects partly extenuated by art, partly over-mastered by his
+      intellectual power. To quote the ‘Jessamy Bride’ once more—it is ‘a
+      fine poetical head for the admiration of posterity, but as it is divested
+      of his wig and with the shirt collar open, it was not the man as seen in
+      daily life’ (_Ib_. ii. 380). Had Goldsmith lived in our era of
+      photography, photography would doubtless have given us something which
+      would have been neither the one nor the other, but more like Bunbury than
+      Reynolds. Yet we may be grateful for both. For Bunbury’s sketch and
+      Reynolds’s portrait are alike indispensable to the true comprehension of
+      Goldsmith’s curiously dual personality.**
+    
+
+* This was the print to which Goldsmith referred in a well-known
+      anecdote. Speaking to his old Peckham pupil, Samuel Bishop, whom, after
+      many years, he met accidentally in London, he asked him eagerly whether he
+      had got an engraving of the new portrait, and finding he had not, ‘said
+      with some emotion, “if your picture had been published, I should not have
+      suffered an hour to elapse without procuring it.”’ But he was speedily
+      ‘appeased by apologies.’ (Prior’s _Life_, 1837, i. 219–20.)
+
+** There is in existence another undated etching by Bretherton after
+      Bunbury on a larger scale, which comes much nearer to Reynolds; and it is
+      of course possible, though not in our opinion probable, that Mrs. Gwyn may
+      have referred to this. But Forster selected the other for his comparison;
+      it is prefixed to the _Haunch of Venison_; it is certainly the
+      better known; and (as we believe) cannot ever have been intended for a
+      caricature.
+
+The portrait by Reynolds, above referred to, was painted for the Thrale Gallery
+at Streatham, on the dispersion of which, in May, 1816, it was bought for the
+Duke of Bedford for £133 7s. It is now at Woburn Abbey (Cat. No. 254). At
+Knole, Lord Sackville possesses another version (Cat. No. 239), which was
+purchased in 1773 by the Countess Delawarr, and was shown at South Kensington
+in 1867. Here the dress is a black coat and a brown mantle with fur. The
+present owner exhibited it at the Guelph Exhibition of 1891. A third version,
+now in the Irish National Gallery, once belonged to Goldsmith himself, and then
+to his brother-in-law, Daniel Hodson. Finally there is a copy, by a pupil of
+Reynolds, in the National Portrait Gallery, to which it was bequeathed in 1890
+by Dr. Leifchild, having formerly been the property of Caleb Whitefoord. Caleb
+Whitefoord also had an ‘admirable miniature’ by Reynolds, which
+belongs to the Rev. Benjamin Whitefoord, Hon. Canon of Salisbury (_Whitefoord
+Papers_, 1898, p. xxvii). A small circular print, based upon Reynolds, and
+etched by James Basire, figures on the title-page of _Retaliation_. Some
+of the plates are dated April 18, 1774.* The National Portrait Gallery has also
+a silhouette, attributed to Ozias Humphry, R.A., which was presented in 1883 by
+Sir Theodore Martin, K.C.B. Then there is the portrait by Hogarth shown at
+South Kensington in 1867 by the late Mr. Studley Martin of Liverpool. It
+depicts the poet writing at a round table in a black cap, claret-coloured coat
+and ruffles. Of this there is a wood-cut in the later editions of
+Forster’s _ Life_ (Bk. iii, ch. 14). The same exhibition of 1867
+contained a portrait of Goldsmith in a brown coat and red waistcoat, ‘as
+a young man.’ It was said to be extremely like him in face, and was
+attributed to Gainsborough. In Evans’s edition of the _Poetical and
+Dramatic Works_ is another portrait engraved by Cook, said, on some copies,
+to be ‘from an original drawing’; and there is in the Print Room at
+the British Museum yet another portrait still, engraved by William Ridley
+‘from a painting in the possession of the Rev. Mr. Williams,’ no
+doubt Goldsmith’s friend, the Rev. David Williams, founder of the Royal
+Literary Fund. One of these last may have been the work to which the poet
+refers in a letter to his brother Maurice in January, 1770. ‘I have sent
+my cousin Jenny [Jane Contarine] a miniature picture of myself . . . The face
+you well know, is ugly enough, but it is finely painted’ (_Misc.
+Works_, 1801, p. 88).
+
+* There is also a sketch by Reynolds (?) at the British Museum.
+
+
+
+
+[Illustration: ]
+SILHOUETTE OF GOLDSMITH
+
+(Ozias Humphry)
+
+      In front of Dublin University is a bronze statue of Goldsmith by J. H.
+      Foley, R.A., erected in 1864.** Of this there is a good engraving by
+      G. Stodart. On the memorial in Westminster Abbey erected in 1776 is a
+      medallion by Joseph Nollekens.
+    
+
+** Goldsmith’s traditional ill-luck pursued him after death. During
+      some public procession in front of Trinity College, a number of
+      undergraduates climbed on the statue, with the result that the thin metal
+      of the poet’s head was flattened or crushed in, requiring for its
+      readjustment very skilful restorative treatment. The Editor is indebted
+      for this item of information to the kindness of Mr. Percy Fitzgerald, who
+      was present at the subsequent operation.
+
+
+
+
+      APPENDIX B
+
+DESCRIPTIONS OF NEWELL’S VIEWS OF LISSOY, ETC.
+
+
+      In 1811, the Rev. R. H. Newell, B.D. and Fellow of St. John’s College,
+      Cambridge, issued an edition of the _ Poetical Works_ of
+      Goldsmith. The distinctive feature of this lay in the fact that it was
+      illustrated by a number of aquatints ‘by Mr. Alkin’ (i.e. Samuel Alken),
+      after drawings made by Newell in 1806–9, and was accompanied by a series
+      of ‘Remarks, attempting to ascertain, chiefly from local observation, the
+      actual scene of _The Deserted Village_.’ Some quotations from
+      these ‘Remarks’ have already been made in the foregoing notes; but as
+      copies of six of the drawings are given in this volume, it may be well, in
+      each case, to reproduce Newell’s ‘descriptions.’
+
+LISHOY, OR LISSOY MILL.
+
+      The west end of it, as seen from a field near the road; to the north the
+      country slopes away in coarsely cultivated enclosures, and the distance
+      eastward is bounded by the Longford hills. The stream ran from the south
+      side of the mill (where it is still of some width though nearly choked
+      up), and fell over the once busy wheel, into a deep channel, now overgrown
+      with weeds. Neglect and poverty appear all around. The farm house and
+      barn-like buildings, which fill up the sketch, seem to have no
+      circumstances of interest attached to them (p. 83).
+
+[Illustration: ]
+LISSOY MILL
+
+(R. H. Newell)
+
+
+KILKENNY WEST CHURCH.
+
+      This south-west view was taken from the road, which passes by the church,
+      towards Lishoy, and overlooks the adjacent country to the west. The church
+      appears neat, its exterior having been lately repaired. The tree added to
+      the foreground is the only liberty taken with the subject (p. 83).
+    
+
+HAWTHORN TREE.
+
+      An east view of the tree, as it stood in August, 1806. The Athlone road
+      occupies the centre of the sketch, winding round
+      the stone wall to the right, into the village, and to the left leading
+      toward the church. The cottage and tree opposite the hawthorn, adjoin the
+      present public-house; the avenue before the parsonage tops the distant
+      eminence (p. 84).
+    
+
+SOUTH VIEW FROM GOLDSMITH’S MOUNT.
+
+      In this sketch ‘the decent church,’ at the top of the hill in the
+      distance, is an important object, from its exact correspondence with the
+      situation given it in the poem. Half-way up stands the solitary ruin of
+      Lord Dillon’s castle. The hill in shadow, on the left, is above the
+      village, and is supposed to be alluded to in the line—
+    
+
+        Up yonder hill the distant murmur rose.
+
+
+      A flat of bogland extends from the narrow lake in the centre to the mount
+      on the right of the foreground (p. 84).
+    
+
+THE PARSONAGE.
+
+      A south view from the Athlone road, which runs parallel with the stone
+      wall, and nearly east and west: the gateway is that mentioned in
+      Goldsmith’s letter,* the mount being directly opposite, in a field
+      contiguous with the road.
+    
+
+* See note to l. 114 of _The Deserted Village_.
+
+      The ruinous stone wall in this and three other sketches, which is a
+      frequent sort of fence in the neighbourhood, gives a characteristic
+      propriety to the line (48)
+    
+
+        And the long grass o’ertops the mould’ring wall.
+
+(pp. 84–5).
+
+[Illustration: ]
+THE PARSONAGE
+
+(R. H. Newell)
+
+
+THE SCHOOL-HOUSE.
+
+      This cottage is situated, as the poem describes it, by the road-side, just
+      where it forms a sharp angle by branching out from the village eastward:
+      at this point a south-west view was taken (p. 85).
+
+      Newell’s book was reissued in 1820; but no alterations were made in the
+      foregoing descriptions which, it must be borne in
+      mind, refer to 1806–9. His enthusiastic identifications will no doubt be
+      taken by the reader with the needful grain of salt. Goldsmith probably
+      remembered the hawthorn bush, the church upon the hill, the watercress
+      gatherer, and some other familiar objects of the ‘seats of his youth.’ But
+      distance added charm to the regretful retrospect; and in the details his
+      fancy played freely with his memories. It would be unwise, for example, to
+      infer—as Mr. Hogan did—the decorations of the _Three
+      Pidgeons_ at Lissoy from the account of the inn in the poem.* Some
+      twelve years before its publication, when he was living miserably in Green
+      Arbour Court, Goldsmith had submitted to his brother Henry a sample of a
+      heroi-comic poem describing a Grub Street writer in bed in ‘a paltry
+      ale-house.’ In this ‘the sanded floor,’ the ‘twelve good rules’ and the
+      broken tea-cups all played their parts as accessories, and even the
+      double-dealing chest had its prototype in the poet’s night-cap, which was
+      ‘a cap by night—a stocking all the day.’ A year or two later he
+      expanded these lines in the _Citizen of the World_, and the
+      scene becomes the Red Lion in Drury Lane. From this second version he
+      adapted, or extended again, the description of the inn parlour in _The
+      Deserted Village_. It follows therefore, either that he borrowed for
+      London the details of a house in Ireland, or that he used for Ireland the
+      details of a house in London. If, on the other hand, it be contended that
+      those details were common to both places, then the identification in these
+      particulars of Auburn with Lissoy falls hopelessly to the ground.
+    
+
+* What follows is taken from the writer’s ‘Introduction’ to Mr.
+      Edwin Abbey’s illustrated edition of _ The Deserted Village_,
+      1902, p. ix.
+
+
+
+
+APPENDIX C
+
+THE EPITHET ‘SENTIMENTAL.’
+
+
+      Goldsmith’s use of ‘sentimental’ in the ‘prologue’ to _She Stoops to
+      Conquer_ (p. 109, l. 36)—the only occasion upon which he seems
+      to have employed it in his _Poems_—affords an excuse for
+      bringing together one or two dispersed illustrations of the rise and
+      growth of this once highly-popular adjective, not as yet
+      reached in the _N. E. D._ Johnson, who must often have heard it,
+      ignores it altogether; and in Todd’s edition of his _Dictionary_
+      (1818) it is expressly marked with a star as one of the modern words which
+      are ‘not’ to be found in the Doctor’s collection. According to Mr. Sidney
+      Lee’s admirable article in the _Dictionary of National Biography_
+      on Sterne, that author is to be regarded as the ‘only begetter’ of the
+      epithet. Mr. Lee says that it first occurs in a letter of 1740 written by
+      the future author of _Tristram Shandy_ to the Miss Lumley he
+      afterwards married. Here is the precise and characteristic passage:—‘I
+      gave a thousand pensive, penetrating looks at the chair thou hadst so
+      often graced, in those quiet and _sentimental_ repasts—then
+      laid down my knife and fork, and took out my handkerchief, and clapped it
+      across my face, and wept like a child’ (Sterne’s _Works_ by
+      Saintsbury, 1894, v. 25). Nine years later, however circulated,
+      ‘sentimental’ has grown ‘so much in vogue’ that it has reached from London
+      to the provinces. ‘Mrs. Belfour’ (Lady Bradshaigh) writing from
+      Lincolnshire to Richardson says:—‘Pray, Sir, give me leave to ask
+      you . . . what, in your opinion, is the meaning of the word _sentimental_,
+      so much in vogue amongst the polite, both in town and country? In letters
+      and common conversation, I have asked several who make use of it, and have
+      generally received for answer, it is—it is—_sentimental_.
+      Every thing clever and agreeable is comprehended in that word; but [I] am
+      convinced a wrong interpretation is given, because it is impossible every
+      thing clever and agreeable can be so common as this word. I am frequently
+      astonished to hear such a one is a _sentimental_ man; we were a _sentimental_
+      party; I have been taking a _ sentimental_ walk. And that I might be
+      reckoned a little in the fashion, and, as I thought, show them the proper
+      use of the word, about six weeks ago, I declared I had just received a _
+      sentimental_ letter. Having often laughed at the word, and found fault
+      with the application of it, and this being the first time I ventured to
+      make use of it, I was loudly congratulated upon the occasion: but I should
+      be glad to know your interpretation of it’ (Richardson’s _Correspondence_,
+      1804, iv. pp. 282–3). The reply of the author of _Clarissa_,
+      which would have been interesting, is not given; but it is clear that by
+      this date (1749) ‘sentimental’ must already have been rather overworked by
+      ‘the polite.’ Eleven years after this we meet with it in the Prologue to
+      Colman’s
+      ‘Dramatick Novel’ of _Polly Honeycombe_. ‘And then,’ he says,
+      commenting upon the fiction of the period,—
+    
+
+        And then so _sentimental_ is the Stile,
+
+        So chaste, yet so bewitching all the while!
+
+        Plot, and elopement, passion, rape, and rapture,
+
+        The total sum of ev’ry dear—dear—Chapter.
+
+      With February, 1768, came Sterne’s _ Sentimental Journey_ upon
+      which Wesley has this comment:—‘I casually took a volume of what is
+      called, “A Sentimental Journey through France and Italy.” _Sentimental_!
+      what is that? It is not English: he might as well say, _ Continental_
+      [!]. It is not sense. It conveys no determinate idea; yet one fool makes
+      many. And this nonsensical word (who would believe it?) is become a
+      fashionable one!’ (_Journal_, February 11, 1772). In 1773,
+      Goldsmith puts it in the ‘Dedication’ to _She Stoops_:—‘The
+      undertaking a comedy, not merely _sentimental_, was very dangerous;’ and
+      Garrick (forgetting Kelly and _False Delicacy_) uses it more
+      than once in his ‘Prologue’ to the same play, e.g.—‘Faces are blocks
+      in _sentimental_ scenes.’ Further examples might easily be multiplied, for
+      the word, in spite of Johnson, had now come to stay. Two years
+      subsequently we find Sheridan referring to
+    
+
+        The goddess of the woful countenance,
+
+        The _sentimental_ Muse!—
+
+
+      in an occasional ‘Prologue’ to _The Rivals_. It must already
+      have passed into the vocabulary of the learned. Todd gives examples from
+      Shenstone and Langhorne. Warton has it more than once in his _History
+      of English Poetry_; and it figures in the _Essays_ of
+      Vicesimus Knox. Thus academically launched, we need no longer follow its
+      fortunes.
+
+
+
+
+APPENDIX D
+
+FRAGMENTS OF TRANSLATIONS, ETC., BY GOLDSMITH.
+
+
+      To the Aldine edition of 1831, the Rev. John Mitford added several
+      fragments of translation from Goldsmith’s _Essays_. About a
+      third of these were traced by Bolton Corney in 1845 to the _Horace_
+      of Francis. He therefore compiled a fresh collection, here given.
+    
+
+      _From a French version of Homer_.
+    
+
+        The shouting army cry’d with joy extreme,
+
+        He sure must conquer, who himself can tame!
+
+          _The Bee_, 1759, p. 90.
+
+      The next is also from Homer, and is proposed as an improvement of Pope:—
+    
+
+        They knew and own’d the monarch of the main:
+
+        The sea subsiding spreads a level plain:
+
+        The curling waves before his coursers fly:
+
+        The parting surface leaves his brazen axle dry.
+
+          _Miscellaneous Works_, 1801, iv. 410.
+
+      From the same source comes number three, a quatrain from Vida’s _Eclogues_:—
+    
+
+        Say heavenly muse, their youthful frays rehearse;
+
+        Begin, ye daughters of immortal verse;
+
+        Exulting rocks have crown’d the power of song!
+
+        And rivers listen’d as they flow’d along.
+
+          _Miscellaneous Works_, 1801, iv. 427.
+
+      Another is a couplet from Ovid, the fish referred to being the _scarus_
+      or bream:—
+    
+
+        Of all the fish that graze beneath the flood,
+
+        He, _only_, ruminates his former food.
+
+          _History of the Earth,_ etc., 1774, iii. 6.
+
+      Bolton Corney also prints the translation from the _Spectator_,
+      already given in this volume. His last fragment is from the posthumous
+      translation of Scarron’s _ Roman Comique_:—
+    
+
+Thus, when soft love subdues the heart
+
+    With smiling hopes and chilling fears,
+
+The soul rejects the aid of art,
+
+    And speaks in moments more than years.
+
+          _The Comic Romance of Monsieur Scarron_, 1775, ii. 161.
+
+      It is unnecessary to refer to any other of the poems attributed to
+      Goldsmith. Mitford included in his edition a couple of quatrains inserted
+      in the _Morning Chronicle_ for April 3, 1800, which were said
+      to be by the poet; but they do not resemble his manner. Another piece with
+      the title of _The Fair Thief_ was revived in July, 1893, by an
+      anonymous writer in the _Daily_
+      _Chronicle_, as being possibly by Goldsmith, to whom it was
+      assigned in an eighteenth-century anthology (1789–80). Its discoverer,
+      however, subsequently found it given in Walpole’s _Noble Authors_
+      (Park’s edition, 1806) to Charles Wyndham, Earl of Egremont. It has no
+      great merit; and may safely be neglected as an important addition to
+      Goldsmith’s _Works_, already burdened with much which that
+      critical author would never have reprinted.
+
+
+
+
+APPENDIX E
+
+GOLDSMITH ON POETRY UNDER ANNE AND  GEORGE THE FIRST.
+
+
+      In Letter xvi, vol. ii. pp.139–41, of _An History of England in a
+      Series of Letters from a Nobleman to his Son_, 1764, Goldsmith gives
+      the following short account of the state of poetry in the first quarter of
+      the Eighteenth Century.
+
+      ‘But, of all the other arts, poetry in this age was carried to the
+      greatest perfection. The language, for some ages, had been improving, but
+      now it seemed entirely divested of its roughness and barbarity. Among the
+      poets of this period we may place John Philips, author of several poems,
+      but of none more admired than that humourous one, entitled, _The
+      Splendid Shilling_; he lived in obscurity, and died just above want.
+      William Congreve deserves also particular notice; his comedies, some of
+      which were but coolly received upon their first appearance, seemed to mend
+      upon repetition; and he is, at present, justly allowed the foremost in
+      that species of dramatic poesy. His wit is ever just and brilliant; his
+      sentiments new and lively; and his elegance equal to his regularity. Next
+      him Vanbrugh is placed, whose humour seems more natural, and characters
+      more new; but he owes too many obligations to the French, entirely to pass
+      for an original; and his total disregard to decency, in a great measure,
+      impairs his merit. Farquhar is still more lively, and, perhaps more
+      entertaining than either; his pieces still continue the favourite
+      performances of the stage, and bear frequent repetition without satiety;
+      but he often mistakes pertness for wit, and seldom strikes his characters
+      with proper force or originality. However, he died very young; and it is
+      remarkable, that he
+      continued to improve as he grew older; his last play, entitled _The
+      Beaux’ Strategem_, being the best of his productions. Addison, both
+      as a poet and prose writer, deserves the highest regard and imitation. His
+      _Campaign_, and _Letter to Lord Halifax from Italy_,
+      are masterpieces in the former, and his _Essays_ published in
+      the _ Spectator_ are inimitable specimens of the latter.
+      Whatever he treated of was handled with elegance and precision; and that
+      virtue which was taught in his writings, was enforced by his example.
+      Steele was Addison’s friend and admirer; his comedies are perfectly
+      polite, chaste, and genteel; nor were his other works contemptible; he
+      wrote on several subjects, and yet it is amazing, in the multiplicity of
+      his pursuits, how he found leisure for the discussion of any. Ever
+      persecuted by creditors, whom his profuseness drew upon him, or pursuing
+      impracticable schemes, suggested by ill-grounded ambition. Dean Swift was
+      the professed antagonist both of Addison and him. He perceived that there
+      was a spirit of romance mixed with all the works of the poets who preceded
+      him; or, in other words, that they had drawn nature on the most pleasing
+      side. There still therefore was a place left for him, who, careless of
+      censure, should describe it just as it was, with all its deformities; he
+      therefore owes much of his fame, not so much to the greatness of his
+      genius, as to the boldness of it. He was dry, sarcastic, and severe; and
+      suited his style exactly to the turn of his thought, being concise and
+      nervous. In this period also flourished many of subordinate fame. Prior
+      was the first who adopted the French elegant easy manner of telling a
+      story; but if what he has borrowed from that nation be taken from him,
+      scarce anything will be left upon which he can lay any claim to applause
+      in poetry. Rowe was only outdone by Shakespeare and Otway as a tragic
+      writer; he has fewer absurdities than either; and is, perhaps, as pathetic
+      as they; but his flights are not so bold, nor his characters so strongly
+      marked. Perhaps his coming later than the rest may have contributed to
+      lessen the esteem he deserves. Garth had success as a poet; and, for a
+      time, his fame was even greater than his desert. In his principal work,
+      _The Dispensary_, his versification is negligent; and his plot
+      is now become tedious; but whatever he may lose as a poet, it would be
+      improper to rob him of the merit he deserves for having written the prose
+      dedication, and preface, to the poem already mentioned; in which he
+      has shown the truest wit, with the most refined elegance. Parnell, though
+      he has written but one poem, namely, _The Hermit_, yet has
+      found a place among the English first rate poets. Gay, likewise, by his
+      _Fables_ and _Pastorals_, has acquired an equal
+      reputation. But of all who have added to the stock of English Poetry,
+      Pope, perhaps, deserves the first place. On him, foreigners look as one of
+      the most successful writers of his time; his versification is the most
+      harmonious, and his correctness the most remarkable of all our poets. A
+      noted contemporary of his own calls the English the finest writers on
+      moral topics, and Pope the noblest moral writer of all the English. Mr.
+      Pope has somewhere named himself the last English Muse; and, indeed, since
+      his time, we have seen scarce any production that can justly lay claim to
+      immortality; he carried the language to its highest perfection; and those
+      who have attempted still farther to improve it, instead of ornament, have
+      only caught finery.’
+
+
+
+
+APPENDIX F
+
+CRITICISMS FROM GOLDSMITH’S ‘BEAUTIES OF ENGLISH POESY.’
+
+
+      To _The Beauties of English Poesy_, 2 vols., 1767, Goldsmith
+      prefixed, in each case, ‘short introductory criticisms.’ They are, as he
+      says, ‘rather designed for boys than men’; and aim only at being ‘obvious
+      and sincere’; but they carry his views on the subject somewhat farther
+      than the foregoing account from the _History of England_.
+    
+
+THE RAPE OF THE LOCK.
+
+      This seems to be Mr. Pope’s most finished production, and is, perhaps, the
+      most perfect in our language. It exhibits stronger powers of imagination,
+      more harmony of numbers, and a greater knowledge of the world, than any
+      other of this poet’s works; and it is probable, if our country were called
+      upon to show a specimen of their genius to foreigners, this would be the
+      work here fixed upon.
+    
+
+THE HERMIT.
+
+
+      This poem is held in just esteem, the versification being chaste, and
+      tolerably harmonious, and the story told with perspicuity and conciseness.
+      It seems to have cost great labour, both to Mr. Pope and Parnell himself,
+      to bring it to this perfection.* It may not be amiss to observe that the
+      fable is taken from one of Dr. Henry More’s Dialogues.
+    
+
+*Parnell’s _Poems_, 1770, xxiv.
+
+
+IL PENSEROSO.
+
+      I have heard a very judicious critic say, that he had an higher idea of
+      Milton’s style in poetry, from the two following poems [_Il Penseroso_
+      and _ l’Allegro_], than from his _Paradise Lost_. It
+      is certain the imagination shown in them is correct and strong. The
+      introduction to both in irregular measure is borrowed from the Italian,
+      and hurts an English ear.
+    
+
+AN ELEGY, WRITTEN IN A COUNTRY CHURCH YARD.
+
+
+      This is a very fine poem, but overloaded with epithet.† The heroic
+      measure with alternate rhyme is very properly adapted to the solemnity of
+      the subject, as it is the slowest movement that our language admits of.
+      The latter part of the poem is pathetic and interesting.
+    
+
+†This is a
+      strange complaint to come from Goldsmith, whose own _Hermit_,
+      as was pointed out to the present Editor by the late Mr. Kegan Paul, is
+      certainly open to this impeachment.
+
+
+LONDON. IN IMITATION OF THE THIRD SATIRE
+ OF JUVENAL.
+
+      This poem of Mr. Johnson’s is the best imitation of the original that has
+      appeared in our language, being possessed of all the force and satirical
+      resentment of Juvenal. Imitation gives us a much truer idea of the
+      ancients than even translation could do.
+    
+
+THE SCHOOL-MISTRESS. IN IMITATION OF SPENSER.
+
+      This poem is one of those happinesses in which a poet excels himself, as
+      there is nothing in all Shenstone which in any way approaches it in merit;
+      and, though I dislike the imitations of
+      our old English poets in general, yet, on this minute subject, the
+      antiquity of the style produces a very ludicrous solemnity.
+    
+
+COOPER’S HILL.
+
+      This poem, by Denham, though it may have been exceeded by later attempts
+      in description, yet deserves the highest applause, as it far surpasses all
+      that went before it: the concluding part, though a little too much
+      crowded, is very masterly.
+    
+
+ELOISA TO ABELARD.
+
+      The harmony of numbers in this poem is very fine. It is rather drawn out
+      to too tedious a length, although the passions vary with great judgement.
+      It may be considered as superior to anything in the epistolary way; and
+      the many translations which have been made of it into the modern
+      languages, are in some measure a proof of this.
+    
+
+AN EPISTLE FROM MR. PHILIPS [Ambrose Philips] TO THE EARL OF DORSET.
+
+      The opening of this poem is incomparably fine. The latter part is tedious
+      and trifling.
+    
+
+A LETTER FROM ITALY, TO THE RIGHT HONOURABLECHARLES LORD HALIFAX.
+ 
+ In the Year MDCCI.
+
+      Few poems have done more honour to English genius than this. There is in
+      it a strain of political thinking that was, at that time, new in our
+      poetry. Had the harmony of this been equal to that of Pope’s
+      versification, it would be incontestably the finest poem in our language;
+      but there is a dryness in the numbers which greatly lessens the pleasure
+      excited both by the poet’s judgement and imagination.*
+    
+
+* See introductory note to _The Traveller_, p. 162.
+
+
+      ALEXANDER’S FEAST; OR, THE POWER OF MUSIC.
+
+      AN ODE, IN HONOUR OF ST. CECILIA’S DAY.
+
+      This ode [by Mr. Dryden] has been more applauded, perhaps, than it has
+      been felt, however, it is a very fine one, and gives its beauties rather
+      at a third, or fourth, than at a first perusal.
+    
+
+ODE FOR MUSIC ON ST. CECILIA’S DAY.
+
+      This ode [by Mr. Pope] has by many been thought equal to the former. As it
+      is a repetition of Dryden’s manner, it is so far inferior to him. The
+      whole hint of Orpheus, and many of the lines, have been taken from an
+      obscure Ode upon Music, published in Tate’s Miscellanies.*
+    
+
+*_A Pindaric Essay upon Musick_—says Gibbs—by
+      ‘Mr. Wilson’,’ which appears at p. 401 of Tate’s Collection of 1685.
+
+
+THE SHEPHERD’S WEEK. IN SIX PASTORALS.
+
+      These are Mr. Gay’s principal performances. They were originally intended,
+      I suppose, as a burlesque on those of [Ambrose] Philips; but, perhaps
+      without designing it, he has hit the true spirit of pastoral poetry. In
+      fact, he more resembles Theocritus than any other English pastoral writer
+      whatsoever. There runs through the whole a strain of rustic pleasantry
+      which should ever distinguish this species of composition; but how far the
+      antiquated expressions used here may contribute to the humour, I will not
+      determine; for my own part, I could wish the simplicity were preserved,
+      without recurring to such obsolete antiquity for the manner of expressing
+      it.
+    
+
+MAC FLECKNOE.
+
+      The severity of this satire, and the excellence of its versification give
+      it a distinguished rank in this species of composition. At present, an
+      ordinary reader would scarce suppose that Shadwell, who is here meant by
+      Mac Flecknoe, was worth being chastised, and that Dryden’s descending to
+      such game was like an eagle’s stooping to catch flies.† The truth
+      however is, Shadwell, at one time, held divided reputation with this great
+      poet. Every
+      age produces its fashionable dunces, who, by following the transient
+      topic, or humour, of the day, supply talkative ignorance with materials
+      for conversation.
+    
+
+      †‘Aquila non capit muscas’ (Apostolius).
+
+ON POETRY. A RHAPSODY.
+
+      Here follows one of the best versified poems in our language, and the most
+      masterly production of its author. The severity with which Walpole is here
+      treated, was in consequence of that minister having refused to provide for
+      Swift in England, when applied to for that purpose in the year 1725 (if I
+      remember right). The severity of a poet, however, gave Walpole very little
+      uneasiness. A man whose schemes, like this minister’s, seldom extended
+      beyond the exigency of the year, but little regarded the contempt of
+      posterity.
+    
+
+OF THE USE OF RICHES.
+
+      This poem, as Mr. Pope tells us himself, cost much attention and labour;
+      and, from the easiness that appears in it, one would be apt to think as
+      much.
+    
+
+FROM THE DISPENSARY.
+
+      This sixth canto of the _Dispensary_, by Dr. Garth, has more
+      merit than the whole preceding part of the poem, and, as I am told, in the
+      first edition of this work it is more correct than as here exhibited; but
+      that edition I have not been able to find. The praises bestowed on this
+      poem are more than have been given to any other; but our approbation, at
+      present, is cooler, for it owed part of its fame to party.*
+    
+
+* Cf. Dedication of _The Traveller_, ll. 34–45.
+
+
+ ECLOGUE I.
+ 
+ SELIM: OR, THE SHEPHERD’S
+      MORAL.
+
+      The following eclogues,† written by Mr. Collins, are very pretty:
+      the images, it must be owned, are not very local; for the pastoral subject
+      could not well admit of it. The description
+      of Asiatic magnificence, and manners, is a subject as yet unattempted
+      amongst us, and I believe, capable of furnishing a great variety of
+      poetical imagery.
+    
+
+      † i.e.—Selim, Hassan, Agib and Secander, and Abra. Goldsmith
+      admired Collins, whom he calls in the _ Enquiry_, 1759, p. 143,
+      ‘the neglected author of the Persian eclogues, which, however inaccurate,
+      excel any in our language.’ He borrowed freely from him in the _Threnodia
+      Augustalis_, q.v.
+    
+
+THE SPLENDID SHILLING.
+ 
+ BY MR.
+      J. PHILIPS.
+
+      This is reckoned the best parody of Milton in our language: it has been an
+      hundred times imitated, without success. The truth is, the first thing in
+      this way must preclude all future attempts; for nothing is so easy as to
+      burlesque any man’s manner, when we are once showed the way.
+    
+
+A PIPE OF TOBACCO:
+ 
+ IN IMITATION OF
+      SIX SEVERAL AUTHORS.
+
+      Mr. Hawkins Browne, the author of these, as I am told, had no good
+      original manner of his own, yet we see how well he succeeded when he turns
+      an imitator; for the following are rather imitations than ridiculous
+      parodies.
+    
+
+A NIGHT-PIECE ON DEATH.
+
+      The great fault of this piece, written by Dr. Parnell, is that it is in
+      eight-syllable lines, very improper for the solemnity of the subject;
+      otherwise, the poem is natural, and the reflections just.
+    
+
+A FAIRY TALE.
+
+BY DR. PARNELL.
+
+      Never was the old manner of speaking more happily applied, or a tale
+      better told, than this.
+    
+
+PALEMON AND LAVINIA.
+ [From _The Seasons_.]
+
+      Mr. Thomson, though, in general, a verbose and affected poet, has told
+      this story with unusual simplicity: it is rather given here for being much
+      esteemed by the public, than by the editor.
+    
+
+THE BASTARD.
+
+      Almost all things written from the heart, as this certainly was, have some
+      merit. The poet here describes sorrows and misfortunes which were by no
+      means imaginary; and, thus, there
+      runs a truth of thinking through this poem, without which it would be of
+      little value, as Savage is, in other respects, but an indifferent poet.
+    
+
+THE POET AND HIS PATRON.
+
+      Mr. Mo[o]re was a poet that never had justice done him while living; there
+      are few of the moderns have a more correct taste, or a more pleasing
+      manner of expressing their thoughts. It was upon these fables [Nos. v, vi,
+      and xvi of the _Fables for the Ladies_] he chiefly founded his
+      reputation; yet they are, by no means, his best production.
+    
+
+AN EPISTLE TO A LADY.
+
+      This little poem, by Mr. Nugent [afterwards Lord Clare] is very pleasing.
+      The easiness of the poetry, and the justice of the thoughts, constitute
+      its principal beauty.
+    
+
+HANS CARVEL.
+
+      This bagatelle, for which, by the by, Mr. Prior has got his greatest
+      reputation, was a tale told in all the old Italian collections of jests,
+      and borrowed from thence by Fontaine. It had been translated once or twice
+      before into English, yet was never regarded till it fell into the hands of
+      Mr. Prior. A strong instance how everything is improved in the hands of a
+      man of genius.
+    
+
+BAUCIS AND PHILEMON.
+
+      This poem [by Swift] is very fine; and though in the same strain with the
+      preceding [Prior’s _Ladle_] is yet superior.
+    
+
+TO THE EARL OF WARWICK, ON THE DEATH
+ OF MR. ADDISON.
+
+      This elegy (by Mr. Ticknell) is one of the finest in our language; there
+      is so little new that can be said upon the death of a friend, after the
+      complaints of Ovid and the Latin Italians, in this way, that one is
+      surprised to see so much novelty in this to strike us, and so much
+      interest to affect.
+    
+
+      COLIN AND LUCY.
+
+      Through all Tickell’s works there is a strain of ballad-thinking, if I may
+      so express it; and, in this professed ballad, he seems to have surpassed
+      himself. It is, perhaps, the best in our language in this way.
+    
+
+THE TEARS OF SCOTLAND.
+ 
+ WRITTEN IN THE YEAR
+      MDCCXLVI.
+
+      This ode, by Dr. Smollett, does rather more honour to the author’s
+      feelings than his taste. The mechanical part, with regard to numbers and
+      language, is not so perfect as so short a work as this requires; but the
+      pathetic it contains, particularly in the last stanza but one, is
+      exquisitely fine.
+    
+
+ON THE DEATH OF THE LORD PROTECTOR.
+
+      Our poetry was not quite harmonized in Waller’s time; so that this, which
+      would be now looked upon as a slovenly sort of versification, was, with
+      respect to the times in which it was written, almost a prodigy of harmony.
+      A modern reader will chiefly be struck with the strength of thinking, and
+      the turn of the compliments bestowed upon the usurper. Everybody has heard
+      the answer our poet made Charles II; who asked him how his poem upon
+      Cromwell came to be finer than his panegyric upon himself. ‘Your majesty,’
+      replies Waller, ‘knows, that poets always succeed best in fiction.’
+    
+
+THE STORY OF PHOEBUS AND DAPHNE APPLIED.
+
+      The French claim this [by Mr. Waller] as belonging to them. To whomsoever
+      it belongs the thought is finely turned.
+    
+
+ NIGHT THOUGHTS.
+ 
+ BY DR. YOUNG.
+
+      These seem to be the best of the collection; from whence only the two
+      first are taken. They are spoken of differently, either with exaggerated
+      applause or contempt, as the reader’s disposition is either turned to
+      mirth or melancholy.
+    
+
+      SATIRE I.
+
+      Young’s Satires were in higher reputation when published, than they stand
+      in at present. He seems fonder of dazzling than pleasing; of raising our
+      admiration for his wit, than our dislike of the follies he ridicules.
+    
+
+A PASTORAL BALLAD.
+
+      These ballads of Mr. Shenstone are chiefly commended for the natural
+      simplicity of the thoughts and the harmony of the versification. However,
+      they are not excellent in either.
+    
+
+PHOEBE. A PASTORAL.
+
+      This, by Dr. Byrom, is a better effort than the preceding [a ballad by
+      Shenstone].
+    
+
+A SONG.
+
+      This [‘Despairing beside a clear stream’] by Mr. Rowe, is better than
+      anything of the kind in our language.
+    
+
+AN ESSAY ON POETRY.
+
+      This work, by the Duke of Buckingham, is enrolled among our great English
+      productions. The precepts are sensible, the poetry not indifferent, but it
+      has been praised more than it deserves.
+    
+
+CADENUS AND VANESSA.
+
+      This is thought one of Dr. Swift’s correctest pieces; its chief merit,
+      indeed, is the elegant ease with which a story, but ill-conceived in
+      itself, is told.
+    
+
+ALMA: OR, THE PROGRESS OF THE MIND.
+
+      What Prior meant by this poem I can’t understand; by the Greek motto to it
+      one would think it was either to laugh at the subject or the reader. There
+      are some parts of it very fine; and let them save the badness of the rest.
+
+
+
+
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Complete Poetical Works of Oliver Goldsmith</div>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
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+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Complete Poetical Works of Oliver Goldsmith</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Oliver Goldsmith</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Austin Dobson</div>
+<div style='display:block; margin:1em 0'>Release Date: November, 2002 [eBook #3545]<br />
+[Most recently updated: September 3, 2021]</div>
+<div style='display:block; margin:1em 0'>Language: English</div>
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Amy E Zelmer, Barb Grow, Derek Thompson and David Widger</div>
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE COMPLETE POETICAL WORKS OF OLIVER GOLDSMITH ***</div>
+
+<div class="fig" style="width:100%;">
+<a name="golds"></a>
+<img src="images/golds.jpg" width="223" height="274" alt="[Illustration: Oliver Goldsmith]" />
+<p class="caption">OLIVER GOLDSMITH<br /> <small>(Sir Joshua Reynolds)</small></p>
+</div>
+
+    <h4>
+      <br /> <i>OXFORD EDITION</i>
+    </h4>
+
+    <h1>
+      THE COMPLETE<br />
+      POETICAL WORKS<br />
+      OF<br />
+      OLIVER GOLDSMITH
+    </h1>
+
+    <p class="center">
+      <br /> <br /> <br /> Edited with Introduction and Notes<br /> by<br /> <b>AUSTIN
+      DOBSON</b><br /> <small>HON. LL.D. EDIN.</small><br /> <br /> <br />
+    </p>
+<hr />
+
+<h3>PREFATORY NOTE</h3>
+
+    <p>
+      This volume is a reprint, extended and revised, of the <i>Selected Poems</i>
+      of Goldsmith issued by the Clarendon Press in 1887. It is &lsquo;extended,&rsquo;
+      because it now contains the whole of Goldsmith&rsquo;s poetry: it is &lsquo;revised&rsquo;
+      because, besides the supplementary text, a good deal has been added in the
+      way of annotation and illustration. In other words, the book has been
+      substantially enlarged. Of the new editorial material, the bulk has been
+      collected at odd times during the last twenty years; but fresh Goldsmith
+      facts are growing rare. I hope I have acknowledged obligation wherever it
+      has been incurred; I trust also, for the sake of those who come after me,
+      that something of my own will be found to have been contributed to the
+      literature of the subject.
+    </p>
+
+<p class="right">
+      AUSTIN DOBSON.
+    </p>
+
+<p class="letter">
+      Ealing, <i>September</i>, 1906.
+    </p>
+
+<h2>CONTENTS</h2>
+
+<table summary="" style="">
+
+<tr>
+<td> <a href="#introduction">Introduction</a></td>
+</tr>
+
+<tr>
+<td> <a href="#chronology">Chronology of Goldsmith&rsquo;s Life and Poems</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <b>POEMS</b></td>
+</tr>
+
+<tr>
+<td> <a href="#descriptive">Descriptive Poems</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem01">The Traveller; or, A Prospect of Society</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem02">The Deserted Village</a></td>
+</tr>
+
+<tr>
+<td> <a href="#lyrical">Lyrical and Miscellaneous Pieces</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem03">Prologue of Laberius</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem04">On a Beautiful Youth struck Blind with Lightning</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem05">The Gift. To Iris, in Bow Street</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem06">The Logicians Refuted</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem07">A Sonnet</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem08">Stanzas on the Taking of Quebec</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem09">An Elegy on Mrs. Mary Blaize</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem10">Description of an Author&rsquo;s Bedchamber</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem11">On seeing Mrs. *** perform in the Character of ****</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem12">On the Death of the Right Hon.***</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem13">An Epigram. Addressed to the Gentlemen reflected on in &lsquo;The Rosciad&rsquo;, a Poem, by the Author</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem14">To G. C. and R. L.</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem15">Translation of a South American Ode</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem16">The Double Transformation. A Tale</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem17">A New Simile, in the Manner of Swift</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem18">Edwin and Angelina</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem19">Elegy on the Death of a Mad Dog</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem20">Song (&lsquo;When Lovely Woman,&rsquo; etc.)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem21">Epilogue to <i>The Good Natur&rsquo;d Man</i></a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem22">Epilogue to <i>The Sister</i></a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem23">Prologue to <i>Zobeide</i></a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem24">Threnodia Augustalis:</a> Sacred to the Memory of Her Late Royal Highness the Princess Dowager of Wales</td>
+</tr>
+
+<tr>
+<td> <a href="#poem25">Song (&lsquo;Let school-masters,&rsquo; etc.)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem26">Epilogue to <i>She Stoops to Conquer</i></a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem27">Retaliation</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem28">Song (&lsquo;Ah, me! when shall I marry me?&rsquo;)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem29">Translation (&lsquo;Chaste are their instincts&rsquo;)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem30">The Haunch of Venison</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem31">Epitaph on Thomas Parnell</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem32">The Clown&rsquo;s Reply</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem33">Epitaph on Edward Purdon</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem34">Epilogue for Lee Lewes</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem35">Epilogue written for <i>She Stoops to Conquer</i> (1)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem36">Epilogue written for <i>She Stoops to Conquer</i> (2)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#captivity">The Captivity. An Oratorio</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem37">Verses in Reply to an Invitation to Dinner</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem38">Letter in Prose and Verse to Mrs. Bunbury</a></td>
+</tr>
+
+<tr>
+<td> <a href="#poem39">Vida&rsquo;s Game of Chess</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <b>NOTES</b></td>
+</tr>
+
+<tr>
+<td> <a href="#note01">Introduction to the Notes</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note02">Editions of the Poems</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note03">The Traveller</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note04">The Deserted Village</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note05">Prologue of Laberius</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note06">On a Beautiful Youth struck Blind with Lightning</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note07">The Gift</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note08">The Logicians Refuted</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note09">A Sonnet</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note10">Stanzas on the Taking of Quebec</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note11">An Elegy on Mrs. Mary Blaize</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note12">Description of an Author&rsquo;s Bedchamber</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note13">On seeing Mrs. *** perform in the Character of ****</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note14">On the Death of the Right Hon. ***</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note15">An Epigram</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note16">To G. C. and R. L.</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note17">Translation of a South American Ode</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note18">The Double Transformation</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note19">A New Simile</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note20">Edwin and Angelina</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note21">Elegy on the Death of a Mad Dog</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note22">Song (from <i>The Vicar of Wakefield</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note23">Epilogue (<i>The Good Natur&rsquo;d Man</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note24">Epilogue (<i>The Sister</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note25">Prologue (<i>Zobeide</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note26">Threnodia Augustalis</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note27">Song (from <i>She Stoops to Conquer</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note28">Epilogue (<i>She Stoops to Conquer</i>)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note29">Retaliation</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note30">Song intended for <i>She Stoops to Conquer</i></a></td>
+</tr>
+
+<tr>
+<td> <a href="#note31">Translation</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note32">The Haunch of Venison</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note33">Epitaph on Thomas Parnell</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note34">The Clown&rsquo;s Reply</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note35">Epitaph on Edward Purdon</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note36">Epilogue for Lee Lewes&rsquo;s Benefit</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note37">Epilogue (<i>She Stoops to Conquer</i>) (1)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note38">Epilogue (<i>She Stoops to Conquer</i>) (2)</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note39">The Captivity</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note40">Verses in Reply to an Invitation to Dinner</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note41">Letter in Prose and Verse to Mrs. Bunbury</a></td>
+</tr>
+
+<tr>
+<td> <a href="#note42">Vida&rsquo;s Game of Chess</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <a href="#appendix"><b>APPENDIXES</b></a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe01">Portraits of Goldsmith</a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe02">Descriptions of Newell&rsquo;s Views of Lissoy, etc.</a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe03">The Epithet &lsquo;Sentimental&rsquo;</a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe04">Fragments of Translations, etc., by Goldsmith</a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe05">Goldsmith on Poetry under Anne and George the First</a></td>
+</tr>
+
+<tr>
+<td> <a href="#appe06">Criticisms from Goldsmith&rsquo;s <i>Beauties of English Poesy</i></a></td>
+</tr>
+
+</table>
+
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+<table summary="" style="">
+
+<tr>
+<td> <a href="#golds">OLIVER GOLDSMITH.</a> From Joseph Marchi&rsquo;s mezzotint of 1770 after the portrait by Sir Joshua Reynolds.</td>
+</tr>
+
+<tr>
+<td> <a href="#glasspane">PANE OF GLASS</a> with Goldsmith&rsquo;s autograph signature, dated March, 1746, now at Trinity College, Dublin.</td>
+</tr>
+
+<tr>
+<td> <a href="#vignette">VIGNETTE TO THE TRAVELLER.</a> Drawn by Samuel Wale, and engraved by Charles Grignion.</td>
+</tr>
+
+<tr>
+<td> <a href="#traveller">HEADPIECE TO THE TRAVELLER.</a> Engraved on wood by Charlton Nesbit for Bulmer&rsquo;s <i>Poems of Goldsmith and Parnell</i>, 1795.</td>
+</tr>
+
+<tr>
+<td> <a href="#traveller2">THE TRAVELLER.</a> From a design by Richard Westall, R. A., engraved on wood by Thomas Bewick for Bulmer&rsquo;s <i>Poems of Goldsmith and Parnell</i>, 1795.</td>
+</tr>
+
+<tr>
+<td> <a href="#vignette2">VIGNETTE TO THE DESERTED VILLAGE,</a> 1770. Drawn and engraved by Isaac Taylor.</td>
+</tr>
+
+<tr>
+<td> <a href="#village">HEADPIECE TO THE DESERTED VILLAGE.</a> Engraved on wood by Charlton Nesbit for Bulmer&rsquo;s <i>Poems of Goldsmith and Parnell</i>, 1795.</td>
+</tr>
+
+<tr>
+<td> <a href="#watercressgatherer">THE WATER-CRESS GATHERER.</a> Drawn and engraved on wood by John Bewick for Bulmer&rsquo;s <i>Poems of Goldsmith and Parnell</i>, 1795.</td>
+</tr>
+
+<tr>
+<td> <a href="#departure">THE DEPARTURE.</a> Drawn by Robert Johnson, and engraved on wood by Thomas Bewick for Bulmer&rsquo;s <i> Poems of Goldsmith and Parnell</i>, 1795.</td>
+</tr>
+
+<tr>
+<td> <a href="#edwin">EDWIN AND ANGELINA.</a> From an original washed drawing made by Thomas Stothard, R.A., for Aikin&rsquo;s <i>Goldsmith&rsquo;s Poetical Works</i>, 1805.</td>
+</tr>
+
+<tr>
+<td> <a href="#goldie">PORTRAIT OF GOLDSMITH,</a> after Sir Joshua Reynolds. From an etching by James Basire on the title-page of <i>Retaliation</i>, 1774.</td>
+</tr>
+
+<tr>
+<td> <a href="#autograph">SONG FROM THE CAPTIVITY.</a> Facsimile of Goldsmith&rsquo;s writing and signature, from Prior&rsquo;s <i> Life of Oliver Goldsmith, M.B.</i>, 1837, ii, frontispiece.</td>
+</tr>
+
+<tr>
+<td> <a href="#greenarbor">GREEN ARBOUR COURT,</a> OLD BAILEY. From an engraving in the <i>European Magazine</i> for January, 1803.</td>
+</tr>
+
+<tr>
+<td> <a href="#kilkenny">KILKENNY WEST CHURCH.</a> From an aquatint by S. Alken of a sketch by R. H. Newell (<i>Goldsmith&rsquo;s Poetical Works</i>, 1811).</td>
+</tr>
+
+<tr>
+<td> <a href="#hawthorn">HAWTHORN TREE.</a> From the same.</td>
+</tr>
+
+<tr>
+<td> <a href="#southview">SOUTH VIEW FROM GOLDSMITH&rsquo;S MOUNT.</a>  From the same . . . To face p. 183. [This picture is unavailable.]</td>
+</tr>
+
+<tr>
+<td> <a href="#school">THE SCHOOL HOUSE.</a> From the same.</td>
+</tr>
+
+<tr>
+<td> <a href="#oliver">PORTRAIT OF GOLDSMITH.</a> Drawn by Henry William Bunbury and etched by James Bretherton. From the <i>Haunch of Venison</i>, 1776.</td>
+</tr>
+
+<tr>
+<td> <a href="#silhouette">PORTRAIT OF GOLDSMITH.</a> From a silhouette by Ozias Humphry, R.A., in the National Portrait Gallery.</td>
+</tr>
+
+<tr>
+<td> <a href="#lissoy">LISSOY (OR LISHOY) MILL.</a> From an aquatint by S. Alken of a sketch by R. H. Newell (<i>Goldsmith&rsquo;s Poetical Works</i>, 1811).</td>
+</tr>
+
+<tr>
+<td> <a href="#parsonage">THE PARSONAGE.</a> From the same.</td>
+</tr>
+
+</table>
+
+<hr />
+
+<div class="chapter">
+
+<h2><a name="page_ix" id="page_ix"></a><a name="introduction" id="introduction"></a>
+INTRODUCTION
+</h2>
+
+    <p>
+      Two of the earlier, and, in some respects, more important <i>Memoirs</i>
+      of Oliver Goldsmith open with a quotation from one of his minor works, in
+      which he refers to the generally uneventful life of the scholar. His own
+      chequered career was a notable exception to this rule. He was born on the
+      10th of November, 1728, at Pallas, a village in the county of Longford in
+      Ireland, his father, the Rev. Charles Goldsmith, being a clergyman of the
+      Established Church. Oliver was the fifth of a family of five sons and
+      three daughters. In 1730, his father, who had been assisting the rector of
+      the neighbouring parish of Kilkenny West, succeeded to that living, and
+      moved to Lissoy, a hamlet in Westmeath, lying a little to the right of the
+      road from Ballymahon to Athlone. Educated first by a humble relative named
+      Elizabeth Delap, the boy passed subsequently to the care of Thomas Byrne,
+      the village schoolmaster, an old soldier who had fought Queen Anne&rsquo;s
+      battles in Spain, and had retained from those experiences a wandering and
+      unsettled spirit, which he is thought to have communicated to one at least
+      of his pupils. After an attack of confluent small-pox, which scarred him
+      for life, Oliver was transferred from the care of this not-uncongenial
+      preceptor to a school at Elphin. From Elphin he passed to Athlone; from
+      Athlone to Edgeworthstown, where he remained until he was thirteen or
+      fourteen years of age. The accounts of these early days are contradictory.
+      By his schoolfellows he seems to have been regarded as stupid and heavy,&mdash;&lsquo;little
+      better than a fool&rsquo;; but they
+<a name="page_x" id="page_x"></a>
+      admitted that he was remarkably active and athletic, and that he was an
+      adept in all boyish sports. At home, notwithstanding a variable
+      disposition, and occasional fits of depression, he showed to greater
+      advantage. He scribbled verses early; and sometimes startled those about
+      him by unexpected &lsquo;swallow-flights&rsquo; of repartee. One of these, an
+      oft-quoted retort to a musical friend who had likened his awkward antics
+      in a hornpipe to the dancing of Aesop,&mdash;
+    </p>
+
+    <p class="poem">
+        Heralds! proclaim aloud! all saying,<br />
+        See <i>Aesop</i> dancing, and his <i>monkey</i> playing,&mdash;
+      </p>
+
+    <p class="noindent">
+      reads more like a happily-adapted recollection than the actual impromptu
+      of a boy of nine. But another, in which, after a painful silence, he
+      replied to the brutal enquiry of a ne&rsquo;er-do-well relative as to when he
+      meant to grow handsome, by saying that he would do so when the speaker
+      grew good,&mdash;is characteristic of the easily-wounded spirit and
+      &lsquo;exquisite sensibility of contempt&rsquo; with which he was to enter upon the
+      battle of life.
+    </p>
+
+    <p>
+      In June, 1744, after anticipating in his own person, the plot of his later
+      play of <i>She Stoops to Conquer</i> by mistaking the house of a
+      gentleman at Ardagh for an inn, he was sent to Trinity College, Dublin.
+      The special dress and semi-menial footing of a sizar or poor scholar&mdash;for
+      his father, impoverished by the imprudent portioning of his eldest
+      daughter, could not afford to make him a pensioner&mdash;were scarcely
+      calculated to modify his personal peculiarities. Added to these, his tutor
+      elect, Dr. Theaker Wilder, was a violent and vindictive man, with whom his
+      ungainly and unhopeful pupil found little favour. Wilder had a passion for
+      mathematics which was not shared by Goldsmith, who, indeed, spoke
+      contemptuously enough of that science in after life. He could, however, he
+      told Malone, &lsquo;turn an Ode of Horace into English better than any of them.&rsquo;
+      But his academic career was not a success.
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="page_xi" id="page_xi"></a><a name="glasspane" id="glasspane"></a>
+<img src="images/glasspane.jpg" width="392" height="169" alt="[Illustration: Goldsmith&rsquo;s Autograph]" />
+<p class="caption">PANE OF GLASS WITH GOLDSMITH&rsquo;S AUTOGRAPH<br /> <small>(Trinity
+College, Dublin)</small></p>
+</div>
+
+    <p class="noindent">
+      In May, 1747, the year in which his father died,&mdash;an event that
+      further contracted his already slender means,&mdash;he became involved in
+      a college riot, and was publicly admonished. From this disgrace he
+      recovered to some extent in the following month by obtaining a trifling
+      money exhibition, a triumph which he unluckily celebrated by a party at
+      his rooms. Into these festivities, the heinousness of which was aggravated
+      by the fact that they included guests of both sexes, the exasperated
+      Wilder made irruption, and summarily terminated the proceedings by
+      knocking down the host. The disgrace was too much for the poor lad. He
+      forthwith sold his books and belongings, and ran away, vaguely bound for
+      America. But after considerable privations, including the achievement of a
+      destitution so complete that a handful of grey peas, given him by a girl
+      at a wake, seemed a banquet, he turned his steps homeward, and, a
+      reconciliation having been patched up with his tutor, he was received once
+      more at college. In February, 1749, he took his degree, a low one, as
+      B.A., and quitted the university, leaving behind him, for relics of that
+      time, a scratched signature upon a window-pane, a <i>folio</i> Scapula
+      scored liberally with &lsquo;promises to pay,&rsquo; and a reputation for much
+      loitering at the college gates in the study of passing humanity. Another
+      habit which his associates recalled was his writing of ballads when in
+      want of funds. These he would sell at five shillings apiece; and would
+      afterwards steal out in the twilight to hear them sung to the
+      indiscriminate but applauding audience of the Dublin streets.
+    </p>
+
+    <p>
+      What was to be done with a genius so unstable, so erratic? Nothing,
+      apparently, but to let him qualify for orders, and for this he is too
+      young. Thereupon ensues a sort of &lsquo;Martin&rsquo;s summer&rsquo; in his changing life,&mdash;a
+      disengaged, delightful time when &lsquo;Master Noll&rsquo; wanders
+      irresponsibly from house to house, fishing and flute-playing, or, of
+      winter evenings, taking the chair at the village inn. When at last the
+      moment came for his presentation to the Bishop of Elphin, that prelate,
+      sad to say, rejected him, perhaps because of his college reputation,
+      perhaps because of actual incompetence, perhaps even, as tradition
+      affirms, because he had the bad taste to appear before his examiner in
+      flaming scarlet breeches. After this rebuff, tutoring was next tried. But
+      he had no sooner saved some thirty pounds by teaching, than he threw up
+      his engagement, bought a horse, and started once more for America, by way
+      of Cork. In six weeks he had returned penniless, having substituted for
+      his roadster a sorry jade, to which he gave the contemptuous name of
+      Fiddleback. He had also the simplicity to wonder, on this occasion, that
+      his mother was not rejoiced to see him again. His next ambition was to be
+      a lawyer; and, to this end, a kindly Uncle Contarine equipped him with
+      fifty pounds for preliminary studies. But on his way to London he was
+      decoyed into gambling, lost every farthing, and came home once more in
+      bitter self-abasement. Having now essayed both divinity and law, his next
+      attempt was physic; and, in 1752, fitted out afresh by his long-suffering
+      uncle, he started for, and succeeded in reaching, Edinburgh. Here more
+      memories survive of his social qualities than of his studies; and two
+      years later he left the Scottish capital for Leyden, rather, it may be
+      conjectured, from a restless desire to see the world than really to
+      exchange the lectures of Monro for the lectures of Albinus. At Newcastle
+      (according to his own account) he had the good fortune to be locked up as
+      a Jacobite, and thus escaped drowning, as the ship by which he was to have
+      sailed to Bordeaux sank at the mouth of the Garonne. Shortly afterwards he
+      arrived in Leyden. Gaubius and other Dutch professors figure
+<a name="page_xiii" id="page_xiii"></a>
+      sonorously in his future works; but whether he had much experimental
+      knowledge of their instructions may be doubted. What seems undeniable is,
+      that the old seduction of play stripped him of every shilling; so that,
+      like Holberg before him, he set out deliberately to make the tour of
+      Europe on foot. <i>Haud inexpertus loquor,</i> he wrote in after days,
+      when praising this mode of locomotion. He first visited Flanders. Thence
+      he passed to France, Germany, Switzerland, and Italy, supporting himself
+      mainly by his flute, and by occasional disputations at convents or
+      universities. &lsquo;Sir,&rsquo; said Boswell to Johnson, &lsquo;he <i>disputed</i> his
+      passage through Europe.&rsquo; When on the 1st February, 1756, he landed at
+      Dover, it was with empty pockets. But he had sent home to his brother in
+      Ireland his first rough sketch for the poem of <i>The Traveller</i>.
+    </p>
+
+    <p>
+      He was now seven-and-twenty. He had seen and suffered much, but he was to
+      have further trials before drifting definitely into literature. Between
+      Dover and London, it has been surmised, he made a tentative appearance as
+      a strolling player. His next ascertained part was that of an apothecary&rsquo;s
+      assistant on Fish Street Hill. From this, with the opportune aid of an
+      Edinburgh friend, he proceeded&mdash;to use an eighteenth-century phrase&mdash;a
+      poor physician in the Bankside, Southwark, where least of all, perhaps,
+      was London&rsquo;s fabled pavement to be found. So little of it, in fact, fell
+      to Goldsmith&rsquo;s share, that we speedily find him reduced to the rank of
+      reader and corrector of the press to Samuel Richardson, printer, of
+      Salisbury Court, author of <i>Clarissa</i>. Later still he is acting
+      as help or substitute in Dr. Milner&rsquo;s &lsquo;classical academy&rsquo; at Peckham.
+      Here, at last, chance seemed to open to him the prospect of a literary
+      life. He had already, says report, submitted a manuscript tragedy to
+      Richardson&rsquo;s judgement; and something he said at Dr. Milner&rsquo;s table
+      attracted the attention of an occasional
+      visitor there, the bookseller Griffiths, who was also proprietor of the
+      <i>Monthly Review.</i> He invited Dr. Milner&rsquo;s usher to try his hand
+      at criticism; and finally, in April, 1757, Goldsmith was bound over for a
+      year to that venerable lady whom George Primrose dubs &lsquo;the <i>antiqua
+      mater</i> of Grub Street&rsquo;&mdash;in other words, he was engaged for bed,
+      board, and a fixed salary to supply copy-of-all-work to his master&rsquo;s
+      magazine.
+    </p>
+
+    <p>
+      The arrangement thus concluded was not calculated to endure. After some
+      five months of labour from nine till two, and often later, it came
+      suddenly to an end. No clear explanation of the breach is forthcoming, but
+      mere incompatability of temper would probably supply a sufficient ground
+      for disagreement. Goldsmith, it is said, complained that the bookseller
+      and his wife treated him ill, and denied him ordinary comforts; added to
+      which the lady, a harder taskmistress even than the <i> antiqua mater</i>
+      above referred to, joined with her husband in &lsquo;editing&rsquo; his articles, a
+      course which, hard though it may seem, is not unprecedented. However this
+      may be, either in September or October, 1757, he was again upon the world,
+      existing precariously from hand to mouth. &lsquo;By a very little practice as a
+      physician, and very little reputation as a poet [a title which, as Prior
+      suggests, possibly means no more than author], I make a shift to live.&rsquo; So
+      he wrote to his brother-in-law in December. What his literary occupations
+      were cannot be definitely stated; but, if not prepared before, they
+      probably included the translation of a remarkable work issued by Griffiths
+      and others in the ensuing February. This was the <i>Memoirs of a
+      Protestant, condemned to the Galleys of France for his Religion,</i>
+      being the authentic record of the sufferings of one Jean Marteilhe of
+      Bergerac, a book of which Michelet has said that it is &lsquo;written as if
+      between earth and heaven.&rsquo; Marteilhe, who died at Cuylenberg
+<a name="page_xv" id="page_xv"></a>
+      in 1777, was living in Holland in 1758; and it may be that Goldsmith had
+      seen or heard of him during his own stay in that country. The translation,
+      however, did not bear Goldsmith&rsquo;s name, but that of James Willington, one
+      of his old class-fellows at Trinity College. Nevertheless, Prior says
+      distinctly that Griffiths (who should have known) declared it to be by
+      Goldsmith. Moreover, the French original had been catalogued in Griffiths&rsquo;
+      magazine in the second month of Goldsmith&rsquo;s servitude, a circumstance
+      which colourably supplies the reason for its subsequent rendering into
+      English.
+    </p>
+
+    <p>
+      The publication of Marteilhe&rsquo;s <i>Memoirs</i> had no influence upon
+      Goldsmith&rsquo;s fortunes, for, in a short time, he was again installed at
+      Peckham, in place of Dr. Milner invalided, waiting hopefully for the
+      fulfilment of a promise by his old master to procure him a medical
+      appointment on a foreign station. It is probably that, with a view to
+      provide the needful funds for this expatriation, he now began to sketch
+      the little volume afterwards published under the title of <i>An Enquiry
+      into the Present State of Polite Learning in Europe</i>, for towards
+      the middle of the year we find him addressing long letters to his
+      relatives in Ireland to enlist their aid in soliciting subscriptions for
+      this book. At length the desired advancement was obtained,&mdash;a
+      nomination as a physician and surgeon to one of the factories on the coast
+      of Coromandel. But banishment to the East Indies was not to be his
+      destiny. For some unexplained reason the project came to nothing; and then&mdash;like
+      Roderick Random&mdash;he presented himself at Surgeons&rsquo; Hall for the more
+      modest office of a hospital mate. This was on the 21st of December, 1758.
+      The curt official record states that he was &lsquo;found not qualified.&rsquo; What
+      made matters worse, the necessity for a decent appearance before the
+      examiners had involved him in new obligations to Griffiths,
+<a name="page_xvi" id="page_xvi"></a>
+      out of which arose fresh difficulties. To pay his landlady, whose husband
+      was arrested for debt, he pawned the suit he had procured by Griffiths&rsquo;
+      aid; and he also raised money on some volumes which had been sent him for
+      review. Thereupon ensued an angry and humiliating correspondence with the
+      bookseller, as a result of which Griffiths, nevertheless, appears to have
+      held his hand.
+    </p>
+
+    <p>
+      By this time Goldsmith had moved into those historic but now non-existent
+      lodgings in 12 Green Arbour Court, Old Bailey, which have been
+      photographed for ever in Irving&rsquo;s <i>Tales of a Traveller.</i> It
+      was here that the foregoing incidents took place; and it was here also
+      that, early in 1759, &lsquo;in a wretched dirty room, in which there was but one
+      chair,&rsquo; the Rev. Thomas Percy, afterwards Bishop of Dromore, found him
+      composing (or more probably correcting the proofs of) <i>The Enquiry.</i>
+      &lsquo;At least spare invective &rsquo;till my book with Mr. Dodsley shall be
+      publish&rsquo;d,&rsquo;&mdash;he had written not long before to the irate Griffiths&mdash;&lsquo;and
+      then perhaps you may see the bright side of a mind when my professions
+      shall not appear the dictates of necessity but of choice.&rsquo; <i>The
+      Enquiry</i> came out on the 2nd of April. It had no author&rsquo;s name, but
+      it was an open secret that Goldsmith had written it; and to this day it
+      remains to the critic one of the most interesting of his works. Obviously,
+      in a duodecimo of some two hundred widely-printed pages, it was impossible
+      to keep the high-sounding promise of its title; and at best its author&rsquo;s
+      knowledge of the subject, notwithstanding his continental wanderings, can
+      have been but that of an external spectator. Still in an age when critical
+      utterance was more than ordinarily full-wigged and ponderous, it dared to
+      be sprightly and epigrammatic. Some of its passages, besides, bear upon
+      the writer&rsquo;s personal experiences, and serve to piece the imperfections of
+      his biography. If it brought him no sudden wealth,
+<a name="page_xvii" id="page_xvii"></a>
+      it certainly raised his reputation with the book-selling world. A
+      connexion already begun with Smollett&rsquo;s <i>Critical Review</i> was
+      drawn closer; and the shrewd Sosii of the Row began to see the importance
+      of securing so vivacious and unconventional a pen. Towards the end of the
+      year he was writing for Wilkie the collection of periodical essays
+      entitled <i>The Bee</i>; and contributing to the same publisher&rsquo;s
+      <i>Lady&rsquo;s Magazine</i>, as well as to <i>The Busy Body</i> of
+      one Pottinger. In these, more than ever, he was finding his distinctive
+      touch; and ratifying anew, with every fresh stroke of his pen, his bondage
+      to authorship as a calling.
+    </p>
+
+    <p>
+      He had still, however, to conquer the public. <i>The Bee</i>,
+      although it contains one of his most characteristic essays (&lsquo;A City
+      Night-Piece&rsquo;), and some of the most popular of his lighter verses (&lsquo;The
+      Elegy on Mrs. Mary Blaize&rsquo;), never attained the circulation essential to
+      healthy existence. It closed with its eighth number in November, 1759. In
+      the following month two gentlemen called at Green Arbour Court to enlist
+      the services of its author. One was Smollett, with a new serial, <i>
+      The British Magazine</i>; the other was Johnson&rsquo;s &lsquo;Jack Whirler,&rsquo;
+      bustling Mr. John Newbery from the &lsquo;Bible and Sun&rsquo; in St. Paul&rsquo;s
+      Churchyard, with a new daily newspaper, <i>The Public Ledger</i>.
+      For Smollett, Goldsmith wrote the &lsquo;Reverie at the Boar&rsquo;s Head Tavern&rsquo; and
+      the &lsquo;Adventures of a Strolling Player,&rsquo; besides a number of minor papers.
+      For Newbery, by a happy recollection of the <i>Lettres Persanes</i>
+      of Montesquieu, or some of his imitators, he struck almost at once into
+      that charming epistolary series, brimful of fine observation, kindly
+      satire, and various fancy, which was ultimately to become the English
+      classic known as <i>The Citizen of the World</i>. He continued to
+      produce these letters periodically until the August of the following year,
+      when they were
+<a name="page_xviii" id="page_xviii"></a>
+      announced for republication in &lsquo;two volumes of the usual <i>Spectator</i>
+      size.&rsquo; In this form they appeared in May, 1762.
+    </p>
+
+    <p>
+      But long before this date a change for the better had taken place in
+      Goldsmith&rsquo;s life. Henceforth he was sure of work,&mdash;mere journey-work
+      though much of it must have been;&mdash;and, had his nature been less
+      improvident, of freedom from absolute want. The humble lodgings in the Old
+      Bailey were discarded for new premises at No. 6 Wine Office Court, Fleet
+      Street; and here, on the 31st of May, 1761, with Percy, came one whose
+      name was often in the future to be associated with Goldsmith&rsquo;s, the great
+      Dictator of London literary society, Samuel Johnson. Boswell, who made
+      Johnson&rsquo;s acquaintance later, has not recorded the humours of that supper;
+      but it marks the beginning of Goldsmith&rsquo;s friendship with the man who of
+      all others (Reynolds excepted) loved him most and understood him best.
+    </p>
+
+    <p>
+      During the remainder of 1761 he continued busily to ply his pen. Besides
+      his contributions to <i>The Ledger</i> and <i>The British
+      Magazine</i>, he edited <i>The Lady&rsquo;s Magazine</i>, inserting in
+      it the <i>Memoirs of Voltaire</i>, drawn up some time earlier to
+      accompany a translation of the <i>Henriade</i> by his crony and
+      compatriot Edward Purdon. Towards the beginning of 1762 he was hard at
+      work on several compilations for Newbery, for whom he wrote or edited a
+      <i>History of Mecklenburgh</i>, and a series of monthly volumes of
+      an abridgement of <i>Plutarch&rsquo;s Lives</i>. In October of the same
+      year was published the <i>Life of Richard Nash</i>, apparently the
+      outcome of special holiday-visits to the then fashionable watering-place
+      of Bath, whence its fantastic old Master of the Ceremonies had only very
+      lately made his final exit. It is a pleasantly gossiping, and not
+      unedifying little book, which still holds a respectable place among its
+      author&rsquo;s minor works. But a recently discovered entry in an old ledger
+      shows that during the latter half
+<a name="page_xix" id="page_xix"></a>
+      of 1762 he must have planned, if he had not, indeed, already in part
+      composed, a far more important effort, <i>The Vicar of Wakefield</i>.
+      For on the 28th of October in this year he sold to one Benjamin Collins,
+      printer, of Salisbury, for 21 pounds, a third in a work with that title,
+      further described as &lsquo;2 vols. 12mo.&rsquo; How this little circumstance,
+      discovered by Mr. Charles Welsh when preparing his Life of John Newbery,
+      is to be brought into agreement with the time-honoured story, related
+      (with variations) by Boswell and others, to the effect that Johnson
+      negotiated the sale of the manuscript for Goldsmith when the latter was
+      arrested for rent by his incensed landlady&mdash;has not yet been
+      satisfactorily suggested. Possibly the solution is a simple one, referable
+      to some of those intricate arrangements favoured by &lsquo;the Trade&rsquo; at a time
+      when not one but half a score publishers&rsquo; names figured in an imprint. At
+      present, the fact that Collins bought a third share of the book from the
+      author for twenty guineas, and the statement that Johnson transferred the
+      entire manuscript to a bookseller for sixty pounds, seem irreconcilable.
+      That <i>The Vicar of Wakefield</i> was nevertheless written, or was
+      being written, in 1762, is demonstrable from internal evidence.
+    </p>
+
+    <p>
+      About Christmas in the same year Goldsmith moved into lodgings at
+      Islington, his landlady being one Mrs. Elizabeth Fleming, a friend of
+      Newbery, to whose generalship this step seems attributable. From the
+      curious accounts printed by Prior and Forster, it is clear that the
+      publisher was Mrs. Fleming&rsquo;s paymaster, punctually deducting his
+      disbursements from the account current between himself and Goldsmith, an
+      arrangement which as plainly indicates the foresight of the one as it
+      implies the improvidence of the other. Of the work which Goldsmith did for
+      the businesslike and not unkindly little man, there is no very definite
+      evidence; but various prefaces,
+      introductions, and the like, belong to this time; and he undoubtedly was
+      the author of the excellent <i> History of England in a Series of
+      Letters addressed by a Nobleman to his Son</i>, published anonymously
+      in June, 1764, and long attributed, for the grace of its style, to
+      Lyttelton, Chesterfield, Orrery, and other patrician pens. Meanwhile his
+      range of acquaintance was growing larger. The establishment, at the
+      beginning of 1764, of the famous association known afterwards as the
+      &lsquo;Literary Club&rsquo; brought him into intimate relations with Beauclerk,
+      Reynolds, Langton, Burke, and others. Hogarth, too, is said to have
+      visited him at Islington, and to have painted the portrait of Mrs.
+      Fleming. Later in the same year, incited thereto by the success of
+      Christopher Smart&rsquo;s <i>Hannah</i>, he wrote the Oratorio of <i>The
+      Captivity</i>, now to be found in most editions of his poems, but never
+      set to music. Then after the slow growth of months, was issued on the 19th
+      December the elaboration of that fragmentary sketch which he had sent
+      years before to his brother Henry from the Continent, the poem entitled
+      <i>The Traveller; or, A Prospect of Society</i>.
+    </p>
+
+    <p>
+      In the notes appended to <i>The Traveller</i> in the present volume,
+      its origin and progress are sufficiently explained. Its success was
+      immediate and enduring. The beauty of the descriptive passages, the subtle
+      simplicity of the language, the sweetness and finish of the versification,
+      found ready admirers,&mdash;perhaps all the more because of the contrast
+      they afforded to the rough and strenuous sounds with which Charles
+      Churchill had lately filled the public ear. Johnson, who contributed a few
+      lines at the close, proclaimed <i>The Traveller</i> to be the best
+      poem since the death of Pope; and it is certainly not easy to find its
+      equal among the works of contemporary bards. It at once raised Goldsmith
+      from the condition of a clever newspaper essayist, or&mdash;as men like
+      Sir John
+      Hawkins would have said&mdash;a mere &lsquo;bookseller&rsquo;s drudge,&rsquo; to the
+      foremost rank among the poets of the day. Another result of its success
+      was the revival of some of his earlier work, which, however neglected by
+      the author, had been freely appropriated by the discerning pirate. In
+      June, 1765, Griffin and Newbery published a little volume of <i>Essays
+      by Mr. Goldsmith</i>, including some of the best of his contributions
+      to <i>The Bee, The Busy Body, The Public Ledger</i>, and <i>The
+      British Magazine</i>, besides &lsquo;The Double Transformation&rsquo; and &lsquo;The
+      Logicians Refuted,&rsquo; two pieces of verse in imitation of Prior and Swift,
+      which have not been traced to an earlier source. To the same year belongs
+      the first version of a poem which he himself regarded as his best work,
+      and which still retains something of its former popularity. This was the
+      ballad of <i>Edwin and Angelina</i>, otherwise known as <i>The
+      Hermit</i>. It originated in certain metrical discussions with Percy,
+      then engaged upon his famous <i>Reliques of English Poetry</i>; and
+      in 1765, Goldsmith, who through his friend Nugent (afterwards Lord Clare)
+      had made the acquaintance of the Earl of Northumberland, printed it
+      privately for the amusement of the Countess. In a revised and amended form
+      it was subsequently given to the world in <i>The Vicar of Wakefield</i>.
+    </p>
+
+    <p>
+      With the exception of an abortive attempt to resume his practice as a
+      medical man,&mdash;an attempt which seems to have been frustrated by the
+      preternatural strength of his prescriptions,&mdash;the next memorable
+      thing in Goldsmith&rsquo;s life is the publication of <i>The Vicar of
+      Wakefield</i> itself. It made its appearance on the 27th of March,
+      1766. A second edition followed in May, a third in August. Why, having
+      been sold (in part) to a Salisbury printer as far back as October, 1762,
+      it had remained unprinted so long; and why, when published, it was
+      published by Francis Newbery and not by John Newbery, Goldsmith&rsquo;s
+<a name="page_xxii" id="page_xxii"></a>
+      employer,&mdash;are questions at present unsolved. But the charm of this
+      famous novel is as fresh as when it was first issued. Its inimitable
+      types, its happy mingling of Christianity and character, its wholesome
+      benevolence and its practical wisdom, are still unimpaired. We smile at
+      the inconsistencies of the plot; but we are carried onward in spite of
+      them, captivated by the grace, the kindliness, the gentle humour of the
+      story. Yet it is a mistake to suppose that its success was instantaneous.
+      Pirated it was, of course; but, according to expert investigations, the
+      authorized edition brought so little gain to its first proprietors that
+      the fourth issue of 1770 started with a loss. The fifth, published in
+      April, 1774, was dated 1773; and had apparently been withheld because the
+      previous edition, which consisted of no more than one thousand copies, was
+      not exhausted. Five years elapsed before the sixth edition made its tardy
+      appearance in 1779. These facts show that the writer&rsquo;s contemporaries were
+      not his most eager readers. But he has long since appealed to the wider
+      audience of posterity; and his fame is not confined to his native country,
+      for he has been translated into most European languages. Dr. Primrose and
+      his family are now veritable &lsquo;citizens of the world.&rsquo;
+    </p>
+
+    <p>
+      A selection of <i>Poems for Young Ladies</i>, in the &lsquo;Moral&rsquo;
+      division of which he included his own <i>Edwin and Angelina</i>; two
+      volumes of <i>Beauties of English Poesy</i>, disfigured with strange
+      heedlessness, by a couple of the most objectionable pieces of Prior; a
+      translation of a French history of philosophy, and other occasional work,
+      followed the publication of the <i>Vicar</i>. But towards the middle
+      of 1766, he was meditating a new experiment in that line in which
+      Farquhar, Steele, Southerne, and others of his countrymen had succeeded
+      before him. A fervent lover of the stage, he detested the vapid and
+      colourless &lsquo;genteel&rsquo;
+      comedy which had gradually gained ground in England; and he determined to
+      follow up <i>The Clandestine Marriage</i>, then recently adapted by
+      Colman and Garrick from Hogarth&rsquo;s <i>Marriage A-la-Mode</i>, with
+      another effort of the same class, depending exclusively for its interest
+      upon humour and character. Early in 1767 it was completed, and submitted
+      to Garrick for Drury Lane. But Garrick perhaps too politic to traverse the
+      popular taste, temporized; and eventually after many delays and
+      disappointments, <i>The Good Natur&rsquo;d Man</i>, as it was called, was
+      produced at Covent Garden by Colman on the 29th of January, 1768. Its
+      success was only partial; and in deference to the prevailing craze for the
+      &lsquo;genteel,&rsquo; an admirable scene of low humour had to be omitted in the
+      representation. But the piece, notwithstanding, brought the author 400
+      pounds, to which the sale of the book, with the condemned passages
+      restored, added another 100 pounds. Furthermore, Johnson, whose
+      &lsquo;Suspirius&rsquo; in <i>The Rambler</i> was, under the name of &lsquo;Croaker,&rsquo;
+      one of its most prominent personages, pronounced it to be the best comedy
+      since Cibber&rsquo;s <i>Provok&rsquo;d Husband</i>.
+    </p>
+
+    <p>
+      During the autumn of 1767, Goldsmith had again been living at Islington.
+      On this occasion he had a room in Canonbury Tower, Queen Elizabeth&rsquo;s old
+      hunting-lodge, and perhaps occupied the very chamber generally used by
+      John Newbery, whose active life was, in this year, to close. When in
+      London he had modest housing in the Temple. But the acquisition of 500
+      pounds for <i>The Good Natur&rsquo;d Man</i> seemed to warrant a change of
+      residence, and he accordingly expended four-fifths of that sum for the
+      lease of three rooms on the second floor of No. 2 Brick Court, which he
+      straightway proceeded to decorate sumptuously with mirrors, Wilton
+      carpets, moreen curtains, and Pembroke tables. It was an unfortunate step;
+      and he would have done well to remember the <i>Nil</i>
+      <i>te quaesiveris extra</i> with which his inflexible monitor, Johnson,
+      had greeted his apologies for the shortcomings of some earlier lodgings.
+      One of its natural results was to involve him in a new sequence of
+      task-work, from which he never afterwards shook himself free. Hence,
+      following hard upon a <i>Roman History</i> which he had already
+      engaged to write for Davies of Russell Street, came a more ambitious
+      project for Griffin, <i>A History of Animated Nature</i>; and after
+      this again, another <i>History of England</i> for Davies. The pay
+      was not inadequate; for the first he was to have 250 guineas, for the
+      second 800 guineas, and for the last 500 pounds. But as employment for the
+      author of a unique novel, an excellent comedy, and a deservedly successful
+      poem, it was surely&mdash;in his own words&mdash;&lsquo;to cut blocks with a
+      razor.&rsquo;
+    </p>
+
+    <p>
+      And yet, apart from the anxieties of growing money troubles, his life
+      could not have been wholly unhappy. There are records of pleasant
+      occasional junketings&mdash;&lsquo;shoe-maker&rsquo;s holidays&rsquo; he called them&mdash;in
+      the still countrified suburbs of Hampstead and Edgware; there was the
+      gathering at the Turk&rsquo;s Head, with its literary magnates, for his severer
+      hours; and for his more pliant moments, the genial &lsquo;free-and-easy&rsquo; or
+      shilling whist-club of a less pretentious kind, where the student of mixed
+      character might shine with something of the old supremacy of George
+      Conway&rsquo;s inn at Ballymahon. And there must have been quieter and more
+      chastened resting-places of memory, when, softening towards the home of
+      his youth, with a sadness made more poignant by the death of his brother
+      Henry in May, 1768, he planned and perfected his new poem of <i>The
+      Deserted Village</i>.
+    </p>
+
+    <p>
+      In December, 1769, the recent appointment of his friend Reynolds as
+      President of the Royal Academy brought him the honorary office of
+      Professor of History to that
+      institution; and to Reynolds <i>The Deserted Village</i> was
+      dedicated. It appeared on the 26th of May, 1770, with a success equal, if
+      not superior, to that of <i>The Traveller</i>. It ran through five
+      editions in the year of its publication; and has ever since retained its
+      reputation. If, as alleged, contemporary critics ranked it below its
+      predecessor, the reason advanced by Washington Irving, that the poet had
+      become his own rival, is doubtless correct; and there is always a
+      prejudice in favour of the first success. This, however, is not an
+      obstacle which need disturb the reader now; and he will probably decide
+      that in grace and tenderness of description <i>The Deserted Village</i>
+      in no wise falls short of <i>The Traveller</i>; and that its central
+      idea, and its sympathy with humanity, give it a higher value as a work of
+      art.
+    </p>
+
+    <p>
+      After <i>The Deserted Village</i> had appeared, Goldsmith made a
+      short trip to Paris, in company with Mrs. and the two Miss Hornecks, the
+      elder of whom, christened by the poet with the pretty pet-name of &lsquo;The
+      Jessamy Bride,&rsquo; is supposed to have inspired him with more than friendly
+      feelings. Upon his return he had to fall again to the old &lsquo;book-building&rsquo;
+      in order to recruit his exhausted finances. Since his last poem he had
+      published a short <i>Life of Parnell</i>; and Davies now engaged him
+      on a <i>Life of Bolingbroke</i>, and an abridgement of the <i>Roman
+      History</i>. Thus, with visits to friends, among others to Lord Clare,
+      for whom he wrote the delightful occasional verses called <i>The Haunch
+      of Venison</i>, the months wore on until, in December, 1770, the
+      print-shops began to be full of the well-known mezzotint which Marchi had
+      engraved from his portrait by Sir Joshua.
+    </p>
+
+    <p>
+      His chief publications in the next two years were the above-mentioned
+      <i>History of England</i>, 1771; <i>Threnodia Augustalis</i>,
+      a poetical lament-to-order on the death of the Princess Dowager of Wales,
+      1772; and the abridgement
+      of the <i>Roman History</i>, 1772. But in the former year he had
+      completed a new comedy, <i>She Stoops to Conquer; or, The Mistakes of a
+      Night</i>, which, after the usual vexatious negotiations, was brought
+      out by Colman at Covent Garden on Monday, the 15th of March, 1773. The
+      manager seems to have acted Goldsmith&rsquo;s own creation of &lsquo;Croaker&rsquo; with
+      regard to this piece, and even to the last moment predicted its failure.
+      But it was a brilliant success. More skilful in construction than <i>The
+      Good Natur&rsquo;d Man</i>, more various in its contrasts of character,
+      richer and stronger in humour and <i>vis comica</i>, <i>She Stoops to
+      Conquer</i> has continued to provide an inexhaustible fund of laughter
+      to more than three generations of playgoers, and still bids fair to retain
+      the character generally given to it, of being one of the three most
+      popular comedies upon the English stage. When published, it was gratefully
+      inscribed, in one of those admirable dedications of which its author above
+      all men possessed the secret, to Johnson, who had befriended it from the
+      first. &lsquo;I do not mean,&rsquo; wrote Goldsmith, &lsquo;so much to compliment you as
+      myself. It may do me some honour to inform the public, that I have lived
+      many years in intimacy with you. It may serve the interests of mankind
+      also to inform them, that the greatest wit may be found in a character,
+      without impairing the most unaffected piety.&rsquo;
+    </p>
+
+    <p>
+      His gains from <i>She Stoops to Conquer</i> were considerable; but
+      by this time his affairs had reached a stage of complication which nothing
+      short of a miracle could disentangle; and there is reason for supposing
+      that his involved circumstances preyed upon his mind. During the few
+      months of life that remained to him he published nothing, being doubtless
+      sufficiently occupied by the undertakings to which he was already
+      committed. The last of his poetical efforts was the poem entitled
+<a name="page_xxvii" id="page_xxvii"></a>
+      <i>Retaliation</i>, a group of epitaph-epigrams prompted by some
+      similar <i>jeux d&rsquo;esprit</i> directed against himself by Garrick and other
+      friends, and left incomplete at his death. In March, 1774, the combined
+      effects of work and worry, added to a local disorder, brought on a nervous
+      fever, which he unhappily aggravated by the use of a patent medicine
+      called &lsquo;James&rsquo;s Powder.&rsquo; He had often relied upon this before, but in the
+      present instance it was unsuited to his complaint. On Monday, the 4th of
+      April, 1774, he died, in his forty-sixth year, and was buried on the 9th
+      in the burying-ground of the Temple Church. Two years later a monument,
+      with a medallion portrait by Nollekens, and a Latin inscription by
+      Johnson, was erected to him in Westminster Abbey, at the expense of the
+      Literary Club. But although the inscription contains more than one phrase
+      of felicitous discrimination, notably the oft-quoted <i>affectuum potens,
+      at lenis dominator</i>, it may be doubted whether the simpler words used
+      by his rugged old friend in a letter to Langton are not a fitter farewell
+      to Oliver Goldsmith,&mdash;&lsquo;Let not his frailties be remembered; he was a
+      very great man.&rsquo;
+    </p>
+
+    <p>
+      In person Goldsmith was short and strongly built. His complexion was
+      rather fair, but he was deeply scarred with small-pox; and&mdash;if we
+      may believe his own account&mdash;the vicissitudes and privations of his
+      early life had not tended to diminish his initial disadvantages. &lsquo;You
+      scarcely can conceive,&rsquo; he writes to his brother in 1759, &lsquo;how much eight
+      years of disappointment, anguish, and study, have worn me down. . . .
+      Imagine to yourself a pale melancholy visage, with two great wrinkles
+      between the eye-brows, with an eye disgustingly severe, and a big wig; and
+      you may have a perfect picture of my present appearance,&rsquo; i.e. at thirty
+      years of age. &lsquo;I can neither laugh nor drink,&rsquo; he goes on; &lsquo;have
+      contracted an hesitating, disagreeable manner of speaking, and a visage
+      that looks ill-nature itself; in short, I have thought myself into a
+      settled melancholy, and an utter disgust of all that life brings with it.&rsquo;
+      It is obvious that this description is largely coloured by passing
+      depression. &lsquo;His features,&rsquo; says one contemporary, &lsquo;were plain, but not
+      repulsive,&mdash;certainly not so when lighted up by conversation.&rsquo;
+      Another witness&mdash;the &lsquo;Jessamy Bride&rsquo;&mdash;declares that &lsquo;his
+      benevolence was unquestionable, and his countenance bore every trace of
+      it.&rsquo; His true likeness would seem to lie midway between the grotesquely
+      truthful sketch by Bunbury prefixed in 1776 to the <i>Haunch of Venison</i>,
+      and the portrait idealized by personal regard, which Reynolds painted in
+      1770. In this latter he is shown wearing, in place of his customary wig,
+      his own scant brown hair, and, on this occasion, masquerades in a furred
+      robe, and falling collar. But even through the disguise of a studio
+      &lsquo;costume,&rsquo; the finely-perceptive genius of Reynolds has managed to suggest
+      much that is most appealing in his sitter&rsquo;s nature. Past suffering,
+      present endurance, the craving to be understood, the mute deprecation of
+      contempt, are all written legibly in this pathetic picture. It has been
+      frequently copied, often very ineffectively, for so subtle is the art that
+      the slightest deviation hopelessly distorts and vulgarizes what Reynolds
+      has done supremely, once and for ever.
+    </p>
+
+    <p>
+      Goldsmith&rsquo;s character presents but few real complexities. What seems most
+      to have impressed his contemporaries is the difference, emphasized by the
+      happily-antithetic epigram of Garrick, between his written style and his
+      conversation; and collaterally, between his eminence as a literary man and
+      his personal insignificance. Much of this is easily intelligible. He had
+      started in life with few temporal or physical advantages, and with a
+      native susceptibility that intensified his defects. Until
+      he became a middle-aged man, he led a life of which we do not even now
+      know all the degradations; and these had left their mark upon his manners.
+      With the publication of <i>The Traveller</i>, he became at once the
+      associate of some of the best talent and intellect in England,&mdash;of
+      fine gentlemen such as Beauclerk and Langton, of artists such as Reynolds
+      and Garrick, of talkers such as Johnson and Burke. Morbidly
+      self-conscious, nervously anxious to succeed, he was at once forced into a
+      competition for which neither his antecedents nor his qualifications had
+      prepared him. To this, coupled with the old habit of poverty, must be
+      attributed his oft-cited passion for fine clothes, which surely arose less
+      from vanity than from a mistaken attempt to extenuate what he felt to be
+      his most obvious shortcomings. As a talker especially he was ill-fitted to
+      shine. He was easily disconcerted by retort, and often discomfited in
+      argument. To the end of his days he never lost his native brogue; and (as
+      he himself tells us) he had that most fatal of defects to a narrator, a
+      slow and hesitating manner. The perspicuity which makes the charm of his
+      writings deserted him in conversation; and his best things were momentary
+      flashes. But some of these were undoubtedly very happy. His telling
+      Johnson that he would make the little fishes talk like whales; his
+      affirmation of Burke that he wound into a subject like a serpent; and
+      half-a-dozen other well-remembered examples&mdash;afford ample proof of
+      this. Something of the uneasy jealousy he is said to have exhibited with
+      regard to certain of his contemporaries may also be connected with the
+      long probation of obscurity during which he had been a spectator of the
+      good fortune of others, to whom he must have known himself superior. His
+      improvidence seems to have been congenital, since it is to be traced &lsquo;even
+      from his boyish days.&rsquo; But though it cannot justly be ascribed to any
+      reaction from want to sufficiency, it can still less be supposed to have
+      been diminished by that change. If he was careless of money, it must also
+      be remembered that he gave much of it away; and fortune lingers little
+      with those whose ears are always open to a plausible tale of distress. Of
+      his sensibility and genuine kindheartedness there is no doubt. And it is
+      well to remember that most of the tales to his disadvantage come, not from
+      his more distinguished companions, but from such admitted detractors as
+      Hawkins and Boswell. It could be no mean individuality that acquired the
+      esteem, and deserved the regret, of Johnson and Reynolds.
+    </p>
+
+<p>
+In an edition of Goldsmith&rsquo;s poems, any extended examination of his
+remaining productions would be out of place. Moreover, the bulk of these is
+considerably reduced when all that may properly be classed as hack-work has
+been withdrawn. The histories of Greece, of Rome, and of England; the
+<i>Animated Nature</i>; the lives of Nash, Voltaire, Parnell, and Bolingbroke,
+are merely compilations, only raised to the highest level in that line because
+they proceeded from a man whose gift of clear and easy exposition lent a charm
+to everything he touched. With the work which he did for himself, the case is
+different. Into <i>The Citizen of the World</i>, <i>The Vicar of Wakefield</i>,
+and his two comedies, he put all the best of his knowledge of human nature, his
+keen sympathy with his kind, his fine common-sense and his genial humour. The
+same qualities, tempered by a certain grace and tenderness, also enter into the
+best of his poems. Avoiding the epigram of Pope and the austere couplet of
+Johnson, he yet borrowed something from each, which he combined with a delicacy
+and an amenity that he had learned from neither. He himself, in all
+probability, would have rested his fame on his three chief metrical efforts,
+<i>The Traveller</i>, <i>The Hermit</i>, and <i>The Deserted Village</i>. But,
+as is often the case, he is remembered even more favourably by some of those
+delightful familiar verses, unprinted during his lifetime, which he threw off
+with no other ambition than the desire to amuse his friends.
+<i>Retaliation</i>, <i> The Haunch of Venison</i>, the <i>Letter in Prose and
+Verse to Mrs. Bunbury</i>, all afford noteworthy exemplification of that
+playful touch and wayward fancy which constitute the chief attraction of this
+species of poetry. In his imitations of Swift and Prior, and his variations
+upon French suggestions, his personal note is scarcely so apparent; but the two
+Elegies and some of the minor pieces retain a deserved reputation. His
+ingenious prologues and epilogues also serve to illustrate the range and
+versatility of his talent. As a rule, the arrangement in the present edition is
+chronological; but it has not been thought necessary to depart from the
+practice which gives a time-honoured precedence to <i>The Traveller</i> and
+<i>The Deserted Village</i>. The true sequence of the poems, in their order of
+publication, is, however, exactly indicated in the table which follows this
+Introduction.
+</p>
+
+<h3><a name="chronology" id="chronology"></a>
+CHRONOLOGY OF GOLDSMITH&rsquo;S LIFE AND POEMS.
+</h3>
+
+    <table summary="the first column gives the year and the second, the significant dates for that year">
+      <tr>
+        <td></td>
+      </tr>
+      <tr>
+        <td></td>
+        <td>
+          &nbsp;
+        </td>
+      </tr>
+      <tr>
+        <td></td>
+        <td>
+          &nbsp;
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1728
+        </td>
+        <td>
+          <i>November 10.</i> Born at Pallas, near Ballymahon, in the county of
+          Longford, Ireland.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1730
+        </td>
+        <td>
+          Family remove to Lissoy, in the county of Westmeath.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1731
+        </td>
+        <td>
+          Under Elizabeth Delap.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1734
+        </td>
+        <td>
+          Under Mr. Thomas Byrne of the village school.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1736–44
+        </td>
+        <td>
+          At school at Elphin (Mr. Griffin&rsquo;s), Athlone (Mr. Campbell&rsquo;s),
+          Edgeworthstown (Mr. Hughes&rsquo;s).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1744
+        </td>
+        <td>
+          <i>June 11.</i> Admitted a sizar of Trinity College, Dublin, <i>&lsquo;annum
+          agens</i> 15.&rsquo;
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1747
+        </td>
+        <td>
+          Death of his father, the Rev. Charles Goldsmith.<br /> <i>May.</i>
+          Takes part in a college riot.<br /> <i>June 15.</i> Obtains a Smythe
+          exhibition.<br /> Runs away from college.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1749
+        </td>
+        <td>
+          <i>February 27.</i> Takes his degree as Bachelor of Arts.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1751
+        </td>
+        <td>
+          Rejected for orders by the Bishop of Elphin.<br /> Tutor to Mr. Flinn.<br />
+          Sets out for America (via Cork), but returns.<br /> Letter to Mrs.
+          Goldsmith (his mother).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1752
+        </td>
+        <td>
+          Starts as a law student, but loses his all at play.<br /> Goes to
+          Edinburgh to become a medical student.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1753
+        </td>
+        <td>
+          <i>January 13.</i> Admitted a member of the &lsquo;Medical Society&rsquo; of
+          Edinburgh.<br /> <i>May 8.</i> Letter to his Uncle Contarine.<br /> <i>September
+          26.</i> Letter to Robert Bryanton.<br /> Letter to his Uncle Contarine.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1754
+        </td>
+        <td>
+          Goes to Leyden. Letter to his Uncle Contarine.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1755
+        </td>
+        <td>
+          <i>February.</i> Leaves Leyden.<br /> Takes degree of Bachelor of
+          Medicine at Louvain (?).<br /> Travels on foot in France, Germany,
+          Switzerland, and Italy.<br /> Sketches <i>The Traveller</i>.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1756
+        </td>
+        <td>
+          <i>February 1.</i> Returns to Dover. Low comedian; usher (?);
+          apothecary&rsquo;s journeyman; poor physician in Bankside, Southwark.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1757
+        </td>
+        <td>
+          Press corrector to Samuel Richardson, printer and novelist; assistant
+          at Peckham Academy (Dr. Milner&rsquo;s).<br /> <i>April.</i> Bound over to
+          Griffiths the bookseller. Quarrels with Griffiths.<br /> <i>December
+          27.</i> Letter to his brother-in-law, Daniel Hodson.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1758
+        </td>
+        <td>
+          <i>February.</i> Publishes <i>The Memoirs of a Protestant,
+          condemned to the Galleys of France for his Religion</i>.<br /> Gives
+          up literature and returns to Peckham.<br /> <i>August.</i> Leaves
+          Peckham. Letters to Edward Mills, Bryanton, Mrs. Jane Lawder.<br />
+          Appointed surgeon and physician to a factory on the Coast of
+          Coromandel.<br /> <i>November (?).</i> Letter to Hodson.<br /> Moves
+          into 12 Green Arbour Court, Old Bailey.<br /> Coromandel appointment
+          comes to nothing.<br /> <i>December 21.</i> Rejected at Surgeons&rsquo; Hall
+          as &lsquo;not qualified&rsquo; for a hospital mate.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1759
+        </td>
+        <td>
+          <i>February (?).</i> Letter to Henry Goldsmith.<br /> <i>March.</i>
+          Visited by Percy at 12 Green Arbour Court.<br /> <i>April 2.</i> <i>Enquiry
+          into the Present State of Polite Learning in Europe</i> published.
+          &lsquo;Prologue of Laberius&rsquo; (<i>Enquiry</i>).<br /> <i>October 6.</i>
+          <i>The Bee</i> commenced. &lsquo;On a Beautiful Youth struck blind
+          with Lightning&rsquo; (<i>Bee</i>).<br /> <i>October 13.</i> &lsquo;The Gift&rsquo;
+          (<i>Bee</i>).<br /> <i>October 18.</i> &lsquo;The Logicians Refuted&rsquo; (<i>Busy
+          Body</i>).<br /> <i>October 20.</i> &lsquo;A Sonnet&rsquo; (<i>Bee</i>).<br />
+          <i>October 22.</i> &lsquo;Stanzas on the Taking of Quebec&rsquo; (<i>Busy Body</i>).<br />
+          <i>October 27.</i> &lsquo;Elegy on Mrs. Mary Blaize&rsquo; (<i>Bee</i>).<br />
+          <i>November 24.</i> <i>The Bee</i> closed.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1760
+        </td>
+        <td>
+          <i>January 1.</i> <i>The British Magazine</i> commenced.<br /> <i>January
+          12.</i> <i>The Public Ledger</i> commenced.<br /> <i>January 24.</i>
+          First Chinese Letter published (<i>Citizen of the World</i>).<br />
+          <i>May 2.</i> &lsquo;Description of an Author&rsquo;s Bedchamber&rsquo; (&lsquo;Chinese
+          Letter&rsquo; in <i>Public Ledger</i>).<br /> <i>October 21.</i> &lsquo;On
+          seeing Mrs. . . . perform,&rsquo; etc. (&lsquo;Chinese Letter&rsquo; in <i>Public
+          Ledger</i>).<br /> Editing <i>Lady&rsquo;s Magazine</i>. Compiling
+          Prefaces.<br /> Moves into 6 Wine Office Court, Fleet Street.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1761
+        </td>
+        <td>
+          <i>March 4.</i> &lsquo;On the Death of the Right Hon. . . . (&lsquo;Chinese
+          Letter&rsquo; in <i>Public Ledger</i>).<br /> <i>April 4–14.</i> &lsquo;An
+          Epigram&rsquo;; to G. C. and R. L. (&lsquo;Chinese Letter in <i>Public Ledger</i>).<br />
+          <i>May 13.</i> &lsquo;Translation of a South American Ode.&rsquo; (&lsquo;Chinese
+          Letter&rsquo; in <i>Public Ledger</i>)<br /> <i>August 14.</i> Last
+          Chinese Letter published (<i>Citizen of the World</i>).<br />
+          <i>Memoirs of M. de Voltaire</i> published in <i>Lady&rsquo;s
+          Magazine</i>.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1762
+        </td>
+        <td>
+          <i>February 23.</i> Pamphlet on Cock Lane Ghost published.<br /> <i>February
+          26.</i> <i>History of Mecklenburgh</i> published.<br /> <i>May 1.</i>
+          <i>Citizen of the World</i> published.<br /> <i>May 1 to Nov. 1.</i>
+          <i>Plutarch&rsquo;s Lives</i>, vol. i to vii, published.<br /> At Bath
+          and Tunbridge.<br /> <i>October 14.</i> <i>Life of Richard Nash</i>
+          published.<br /> <i>October 28.</i> Sells third share of <i>Vicar of
+          Wakefield</i> to B. Collins, printer, Salisbury.<br /> At Mrs.
+          Fleming&rsquo;s at Islington.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1763
+        </td>
+        <td>
+          <i>March 31.</i> Agrees with James Dodsley to write a <i>
+          Chronological History of the Lives of Eminent Persons of Great Britain
+          and Ireland</i>. (Never done.)
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1764
+        </td>
+        <td>
+          &lsquo;The Club,&rsquo; afterwards the Literary Club, founded.<br /> Moves into
+          lodgings on the library staircase of the Temple.<br /> <i>June 26.</i>
+          <i>History of England, in a series of Letters from a Nobleman to
+          his Son</i> published.<br /> <i>October 31.</i> Oratorio of <i>The
+          Captivity</i> sold to James Dodsley.<br /> <i>December 19.</i> <i>The
+          Traveller</i> published.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1765
+        </td>
+        <td>
+          <i>June 4.</i> <i>Essays by Mr. Goldsmith</i> published. &lsquo;The
+          Double Transformation,&rsquo; &lsquo;A New Simile&rsquo; (<i>Essays</i>).<br />
+          <i>Edwin and Angelina</i> (<i>The Hermit</i>) printed
+          privately for the amusement of the Countess of Northumberland.<br />
+          Resumes practice as a physician.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1766
+        </td>
+        <td>
+          <i>March 27.</i> <i>Vicar of Wakefield</i> published. &lsquo;Elegy on
+          a Mad Dog&rsquo;; &lsquo;Olivia&rsquo;s Song&rsquo; (<i>Vicar of Wakefield</i>).<br /> <i>May
+          31.</i> <i>Vicar of Wakefield</i>, 2nd edition.<br /> <i>June.</i>
+          Translation of Formey&rsquo;s <i>Concise History of Philosophy and
+          Philosophers</i> published.<br /> <i>August 29.</i> <i>Vicar of
+          Wakefield</i>, 3rd edition.<br /> <i>December 15.</i> <i>Poems
+          for Young Ladies</i> published.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1766
+        </td>
+        <td>
+          <i>December 28.</i> <i>English Grammar</i> written.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1767
+        </td>
+        <td>
+          <i>April.</i> <i>Beauties of English Poesy</i> published.<br />
+          <i>July 19.</i> Living in Garden Court, Temple.<br /> <i>July 25.</i>
+          Letter to the <i>St. James&rsquo;s Chronicle</i>.<br /> <i>December 22.</i>
+          Death of John Newbery.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1768
+        </td>
+        <td>
+          <i>February 5.</i> Publishes <i>The Good Natur&rsquo;d Man</i>, a
+          Comedy, produced at Covent Garden, January 29. &lsquo;Epilogue to <i>The
+          Good Natur&rsquo;d Man</i>.&rsquo;<br /> Moves to 2 Brick Court, Middle Temple.<br />
+          <i>May.</i> Death of Henry Goldsmith.<br /> Living at Edgware.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1769
+        </td>
+        <td>
+          <i>February 18.</i> &lsquo;Epilogue to Mrs. Lenox&rsquo;s <i> Sister</i>.&rsquo;<br />
+          <i>February 29.</i> Agreement for &lsquo;a new Natural History of Animals&rsquo; (<i>Animated
+          Nature</i>).<br /> <i>May 18.</i> <i>Roman History</i>
+          published.<br /> <i>June 13.</i> Agreement for <i>History of England</i>.<br />
+          <i>December.</i> Appointed Professor of History to the Royal Academy.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1770
+        </td>
+        <td>
+          <i>January.</i> Letter to Maurice Goldsmith.<br /> <i>April 24–May 26.</i>
+          Portrait by Reynolds exhibited.<br /> <i>May 26.</i> <i>The Deserted
+          Village</i> published.<br /> <i>July 13.</i> <i>Life of Thomas
+          Parnell</i> published.<br /> <i>July.</i> On the Continent with the
+          Hornecks. Letters to Reynolds.<br /> <i>September 15.</i> Agreement for
+          abridgement of <i>Roman History</i>.<br /> <i>December 1.</i>
+          Marchi&rsquo;s print from Reynold&rsquo;s portrait published.<br /> <i>December 19.</i>
+          <i>Life of Bolingbroke</i> published.<br /> <i>Vicar of
+          Wakefield</i>, 4th edition.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1771
+        </td>
+        <td>
+          <i>Haunch of Venison</i> written. (?)<br /> <i>August 6.</i>
+          <i>History of England</i> published.<br /> <i>December 11.</i>
+          &lsquo;Prologue to Cradock&rsquo;s <i> Zobeide</i>.&rsquo;
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1772
+        </td>
+        <td>
+          <i>February 20.</i> <i>Threnodia Augustalis</i> published.<br />
+          Watson&rsquo;s Engraving of <i>Resignation</i> published.<br /> <i>December.</i>
+          Abridgement of <i>Roman History</i> published.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1773
+        </td>
+        <td>
+          <i>March 26.</i> Publishes <i>She Stoops to Conquer; or, The
+          Mistakes of a Night</i>, a Comedy, produced at Covent Garden, March
+          15. &lsquo;Song in <i>She Stoops to Conquer</i>,&rsquo; &lsquo;Epilogue to <i>She
+          Stoops to Conquer</i>.&rsquo;
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1773
+        </td>
+        <td>
+          <i>March 24.</i> Kenrick&rsquo;s libel in the <i>London Packet</i>.<br />
+          <i>March 31.</i> Letter in the <i>Daily Advertiser</i>.<br /> <i>May
+          8.</i> <i>The Grumbler</i> produced.<br /> Projects a <i>Dictionary
+          of Arts and Sciences</i>.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1774
+        </td>
+        <td>
+          <i>March 25.</i> Illness.<br /> <i>April 4.</i> Death.<br /> <i>April 9.</i>
+          &lsquo;Buried 9th April, Oliver Goldsmith, MB, late of Brick-court, Middle
+          Temple&rsquo; (Register of Burials, Temple Church).<br /> <i>April 19.</i>
+          <i>Retaliation</i> published.<br /> <i>April.</i> <i>Vicar of
+          Wakefield</i>, 5th edition (dated 1773).<br /> <i>June.</i> Song
+          (&lsquo;Ah me, when shall I marry me?&rsquo;) published.<br /> <i>June 28.</i>
+          Letters of Administration granted.<br /> <i>June.</i> <i>An History
+          of the Earth and Animated Nature</i> published.<br /> &lsquo;Translation
+          from Addison.&rsquo; (<i>History</i>, etc., 1774.)
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1776
+        </td>
+        <td>
+          <i>The Haunch of Venison</i> published. &lsquo;Epitaph on Thomas
+          Parnell,&rsquo; and &lsquo;Two Songs from <i>The Captivity</i> (<i>Haunch
+          of Venison</i>).<br /> Monument with medallion by Nollekens erected
+          in the south transept of Westminster Abbey.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1777
+        </td>
+        <td>
+          <i>Poems and Plays</i> published. &lsquo;The Clown&rsquo;s Reply,&rsquo; &lsquo;Epitaph
+          on Edward Purdon&rsquo; (<i>Poems</i>, etc., 1777).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1779
+        </td>
+        <td>
+          <i>Vicar of Wakefield</i>, 6th edition.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1780
+        </td>
+        <td>
+          <i>Poetical and Dramatic Works</i>, Evans&rsquo;s edition, published.<br />
+          &lsquo;Epilogue for Lee Lewes&rsquo; (<i>Poetical, etc., Works</i>, 1780).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1801
+        </td>
+        <td>
+          <i>Miscellaneous Works</i>, Percy&rsquo;s edition, published.
+          &lsquo;Epilogues (unspoken) to <i>She Stoops to Conquer</i>&rsquo; (<i>Misc.
+          Works</i>, 1801).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1820
+        </td>
+        <td>
+          <i>Miscellaneous Works</i>, &lsquo;trade&rsquo; edition, published. An
+          Oratorio&rsquo; (<i>The Captivity</i>). (<i>Misc. Works</i>,
+          1820.)
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1837
+        </td>
+        <td>
+          <i>Miscellaneous Works</i>, Prior&rsquo;s edition, published. &lsquo;Verses
+          in Reply to an Invitation to Dinner&rsquo;; &lsquo;Letter in Prose and Verse to
+          Mrs. Bunbury&rsquo; (<i>Misc. Works</i>, 1837).<br /> Tablet erected in
+          the Temple Church.
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1854
+        </td>
+        <td>
+          <i>Goldsmith&rsquo;s Works</i>, Cunningham&rsquo;s edition, published.
+          &lsquo;Translation of Vida&rsquo;s <i>Game of Chess</i>&rsquo; (<i>Works</i>,
+          1854, vol. iv).
+        </td>
+      </tr>
+      <tr>
+        <td valign="top">
+          1864
+        </td>
+        <td>
+          <i>January 5.</i> J. H. Foley&rsquo;s statue placed in front of Dublin
+          University.
+        </td>
+      </tr>
+    </table>
+
+<hr />
+
+<div class="fig" style="width:100%;">
+<a name="vignette" id="vignette"></a>
+<img src="images/vignette.jpg" width="365" height="244" alt="[Illustration: Vignette to ‘The Traveller’]" />
+<p class="caption">VIGNETTE TO &lsquo;THE TRAVELLER&rsquo;<br /> <small>(Samuel Wale)</small></p>
+</div>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="page_3" id="page_3"></a><a name="descriptive" id="descriptive"></a>
+DESCRIPTIVE POEMS
+</h2>
+
+    <p class="center">
+    <a name="poem01"></a>
+      <br /> THE TRAVELLER<br /> <br /> OR<br /> <br /> A PROSPECT OF SOCIETY<br />
+      <br /> <br /> <b>DEDICATION</b><br /> <small>TO THE REV. HENRY GOLDSMITH</small>
+      <br />
+    </p>
+    <p>
+      D<small>EAR</small> S<small>IR</small>,<br /> I am sensible that the
+      friendship between us can acquire no new force from the ceremonies of a
+      Dedication; and perhaps it demands an excuse thus to prefix your name to
+      my attempts, which you decline giving with your own. But as a part of this
+      Poem was formerly written to you from Switzerland, the whole can now, with
+      propriety, be only inscribed to you. It will also throw a light upon many
+      parts of it, when the reader understands, that it is addressed to a man,
+      who, despising Fame and Fortune, has retired early to Happiness and
+      Obscurity, with an income of forty pounds a year.
+    </p>
+
+    <p>
+      I now perceive, my dear brother, the wisdom of your humble choice. You
+      have entered upon a sacred office, where the harvest is great, and the
+      labourers are but few; while you have left the field of Ambition, where
+      the labourers are many, and the harvest not worth carrying away. But of
+      all kinds of ambition, what from the refinement of the times, from
+      different systems of criticism, and from the divisions of party, that
+      which pursues poetical fame is the wildest.
+    </p>
+
+    <p>
+      Poetry makes a principal amusement among unpolished nations; but in a
+      country verging to the extremes of refinement, Painting and Music come in
+      for a share. As these offer the feeble mind a less laborious
+      entertainment,
+<a name="page_4" id="page_4"></a>
+      they at first rival Poetry, and at length supplant her; they engross all
+      that favour once shown to her, and though but younger sisters, seize upon
+      the elder&rsquo;s birthright.
+    </p>
+
+    <p>
+      Yet, however this art may be neglected by the powerful, it is still in
+      greater danger from the mistaken efforts of the learned to improve it.
+      What criticisms have we not heard of late in favour of blank verse, and
+      Pindaric odes, choruses, anapaests and iambics, alliterative care and
+      happy negligence! Every absurdity has now a champion to defend it; and as
+      he is generally much in the wrong, so he has always much to say; for error
+      is ever talkative.
+    </p>
+
+    <p>
+      But there is an enemy to this art still more dangerous, I mean Party.
+      Party entirely distorts the judgment, and destroys the taste. When the
+      mind is once infected with this disease, it can only find pleasure in what
+      contributes to increase the distemper. Like the tiger, that seldom desists
+      from pursuing man after having once preyed upon human flesh, the reader,
+      who has once gratified his appetite with calumny, makes, ever after, the
+      most agreeable feast upon murdered reputation. Such readers generally
+      admire some half-witted thing, who wants to be thought a bold man, having
+      lost the character of a wise one. Him they dignify with the name of poet;
+      his tawdry lampoons are called satires, his turbulence is said to be
+      force, and his frenzy fire.
+    </p>
+
+    <p>
+      What reception a Poem may find, which has neither abuse, party, nor blank
+      verse to support it, I cannot tell, nor am I solicitous to know. My aims
+      are right. Without espousing the cause of any party, I have attempted to
+      moderate the rage of all. I have endeavoured to show, that there may be
+      equal happiness in states, that are differently governed from our own;
+      that every state has a particular principle of happiness, and that this
+      principle in each may be carried to a mischievous excess. There are few
+      can judge, better than yourself, how far these positions are illustrated
+      in this Poem.
+    </p>
+    <p>
+      I am, dear Sir,<br /> Your most affectionate Brother,<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; O<small>LIVER</small> G<small>OLDSMITH</small>.
+      <br />
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="page_5" id="page_5"></a>
+<a name="traveller" id="traveller"></a>
+<img src="images/traveller.jpg" width="242" height="120" alt="[Illustration: ]" />
+</div>
+
+    <p>
+      <b>THE TRAVELLER</b><br /> <br /> <small>OR</small><br /> <br /> A PROSPECT OF
+      SOCIETY<br />
+    </p>
+<pre xml:space="preserve">
+REMOTE, unfriended, melancholy, slow,
+Or by the lazy Scheldt, or wandering Po;
+Or onward, where the rude Carinthian boor
+Against the houseless stranger shuts the door;
+Or where Campania&rsquo;s plain forsaken lies,                       5
+A weary waste expanding to the skies:
+Where&rsquo;er I roam, whatever realms to see,
+My heart untravell&rsquo;d fondly turns to thee;
+Still to my brother turns with ceaseless pain,
+And drags at each remove a lengthening chain.                 10
+
+  Eternal blessings crown my earliest friend,
+And round his dwelling guardian saints attend:
+Bless&rsquo;d be that spot, where cheerful guests retire
+To pause from toil, and trim their ev&rsquo;ning fire;
+Bless&rsquo;d that abode, where want and pain repair,               15
+And every stranger finds a ready chair;
+Bless&rsquo;d be those feasts with simple plenty crown&rsquo;d,<a name="page_6" id="page_6"></a>
+Where all the ruddy family around
+Laugh at the jests or pranks that never fail,
+Or sigh with pity at some mournful tale,                      20
+Or press the bashful stranger to his food,
+And learn the luxury of doing good.
+
+  But me, not destin&rsquo;d such delights to share,
+My prime of life in wand&rsquo;ring spent and care,
+Impell&rsquo;d, with steps unceasing, to pursue                     25
+Some fleeting good, that mocks me with the view;
+That, like the circle bounding earth and skies,
+Allures from far, yet, as I follow, flies;
+My fortune leads to traverse realms alone,
+And find no spot of all the world my own.                     30
+
+  E&rsquo;en now, where Alpine solitudes ascend,
+I sit me down a pensive hour to spend;
+And, plac&rsquo;d on high above the storm&rsquo;s career,
+Look downward where a hundred realms appear;
+Lakes, forests, cities, plains, extending wide,               35
+The pomp of kings, the shepherd&rsquo;s humbler pride.
+
+  When thus Creation&rsquo;s charms around combine,
+Amidst the store, should thankless pride repine?
+Say, should the philosophic mind disdain
+That good, which makes each humbler bosom vain?               40
+Let school-taught pride dissemble all it can,
+These little things are great to little man;
+And wiser he, whose sympathetic mind
+Exults in all the good of all mankind.
+Ye glitt&rsquo;ring towns, with wealth and splendour crown&rsquo;d,       45
+Ye fields, where summer spreads profusion round,
+Ye lakes, whose vessels catch the busy gale,
+Ye bending swains, that dress the flow&rsquo;ry vale,<a name="page_7" id="page_7"></a>
+For me your tributary stores combine;
+Creation&rsquo;s heir, the world, the world is mine!                50
+
+  As some lone miser visiting his store,
+Bends at his treasure, counts, re-counts it o&rsquo;er;
+Hoards after hoards his rising raptures fill,
+Yet still he sighs, for hoards are wanting still:
+Thus to my breast alternate passions rise,                    55
+Pleas&rsquo;d with each good that heaven to man supplies:
+Yet oft a sigh prevails, and sorrows fall,
+To see the hoard of human bliss so small;
+And oft I wish, amidst the scene, to find
+Some spot to real happiness consign&rsquo;d,                        60
+Where my worn soul, each wand&rsquo;ring hope at rest,
+May gather bliss to see my fellows bless&rsquo;d.
+
+  But where to find that happiest spot below,
+Who can direct, when all pretend to know?
+The shudd&rsquo;ring tenant of the frigid zone                      65
+Boldly proclaims that happiest spot his own,
+Extols the treasures of his stormy seas,
+And his long nights of revelry and ease;
+The naked negro, panting at the line,
+Boasts of his golden sands and palmy wine,                    70
+Basks in the glare, or stems the tepid wave,
+And thanks his gods for all the good they gave.
+Such is the patriot&rsquo;s boast, where&rsquo;er we roam,
+His first, best country ever is, at home.
+And yet, perhaps, if countries we compare,                    75
+And estimate the blessings which they share,
+Though patriots flatter, still shall wisdom find
+An equal portion dealt to all mankind,<a name="page_8" id="page_8"></a>
+As different good, by Art or Nature given,
+To different nations makes their blessings even.              80
+
+  Nature, a mother kind alike to all,
+Still grants her bliss at Labour&rsquo;s earnest call;
+With food as well the peasant is supplied
+On Idra&rsquo;s cliffs as Arno&rsquo;s shelvy side;
+And though the rocky-crested summits frown,                   85
+These rocks, by custom, turn to beds of down.
+From Art more various are the blessings sent;
+Wealth commerce, honour, liberty, content.
+Yet these each other&rsquo;s power so strong contest,
+That either seems destructive of the rest.                    90
+Where wealth and freedom reign, contentment fails,
+And honour sinks where commerce long prevails.
+Hence every state to one lov&rsquo;d blessing prone,
+Conforms and models life to that alone.
+Each to the favourite happiness attends,                      95
+And spurns the plan that aims at other ends;
+Till, carried to excess in each domain,
+This favourite good begets peculiar pain.
+
+  But let us try these truths with closer eyes,
+And trace them through the prospect as it lies:              100
+Here for a while my proper cares resign&rsquo;d,
+Here let me sit in sorrow for mankind,
+Like yon neglected shrub at random cast,
+That shades the steep, and sighs at every blast.
+
+  Far to the right where Apennine ascends,                   105
+Bright as the summer, Italy extends;
+Its uplands sloping deck the mountain&rsquo;s side,
+Woods over woods in gay theatric pride;<a name="page_9" id="page_9"></a>
+While oft some temple&rsquo;s mould&rsquo;ring tops between
+With venerable grandeur mark the scene                       110
+</pre>
+
+<div class="fig" style="width:100%;">
+<a name="traveller2" id="traveller2"></a>
+<img src="images/traveller2.jpg" width="240" height="277" alt="[Illustration: ]" />
+<p class="caption">THE TRAVELLER<br />
+(R. Westall)</p>
+</div>
+
+<pre xml:space="preserve">
+  Could Nature&rsquo;s bounty satisfy the breast,
+The sons of Italy were surely blest.
+Whatever fruits in different climes were found,
+That proudly rise, or humbly court the ground;
+Whatever blooms in torrid tracts appear,                     115
+Whose bright succession decks the varied year;
+Whatever sweets salute the northern sky
+With vernal lives that blossom but to die;
+These here disporting own the kindred soil,
+Nor ask luxuriance from the planter&rsquo;s toil;                  120
+While sea-born gales their gelid wings expand
+To winnow fragrance round the smiling land.
+
+  But small the bliss that sense alone bestows,
+And sensual bliss is all the nation knows.
+In florid beauty groves and fields appear,                   125
+Man seems the only growth that dwindles here.
+Contrasted faults through all his manner reign;
+Though poor, luxurious; though submissive, vain;
+Though grave, yet trifling; zealous, yet untrue;
+And e&rsquo;en in penance planning sins anew.                      130
+All evils here contaminate the mind,
+That opulence departed leaves behind;
+For wealth was theirs, not far remov&rsquo;d the date,
+When commerce proudly flourish&rsquo;d through the state;
+At her command the palace learn&rsquo;d to rise,                   135
+Again the long-fall&rsquo;n column sought the skies;
+The canvas glow&rsquo;d beyond e&rsquo;en Nature warm,
+The pregnant quarry teem&rsquo;d with human form;
+Till, more unsteady than the southern gale,<a name="page_10" id="page_10"></a>
+Commerce on other shores display&rsquo;d her sail;                 140
+While nought remain&rsquo;d of all that riches gave,
+But towns unmann&rsquo;d, and lords without a slave;
+And late the nation found, with fruitless skill,
+Its former strength was but plethoric ill.
+
+  Yet still the loss of wealth is here supplied              145
+By arts, the splendid wrecks of former pride;
+From these the feeble heart and long-fall&rsquo;n mind
+An easy compensation seem to find.
+Here may be seen, in bloodless pomp array&rsquo;d,
+The paste-board triumph and the cavalcade;                   150
+Processions form&rsquo;d for piety and love,
+A mistress or a saint in every grove.
+By sports like these are all their cares beguil&rsquo;d,
+The sports of children satisfy the child;
+Each nobler aim, repress&rsquo;d by long control,                  155
+Now sinks at last, or feebly mans the soul;
+While low delights, succeeding fast behind,
+In happier meanness occupy the mind:
+As in those domes, where Caesars once bore sway,
+Defac&rsquo;d by time and tottering in decay,                      160
+There in the ruin, heedless of the dead,
+The shelter-seeking peasant builds his shed,
+And, wond&rsquo;ring man could want the larger pile,
+Exults, and owns his cottage with a smile.
+
+  My soul, turn from them; turn we to survey                 165
+Where rougher climes a nobler race display,
+Where the bleak Swiss their stormy mansions tread,
+And force a churlish soil for scanty bread;
+No product here the barren hills afford,
+But man and steel, the soldier and his sword;                170<a name="page_11" id="page_11"></a>
+No vernal blooms their torpid rocks array,
+But winter ling&rsquo;ring chills the lap of May;
+No Zephyr fondly sues the mountain&rsquo;s breast,
+But meteors glare, and stormy glooms invest.
+
+  Yet still, e&rsquo;en here, content can spread a charm,          175
+Redress the clime, and all its rage disarm.
+Though poor the peasant&rsquo;s hut, his feasts though small,
+He sees his little lot the lot of all;
+Sees no contiguous palace rear its head
+To shame the meanness of his humble shed;                    180
+No costly lord the sumptuous banquet deal
+To make him loathe his vegetable meal;
+But calm, and bred in ignorance and toil,
+Each wish contracting, fits him to the soil.
+Cheerful at morn he wakes from short repose,                 185
+Breasts the keen air, and carols as he goes;
+With patient angle trolls the finny deep,
+Or drives his vent&rsquo;rous plough-share to the steep;
+Or seeks the den where snow-tracks mark the way,
+And drags the struggling savage into day.                    190
+At night returning, every labour sped,
+He sits him down the monarch of a shed;
+Smiles by his cheerful fire, and round surveys
+His children&rsquo;s looks, that brighten at the blaze;
+While his lov&rsquo;d partner, boastful of her hoard,              195
+Displays her cleanly platter on the board:
+And haply too some pilgrim, thither led,
+With many a tale repays the nightly bed.
+
+  Thus every good his native wilds impart,
+Imprints the patriot passion on his heart,                   200<a name="page_12" id="page_12"></a>
+And e&rsquo;en those ills, that round his mansion rise,
+Enhance the bliss his scanty fund supplies.
+Dear is that shed to which his soul conforms,
+And dear that hill which lifts him to the storms;
+And as a child, when scaring sounds molest,                  205
+Clings close and closer to the mother&rsquo;s breast,
+So the loud torrent, and the whirlwind&rsquo;s roar,
+But bind him to his native mountains more.
+
+  Such are the charms to barren states assign&rsquo;d;
+Their wants but few, their wishes all confin&rsquo;d.              210
+Yet let them only share the praises due,
+If few their wants, their pleasures are but few;
+For every want that stimulates the breast,
+Becomes a source of pleasure when redrest.
+Whence from such lands each pleasing science flies,          215
+That first excites desire, and then supplies;
+Unknown to them, when sensual pleasures cloy,
+To fill the languid pause with finer joy;
+Unknown those powers that raise the soul to flame,
+Catch every nerve, and vibrate through the frame.            220
+Their level life is but a smould&rsquo;ring fire,
+Unquench&rsquo;d by want, unfann&rsquo;d by strong desire;
+Unfit for raptures, or, if raptures cheer
+On some high festival of once a year,
+In wild excess the vulgar breast takes fire,                 225
+Till, buried in debauch, the bliss expire.
+
+  But not their joys alone thus coarsely flow:
+Their morals, like their pleasures, are but low;
+For, as refinement stops, from sire to son
+Unalter&rsquo;d, unimprov&rsquo;d the manners run;                       230<a name="page_13" id="page_13"></a>
+And love&rsquo;s and friendship&rsquo;s finely pointed dart
+Fall blunted from each indurated heart.
+Some sterner virtues o&rsquo;er the mountain&rsquo;s breast
+May sit, like falcons cow&rsquo;ring on the nest;
+But all the gentler morals, such as play                     235
+Through life&rsquo;s more cultur&rsquo;d walks, and charm the way,
+These far dispers&rsquo;d, on timorous pinions fly,
+To sport and flutter in a kinder sky.
+
+  To kinder skies, where gentler manners reign,
+I turn; and France displays her bright domain.               240
+Gay sprightly land of mirth and social ease,
+Pleas&rsquo;d with thyself, whom all the world can please,
+How often have I led thy sportive choir,
+With tuneless pipe, beside the murmuring Loire!
+Where shading elms along the margin grew,                    245
+And freshen&rsquo;d from the wave the Zephyr flew;
+And haply, though my harsh touch falt&rsquo;ring still,
+But mock&rsquo;d all tune, and marr&rsquo;d the dancer&rsquo;s skill;
+Yet would the village praise my wondrous power,
+And dance, forgetful of the noon-tide hour.                  250
+Alike all ages. Dames of ancient days
+Have led their children through the mirthful maze,
+And the gay grandsire, skill&rsquo;d in gestic lore,
+Has frisk&rsquo;d beneath the burthen of threescore.
+
+  So bless&rsquo;d a life these thoughtless realms display,        255
+Thus idly busy rolls their world away:
+Theirs are those arts that mind to mind endear,
+For honour forms the social temper here:
+Honour, that praise which real merit gains,
+Or e&rsquo;en imaginary worth obtains,                             260<a name="page_14" id="page_14"></a>
+Here passes current; paid from hand to hand,
+It shifts in splendid traffic round the land:
+From courts, to camps, to cottages it strays,
+And all are taught an avarice of praise;
+They please, are pleas&rsquo;d, they give to get esteem,           265
+Till, seeming bless&rsquo;d, they grow to what they seem.
+
+  But while this softer art their bliss supplies,
+It gives their follies also room to rise;
+For praise too dearly lov&rsquo;d, or warmly sought,
+Enfeebles all internal strength of thought;                  270
+And the weak soul, within itself unblest,
+Leans for all pleasure on another&rsquo;s breast.
+Hence ostentation here, with tawdry art,
+Pants for the vulgar praise which fools impart;
+Here vanity assumes her pert grimace,                        275
+And trims her robes of frieze with copper lace;
+Here beggar pride defrauds her daily cheer,
+To boast one splendid banquet once a year;
+The mind still turns where shifting fashion draws,
+Nor weighs the solid worth of self-applause.                 280
+
+  To men of other minds my fancy flies,
+Embosom&rsquo;d in the deep where Holland lies.
+Methinks her patient sons before me stand,
+Where the broad ocean leans against the land,
+And, sedulous to stop the coming tide,                       285
+Lift the tall rampire&rsquo;s artificial pride.
+Onward, methinks, and diligently slow,
+The firm-connected bulwark seems to grow;
+Spreads its long arms amidst the wat&rsquo;ry roar,
+Scoops out an empire, and usurps the shore;                  290<a name="page_15" id="page_15"></a>
+While the pent ocean rising o&rsquo;er the pile,
+Sees an amphibious world beneath him smile;
+The slow canal, the yellow-blossom&rsquo;d vale,
+The willow-tufted bank, the gliding sail,
+The crowded mart, the cultivated plain,                      295
+A new creation rescu&rsquo;d from his reign.
+
+  Thus, while around the wave-subjected soil
+Impels the native to repeated toil,
+Industrious habits in each bosom reign,
+And industry begets a love of gain.                          300
+Hence all the good from opulence that springs,
+With all those ills superfluous treasure brings,
+Are here displayed. Their much-lov&rsquo;d wealth imparts
+Convenience, plenty, elegance, and arts;
+But view them closer, craft and fraud appear,                305
+E&rsquo;en liberty itself is barter&rsquo;d here.
+At gold&rsquo;s superior charms all freedom flies,
+The needy sell it, and the rich man buys;
+A land of tyrants, and a den of slaves,
+Here wretches seek dishonourable graves,                     310
+And calmly bent, to servitude conform,
+Dull as their lakes that slumber in the storm.
+
+  Heavens! how unlike their Belgic sires of old!
+Rough, poor, content, ungovernably bold;
+War in each breast, and freedom on each brow;                315
+How much unlike the sons of Britain now!
+
+  Fir&rsquo;d at the sound, my genius spreads her wing,
+And flies where Britain courts the western spring;
+Where lawns extend that scorn Arcadian pride,
+And brighter streams than fam&rsquo;d Hydaspes glide.              320<a name="page_16" id="page_16"></a>
+There all around the gentlest breezes stray,
+There gentle music melts on ev&rsquo;ry spray;
+Creation&rsquo;s mildest charms are there combin&rsquo;d,
+Extremes are only in the master&rsquo;s mind!
+Stern o&rsquo;er each bosom reason holds her state,                325
+With daring aims irregularly great;
+Pride in their port, defiance in their eye,
+I see the lords of human kind pass by,
+Intent on high designs, a thoughtful band,
+By forms unfashion&rsquo;d, fresh from Nature&rsquo;s hand;              330
+Fierce in their native hardiness of soul,
+True to imagin&rsquo;d right, above control,
+While e&rsquo;en the peasant boasts these rights to scan,
+And learns to venerate himself as man.
+
+  Thine, Freedom, thine the blessings pictur&rsquo;d here,         335
+Thine are those charms that dazzle and endear;
+Too bless&rsquo;d, indeed, were such without alloy,
+But foster&rsquo;d e&rsquo;en by Freedom, ills annoy:
+That independence Britons prize too high,
+Keeps man from man, and breaks the social tie;               340
+The self-dependent lordlings stand alone,
+All claims that bind and sweeten life unknown;
+Here by the bonds of nature feebly held,
+Minds combat minds, repelling and repell&rsquo;d.
+Ferments arise, imprison&rsquo;d factions roar,                    345
+Repress&rsquo;d ambition struggles round her shore,
+Till over-wrought, the general system feels
+Its motions stop, or frenzy fire the wheels.
+
+  Nor this the worst. As nature&rsquo;s ties decay,
+As duty, love, and honour fail to sway,                      350<a name="page_17" id="page_17"></a>
+Fictitious bonds, the bonds of wealth and law,
+Still gather strength, and force unwilling awe.
+Hence all obedience bows to these alone,
+And talent sinks, and merit weeps unknown;
+Time may come, when stripp&rsquo;d of all her charms,              355
+The land of scholars, and the nurse of arms,
+Where noble stems transmit the patriot flame,
+Where kings have toil&rsquo;d, and poets wrote for fame,
+One sink of level avarice shall lie,
+And scholars, soldiers, kings, unhonour&rsquo;d die.               360
+
+  Yet think not, thus when Freedom&rsquo;s ills I state,
+I mean to flatter kings, or court the great;
+Ye powers of truth, that bid my soul aspire,
+Far from my bosom drive the low desire;
+And thou, fair Freedom, taught alike to feel                 365
+The rabble&rsquo;s rage, and tyrant&rsquo;s angry steel;
+Thou transitory flower, alike undone
+By proud contempt, or favour&rsquo;s fostering sun,
+Still may thy blooms the changeful clime endure,
+I only would repress them to secure:                         370
+For just experience tells, in every soil,
+That those who think must govern those that toil;
+And all that freedom&rsquo;s highest aims can reach,
+Is but to lay proportion&rsquo;d loads on each.
+Hence, should one order disproportion&rsquo;d grow,                375
+Its double weight must ruin all below.
+
+  O then how blind to all that truth requires,
+Who think it freedom when a part aspires!
+Calm is my soul, nor apt to rise in arms,
+Except when fast-approaching danger warms:                   380<a name="page_18" id="page_18"></a>
+But when contending chiefs blockade the throne,
+Contracting regal power to stretch their own;
+When I behold a factious band agree
+To call it freedom when themselves are free;
+Each wanton judge new penal statutes draw,                   385
+Laws grind the poor, and rich men rule the law;
+The wealth of climes, where savage nations roam,
+Pillag&rsquo;d from slaves to purchase slaves at home;
+Fear, pity, justice, indignation start,
+Tear off reserve, and bare my swelling heart;                390
+Till half a patriot, half a coward grown,
+I fly from petty tyrants to the throne.
+
+  Yes, brother, curse with me that baleful hour,
+When first ambition struck at regal power;
+And thus polluting honour in its source,                     395
+Gave wealth to sway the mind with double force.
+Have we not seen, round Britain&rsquo;s peopled shore,
+Her useful sons exchang&rsquo;d for useless ore?
+Seen all her triumphs but destruction haste,
+Like flaring tapers bright&rsquo;ning as they waste;               400
+Seen opulence, her grandeur to maintain,
+Lead stern depopulation in her train,
+And over fields where scatter&rsquo;d hamlets rose,
+In barren solitary pomp repose?
+Have we not seen, at pleasure&rsquo;s lordly call,                 405
+The smiling long-frequented village fall?
+Beheld the duteous son, the sire decay&rsquo;d,
+The modest matron, and the blushing maid,
+Forc&rsquo;d from their homes, a melancholy train,
+To traverse climes beyond the western main;                  410<a name="page_19" id="page_19"></a>
+Where wild Oswego spreads her swamps around,
+And Niagara stuns with thund&rsquo;ring sound?
+
+  E&rsquo;en now, perhaps as there some pilgrim strays
+Through tangled forests, and through dangerous ways;
+Where beasts with man divided empire claim,                  415
+And the brown Indian marks with murd&rsquo;rous aim;
+There, while above the giddy tempest flies,
+And all around distressful yells arise,
+The pensive exile, bending with his woe,
+To stop too fearful, and too faint to go,                    420
+Casts a long look where England&rsquo;s glories shine,
+And bids his bosom sympathise with mine.
+
+  Vain, very vain, my weary search to find
+That bliss which only centres in the mind:
+Why have I stray&rsquo;d from pleasure and repose,                 425
+To seek a good each government bestows?
+In every government, though terrors reign,
+Though tyrant kings, or tyrant laws restrain,
+How small, of all that human hearts endure,
+That part which laws or kings can cause or cure.             430
+Still to ourselves in every place consign&rsquo;d,
+Our own felicity we make or find:
+With secret course, which no loud storms annoy,
+Glides the smooth current of domestic joy.
+The lifted axe, the agonising wheel,                         435
+Luke&rsquo;s iron crown, and Damiens&rsquo; bed of steel,
+To men remote from power but rarely known,
+Leave reason, faith, and conscience all our own.
+</pre>
+
+<hr />
+
+<div class="fig" style="width:100%;">
+<a name="page_21" id="page_21"></a>
+<a name="vignette2" id="vignette2"></a>
+<img src="images/vignette2.jpg" width="380" height="228" alt="[Illustration: Vignette to ‘The Deserted Village’]" />
+<p class="caption">VIGNETTE TO &lsquo;THE DESERTED VILLAGE&rsquo;<br />
+(Isaac Taylor)</p>
+</div>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="poem02"></a>THE DESERTED VILLAGE</h2>
+    <p>
+      <br /> DEDICATION<br /> <br /> <small>TO SIR JOSHUA REYNOLDS</small><br />
+    </p>
+    <p>
+      D<small>EAR</small> S<small>IR</small>,<br /> I can have no expectations in
+      an address of this kind, either to add to your reputation, or to establish
+      my own. You can gain nothing from my admiration, as I am ignorant of that
+      art in which you are said to excel; and I may lose much by the severity of
+      your judgment, as few have a juster taste in poetry than you. Setting
+      interest therefore aside, to which I never paid much attention, I must be
+      indulged at present in following my affections. The only dedication I ever
+      made was to my brother, because I loved him better than most other men. He
+      is since dead. Permit me to inscribe this Poem to you.
+    </p>
+
+    <p>
+      How far you may be pleased with the versification and mere mechanical
+      parts of this attempt, I don&rsquo;t pretend to enquire; but I know you will
+      object (and indeed several of our best and wisest friends concur in the
+      opinion) that the depopulation it deplores is no where to be seen, and the
+      disorders it laments are only to be found in the poet&rsquo;s own imagination.
+      To this I can scarce make any other answer than that I sincerely believe
+      what I have written; that I have taken all possible pains, in my country
+      excursions, for these four or five years past, to be certain of what I
+      allege; and that all my views and enquiries have led me to believe those
+      miseries real, which I here attempt to display. But this is not the place
+      to enter into an enquiry, whether the country be depopulating or not; the
+      discussion would take up much room, and I should prove myself, at best, an
+      indifferent politician, to tire the reader with a long preface, when I
+      want his unfatigued attention to a long poem.
+    </p>
+
+    <p><a name="page_22" id="page_22"></a>
+      In regretting the depopulation of the country, I inveigh against the
+      increase of our luxuries; and here also I expect the shout of modern
+      politicians against me. For twenty or thirty years past, it has been the
+      fashion to consider luxury as one of the greatest national advantages; and
+      all the wisdom of antiquity in that particular, as erroneous. Still
+      however, I must remain a professed ancient on that head, and continue to
+      think those luxuries prejudicial to states, by which so many vices are
+      introduced, and so many kingdoms have been undone. Indeed so much has been
+      poured out of late on the other side of the question, that, merely for the
+      sake of novelty and variety, one would sometimes wish to be in the right.
+    </p>
+    <p>
+      I am, Dear Sir,<br />
+      Your sincere friend, and ardent admirer,<br />
+      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;O<small>LIVER</small> G<small>OLDSMITH</small>.
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="page_23" id="page_23"></a>
+<a name="village" id="village"></a>
+<img src="images/village.jpg" width="241" height="97" alt="[Illustration: ]" />
+</div>
+
+<h3>THE DESERTED VILLAGE</h3>
+
+<pre xml:space="preserve">
+SWEET AUBURN! loveliest village of the plain,
+Where health and plenty cheer&rsquo;d the labouring swain,
+Where smiling spring its earliest visit paid,
+And parting summer&rsquo;s lingering blooms delay&rsquo;d:
+Dear lovely bowers of innocence and ease,                      5
+Seats of my youth, when every sport could please,
+How often have I loiter&rsquo;d o&rsquo;er thy green,
+Where humble happiness endear&rsquo;d each scene;
+How often have I paus&rsquo;d on every charm,
+The shelter&rsquo;d cot, the cultivated farm,                       10
+The never-failing brook, the busy mill,
+The decent church that topp&rsquo;d the neighbouring hill,
+The hawthorn bush, with seats beneath the shade,
+For talking age and whisp&rsquo;ring lovers made;
+How often have I bless&rsquo;d the coming day,                      15
+When toil remitting lent its turn to play,
+And all the village train, from labour free,
+Led up their sports beneath the spreading tree;
+While many a pastime circled in the shade,
+The young contending as the old survey&rsquo;d;                     20<a name="page_24" id="page_24"></a>
+And many a gambol frolick&rsquo;d o&rsquo;er the ground,
+And sleights of art and feats of strength went round;
+And still as each repeated pleasure tir&rsquo;d,
+Succeeding sports the mirthful band inspir&rsquo;d;
+The dancing pair that simply sought renown,                   25
+By holding out to tire each other down;
+The swain mistrustless of his smutted face,
+While secret laughter titter&rsquo;d round the place;
+The bashful virgin&rsquo;s side-long looks of love,
+The matron&rsquo;s glance that would those looks reprove:           30
+These were thy charms, sweet village; sports like these,
+With sweet succession, taught e&rsquo;en toil to please;
+These round thy bowers their cheerful influence shed,
+These were thy charms&mdash;But all these charms are fled.
+
+  Sweet smiling village, loveliest of the lawn,               35
+Thy sports are fled, and all thy charms withdrawn;
+Amidst thy bowers the tyrant&rsquo;s hand is seen,
+And desolation saddens all thy green:
+One only master grasps the whole domain,
+And half a tillage stints thy smiling plain:                  40
+No more thy glassy brook reflects the day,
+But chok&rsquo;d with sedges, works its weedy way.
+Along thy glades, a solitary guest,
+The hollow-sounding bittern guards its nest;
+Amidst thy desert walks the lapwing flies,                    45
+And tires their echoes with unvaried cries.
+Sunk are thy bowers in shapeless ruin all,
+And the long grass o&rsquo;ertops the mould&rsquo;ring wall;
+And trembling, shrinking from the spoiler&rsquo;s hand,
+Far, far away, thy children leave the land.                   50
+</pre>
+
+<pre xml:space="preserve">
+<a name="page_25" id="page_25"></a>
+  Ill fares the land, to hast&rsquo;ning ills a prey,
+Where wealth accumulates, and men decay:
+Princes and lords may flourish, or may fade;
+A breath can make them, as a breath has made;
+But a bold peasantry, their country&rsquo;s pride,                  55
+When once destroy&rsquo;d, can never be supplied.
+
+  A time there was, ere England&rsquo;s griefs began,
+When every rood of ground maintain&rsquo;d its man;
+For him light labour spread her wholesome store,
+Just gave what life requir&rsquo;d, but gave no more:               60
+His best companions, innocence and health;
+And his best riches, ignorance of wealth.
+
+  But times are alter&rsquo;d; trade&rsquo;s unfeeling train
+Usurp the land and dispossess the swain;
+Along the lawn, where scatter&rsquo;d hamlets rose,                 65
+Unwieldy wealth, and cumbrous pomp repose;
+And every want to opulence allied,
+And every pang that folly pays to pride.
+Those gentle hours that plenty bade to bloom,
+Those calm desires that ask&rsquo;d but little room,                70
+Those healthful sports that grac&rsquo;d the peaceful scene,
+Liv&rsquo;d in each look, and brighten&rsquo;d all the green;
+These, far departing, seek a kinder shore,
+And rural mirth and manners are no more.
+
+  Sweet AUBURN!  parent of the blissful hour,                 75
+Thy glades forlorn confess the tyrant&rsquo;s power.
+Here as I take my solitary rounds,
+Amidst thy tangling walks, and ruin&rsquo;d grounds,
+And, many a year elaps&rsquo;d, return to view
+Where once the cottage stood, the hawthorn grew,              80<a name="page_26" id="page_26"></a>
+Remembrance wakes with all her busy train,
+Swells at my breast, and turns the past to pain.
+
+  In all my wand&rsquo;rings round this world of care,
+In all my griefs&mdash;and GOD has given my share&mdash;
+I still had hopes my latest hours to crown,                   85
+Amidst these humble bowers to lay me down;
+To husband out life&rsquo;s taper at the close,
+And keep the flame from wasting by repose.
+I still had hopes, for pride attends us still,
+Amidst the swains to show my book-learn&rsquo;d skill,              90
+Around my fire an evening group to draw,
+And tell of all I felt, and all I saw;
+And, as a hare, whom hounds and horns pursue,
+Pants to the place from whence at first she flew,
+I still had hopes, my long vexations pass&rsquo;d,                  95
+Here to return&mdash;and die at home at last.
+
+  O blest retirement, friend to life&rsquo;s decline,
+Retreats from care, that never must be mine,
+How happy he who crowns in shades like these,
+A youth of labour with an age of ease;                       100
+Who quits a world where strong temptations try
+And, since &rsquo;tis hard to combat, learns to fly!
+For him no wretches, born to work and weep,
+Explore the mine, or tempt the dangerous deep;
+No surly porter stands in guilty state                       105
+To spurn imploring famine from the gate;
+But on he moves to meet his latter end,
+Angels around befriending Virtue&rsquo;s friend;
+Bends to the grave with unperceiv&rsquo;d decay,
+While Resignation gently slopes the way;                     110<a name="page_27" id="page_27"></a>
+And, all his prospects bright&rsquo;ning to the last,
+His Heaven commences ere the world be pass&rsquo;d!
+</pre>
+
+<div class="fig" style="width:100%;">
+<a name="watercressgatherer"></a>
+<img src="images/watercressgatherer.jpg" width="484" height="600" alt="[Illustration: ]" />
+<p class="caption">The Water-cress gatherer<br />
+(John Bewick)</p>
+</div>
+
+<pre xml:space="preserve">
+  Sweet was the sound, when oft at evening&rsquo;s close
+Up yonder hill the village murmur rose;
+There, as I pass&rsquo;d with careless steps and slow,             115
+The mingling notes came soften&rsquo;d from below;
+The swain responsive as the milk-maid sung,
+The sober herd that low&rsquo;d to meet their young;
+The noisy geese that gabbled o&rsquo;er the pool,
+The playful children just let loose from school;             120
+The watchdog&rsquo;s voice that bay&rsquo;d the whisp&rsquo;ring wind,
+And the loud laugh that spoke the vacant mind;
+These all in sweet confusion sought the shade,
+And fill&rsquo;d each pause the nightingale had made.
+But now the sounds of population fail,                       125
+No cheerful murmurs fluctuate in the gale,
+No busy steps the grass-grown foot-way tread,
+For all the bloomy flush of life is fled.
+All but yon widow&rsquo;d, solitary thing
+That feebly bends beside the plashy spring;                  130
+She, wretched matron, forc&rsquo;d in age, for bread,
+To strip the brook with mantling cresses spread,
+To pick her wintry faggot from the thorn,
+To seek her nightly shed, and weep till morn;
+She only left of all the harmless train,                     135
+The sad historian of the pensive plain.
+
+  Near yonder copse, where once the garden smil&rsquo;d,
+And still where many a garden flower grows wild;
+There, where a few torn shrubs the place disclose,
+The village preacher&rsquo;s modest mansion rose.                  140<a name="page_28" id="page_28"></a>
+A man he was to all the country dear,
+And passing rich with forty pounds a year;
+Remote from towns he ran his godly race,
+Nor e&rsquo;er had chang&rsquo;d, nor wished to change his place;
+Unpractis&rsquo;d he to fawn, or seek for power,                   145
+By doctrines fashion&rsquo;d to the varying hour;
+Far other aims his heart had learned to prize,
+More skill&rsquo;d to raise the wretched than to rise.
+His house was known to all the vagrant train,
+He chid their wand&rsquo;rings, but reliev&rsquo;d their pain;           150
+The long-remember&rsquo;d beggar was his guest,
+Whose beard descending swept his aged breast;
+The ruin&rsquo;d spendthrift, now no longer proud,
+Claim&rsquo;d kindred there, and had his claims allow&rsquo;d;
+The broken soldier, kindly bade to stay,                     155
+Sat by his fire, and talk&rsquo;d the night away;
+Wept o&rsquo;er his wounds, or tales of sorrow done,
+Shoulder&rsquo;d his crutch, and show&rsquo;d how fields were won.
+Pleas&rsquo;d with his guests, the good man learn&rsquo;d to glow,
+And quite forgot their vices in their woe;                   160
+Careless their merits, or their faults to scan,
+His pity gave ere charity began.
+
+  Thus to relieve the wretched was his pride,
+And e&rsquo;en his failings lean&rsquo;d to Virtue&rsquo;s side;
+But in his duty prompt at every call,                        165
+He watch&rsquo;d and wept, he pray&rsquo;d and felt, for all.
+And, as a bird each fond endearment tries
+To tempt its new-fledg&rsquo;d offspring to the skies,
+He tried each art, reprov&rsquo;d each dull delay,
+Allur&rsquo;d to brighter worlds, and led the way.                 170
+</pre>
+
+<pre xml:space="preserve">
+<a name="page_29" id="page_29"></a>
+  Beside the bed where parting life was laid,
+And sorrow, guilt, and pain, by turns dismay&rsquo;d,
+The reverend champion stood. At his control,
+Despair and anguish fled the struggling soul;
+Comfort came down the trembling wretch to raise,             175
+And his last falt&rsquo;ring accents whisper&rsquo;d praise.
+
+  At church, with meek and unaffected grace,
+His looks adorn&rsquo;d the venerable place;
+Truth from his lips prevail&rsquo;d with double sway,
+And fools, who came to scoff, remain&rsquo;d to pray.              180
+The service pass&rsquo;d, around the pious man,
+With steady zeal, each honest rustic ran;
+Even children follow&rsquo;d with endearing wile,
+And pluck&rsquo;d his gown, to share the good man&rsquo;s smile.
+His ready smile a parent&rsquo;s warmth express&rsquo;d,                 185
+Their welfare pleas&rsquo;d him, and their cares distress&rsquo;d;
+To them his heart, his love, his griefs were given,
+But all his serious thoughts had rest in Heaven.
+As some tall cliff, that lifts its awful form,
+Swells from the vale, and midway leaves the storm,           190
+Though round its breast the rolling clouds are spread,
+Eternal sunshine settles on its head.
+
+  Beside yon straggling fence that skirts the way,
+With blossom&rsquo;d furze unprofitably gay,
+There, in his noisy mansion, skill&rsquo;d to rule,                195
+The village master taught his little school;
+A man severe he was, and stern to view;
+I knew him well, and every truant knew;
+Well had the boding tremblers learn&rsquo;d to trace
+The day&rsquo;s disasters in his morning face;                     200<a name="page_30" id="page_30"></a>
+Full well they laugh&rsquo;d, with counterfeited glee,
+At all his jokes, for many a joke had he;
+Full well the busy whisper, circling round,
+Convey&rsquo;d the dismal tidings when he frown&rsquo;d;
+Yet he was kind; or if severe in aught,                      205
+The love he bore to learning was in fault;
+The village all declar&rsquo;d how much he knew;
+&rsquo;Twas certain he could write, and cypher too;
+Lands he could measure, terms and tides presage,
+And e&rsquo;en the story ran that he could gauge.                  210
+In arguing too, the parson own&rsquo;d his skill,
+For e&rsquo;en though vanquish&rsquo;d, he could argue still;
+While words of learned length and thund&rsquo;ring sound
+Amazed the gazing rustics rang&rsquo;d around,
+And still they gaz&rsquo;d, and still the wonder grew,             215
+That one small head could carry all he knew.
+
+  But past is all his fame. The very spot
+Where many a time he triumph&rsquo;d, is forgot.
+Near yonder thorn, that lifts its head on high,
+Where once the sign-post caught the passing eye,             220
+Low lies that house where nut-brown draughts inspir&rsquo;d,
+Where grey-beard mirth and smiling toil retir&rsquo;d,
+Where village statesmen talk&rsquo;d with looks profound,
+And news much older than their ale went round.
+Imagination fondly stoops to trace                           225
+The parlour splendours of that festive place;
+The white-wash&rsquo;d wall, the nicely sanded floor,
+The varnish&rsquo;d clock that click&rsquo;d behind the door;
+The chest contriv&rsquo;d a double debt to pay,
+A bed by night, a chest of drawers by day;                   230<a name="page_31" id="page_31"></a>
+The pictures plac&rsquo;d for ornament and use,
+The twelve good rules, the royal game of goose;
+The hearth, except when winter chill&rsquo;d the day,
+With aspen boughs, and flowers, and fennel gay;
+While broken tea-cups, wisely kept for show,                 235
+Rang&rsquo;d o&rsquo;er the chimney, glisten&rsquo;d in a row.
+
+  Vain, transitory splendours! Could not all
+Reprieve the tottering mansion from its fall!
+Obscure it sinks, nor shall it more impart
+An hour&rsquo;s importance to the poor man&rsquo;s heart;                240
+Thither no more the peasant shall repair
+To sweet oblivion of his daily care;
+No more the farmer&rsquo;s news, the barber&rsquo;s tale,
+No more the wood-man&rsquo;s ballad shall prevail;
+No more the smith his dusky brown shall clear,               245
+Relax his pond&rsquo;rous strength, and lean to hear;
+The host himself no longer shall be found
+Careful to see the mantling bliss go round;
+Nor the coy maid, half willing to be press&rsquo;d,
+Shall kiss the cup to pass it to the rest.                   250
+
+  Yes! let the rich deride, the proud disdain,
+These simple blessings of the lowly train;
+To me more dear, congenial to my heart,
+One native charm, than all the gloss of art;
+Spontaneous joys, where Nature has its play,                 255
+The soul adopts, and owns their first-born sway;
+Lightly they frolic o&rsquo;er the vacant mind,
+Unenvied, unmolested, unconfin&rsquo;d:
+But the long pomp, the midnight masquerade,
+With all the freaks of wanton wealth array&rsquo;d,                260<a name="page_32" id="page_32"></a>
+In these, ere triflers half their wish obtain,
+The toiling pleasure sickens into pain;
+And, e&rsquo;en while fashion&rsquo;s brightest arts decoy,
+The heart distrusting asks, if this be joy.
+
+  Ye friends to truth, ye statesmen, who survey              265
+The rich man&rsquo;s joys increase, the poor&rsquo;s decay,
+&rsquo;Tis yours to judge, how wide the limits stand
+Between a splendid and a happy land.
+Proud swells the tide with loads of freighted ore,
+And shouting Folly hails them from her shore;                270
+Hoards, e&rsquo;en beyond the miser&rsquo;s wish abound,
+And rich men flock from all the world around.
+Yet count our gains. This wealth is but a name
+That leaves our useful products still the same.
+Nor so the loss. The man of wealth and pride                 275
+Takes up a space that many poor supplied;
+Space for his lake, his park&rsquo;s extended bounds,
+Space for his horses, equipage, and hounds;
+The robe that wraps his limbs in silken sloth
+Has robb&rsquo;d the neighbouring fields of half their growth,     280
+His seat, where solitary sports are seen,
+Indignant spurns the cottage from the green;
+Around the world each needful product flies,
+For all the luxuries the world supplies:
+While thus the land adorn&rsquo;d for pleasure, all                285
+In barren splendour feebly waits the fall.
+
+  As some fair female unadorn&rsquo;d and plain,
+Secure to please while youth confirms her reign,
+Slights every borrow&rsquo;d charm that dress supplies,
+Nor shares with art the triumph of her eyes:                 290<a name="page_33" id="page_33"></a>
+But when those charms are pass&rsquo;d, for charms are frail,
+When time advances, and when lovers fail,
+She then shines forth, solicitous to bless,
+In all the glaring impotence of dress.
+Thus fares the land, by luxury betray&rsquo;d,                     295
+In nature&rsquo;s simplest charms at first array&rsquo;d;
+But verging to decline, its splendours rise,
+Its vistas strike, its palaces surprise;
+While scourg&rsquo;d by famine from the smiling land,
+The mournful peasant leads his humble band;                  300
+And while he sinks, without one arm to save,
+The country blooms&mdash;a garden, and a grave.
+
+  Where then, ah! where, shall poverty reside,
+To &rsquo;scape the pressure of continuous pride?
+If to some common&rsquo;s fenceless limits stray&rsquo;d,                305
+He drives his flock to pick the scanty blade,
+Those fenceless fields the sons of wealth divide,
+And e&rsquo;en the bare-worn common is denied.
+
+  If to the city sped&mdash;What waits him there?
+To see profusion that he must not share;                     310
+To see ten thousand baneful arts combin&rsquo;d
+To pamper luxury, and thin mankind;
+To see those joys the sons of pleasure know
+Extorted from his fellow creature&rsquo;s woe.
+Here, while the courtier glitters in brocade,                315
+There the pale artist plies the sickly trade;
+Here, while the proud their long-drawn pomps display,
+There the black gibbet glooms beside the way.
+The dome where Pleasure holds her midnight reign
+Here, richly deck&rsquo;d, admits the gorgeous train;              320<a name="page_34" id="page_34"></a>
+Tumultuous grandeur crowds the blazing square,
+The rattling chariots clash, the torches glare.
+Sure scenes like these no troubles e&rsquo;er annoy!
+Sure these denote one universal joy!
+Are these thy serious thoughts?&mdash;Ah, turn thine eyes         325
+Where the poor houseless shiv&rsquo;ring female lies.
+She once, perhaps, in village plenty bless&rsquo;d,
+Has wept at tales of innocence distress&rsquo;d;
+Her modest looks the cottage might adorn,
+Sweet as the primrose peeps beneath the thorn;               330
+Now lost to all; her friends, her virtue fled,
+Near her betrayer&rsquo;s door she lays her head,
+And, pinch&rsquo;d with cold, and shrinking from the shower,
+With heavy heart deplores that luckless hour,
+When idly first, ambitious of the town,                      335
+She left her wheel and robes of country brown.
+
+  Do thine, sweet AUBURN, thine, the loveliest train,
+Do thy fair tribes participate her pain?
+E&rsquo;en now, perhaps by cold and hunger led,
+At proud men&rsquo;s doors they ask a little bread!                340
+
+  Ah, no. To distant climes, a dreary scene,
+Where half the convex world intrudes between,
+Through torrid tracts with fainting steps they go,
+Where wild Altama murmurs to their woe.
+Far different there from all that charm&rsquo;d before,            345
+The various terrors of that horrid shore;
+Those blazing suns that dart a downward ray,
+And fiercely shed intolerable day;
+Those matted woods where birds forget to sing,
+But silent bats in drowsy clusters cling;                    350
+Those pois&rsquo;nous fields with rank luxuriance crown&rsquo;d,
+Where the dark scorpion gathers death around;
+Where at each step the stranger fears to wake
+The rattling terrors of the vengeful snake;
+Where crouching tigers wait their hapless prey,              355
+And savage men more murd&rsquo;rous still than they;
+While oft in whirls the mad tornado flies,
+Mingling the ravag&rsquo;d landscape with the skies.
+Far different these from every former scene,
+The cooling brook, the grassy-vested green,                  360
+The breezy covert of the warbling grove,
+That only shelter&rsquo;d thefts of harmless love.
+</pre>
+
+<div class="fig" style="width:100%;">
+<a name="page_35" id="page_35"></a>
+<a name="departure" id="departure"></a>
+<img src="images/departure.jpg" width="242" height="291" alt="[Illustration: ]" />
+<p class="caption">THE DEPARTURE<br />
+(Thomas Bewick)</p>
+</div>
+
+<pre xml:space="preserve">
+  Good heaven! what sorrows gloom&rsquo;d that parting day,
+That call&rsquo;d them from their native walks away;
+When the poor exiles, every pleasure pass&rsquo;d,                 365
+Hung round their bowers, and fondly look&rsquo;d their last,
+And took a long farewell, and wish&rsquo;d in vain
+For seats like these beyond the western main;
+And shudd&rsquo;ring still to face the distant deep,
+Return&rsquo;d and wept, and still return&rsquo;d to weep.               370
+The good old sire, the first prepar&rsquo;d to go
+To new-found worlds, and wept for others&rsquo; woe;
+But for himself, in conscious virtue brave,
+He only wish&rsquo;d for worlds beyond the grave.
+His lovely daughter, lovlier in her tears,                   375
+The fond companion of his helpless years,
+Silent went next, neglectful of her charms,
+And left a lover&rsquo;s for a father&rsquo;s arms.
+With louder plaints the mother spoke her woes,
+And bless&rsquo;d the cot where every pleasure rose                380<a name="page_36" id="page_36"></a>
+And kiss&rsquo;d her thoughtless babes with many a tear,
+And clasp&rsquo;d them close, in sorrow doubly dear;
+Whilst her fond husband strove to lend relief
+In all the silent manliness of grief.
+
+  O Luxury! thou curs&rsquo;d by Heaven&rsquo;s decree,                  385
+How ill exchang&rsquo;d are things like these for thee!
+How do thy potions, with insidious joy
+Diffuse their pleasures only to destroy!
+Kingdoms, by thee, to sickly greatness grown,
+Boast of a florid vigour not their own;                      390
+At every draught more large and large they grow,
+A bloated mass of rank unwieldy woe;
+Till sapp&rsquo;d their strength, and every part unsound,
+Down, down they sink, and spread a ruin round.
+
+  E&rsquo;en now the devastation is begun,                         395
+And half the business of destruction done;
+E&rsquo;en now, methinks, as pond&rsquo;ring here I stand,
+I see the rural virtues leave the land:
+Down where yon anchoring vessel spreads the sail,
+That idly waiting flaps with ev&rsquo;ry gale,                     400
+Downward they move, a melancholy band,
+Pass from the shore, and darken all the strand.
+Contented toil, and hospitable care,
+And kind connubial tenderness, are there;
+And piety, with wishes plac&rsquo;d above,                         405
+And steady loyalty, and faithful love.
+And thou, sweet Poetry, thou loveliest maid,
+Still first to fly where sensual joys invade;
+Unfit in these degenerate times of shame,
+To catch the heart, or strike for honest fame;               410<a name="page_37" id="page_37"></a>
+Dear charming nymph, neglected and decried,
+My shame in crowds, my solitary pride;
+Thou source of all my bliss, and all my woe,
+That found&rsquo;st me poor at first, and keep&rsquo;st me so;
+Thou guide by which the nobler arts excel,                   415
+Thou nurse of every virtue, fare thee well!
+Farewell, and Oh! where&rsquo;er thy voice be tried,
+On Torno&rsquo;s cliffs, or Pambamarca&rsquo;s side,
+Whether where equinoctial fervours glow,
+Or winter wraps the polar world in snow,                     420
+Still let thy voice, prevailing over time,
+Redress the rigours of th&rsquo; inclement clime;
+Aid slighted truth; with thy persuasive strain
+Teach erring man to spurn the rage of gain;
+Teach him, that states of native strength possess&rsquo;d,         425
+Though very poor, may still be very bless&rsquo;d;
+That trade&rsquo;s proud empire hastes to swift decay,
+As ocean sweeps the labour&rsquo;d mole away;
+While self-dependent power can time defy,
+As rocks resist the billows and the sky.                     430
+</pre>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="lyrical" id="lyrical"></a>
+LYRICAL AND MISCELLANEOUS<br />
+PIECES
+</h2>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h3><a name="page_41" id="page_41"></a>
+LYRICAL AND MISCELLANEOUS<br />
+PIECES
+</h3>
+
+<h3><a name="poem03"></a>
+PART OF A PROLOGUE WRITTEN AND<br />
+SPOKEN BY THE POET LABERIUS<br /><br />
+<small>A ROMAN KNIGHT, WHOM CAESAR FORCED<br />
+UPON THE STAGE</small><br /><br />
+P<small>RESERVED BY</small> M<small>ACROBIUS.</small>
+</h3>
+
+<pre xml:space="preserve">
+    WHAT! no way left to shun th&rsquo; inglorious stage,
+    And save from infamy my sinking age!
+    Scarce half alive, oppress&rsquo;d with many a year,
+    What in the name of dotage drives me here?
+    A time there was, when glory was my guide,             5
+    Nor force nor fraud could turn my steps aside;
+    Unaw&rsquo;d by pow&rsquo;r, and unappall&rsquo;d by fear,
+    With honest thrift I held my honour dear;
+    But this vile hour disperses all my store,
+    And all my hoard of honour is no more.                10
+    For ah! too partial to my life&rsquo;s decline,
+    Caesar persuades, submission must be mine;
+    Him I obey, whom heaven itself obeys,
+    Hopeless of pleasing, yet inclin&rsquo;d to please.
+    Here then at once, I welcome every shame,             15
+    And cancel at threescore a life of fame;
+    No more my titles shall my children tell,
+    The old buffoon will fit my name as well;
+    This day beyond its term my fate extends,
+    For life is ended when our honour ends.               20
+</pre>
+
+<hr />
+
+<h3><a name="poem04"></a>
+<a name="page_42" id="page_42"></a>
+ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING</h3>
+
+<p class="center">
+(<i>Imitated from the Spanish.</i>)
+</p>
+
+<pre xml:space="preserve">
+        SURE &rsquo;twas by Providence design&rsquo;d,
+          Rather in pity, than in hate,
+        That he should be, like Cupid, blind,
+          To save him from Narcissus&rsquo; fate.
+</pre>
+
+<hr />
+
+<h3><a name="poem05"></a><a name="page_43" id="page_43"></a>
+THE GIFT</h3>
+
+<p class="center">
+<small>TO IRIS, IN BOW STREET, CONVENT GARDEN</small><br />
+      <br />
+    </p>
+<pre xml:space="preserve">
+        SAY, cruel IRIS, pretty rake,
+          Dear mercenary beauty,
+        What annual offering shall I make,
+          Expressive of my duty?
+
+        My heart, a victim to thine eyes,               5
+          Should I at once deliver,
+        Say, would the angry fair one prize
+          The gift, who slights the giver?
+
+        A bill, a jewel, watch, or toy,
+          My rivals give&mdash;and let &rsquo;em;                  10
+        If gems, or gold, impart a joy,
+          I&rsquo;ll give them&mdash;when I get &rsquo;em.
+
+        I&rsquo;ll give&mdash;but not the full-blown rose,
+          Or rose-bud more in fashion;
+        Such short-liv&rsquo;d offerings but disclose        15
+          A transitory passion.
+
+        I&rsquo;ll give thee something yet unpaid,
+          Not less sincere, than civil:
+        I&rsquo;ll give thee&mdash;Ah! too charming maid,
+          I&rsquo;ll give thee&mdash;To the devil.                 30
+</pre>
+
+<hr />
+
+<h3><a name="poem06"></a><a name="page_44" id="page_44"></a>
+THE LOGICIANS REFUTED</h3>
+
+<p class="center">
+      <small>IN IMITATION OF DEAN SWIFT</small><br />
+      <br />
+    </p>
+<pre xml:space="preserve">
+    LOGICIANS have but ill defin&rsquo;d
+    As rational, the human kind;
+    Reason, they say, belongs to man,
+    But let them prove it if they can.
+    Wise Aristotle and Smiglecius,                         5
+    By ratiocinations specious,
+    Have strove to prove with great precision,
+    With definition and division,
+    <i>Homo est ratione praeditum,</i>&mdash;
+    But for my soul I cannot credit &rsquo;em;                  10
+    And must in spite of them maintain,
+    That man and all his ways are vain;
+    And that this boasted lord of nature
+    Is both a weak and erring creature;
+    That instinct is a surer guide                        15
+    Than reason-boasting mortals&rsquo; pride;
+    And that brute beasts are far before &rsquo;em,
+    <i>Deus est anima brutorum</i>.
+    Who ever knew an honest brute
+    At law his neighbour prosecute,                       20
+    Bring action for assault and battery,
+    Or friend beguile with lies and flattery?
+    O&rsquo;er plains they ramble unconfin&rsquo;d,
+    No politics disturb their mind;
+    They eat their meals, and take their sport,           25
+    Nor know who&rsquo;s in or out at court;<a name="page_45" id="page_45"></a>
+    They never to the levee go
+    To treat as dearest friend, a foe;
+    They never importune his grace,
+    Nor ever cringe to men in place;                      30
+    Nor undertake a dirty job,
+    Nor draw the quill to write for B&mdash;&mdash;b.
+    Fraught with invective they ne&rsquo;er go
+    To folks at Pater-Noster-Row;
+    No judges, fiddlers, dancing-masters,                 35
+    No pick-pockets, or poetasters,
+    Are known to honest quadrupeds;
+    No single brute his fellow leads.
+    Brutes never meet in bloody fray,
+    Nor cut each others&rsquo; throats, for pay.                40
+    Of beasts, it is confess&rsquo;d, the ape
+    Comes nearest us in human shape;
+    Like man he imitates each fashion,
+    And malice is his ruling passion;
+    But both in malice and grimaces                       45
+    A courtier any ape surpasses.
+    Behold him humbly cringing wait
+    Upon a minister of state;
+    View him soon after to inferiors,
+    Aping the conduct of superiors;                       50
+    He promises with equal air,
+    And to perform takes equal care.
+    He in his turn finds imitators;
+    At court, the porters, lacqueys, waiters,
+    Their master&rsquo;s manners still contract,                55
+    And footmen, lords and dukes can act.
+    Thus at the court both great an small
+    Behave alike&mdash;for all ape all.
+</pre>
+
+<hr />
+
+<h3><a name="poem07"></a><a name="page_46" id="page_46"></a>
+A SONNET</h3>
+
+<pre xml:space="preserve">
+        WEEPING, murmuring, complaining,
+          Lost to every gay delight;
+        MYRA, too sincere for feigning,
+          Fears th&rsquo; approaching bridal night.
+
+        Yet, why impair thy bright perfection?         5
+          Or dim thy beauty with a tear?
+        Had MYRA followed my direction,
+          She long had wanted cause of fear.
+</pre>
+
+<hr />
+
+<h3><a name="poem08"></a>
+STANZAS</h3>
+
+<p class="center">
+<small>ON THE TAKING OF QUEBEC, AND DEATH<br />
+      OF GENERAL WOLFE</small><br /> <br />
+    </p>
+<pre xml:space="preserve">
+    AMIDST the clamour of exulting joys,
+      Which triumph forces from the patriot heart,
+    Grief dares to mingle her soul-piercing voice,
+      And quells the raptures which from pleasures start.
+
+    O WOLFE! to thee a streaming flood of woe,             5
+      Sighing we pay, and think e&rsquo;en conquest dear;
+    QUEBEC in vain shall teach our breast to glow,
+      Whilst thy sad fate extorts the heart-wrung tear.
+
+    Alive the foe thy dreadful vigour fled,
+      And saw thee fall with joy-pronouncing eyes:        10
+    Yet they shall know thou conquerest, though dead&mdash;
+      Since from thy tomb a thousand heroes rise!
+</pre>
+
+<hr />
+
+<h3><a name="poem09"></a><a name="page_47" id="page_47"></a>
+AN ELEGY ON THAT GLORY OF HER SEX,<br /> MRS. MARY BLAIZE</h3>
+
+<pre xml:space="preserve">
+        GOOD people all, with one accord,
+          Lament for Madam BLAIZE,
+        Who never wanted a good word&mdash;
+          <i>From those who spoke her praise.</i>
+
+        The needy seldom pass&rsquo;d her door,              5
+          And always found her kind;
+        She freely lent to all the poor,&mdash;
+          <i>Who left a pledge behind.</i>
+
+        She strove the neighbourhood to please,
+          With manners wond&rsquo;rous winning,             10
+        And never follow&rsquo;d wicked ways,&mdash;
+          <i>Unless when she was sinning.</i>
+
+        At church, in silks and satins new,
+          With hoop of monstrous size,
+        She never slumber&rsquo;d in her pew,&mdash;              15
+          <i>But when she shut her eyes.</i>
+
+        Her love was sought, I do aver,
+          By twenty beaux and more;
+        The king himself has follow&rsquo;d her,&mdash;
+          <i>When she has walk&rsquo;d before.</i>                 20
+
+        But now her wealth and finery fled,
+          Her hangers-on cut short all;
+        The doctors found, when she was dead,&mdash;
+          <i>Her last disorder mortal.</i>
+
+        Let us lament, in sorrow sore,                25
+          For Kent-street well may say,
+        That had she liv&rsquo;d a twelve-month more,&mdash;
+          <i>She had not died to-day.</i>
+</pre>
+
+<hr />
+
+<h3><a name="poem10"></a><a name="page_48" id="page_48"></a>
+DESCRIPTION OF AN AUTHOR&rsquo;S BEDCHAMBER</h3>
+
+<pre xml:space="preserve">
+    WHERE the Red Lion flaring o&rsquo;er the way,
+    Invites each passing stranger that can pay;
+    Where Calvert&rsquo;s butt, and Parsons&rsquo; black champagne,
+    Regale the drabs and bloods of Drury-lane;
+    There in a lonely room, from bailiffs snug,             5
+    The Muse found Scroggen stretch&rsquo;d beneath a rug;
+    A window, patch&rsquo;d with paper, lent a ray,
+    That dimly show&rsquo;d the state in which he lay;
+    The sanded floor that grits beneath the tread;
+    The humid wall with paltry pictures spread:            10
+    The royal game of goose was there in view,
+    And the twelve rules the royal martyr drew;
+    The seasons, fram&rsquo;d with listing, found a place,
+    And brave prince William show&rsquo;d his lamp-black face:
+    The morn was cold, he views with keen desire           15
+    The rusty grate unconscious of a fire;
+    With beer and milk arrears the frieze was scor&rsquo;d,
+    And five crack&rsquo;d teacups dress&rsquo;d the chimney board;
+    A nightcap deck&rsquo;d his brows instead of bay,
+    A cap by night&mdash;a stocking all the day!                 20
+</pre>
+
+<hr />
+
+<h3><a name="poem11"></a><a name="page_49" id="page_49"></a>
+ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****</h3>
+
+<pre xml:space="preserve">
+    FOR you, bright fair, the nine address their lays,
+    And tune my feeble voice to sing thy praise.
+    The heartfelt power of every charm divine,
+    Who can withstand their all-commanding shine?
+    See how she moves along with every grace,              5
+    While soul-brought tears steal down each shining face.
+    She speaks! &rsquo;tis rapture all, and nameless bliss,
+    Ye gods! what transport e&rsquo;er compared to this.
+    As when in Paphian groves the Queen of Love
+    With fond complaint addressed the listening Jove,     10
+    &rsquo;Twas joy, and endless blisses all around,
+    And rocks forgot their hardness at the sound.
+    Then first, at last even Jove was taken in,
+    And felt her charms, without disguise, within.
+</pre>
+
+<hr />
+
+<h3><a name="poem12"></a><a name="page_50" id="page_50"></a>
+OF THE DEATH OF THE LEFT HON. ***</h3>
+
+<pre xml:space="preserve">
+        YE Muses, pour the pitying tear
+          For Pollio snatch&rsquo;d away;
+        O! had he liv&rsquo;d another year!&mdash;
+          <i>He had not died to-day.</i>
+
+        O! were he born to bless mankind,               5
+          In virtuous times of yore,
+        Heroes themselves had fallen behind!&mdash;
+          <i>Whene&rsquo;er he went before.</i>
+
+        How sad the groves and plains appear,
+          And sympathetic sheep;                       10
+        Even pitying hills would drop a tear!&mdash;
+          <i>If hills could learn to weep.</i>
+
+        His bounty in exalted strain
+          Each bard might well display;
+        Since none implor&rsquo;d relief in vain!&mdash;           15
+          <i>That went reliev&rsquo;d away.</i>
+
+        And hark! I hear the tuneful throng
+          His obsequies forbid,
+        He still shall live, shall live as long!&mdash;
+          <i>As ever dead man did.</i>                        20
+</pre>
+
+<hr />
+
+<h3><a name="poem13"></a><a name="page_51" id="page_51"></a>
+AN EPIGRAM<br /> <br /> <small>ADDRESSED TO THE GENTLEMEN REFLECTED
+      ON IN<br /> THE ROSCIAD, A POEM, BY THE AUTHOR</small></h3>
+
+<p class="poem">
+        Worried with debts and past all hopes of bail,<br /> His pen he
+        prostitutes t&rsquo; avoid a gaol.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />
+        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+        &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;R<small>OSCOM.</small>
+      </p>
+
+<pre xml:space="preserve">
+        LET not the <i>hungry</i> Bavius&rsquo; angry stroke
+        Awake resentment, or your rage provoke;
+        But pitying his distress, let virtue shine,
+        And giving each your bounty, <i>let him dine</i>;
+        For thus retain&rsquo;d, as learned counsel can,      5
+        Each case, however bad, he&rsquo;ll new japan;
+        And by a quick transition, plainly show
+        &rsquo;Twas no defect of yours, but <i>pocket low</i>,
+        That caused his <i>putrid kennel</i> to o&rsquo;erflow.
+</pre>
+
+<hr />
+
+<h3><a name="poem14"></a>
+TO G. C. AND R. L.</h3>
+
+<pre xml:space="preserve">
+    &rsquo;TWAS you, or I, or he, or all together,
+    &rsquo;Twas one, both, three of them, they know not whether;
+    This, I believe, between us great or small,
+    You, I, he, wrote it not&mdash;&rsquo;twas Churchill&rsquo;s all.
+</pre>
+
+<hr />
+
+<h3><a name="poem15"></a>
+TRANSLATION OF A SOUTH AMERICAN ODE</h3>
+
+<pre xml:space="preserve">
+        IN all my Enna&rsquo;s beauties blest,
+          Amidst profusion still I pine;
+        For though she gives me up her breast,
+          Its panting tenant is not mine.
+</pre>
+
+<hr />
+
+<h3><a name="poem16"></a><a name="page_52" id="page_52"></a>
+THE DOUBLE TRANSFORMATION<br /> <br /> <small>A TALE</small></h3>
+
+<pre xml:space="preserve">
+    SECLUDED from domestic strife,
+    Jack Book-worm led a college life;
+    A fellowship at twenty-five
+    Made him the happiest man alive;
+    He drank his glass and crack&rsquo;d his joke,           5
+    And freshmen wonder&rsquo;d as he spoke.
+
+      Such pleasures, unalloy&rsquo;d with care,
+    Could any accident impair?
+    Could Cupid&rsquo;s shaft at length transfix
+    Our swain, arriv&rsquo;d at thirty-six?                 10
+    O had the archer ne&rsquo;er come down
+    To ravage in a country town!
+    Or Flavia been content to stop
+    At triumphs in a Fleet-street shop.
+    O had her eyes forgot to blaze!                   15
+    Or Jack had wanted eyes to gaze.
+    O!&mdash;&mdash;But let exclamation cease,
+    Her presence banish&rsquo;d all his peace.
+    So with decorum all things carried;
+    Miss frown&rsquo;d, and blush&rsquo;d, and then was&mdash;married.  20
+
+      Need we expose to vulgar sight
+    The raptures of the bridal night?
+    Need we intrude on hallow&rsquo;d ground,
+    Or draw the curtains clos&rsquo;d around?
+    Let it suffice, that each had charms;             25
+    He clasp&rsquo;d a goddess in his arms;<a name="page_53" id="page_53"></a>
+    And though she felt his usage rough,
+    Yet in a man &rsquo;twas well enough.
+
+      The honey-moon like lightning flew,
+    The second brought its transports too.            30
+    A third, a fourth, were not amiss,
+    The fifth was friendship mix&rsquo;d with bliss:
+    But when a twelvemonth pass&rsquo;d away,
+    Jack found his goddess made of clay;
+    Found half the charms that deck&rsquo;d her face        35
+    Arose from powder, shreds, or lace;
+    But still the worst remain&rsquo;d behind,
+    That very face had robb&rsquo;d her mind.
+
+      Skill&rsquo;d in no other arts was she
+    But dressing, patching, repartee;                 40
+    And, just as humour rose or fell,
+    By turns a slattern or a belle;
+    &rsquo;Tis true she dress&rsquo;d with modern grace,
+    Half naked at a ball or race;
+    But when at home, at board or bed,                45
+    Five greasy nightcaps wrapp&rsquo;d her head.
+    Could so much beauty condescend
+    To be a dull domestic friend?
+    Could any curtain-lectures bring
+    To decency so fine a thing?                       50
+    In short, by night, &rsquo;twas fits or fretting;
+    By day, &rsquo;twas gadding or coquetting.
+    Fond to be seen, she kept a bevy
+    Of powder&rsquo;d coxcombs at her levy;
+    The &rsquo;squire and captain took their stations,      55
+    And twenty other near relations;<a name="page_54" id="page_54"></a>
+    Jack suck&rsquo;d his pipe, and often broke
+    A sigh in suffocating smoke;
+    While all their hours were pass&rsquo;d between
+    Insulting repartee or spleen.                     60
+
+      Thus as her faults each day were known,
+    He thinks her features coarser grown;
+    He fancies every vice she shows,
+    Or thins her lip, or points her nose:
+    Whenever rage or envy rise,                       65
+    How wide her mouth, how wild her eyes!
+    He knows not how, but so it is,
+    Her face is grown a knowing phiz;
+    And, though her fops are wond&rsquo;rous civil,
+    He thinks her ugly as the devil.                  70
+
+      Now, to perplex the ravell&rsquo;d noose,
+    As each a different way pursues,
+    While sullen or loquacious strife,
+    Promis&rsquo;d to hold them on for life,
+    That dire disease, whose ruthless power           75
+    Withers the beauty&rsquo;s transient flower:
+    Lo!  the small-pox, whose horrid glare
+    Levell&rsquo;d its terrors at the fair;
+    And, rifling ev&rsquo;ry youthful grace,
+    Left but the remnant of a face.                   80
+
+      The glass, grown hateful to her sight,
+    Reflected now a perfect fright:
+    Each former art she vainly tries
+    To bring back lustre to her eyes.
+    In vain she tries her paste and creams,           85
+    To smooth her skin, or hide its seams;<a name="page_55" id="page_55"></a>
+    Her country beaux and city cousins,
+    Lovers no more, flew off by dozens:
+    The &rsquo;squire himself was seen to yield,
+    And e&rsquo;en the captain quit the field.              90
+
+      Poor Madam, now condemn&rsquo;d to hack
+    The rest of life with anxious Jack,
+    Perceiving others fairly flown,
+    Attempted pleasing him alone.
+    Jack soon was dazzl&rsquo;d to behold                   95
+    Her present face surpass the old;
+    With modesty her cheeks are dy&rsquo;d,
+    Humility displaces pride;
+    For tawdry finery is seen
+    A person ever neatly clean:                      100
+    No more presuming on her sway,
+    She learns good-nature every day;
+    Serenely gay, and strict in duty,
+    Jack finds his wife a perfect beauty.
+</pre>
+
+<hr />
+
+<h3><a name="poem17"></a>
+<a name="page_56" id="page_56"></a>
+A NEW SIMILE<br /> <br /> <small>IN THE MANNER OF SWIFT</small></h3>
+
+<pre xml:space="preserve">
+    LONG had I sought in vain to find
+    A likeness for the scribbling kind;
+    The modern scribbling kind, who write
+    In wit, and sense, and nature&rsquo;s spite:
+    Till reading, I forget what day on,                5
+    A chapter out of Tooke&rsquo;s Pantheon,
+    I think I met with something there,
+    To suit my purpose to a hair;
+    But let us not proceed too furious,
+    First please to turn to god Mercurius;            10
+    You&rsquo;ll find him pictur&rsquo;d at full length
+    In book the second, page the tenth:
+    The stress of all my proofs on him I lay,
+    And now proceed we to our simile.
+
+      Imprimis, pray observe his hat,                 15
+    Wings upon either side&mdash;mark that.
+    Well! what is it from thence we gather?
+    Why these denote a brain of feather.
+    A brain of feather! very right,
+    With wit that&rsquo;s flighty, learning light;          20
+    Such as to modern bard&rsquo;s decreed:
+    A just comparison,&mdash;proceed.
+
+      In the next place, his feet peruse,
+    Wings grow again from both his shoes;
+    Design&rsquo;d, no doubt, their part to bear,           25
+    And waft his godship through the air;<a name="page_57" id="page_57"></a>
+    And here my simile unites,
+    For in a modern poet&rsquo;s flights,
+    I&rsquo;m sure it may be justly said,
+    His feet are useful as his head.                  30
+
+      Lastly, vouchsafe t&rsquo;observe his hand,
+    Filled with a snake-encircl&rsquo;d wand;
+    By classic authors term&rsquo;d caduceus,
+    And highly fam&rsquo;d for several uses.
+    To wit&mdash;most wond&rsquo;rously endu&rsquo;d,                   35
+    No poppy water half so good;
+    For let folks only get a touch,
+    Its soporific virtue&rsquo;s such,
+    Though ne&rsquo;er so much awake before,
+    That quickly they begin to snore.                 40
+    Add too, what certain writers tell,
+    With this he drives men&rsquo;s souls to hell.
+
+      Now to apply, begin we then;
+    His wand&rsquo;s a modern author&rsquo;s pen;
+    The serpents round about it twin&rsquo;d                45
+    Denote him of the reptile kind;
+    Denote the rage with which he writes,
+    His frothy slaver, venom&rsquo;d bites;
+    An equal semblance still to keep,
+    Alike too both conduce to sleep.                  50
+    This diff&rsquo;rence only, as the god
+    Drove souls to Tart&rsquo;rus with his rod,
+    With his goosequill the scribbling elf,
+    Instead of others, damns himself.
+
+      And here my simile almost tript,                55
+    Yet grant a word by way of postscript.<a name="page_58" id="page_58"></a>
+    Moreover, Merc&rsquo;ry had a failing:
+    Well! what of that? out with it&mdash;stealing;
+    In which all modern bards agree,
+    Being each as great a thief as he:                60
+    But ev&rsquo;n this deity&rsquo;s existence
+    Shall lend my simile assistance.
+    Our modern bards! why what a pox
+    Are they but senseless stones and blocks?
+</pre>
+
+<div class="fig" style="width:100%;">
+<a name="edwin" id="edwin"></a>
+<img src="images/edwin.jpg" width="196" height="259" alt="[Illustration: ]" />
+<p class="caption">EDWIN AND ANGELINA<br />
+(T. Stothard)</p>
+</div>
+
+<h3><a name="poem18"></a><a name="page_59" id="page_59"></a>
+EDWIN AND ANGELINA<br /> <br /> <small>A BALLAD</small></h3>
+
+<pre xml:space="preserve">
+        &lsquo;TURN, gentle hermit of the dale,
+           And guide my lonely way,
+         To where yon taper cheers the vale
+           With hospitable ray.
+
+        &lsquo;For here, forlorn and lost I tread,           5
+           With fainting steps and slow;
+         Where wilds immeasurably spread,
+           Seem length&rsquo;ning as I go.&rsquo;
+
+        &lsquo;Forbear, my son,&rsquo; the hermit cries,
+          &lsquo;To tempt the dangerous gloom;              10
+         For yonder faithless phantom flies
+           To lure thee to thy doom.
+
+        &lsquo;Here to the houseless child of want
+           My door is open still;
+         And though my portion is but scant,          15
+           I give it with good will.
+
+        &lsquo;Then turn to-night, and freely share
+           Whate&rsquo;er my cell bestows;
+         My rushy couch, and frugal fare,
+           My blessing and repose.                    20
+
+        &lsquo;No flocks that range the valley free
+           To slaughter I condemn:
+         Taught by that power that pities me,
+           I learn to pity them.
+<a name="page_60" id="page_60"></a>
+        &lsquo;But from the mountain&rsquo;s grassy side          25
+           A guiltless feast I bring;
+         A scrip with herbs and fruits supplied,
+           And water from the spring.
+
+        &lsquo;Then, pilgrim, turn, thy cares forgo;
+           All earth-born cares are wrong:            30
+         Man wants but little here below,
+           Nor wants that little long.&rsquo;
+
+         Soft as the dew from heav&rsquo;n descends,
+           His gentle accents fell:
+         The modest stranger lowly bends,             35
+           And follows to the cell.
+
+         Far in a wilderness obscure
+           The lonely mansion lay;
+         A refuge to the neighbouring poor
+           And strangers led astray.                  40
+
+         No stores beneath its humble thatch
+           Requir&rsquo;d a master&rsquo;s care;
+         The wicket, opening with a latch,
+           Receiv&rsquo;d the harmless pair.
+
+         And now, when busy crowds retire             45
+           To take their evening rest,
+         The hermit trimm&rsquo;d his little fire,
+           And cheer&rsquo;d his pensive guest:
+
+         And spread his vegetable store,
+           And gaily press&rsquo;d, and smil&rsquo;d;             50
+         And, skill&rsquo;d in legendary lore,
+           The lingering hours beguil&rsquo;d.
+      <a name="page_61" id="page_61"></a>
+         Around in sympathetic mirth
+           Its tricks the kitten tries;
+         The cricket chirrups in the hearth;          55
+           The crackling faggot flies.
+
+         But nothing could a charm impart
+           To soothe the stranger&rsquo;s woe;
+         For grief was heavy at his heart,
+           And tears began to flow.                   60
+
+         His rising cares the hermit spied,
+           With answ&rsquo;ring care oppress&rsquo;d;
+        &lsquo;And whence, unhappy youth,&rsquo; he cried,
+          &lsquo;The sorrows of thy breast?
+
+        &lsquo;From better habitations spurn&rsquo;d,             65
+           Reluctant dost thou rove;
+         Or grieve for friendship unreturn&rsquo;d,
+           Or unregarded love?
+
+        &lsquo;Alas! the joys that fortune brings
+           Are trifling, and decay;                   70
+         And those who prize the paltry things,
+           More trifling still than they.
+
+        &lsquo;And what is friendship but a name,
+           A charm that lulls to sleep;
+         A shade that follows wealth or fame,         75
+           But leaves the wretch to weep?
+
+        &lsquo;And love is still an emptier sound,
+           The modern fair one&rsquo;s jest:
+         On earth unseen, or only found
+           To warm the turtle&rsquo;s nest.                 80
+      <a name="page_62" id="page_62"></a>
+        &lsquo;For shame, fond youth, thy sorrows hush,
+           And spurn the sex,&rsquo; he said:
+         But, while he spoke, a rising blush
+           His love-lorn guest betray&rsquo;d.
+
+         Surpris&rsquo;d, he sees new beauties rise,        85
+           Swift mantling to the view;
+         Like colours o&rsquo;er the morning skies,
+           As bright, as transient too.
+
+         The bashful look, the rising breast,
+           Alternate spread alarms:                   90
+         The lovely stranger stands confess&rsquo;d
+           A maid in all her charms.
+
+        &lsquo;And, ah!  forgive a stranger rude,
+           A wretch forlorn,&rsquo; she cried;
+        &lsquo;Whose feet unhallow&rsquo;d thus intrude           95
+           Where heaven and you reside.
+
+        &lsquo;But let a maid thy pity share,
+           Whom love has taught to stray;
+         Who seeks for rest, but finds despair
+           Companion of her way.                     100
+
+        &lsquo;My father liv&rsquo;d beside the Tyne,
+           A wealthy lord was he;
+         And all his wealth was mark&rsquo;d as mine,
+           He had but only me.
+
+        &lsquo;To win me from his tender arms              105
+           Unnumber&rsquo;d suitors came;
+         Who prais&rsquo;d me for imputed charms,
+           And felt or feign&rsquo;d a flame.
+      <a name="page_63" id="page_63"></a>
+         Each hour a mercenary crowd
+           With richest proffers strove:             110
+         Amongst the rest young Edwin bow&rsquo;d,
+           But never talk&rsquo;d of love.
+
+        &lsquo;In humble, simplest habit clad,
+           No wealth nor power had he;
+         Wisdom and worth were all he had,           115
+           But these were all to me.
+
+        &lsquo;And when beside me in the dale
+           He caroll&rsquo;d lays of love;
+         His breath lent fragrance to the gale,
+           And music to the grove.                   120
+
+        &lsquo;The blossom opening to the day,
+           The dews of heaven refin&rsquo;d,
+         Could nought of purity display,
+           To emulate his mind.
+
+        &lsquo;The dew, the blossom on the tree,           125
+           With charms inconstant shine;
+         Their charms were his, but woe to me!
+           Their constancy was mine.
+
+        &lsquo;For still I tried each fickle art,
+           Importunate and vain:                     130
+         And while his passion touch&rsquo;d my heart,
+           I triumph&rsquo;d in his pain.
+
+        &lsquo;Till quite dejected with my scorn,
+           He left me to my pride;
+         And sought a solitude forlorn,              135
+           In secret, where he died.
+<a name="page_64" id="page_64"></a>
+        &lsquo;But mine the sorrow, mine the fault,
+           And well my life shall pay;
+         I&rsquo;ll seek the solitude he sought,
+           And stretch me where he lay.              140
+
+        &lsquo;And there forlorn, despairing, hid,
+           I&rsquo;ll lay me down and die;
+        &rsquo;Twas so for me that Edwin did,
+           And so for him will I.&rsquo;
+
+        &lsquo;Forbid it, heaven!&rsquo; the hermit cried,       145
+           And clasp&rsquo;d her to his breast:
+         The wondering fair one turn&rsquo;d to chide,
+          &rsquo;Twas Edwin&rsquo;s self that prest.
+
+        &lsquo;Turn, Angelina, ever dear,
+           My charmer, turn to see                   150
+         Thy own, thy long-lost Edwin here,
+           Restor&rsquo;d to love and thee.
+
+        &lsquo;Thus let me hold thee to my heart,
+           And ev&rsquo;ry care resign;
+         And shall we never, never part,             155
+           My life&mdash;my all that&rsquo;s mine?
+
+        &lsquo;No, never from this hour to part,
+           We&rsquo;ll live and love so true;
+         The sigh that rends thy constant heart
+           Shall break thy Edwin&rsquo;s too.&rsquo;             160
+</pre>
+
+<hr />
+
+<h3><a name="poem19"></a><a name="page_65" id="page_65"></a>
+ELEGY ON THE DEATH OF A MAD DOG</h3>
+
+<pre xml:space="preserve">
+        Good people all, of every sort,
+          Give ear unto my song;
+        And if you find it wond&rsquo;rous short,
+          It cannot hold you long.
+
+        In Islington there was a man,                  5
+          Of whom the world might say,
+        That still a godly race he ran,
+          Whene&rsquo;er he went to pray.
+
+        A kind and gentle heart he had,
+          To comfort friends and foes;                10
+        The naked every day he clad,
+          When he put on his clothes.
+
+        And in that town a dog was found,
+          As many dogs there be,
+        Both mongrel, puppy, whelp, and hound,        15
+          And curs of low degree.
+
+        This dog and man at first were friends;
+          But when a pique began,
+        The dog, to gain some private ends,
+          Went mad and bit the man.                   20
+
+        Around from all the neighbouring streets
+          The wond&rsquo;ring neighbours ran,
+        And swore the dog had lost his wits,
+          To bite so good a man.
+<a name="page_66" id="page_66"></a>
+        The wound it seem&rsquo;d both sore and sad         25
+          To every Christian eye;
+        And while they swore the dog was mad,
+          They swore the man would die.
+
+        But soon a wonder came to light,
+          That show&rsquo;d the rogues they lied:           30
+        The man recover&rsquo;d of the bite,
+          The dog it was that died.
+</pre>
+
+<hr />
+
+<h3><a name="poem20"></a>
+<a name="page_67" id="page_67"></a>
+SONG<br /> <br /> <small>FROM &lsquo;THE VICAR OF WAKEFIELD&rsquo;</small></h3>
+
+<pre xml:space="preserve">
+        WHEN lovely woman stoops to folly,
+          And finds too late that men betray,
+        What charm can soothe her melancholy,
+          What art can wash her guilt away?
+
+        The only art her guilt to cover,               5
+          To hide her shame from every eye,
+        To give repentance to her lover,
+          And wring his bosom, is&mdash;to die.
+</pre>
+
+<hr />
+
+<h3><a name="poem21"></a><a name="page_68" id="page_68"></a>
+EPILOGUE TO &lsquo;THE GOOD NATUR&rsquo;D MAN&rsquo;</h3>
+
+<pre xml:space="preserve">
+    As puffing quacks some caitiff wretch procure
+    To swear the pill, or drop, has wrought a cure;
+    Thus on the stage, our play-wrights still depend
+    For Epilogues and Prologues on some friend,
+    Who knows each art of coaxing up the town,             5
+    And make full many a bitter pill go down.
+    Conscious of this, our bard has gone about,
+    And teas&rsquo;d each rhyming friend to help him out.
+    &lsquo;An Epilogue&mdash;things can&rsquo;t go on without it;
+    It could not fail, would you but set about it.&rsquo;       10
+    &lsquo;Young man,&rsquo; cries one&mdash;a bard laid up in clover&mdash;
+    &lsquo;Alas, young man, my writing days are over;
+    Let boys play tricks, and kick the straw; not I:
+    Your brother Doctor there, perhaps, may try.&rsquo;
+    &lsquo;What I? dear Sir,&rsquo; the Doctor interposes             15
+    &lsquo;What plant my thistle, Sir, among his roses!
+    No, no; I&rsquo;ve other contests to maintain;
+    To-night I head our troops at Warwick Lane:
+    Go, ask your manager.&rsquo; &lsquo;Who, me? Your pardon;
+    Those things are not our forte at Covent Garden.&rsquo;     20
+    Our Author&rsquo;s friends, thus plac&rsquo;d at happy distance,
+    Give him good words indeed, but no assistance.
+    As some unhappy wight, at some new play,
+    At the Pit door stands elbowing a way,
+    While oft, with many a smile, and many a shrug,       25
+    He eyes the centre, where his friends sit snug;<a name="page_69" id="page_69"></a>
+    His simp&rsquo;ring friends, with pleasure in their eyes,
+    Sink as he sinks, and as he rises rise;
+    He nods, they nod; he cringes, they grimace;
+    But not a soul will budge to give him place.          30
+    Since then, unhelp&rsquo;d, our bard must now conform
+    &lsquo;To &rsquo;bide the pelting of this pitiless storm&rsquo;&mdash;
+    Blame where you must, be candid where you can;
+    And be each critic the <i>Good Natur&rsquo;d Man.</i>
+</pre>
+
+<hr />
+
+<h3><a name="poem22"></a><a name="page_70" id="page_70"></a>
+EPILOGUE TO &lsquo;THE SISTER&rsquo;</h3>
+
+<pre xml:space="preserve">
+    WHAT! five long acts&mdash;and all to make us wiser!
+    Our authoress sure has wanted an adviser.
+    Had she consulted <i>me</i>, she should have made
+    Her moral play a speaking masquerade;
+    Warm&rsquo;d up each bustling scene, and in her rage            5
+    Have emptied all the green-room on the stage.
+    My life on&rsquo;t, this had kept her play from sinking;
+    Have pleas&rsquo;d our eyes, and sav&rsquo;d the pain of thinking.
+    Well! since she thus has shown her want of skill,
+    What if I give a masquerade?&mdash;I will.                     10
+    But how? ay, there&rsquo;s the rub! (<i>pausing</i>)&mdash;I&rsquo;ve got my cue:
+    The world&rsquo;s a masquerade! the maskers, you, you, you.
+                                (<i>To Boxes, Pit, and Gallery.</i>)
+    &mdash;&mdash;, what a group the motley scene discloses!
+    False wits, false wives, false virgins, and false spouses!
+    Statesmen with bridles on; and, close beside &rsquo;em,        15
+    Patriots, in party-coloured suits, that ride &rsquo;em.
+    There Hebes, turn&rsquo;d of fifty, try once more
+    To raise a flame in Cupids of threescore.
+    These in their turn, with appetites as keen,
+    Deserting fifty, fasten on fifteen,                      20
+    Miss, not yet full fifteen, with fire uncommon,
+    Flings down her sampler, and takes up the woman:
+    The little urchin smiles, and spreads her lure,
+    And tries to kill, ere she&rsquo;s got power to cure.
+    Thus &rsquo;tis with all&mdash;their chief and constant care         25
+    Is to seem everything but what they are.
+    Yon broad, bold, angry spark, I fix my eye on,
+    Who seems to have robb&rsquo;d his vizor from the lion;
+    Who frowns, and talks, and swears, with round parade,
+    Looking as who should say, D&mdash;&mdash;! who&rsquo;s afraid?            30
+                                                (<i>Mimicking</i>)
+
+    Strip but his vizor off, and sure I am
+    You&rsquo;ll find his lionship a very lamb.
+    Yon politician, famous in debate,
+    Perhaps, to vulgar eyes, bestrides the state;
+    Yet, when he deigns his real shape t&rsquo; assume,            35
+    He turns old woman, and bestrides a broom.
+    Yon patriot, too, who presses on your sight,
+    And seems to every gazer all in white,
+    If with a bribe his candour you attack,
+    He bows, turns round, and whip&mdash;the man&rsquo;s a black!        40
+    Yon critic, too&mdash;but whither do I run?
+    If I proceed, our bard will be undone!
+    Well then a truce, since she requests it too:
+    Do you spare her, and I&rsquo;ll for once spare you.
+</pre>
+
+<hr />
+
+<h3><a name="poem23"></a><a name="page_72" id="page_72"></a>
+PROLOGUE TO &lsquo;ZOBEIDE&rsquo;</h3>
+
+<pre xml:space="preserve">
+    IN these bold times, when Learning&rsquo;s sons explore
+    The distant climate and the savage shore;
+    When wise Astronomers to India steer,
+    And quit for Venus, many a brighter here;
+    While Botanists, all cold to smiles and dimpling,         5
+    Forsake the fair, and patiently&mdash;go simpling;
+    When every bosom swells with wond&rsquo;rous scenes,
+    Priests, cannibals, and hoity-toity queens:
+    Our bard into the general spirit enters,
+    And fits his little frigate for adventures:              10
+    With Scythian stores, and trinkets deeply laden,
+    He this way steers his course, in hopes of trading&mdash;
+    Yet ere he lands he &rsquo;as ordered me before,
+    To make an observation on the shore.
+    Where are we driven? our reck&rsquo;ning sure is lost!         15
+    This seems a barren and a dangerous coast.
+    &mdash;&mdash; what a sultry climate am I under!
+    Yon ill foreboding cloud seems big with thunder.
+                                  (<i>Upper Gallery.</i>)
+    There Mangroves spread, and larger than I&rsquo;ve seen &rsquo;em&mdash;
+                                  (<i>Pit.</i>)
+    Here trees of stately size&mdash;and turtles in &rsquo;em&mdash;           20
+                                  (<i>Balconies.</i>)
+    Here ill-condition&rsquo;d oranges abound&mdash;
+                                  (<i>Stage.</i>)
+    And apples (<i>takes up one and tastes it</i>), bitter apples
+      strew the ground.<a name="page_73" id="page_73"></a>
+    The place is uninhabited, I fear!
+    I heard a hissing&mdash;there are serpents here!
+    O there the natives are&mdash;a dreadful race!                 25
+    The men have tails, the women paint the face!
+    No doubt they&rsquo;re all barbarians.&mdash;Yes, &rsquo;tis so,
+    I&rsquo;ll try to make palaver with them though;
+                                   (<i>Making signs.</i>)
+    &rsquo;Tis best, however, keeping at a distance.
+    Good Savages, our Captain craves assistance;             30
+    Our ship&rsquo;s well stor&rsquo;d;&mdash;in yonder creek we&rsquo;ve laid her;
+    His honour is no mercenary trader;
+    This is his first adventure; lend him aid,
+    Or you may chance to spoil a thriving trade.
+    His goods, he hopes are prime, and brought from far,     35
+    Equally fit for gallantry and war.
+    What! no reply to promises so ample?
+    I&rsquo;d best step back&mdash;and order up a sample.
+</pre>
+
+<hr />
+
+<h3><a name="poem24"></a><a name="page_74" id="page_74"></a>
+THRENODIA&nbsp; AUGUSTALIS:</h3>
+
+<p class="center">
+<small>SACRED TO THE MEMORY
+      OF HER LATE ROYAL HIGHNESS<br /> THE PRINCESS DOWAGER OF WALES.</small><br />
+      <br /> OVERTURE&mdash;A SOLEMN DIRGE. AIR&mdash;TRIO.<br />
+    </p>
+<pre xml:space="preserve">
+       ARISE, ye sons of worth, arise,
+         And waken every note of woe;
+       When truth and virtue reach the skies,
+         &rsquo;Tis ours to weep the want below!
+</pre>
+    <p>
+      CHORUS.<br />
+    </p>
+<pre xml:space="preserve">
+       When truth and virtue, etc.                         5
+</pre>
+    <p>
+      MAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+        The praise attending pomp and power,
+          The incense given to kings,
+        Are but the trappings of an hour&mdash;
+          Mere transitory things!
+      The base bestow them: but the good agree            10
+      To spurn the venal gifts as flattery.
+        But when to pomp and power are join&rsquo;d
+        An equal dignity of mind&mdash;
+    When titles are the smallest claim&mdash;
+        When wealth and rank and noble blood,             15
+        But aid the power of doing good&mdash;
+    Then all their trophies last; and flattery turns to fame.
+
+        Bless&rsquo;d spirit thou, whose fame, just born to bloom
+        Shall spread and flourish from the tomb,
+          How hast thou left mankind for heaven!          20
+        Even now reproach and faction mourn.
+        And, wondering how their rage was borne,
+          Request to be forgiven.
+        Alas! they never had thy hate:
+          Unmov&rsquo;d in conscious rectitude,                 25
+          Thy towering mind self-centred stood,
+        Nor wanted man&rsquo;s opinion to be great.
+        In vain, to charm thy ravish&rsquo;d sight,
+          A thousand gifts would fortune send;
+        In vain, to drive thee from the right,            30
+          A thousand sorrows urg&rsquo;d thy end:
+    Like some well-fashion&rsquo;d arch thy patience stood,
+    And purchas&rsquo;d strength from its increasing load.
+    Pain met thee like a friend that set thee free;
+    Affliction still is virtue&rsquo;s opportunity!             35
+        Virtue, on herself relying,
+          Ev&rsquo;ry passion hush&rsquo;d to rest,
+        Loses ev&rsquo;ry pain of dying
+          In the hopes of being blest.
+        Ev&rsquo;ry added pang she suffers                      40
+          Some increasing good bestows,
+        Ev&rsquo;ry shock that malice offers
+          Only rocks her to repose.
+</pre>
+    <p>
+      SONG. BY A MAN&mdash;AFFETTUOSO.<br />
+    </p>
+<pre xml:space="preserve">
+        Virtue, on herself relying,
+          Ev&rsquo;ry passion hush&rsquo;d to rest,                   45
+        Loses ev&rsquo;ry pain of dying
+          In the hopes of being blest.
+
+        Ev&rsquo;ry added pang she suffers
+          Some increasing good bestows,
+        Ev&rsquo;ry shock that malice offers,                   50
+          Only rocks her to repose.
+</pre>
+
+    <p>
+      WOMAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+      Yet, ah! what terrors frowned upon her fate&mdash;
+        Death, with its formidable band,
+      Fever and pain and pale consumptive care,
+        Determin&rsquo;d took their stand:                      55
+      Nor did the cruel ravagers design
+        To finish all their efforts at a blow;
+        But, mischievously slow,
+      They robb&rsquo;d the relic and defac&rsquo;d the shrine.
+        With unavailing grief,                            60
+        Despairing of relief,
+      Her weeping children round
+        Beheld each hour
+        Death&rsquo;s growing power,
+      And trembled as he frown&rsquo;d.                         65
+
+      As helpless friends who view from shore
+      The labouring ship, and hear the tempest roar,
+        While winds and waves their wishes cross&mdash;
+      They stood, while hope and comfort fail,
+      Not to assist, but to bewail                        70
+        The inevitable loss.
+      Relentless tyrant, at thy call
+      How do the good, the virtuous fall!
+    Truth, beauty, worth, and all that most engage,
+    But wake thy vengeance and provoke thy rage.          75
+</pre>
+    <p>
+      SONG. &nbsp;BY A MAN.&mdash;BASSO.&mdash;STACCATO.&mdash;SPIRITOSO.<br />
+    </p>
+<pre xml:space="preserve">
+      When vice my dart and scythe supply,
+      How great a king of terrors I!
+      If folly, fraud, your hearts engage,
+      Tremble, ye mortals, at my rage!
+      Fall, round me fall, ye little things,              80
+      Ye statesmen, warriors, poets, kings;
+      If virtue fail her counsel sage,
+      Tremble, ye mortals, at my rage!
+</pre>
+    <p>
+      MAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+      Yet let that wisdom, urged by her example,
+      Teach us to estimate what all must suffer;          85
+      Let us prize death as the best gift of nature&mdash;
+      As a safe inn, where weary travellers,
+      When they have journeyed through a world of cares,
+      May put off life and be at rest for ever.
+      Groans, weeping friends, indeed, and gloomy sables, 90
+      May oft distract us with their sad solemnity:
+      The preparation is the executioner.
+      Death, when unmasked, shows me a friendly face,
+      And is a terror only at a distance;
+      For as the line of life conducts me on              95
+      To Death&rsquo;s great court, the prospect seems more fair.
+      &rsquo;Tis Nature&rsquo;s kind retreat, that&rsquo;s always open
+      To take us in when we have drained the cup
+      Of life, or worn our days to wretchedness.
+          In that secure, serene retreat,                100
+          Where all the humble, all the great,
+            Promiscuously recline;
+          Where wildly huddled to the eye,
+          The beggar&rsquo;s pouch and prince&rsquo;s purple lie,
+            May every bliss be thine.                    105
+      And ah!  bless&rsquo;d spirit, wheresoe&rsquo;er thy flight,
+      Through rolling worlds, or fields of liquid light,
+      May cherubs welcome their expected guest;
+      May saints with songs receive thee to their rest;<a name="page_78" id="page_78"></a>
+      May peace that claimed while here thy warmest love, 110
+      May blissful endless peace be thine above!
+</pre>
+    <p>
+      SONG. BY A WOMAN.&mdash;AMOROSO.<br />
+    </p>
+<pre xml:space="preserve">
+          Lovely, lasting Peace below,
+          Comforter of every woe,
+          Heav&rsquo;nly born, and bred on high,
+          To crown the favourites of the sky&mdash;             115
+          Lovely, lasting Peace, appear;
+          This world itself, if thou art here,
+          Is once again with Eden blest,
+          And man contains it in his breast.
+</pre>
+    <p>
+      WOMAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+      Our vows are heard! Long, long to mortal eyes,      120
+      Her soul was fitting to its kindred skies:
+      Celestial-like her bounty fell,
+      Where modest want and patient sorrow dwell;
+      Want pass&rsquo;d for merit at her door,
+        Unseen the modest were supplied,                  125
+      Her constant pity fed the poor&mdash;
+        Then only poor, indeed, the day she died.
+      And oh! for this! while sculpture decks thy shrine,
+        And art exhausts profusion round,
+      The tribute of a tear be mine,                      130
+        A simple song, a sigh profound.
+      There Faith shall come, a pilgrim gray,
+      To bless the tomb that wraps thy clay;
+      And calm Religion shall repair
+      To dwell a weeping hermit there.                    135
+      Truth, Fortitude, and Friendship shall agree
+      To blend their virtues while they think of thee.
+</pre>
+
+    <p>
+      AIR. CHORUS.&mdash;POMPOSO.<br />
+    </p>
+<pre xml:space="preserve">
+      Let us, let all the world agree,
+      To profit by resembling thee.
+</pre>
+
+<p class="center">
+      <b>PART II</b><br /> <br /> <small>OVERTURE&mdash;PASTORALE</small><br />
+      <br /> MAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+    FAST by that shore where Thames&rsquo; translucent stream
+      Reflects new glories on his breast,
+    Where, splendid as the youthful poet&rsquo;s dream,
+      He forms a scene beyond Elysium blest&mdash;
+    Where sculptur&rsquo;d elegance and native grace              5
+    Unite to stamp the beauties of the place,
+      While sweetly blending still are seen
+      The wavy lawn, the sloping green&mdash;
+    While novelty, with cautious cunning,
+    Through ev&rsquo;ry maze of fancy running,                   10
+      From China borrows aid to deck the scene&mdash;
+    There, sorrowing by the river&rsquo;s glassy bed,
+      Forlorn, a rural bard complain&rsquo;d,
+    All whom Augusta&rsquo;s bounty fed,
+      All whom her clemency sustain&rsquo;d;                     15
+    The good old sire, unconscious of decay,
+    The modest matron, clad in homespun gray,
+    The military boy, the orphan&rsquo;d maid,
+    The shatter&rsquo;d veteran, now first dismay&rsquo;d;<a name="page_80" id="page_80"></a>
+    These sadly join beside the murmuring deep,            20
+          And, as they view
+          The towers of Kew,
+    Call on their mistress&mdash;now no more&mdash;and weep.
+</pre>
+    <p>
+      CHORUS.&mdash;AFFETTUOSO.&mdash;LARGO.<br />
+    </p>
+<pre xml:space="preserve">
+    Ye shady walks, ye waving greens,
+    Ye nodding towers, ye fairy scenes&mdash;                    25
+    Let all your echoes now deplore
+    That she who form&rsquo;d your beauties is no more.
+</pre>
+    <p>
+      MAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+    First of the train the patient rustic came,
+      Whose callous hand had form&rsquo;d the scene,
+    Bending at once with sorrow and with age,              30
+      With many a tear and many a sigh between;
+    &lsquo;And where,&rsquo; he cried, &lsquo;shall now my babes have bread,
+      Or how shall age support its feeble fire?
+    No lord will take me now, my vigour fled,
+      Nor can my strength perform what they require;       35
+    Each grudging master keeps the labourer bare&mdash;
+    A sleek and idle race is all their care.
+    My noble mistress thought not so:
+      Her bounty, like the morning dew,
+    Unseen, though constant, used to flow;                 40
+      And as my strength decay&rsquo;d, her bounty grew.&rsquo;
+</pre>
+    <p>
+      WOMAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+    In decent dress, and coarsely clean,
+    The pious matron next was seen&mdash;
+    Clasp&rsquo;d in her hand a godly book was borne,
+    By use and daily meditation worn;                      45
+    That decent dress, this holy guide,
+    Augusta&rsquo;s care had well supplied.
+    &lsquo;And ah!&rsquo; she cries, all woe-begone,
+      &lsquo;What now remains for me?
+    Oh!  where shall weeping want repair,                  50
+      To ask for charity?
+    Too late in life for me to ask,
+      And shame prevents the deed,
+    And tardy, tardy are the times
+      To succour, should I need.                           55
+    But all my wants, before I spoke,
+      Were to my Mistress known;
+    She still reliev&rsquo;d, nor sought my praise,
+      Contented with her own.
+    But ev&rsquo;ry day her name I&rsquo;ll bless,                     60
+      My morning prayer, my evening song,
+    I&rsquo;ll praise her while my life shall last,
+      A life that cannot last me long.&rsquo;
+</pre>
+    <p>
+      SONG. BY A WOMAN.<br />
+    </p>
+<pre xml:space="preserve">
+    Each day, each hour, her name I&rsquo;ll bless&mdash;
+      My morning and my evening song;                      65
+    And when in death my vows shall cease,
+      My children shall the note prolong.
+</pre>
+    <p>
+      MAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+    The hardy veteran after struck the sight,
+      Scarr&rsquo;d, mangled, maim&rsquo;d in every part,
+    Lopp&rsquo;d of his limbs in many a gallant fight,           70
+      In nought entire&mdash;except his heart.<a name="page_82" id="page_82"></a>
+    Mute for a while, and sullenly distress&rsquo;d,
+    At last the impetuous sorrow fir&rsquo;d his breast.
+        &lsquo;Wild is the whirlwind rolling
+          O&rsquo;er Afric&rsquo;s sandy plain,                        75
+        And wild the tempest howling
+          Along the billow&rsquo;d main:
+        But every danger felt before&mdash;
+        The raging deep, the whirlwind&rsquo;s roar&mdash;
+        Less dreadful struck me with dismay,               80
+        Than what I feel this fatal day.
+    Oh, let me fly a land that spurns the brave,
+    Oswego&rsquo;s dreary shores shall be my grave;
+    I&rsquo;ll seek that less inhospitable coast,
+    And lay my body where my limbs were lost.&rsquo;             85
+</pre>
+    <p>
+      SONG. BY A MAN.&mdash;BASSO. SPIRITOSO.<br />
+    </p>
+<pre xml:space="preserve">
+      Old Edward&rsquo;s sons, unknown to yield,
+    Shall crowd from Crecy&rsquo;s laurell&rsquo;d field,
+      To do thy memory right;
+    For thine and Britain&rsquo;s wrongs they feel,
+    Again they snatch the gleamy steel,                    90
+      And wish the avenging fight.
+</pre>
+    <p>
+      WOMAN SPEAKER.<br />
+    </p>
+<pre xml:space="preserve">
+        In innocence and youth complaining,
+          Next appear&rsquo;d a lovely maid,
+        Affliction o&rsquo;er each feature reigning,
+          Kindly came in beauty&rsquo;s aid;                     95
+        Every grace that grief dispenses,
+          Every glance that warms the soul,
+        In sweet succession charmed the senses,
+          While pity harmonized the whole.<a name="page_83" id="page_83"></a>
+    &lsquo;The garland of beauty&rsquo;&mdash;&rsquo;tis thus she would say&mdash;     100
+      &lsquo;No more shall my crook or my temples adorn,
+    I&rsquo;ll not wear a garland&mdash;Augusta&rsquo;s away,
+      I&rsquo;ll not wear a garland until she return;
+    But alas! that return I never shall see,
+      The echoes of Thames shall my sorrows proclaim,     105
+    There promised a lover to come&mdash;but, O me!
+      &rsquo;Twas death,&mdash;&rsquo;twas the death of my mistress that came.
+    But ever, for ever, her image shall last,
+      I&rsquo;ll strip all the spring of its earliest bloom;
+    On her grave shall the cowslip and primrose be cast,  110
+      And the new-blossomed thorn shall whiten her tomb.&rsquo;
+</pre>
+
+    <p>
+      SONG. BY A WOMAN.&mdash;PASTORALE.<br />
+    </p>
+<pre xml:space="preserve">
+    With garlands of beauty the queen of the May
+      No more will her crook or her temples adorn;
+    For who&rsquo;d wear a garland when she is away,
+      When she is remov&rsquo;d, and shall never return.        115
+
+    On the grave of Augusta these garlands be plac&rsquo;d,
+      We&rsquo;ll rifle the spring of its earliest bloom,
+    And there shall the cowslip and primrose be cast,
+      And the new-blossom&rsquo;d thorn shall whiten her tomb.
+</pre>
+    <p>
+      CHORUS.&mdash;ALTRO MODO.<br />
+    </p>
+<pre xml:space="preserve">
+    On the grave of Augusta this garland be plac&rsquo;d,       120
+      We&rsquo;ll rifle the spring of its earliest bloom,
+    And there shall the cowslip and primrose be cast,
+      And the tears of her country shall water her tomb.
+</pre>
+
+<hr />
+
+<h3><a name="poem25"></a><a name="page_84" id="page_84"></a>
+SONG<br /> <br /> <small>FROM &lsquo;SHE STOOPS TO CONQUER&rsquo;</small></h3>
+
+<pre xml:space="preserve">
+    LET school-masters puzzle their brain,
+      With grammar, and nonsense, and learning;
+    Good liquor, I stoutly maintain,
+      Gives &lsquo;genus&rsquo; a better discerning.
+    Let them brag of their heathenish gods,                5
+      Their Lethes, their Styxes, and Stygians:
+    Their Quis, and their Quaes, and their Quods,
+      They&rsquo;re all but a parcel of Pigeons.
+                      Toroddle, toroddle, toroll.
+
+    When Methodist preachers come down
+      A-preaching that drinking is sinful,                10
+    I&rsquo;ll wager the rascals a crown
+      They always preach best with a skinful.
+    But when you come down with your pence,
+      For a slice of their scurvy religion,
+    I&rsquo;ll leave it to all men of sense,                    15
+      But you, my good friend, are the pigeon.
+                      Toroddle, toroddle, toroll.
+
+    Then come, put the jorum about,
+      And let us be merry and clever;
+    Our hearts and our liquors are stout;
+      Here&rsquo;s the Three Jolly Pigeons for ever.            20
+    Let some cry up woodcock or hare,
+      Your bustards, your ducks, and your widgeons;
+    But of all the birds in the air,
+      Here&rsquo;s a health to the Three Jolly Pigeons.
+                      Toroddle, toroddle, toroll.
+</pre>
+
+<hr />
+
+<h3><a name="poem26"></a><a name="page_85" id="page_85"></a>
+EPILOGUE TO &lsquo;SHE STOOPS TO CONQUER&rsquo;</h3>
+
+<pre xml:space="preserve">
+    WELL, having stoop&rsquo;d to conquer with success,
+    And gain&rsquo;d a husband without aid from dress,
+    Still, as a Bar-maid, I could wish it too,
+    As I have conquer&rsquo;d him, to conquer you:
+    And let me say, for all your resolution,               5
+    That pretty Bar-maids have done execution.
+    Our life is all a play, compos&rsquo;d to please,
+    &lsquo;We have our exits and our entrances.&rsquo;
+    The First Act shows the simple country maid,
+    Harmless and young, of ev&rsquo;ry thing afraid;            10
+    Blushes when hir&rsquo;d, and, with unmeaning action,
+    &lsquo;I hopes as how to give you satisfaction.&rsquo;
+    Her Second Act displays a livelier scene&mdash;
+    Th&rsquo; unblushing Bar-maid of a country inn,
+    Who whisks about the house, at market caters,         15
+    Talks loud, coquets the guests, and scolds the waiters.
+    Next the scene shifts to town, and there she soars,
+    The chop-house toast of ogling connoisseurs.
+    On &rsquo;Squires and Cits she there displays her arts,
+    And on the gridiron broils her lovers&rsquo; hearts:        20
+    And as she smiles, her triumphs to complete,
+    Even Common-Councilmen forget to eat.
+    The Fourth Act shows her wedded to the &rsquo;Squire,
+    And Madam now begins to hold it higher;
+    Pretends to taste, at Operas cries <i>caro</i>,              25
+    And quits her <i>Nancy Dawson</i>, for <i>Che faro</i>,
+    Doats upon dancing, and in all her pride,
+    Swims round the room, the Heinel of Cheapside;<a name="page_86" id="page_86"></a>
+    Ogles and leers with artificial skill,
+    &rsquo;Till having lost in age the power to kill,       30
+    She sits all night at cards, and ogles at spadille.
+    Such, through our lives, the eventful history&mdash;
+    The Fifth and Last Act still remains for me.
+    The Bar-maid now for your protection prays.
+    Turns Female Barrister, and pleads for Bayes.     35
+</pre>
+
+<hr />
+
+<div class="fig" style="width:100%;">
+<a name="goldie" id="goldie"></a>
+<img src="images/goldie.jpg" width="194" height="183" alt="[Illustration: ]" />
+<p class="caption">PORTRAIT OF GOLDSMITH<br />
+AFTER REYNOLDS<br />
+(Vignette to &lsquo;Retaliation&rsquo;)</p>
+</div>
+
+<h3><a name="poem27"></a><a name="page_87" id="page_87"></a>
+RETALIATION<br /> <br /> <small>A POEM</small></h3>
+
+<pre xml:space="preserve">
+OF old, when Scarron his companions invited,
+Each guest brought his dish, and the feast was united;
+If our landlord supplies us with beef, and with fish,
+Let each guest bring himself, and he brings the best dish:
+Our Dean shall be venison, just fresh from the plains;      5
+Our Burke shall be tongue, with a garnish of brains;
+Our Will shall be wild-fowl, of excellent flavour,
+And Dick with his pepper shall heighten their savour:
+Our Cumberland&rsquo;s sweet-bread its place shall obtain,
+And Douglas is pudding, substantial and plain:             10
+Our Garrick&rsquo;s a salad; for in him we see
+Oil, vinegar, sugar, and saltness agree:
+To make out the dinner, full certain I am,
+That Ridge is anchovy, and Reynolds is lamb;
+That Hickey&rsquo;s a capon, and by the same rule,               15
+Magnanimous Goldsmith a gooseberry fool.
+At a dinner so various, at such a repast,
+Who&rsquo;d not be a glutton, and stick to the last?
+Here, waiter! more wine, let me sit while I&rsquo;m able,
+Till all my companions sink under the table;               20
+Then, with chaos and blunders encircling my head,
+Let me ponder, and tell what I think of the dead.
+
+  Here lies the good Dean, re-united to earth,
+Who mix&rsquo;d reason with pleasure, and wisdom with mirth:
+If he had any faults, he has left us in doubt,             25
+At least, in six weeks, I could not find &rsquo;em out;<a name="page_88" id="page_88"></a>
+Yet some have declar&rsquo;d, and it can&rsquo;t be denied &rsquo;em,
+That sly-boots was cursedly cunning to hide &rsquo;em.
+
+  Here lies our good Edmund, whose genius was such,
+We scarcely can praise it, or blame it too much;           30
+Who, born for the Universe, narrow&rsquo;d his mind,
+And to party gave up what was meant for mankind.
+Though fraught with all learning, yet straining his throat
+To persuade Tommy Townshend to lend him a vote;
+Who, too deep for his hearers, still went on refining,     35
+And thought of convincing, while they thought of dining;
+Though equal to all things, for all things unfit,
+Too nice for a statesman, too proud for a wit:
+For a patriot, too cool; for a drudge, disobedient;
+And too fond of the <i>right</i> to pursue the <i>expedient.</i>         40
+In short, &rsquo;twas his fate, unemploy&rsquo;d, or in place, Sir,
+To eat mutton cold, and cut blocks with a razor.
+
+  Here lies honest William, whose heart was a mint,
+While the owner ne&rsquo;er knew half the good that was in&rsquo;t;
+The pupil of impulse, it forc&rsquo;d him along,                 45
+His conduct still right, with his argument wrong;
+Still aiming at honour, yet fearing to roam,
+The coachman was tipsy, the chariot drove home;
+Would you ask for his merits? alas! he had none;
+What was good was spontaneous, his faults were his own.    50
+
+  Here lies honest Richard, whose fate I must sigh at;
+Alas, that such frolic should now be so quiet!
+What spirits were his! what wit and what whim!
+Now breaking a jest, and now breaking a limb;<a name="page_89" id="page_89"></a>
+Now wrangling and grumbling to keep up the ball,           55
+Now teasing and vexing, yet laughing at all!
+In short, so provoking a devil was Dick,
+That we wish&rsquo;d him full ten times a day at Old Nick;
+But, missing his mirth and agreeable vein,
+As often we wish&rsquo;d to have Dick back again.                60
+
+  Here Cumberland lies, having acted his parts,
+The Terence of England, the mender of hearts;
+A flattering painter, who made it his care
+To draw men as they ought to be, not as they are.
+His gallants are all faultless, his women divine,          65
+And comedy wonders at being so fine;
+Like a tragedy queen he has dizen&rsquo;d her out,
+Or rather like tragedy giving a rout.
+His fools have their follies so lost in a crowd
+Of virtues and feelings, that folly grows proud;           70
+And coxcombs, alike in their failings alone,
+Adopting his portraits, are pleas&rsquo;d with their own.
+Say, where has our poet this malady caught?
+Or, wherefore his characters thus without fault?
+Say, was it that vainly directing his view                 75
+To find out men&rsquo;s virtues, and finding them few,
+Quite sick of pursuing each troublesome elf,
+He grew lazy at last, and drew from himself?
+
+  Here Douglas retires, from his toils to relax,
+The scourge of impostors, the terror of quacks:            80
+Come, all ye quack bards, and ye quacking divines,
+Come, and dance on the spot where your tyrant reclines:
+When Satire and Censure encircl&rsquo;d his throne,
+I fear&rsquo;d for your safety, I fear&rsquo;d for my own;<a name="page_90" id="page_90"></a>
+But now he is gone, and we want a detector,                85
+Our Dodds shall be pious, our Kenricks shall lecture;
+Macpherson write bombast, and call it a style,
+Our Townshend make speeches, and I shall compile;
+New Lauders and Bowers the Tweed shall cross over,
+No countryman living their tricks to discover;             90
+Detection her taper shall quench to a spark,
+And Scotchman meet Scotchman, and cheat in the dark.
+
+  Here lies David Garrick, describe me, who can,
+An abridgment of all that was pleasant in man;
+As an actor, confess&rsquo;d without rival to shine:             95
+As a wit, if not first, in the very first line:
+Yet, with talents like these, and an excellent heart,
+The man had his failings, a dupe to his art.
+Like an ill-judging beauty, his colours he spread,
+And beplaster&rsquo;d with rouge his own natural red.           100
+On the stage he was natural, simple, affecting;
+&rsquo;Twas only that when he was off he was acting.
+With no reason on earth to go out of his way,
+He turn&rsquo;d and he varied full ten times a day.
+Though secure of our hearts, yet confoundedly sick        105
+If they were not his own by finessing and trick,
+He cast off his friends, as a huntsman his pack,
+For he knew when he pleas&rsquo;d he could whistle them back.
+Of praise a mere glutton, he swallow&rsquo;d what came,
+And the puff of a dunce he mistook it for fame;           110
+Till his relish grown callous, almost to disease,
+Who pepper&rsquo;d the highest was surest to please.<a name="page_91" id="page_91"></a>
+But let us be candid, and speak out our mind,
+If dunces applauded, he paid them in kind.
+Ye Kenricks, ye Kellys, and Woodfalls so grave,           115
+What a commerce was yours, while you got and you gave!
+How did Grub-street re-echo the shouts you rais&rsquo;d,
+While he was be-Roscius&rsquo;d, and you were be-prais&rsquo;d!
+But peace to his spirit, wherever it flies,
+To act as an angel, and mix with the skies:               120
+Those poets, who owe their best fame to his skill,
+Shall still be his flatterers, go where he will.
+Old Shakespeare, receive him, with praise and with love,
+And Beaumonts and Bens be his Kellys above.
+
+  Here Hickey reclines, a most blunt, pleasant creature,  125
+And slander itself must allow him good nature:
+He cherish&rsquo;d his friend, and he relish&rsquo;d a bumper;
+Yet one fault he had, and that one was a thumper.
+Perhaps you may ask if the man was a miser!
+I answer, no, no, for he always was wiser:                130
+Too courteous, perhaps, or obligingly flat?
+His very worst foe can&rsquo;t accuse him of that:
+Perhaps he confided in men as they go,
+And so was too foolishly honest! Ah no!
+Then what was his failing? come, tell it, and burn ye!    135
+He was, could he help it?&mdash;a special attorney.
+
+  Here Reynolds is laid, and, to tell you my mind,
+He has not left a better or wiser behind:
+His pencil was striking, resistless, and grand;
+His manners were gentle, complying, and bland;            140<a name="page_92" id="page_92"></a>
+Still born to improve us in every part,
+His pencil our faces, his manners our heart:
+To coxcombs averse, yet most civilly steering,
+When they judg&rsquo;d without skill he was still hard of hearing:
+When they talk&rsquo;d of their Raphaels, Correggios, and stuff, 145
+He shifted his trumpet, and only took snuff.
+</pre>
+
+<p class="center">
+      <br /> POSTSCRIPT<br />
+    </p>
+    <p>
+      After the Fourth Edition of this Poem was printed, the Publisher received
+      an Epitaph on Mr. Whitefoord, from a friend of the late Doctor Goldsmith,
+      inclosed in a letter, of which the following is an abstract:&mdash;
+    </p>
+
+    <p>
+      &lsquo;I have in my possession a sheet of paper, containing near forty lines in
+      the Doctor&rsquo;s own hand-writing: there are many scattered, broken verses, on
+      Sir Jos. Reynolds, Counsellor Ridge, Mr. Beauclerk, and Mr. Whitefoord.
+      The Epitaph on the last-mentioned gentleman is the only one that is
+      finished, and therefore I have copied it, that you may add it to the next
+      edition. It is a striking proof of Doctor Goldsmith&rsquo;s good-nature. I saw
+      this sheet of paper in the Doctor&rsquo;s room, five or six days before he died;
+      and, as I had got all the other Epitaphs, I asked him if I might take it.
+      &ldquo;<i>In truth you may, my Boy</i>,&rdquo; (replied he,) &ldquo;<i>for it will be of no
+      use to me where I am going.</i>&rdquo;&rsquo;
+    </p>
+
+<pre xml:space="preserve">
+HERE Whitefoord reclines, and deny it who can,
+Though he <i>merrily</i> liv&rsquo;d, he is now a &lsquo;grave&rsquo; man;
+Rare compound of oddity, frolic, and fun!
+Who relish&rsquo;d a joke, and rejoic&rsquo;d in a pun;               150<a name="page_93" id="page_93"></a>
+Whose temper was generous, open, sincere;
+A stranger to flatt&rsquo;ry, a stranger to fear;
+Who scatter&rsquo;d around wit and humour at will;
+Whose daily <i>bons mots</i> half a column might fill;
+A Scotchman, from pride and from prejudice free;          155
+A scholar, yet surely no pedant was he.
+
+  What pity, alas! that so lib&rsquo;ral a mind
+Should so long be to news-paper essays confin&rsquo;d;
+Who perhaps to the summit of science could soar,
+Yet content &lsquo;if the table he set on a roar&rsquo;;              160
+Whose talents to fill any station were fit,
+Yet happy if Woodfall confess&rsquo;d him a wit.
+
+  Ye news-paper witlings! ye pert scribbling folks
+Who copied his squibs, and re-echoed his jokes;
+Ye tame imitators, ye servile herd, come,                 165
+Still follow your master, and visit his tomb:
+To deck it, bring with you festoons of the vine,
+And copious libations bestow on his shrine:
+Then strew all around it (you can do no less)
+<i>Cross-readings, Ship-news</i>, and <i>Mistakes of the Press.</i>
+                                                          170
+
+  Merry Whitefoord, farewell! for <i>thy</i> sake I admit
+That a Scot may have humour, I had almost said wit:
+This debt to thy mem&rsquo;ry I cannot refuse,
+&lsquo;Thou best humour&rsquo;d man with the worst humour&rsquo;d muse.&rsquo;
+</pre>
+
+<hr />
+
+<h3><a name="poem28"></a><a name="page_94" id="page_94"></a>
+SONG<br /> <br /> <small>INTENDED TO HAVE BEEN SUNG IN<br />
+&lsquo;SHE STOOPS TO CONQUER&rsquo;</small></h3>
+
+<pre xml:space="preserve">
+     AH me! when shall I marry me?
+       Lovers are plenty; but fail to relieve me:
+     He, fond youth, that could carry me,
+       Offers to love, but means to deceive me.
+
+     But I will rally, and combat the ruiner:                5
+       Not a look, not a smile shall my passion discover:
+     She that gives all to the false one pursuing her,
+       Makes but a penitent, loses a lover.
+</pre>
+
+<hr />
+
+<h3><a name="poem29"></a>
+TRANSLATION</h3>
+
+<pre xml:space="preserve">
+     CHASTE are their instincts, faithful is their fire,
+     No foreign beauty tempts to false desire;
+     The snow-white vesture, and the glittering crown,
+     The simple plumage, or the glossy down
+     Prompt not their loves:&mdash;the patriot bird pursues         5
+     His well acquainted tints, and kindred hues.
+     Hence through their tribes no mix&rsquo;d polluted flame,
+     No monster-breed to mark the groves with shame;
+     But the chaste blackbird, to its partner true,
+     Thinks black alone is beauty&rsquo;s favourite hue.           10
+     The nightingale, with mutual passion blest,
+     Sings to its mate, and nightly charms the nest;
+     While the dark owl to court its partner flies,
+     And owns its offspring in their yellow eyes.
+</pre>
+
+<hr />
+
+<h3><a name="poem30"></a><a name="page_95" id="page_95"></a>
+THE HAUNCH OF VENISON<br /> <br /> <small>A POETICAL EPISTLE TO LORD
+      CLARE</small></h3>
+
+<pre xml:space="preserve">
+THANKS, my Lord, for your venison, for finer or fatter
+Never rang&rsquo;d in a forest, or smok&rsquo;d in a platter;
+The haunch was a picture for painters to study,
+The fat was so white, and the lean was so ruddy.
+Though my stomach was sharp, I could scarce help regretting  5
+To spoil such a delicate picture by eating;
+I had thoughts, in my chambers, to place it in view,
+To be shown to my friends as a piece of <i>virtù</i>;
+As in some Irish houses, where things are so so,
+One gammon of bacon hangs up for a show:                    10
+But for eating a rasher of what they take pride in,
+They&rsquo;d as soon think of eating the pan it is fried in.
+But hold&mdash;let me pause&mdash;Don&rsquo;t I hear you pronounce
+This tale of the bacon a damnable bounce?
+Well, suppose it a bounce&mdash;sure a poet may try,              15
+By a bounce now and then, to get courage to fly.
+
+  But, my Lord, it&rsquo;s no bounce:  I protest in my turn,
+It&rsquo;s a truth&mdash;and your Lordship may ask Mr. Byrne.
+To go on with my tale&mdash;as I gaz&rsquo;d on the haunch,
+I thought of a friend that was trusty and staunch;          20
+So I cut it, and sent it to Reynolds undress&rsquo;d,
+To paint it, or eat it, just as he lik&rsquo;d best.
+Of the neck and the breast I had next to dispose;
+&rsquo;Twas a neck and a breast&mdash;that might rival M&mdash;r&mdash;&rsquo;s:<a name="page_96" id="page_96"></a>
+But in parting with these I was puzzled again,              25
+With the how, and the who, and the where, and the when.
+There&rsquo;s H&mdash;d, and C&mdash;y, and H&mdash;rth, and H&mdash;ff,
+I think they love venison&mdash;I know they love beef;
+There&rsquo;s my countryman H&mdash;gg&mdash;ns&mdash;Oh! let him
+alone,
+For making a blunder, or picking a bone.                    30
+But hang it&mdash;to poets who seldom can eat,
+Your very good mutton&rsquo;s a very good treat;
+Such dainties to them, their health it might hurt,
+It&rsquo;s like sending them ruffles, when wanting a shirt.
+While thus I debated, in reverie centred,                   35
+An acquaintance, a friend as he call&rsquo;d himself, enter&rsquo;d;
+An under-bred, fine-spoken fellow was he,
+And he smil&rsquo;d as he look&rsquo;d at the venison and me.
+&lsquo;What have we got here?&mdash;Why, this is good eating!
+Your own, I suppose&mdash;or is it in waiting?&rsquo;                   40
+&lsquo;Why, whose should it be?&rsquo; cried I with a flounce,
+&lsquo;I get these things often;&rsquo;&mdash;but that was a bounce:
+&lsquo;Some lords, my acquaintance, that settle the nation,
+Are pleas&rsquo;d to be kind&mdash;but I hate ostentation.&rsquo;
+
+  &lsquo;If that be the case, then,&rsquo; cried he, very gay,          45
+&lsquo;I&rsquo;m glad I have taken this house in my way.
+To-morrow you take a poor dinner with me;
+No words&mdash;I insist on&rsquo;t&mdash;precisely at three:
+We&rsquo;ll have Johnson, and Burke; all the wits will be there;
+My acquaintance is slight, or I&rsquo;d ask my Lord Clare.        50
+And now that I think on&rsquo;t, as I am a sinner!
+We wanted this venison to make out the dinner.<a name="page_97" id="page_97"></a>
+What say you&mdash;a pasty? it shall, and it must,
+And my wife, little Kitty, is famous for crust.
+Here, porter!&mdash;this venison with me to Mile-end;             55
+No stirring&mdash;I beg&mdash;my dear friend&mdash;my dear friend!
+Thus snatching his hat, he brush&rsquo;d off like the wind,
+And the porter and eatables follow&rsquo;d behind.
+
+  Left alone to reflect, having emptied my shelf,
+&lsquo;And nobody with me at sea but myself&rsquo;;                     60
+Though I could not help thinking my gentleman hasty,
+Yet Johnson, and Burke, and a good venison pasty,
+Were things that I never dislik&rsquo;d in my life,
+Though clogg&rsquo;d with a coxcomb, and Kitty his wife.
+So next day, in due splendour to make my approach,          65
+I drove to his door in my own hackney coach.
+
+  When come to the place where we all were to dine,
+(A chair-lumber&rsquo;d closet just twelve feet by nine:)
+My friend bade me welcome, but struck me quite dumb,
+With tidings that Johnson and Burke would not come;         70
+&lsquo;For I knew it,&rsquo; he cried, &lsquo;both eternally fail,
+The one with his speeches, and t&rsquo;other with Thrale;
+But no matter, I&rsquo;ll warrant we&rsquo;ll make up the party
+With two full as clever, and ten times as hearty.
+The one is a Scotchman, the other a Jew,                    75
+They[&rsquo;re] both of them merry and authors like you;
+The one writes the <i>Snarler</i>, the other the <i>Scourge</i>;
+Some think he writes <i>Cinna</i>&mdash;he owns to <i>Panurge.</i>&rsquo;
+While thus he describ&rsquo;d them by trade, and by name,
+They enter&rsquo;d and dinner was serv&rsquo;d as they came.            80
+
+  At the top a fried liver and bacon were seen,
+At the bottom was tripe in a swinging tureen;<a name="page_98" id="page_98"></a>
+At the sides there was spinach and pudding made hot;
+In the middle a place where the pasty&mdash;was not.
+Now, my Lord as for tripe, it&rsquo;s my utter aversion,          85
+And your bacon I hate like a Turk or a Persian;
+So there I sat stuck, like a horse in a pound,
+While the bacon and liver went merrily round.
+But what vex&rsquo;d me most was that d&mdash;&rsquo;d Scottish rogue,
+With his long-winded speeches, his smiles and his brogue;   90
+And, &lsquo;Madam,&rsquo; quoth he, &lsquo;may this bit be my poison,
+A prettier dinner I never set eyes on;
+Pray a slice of your liver, though may I be curs&rsquo;d,
+But I&rsquo;ve eat of your tripe till I&rsquo;m ready to burst.&rsquo;
+&lsquo;The tripe,&rsquo; quoth the Jew, with his chocolate cheek,       95
+&lsquo;I could dine on this tripe seven days in the week:
+I like these here dinners so pretty and small;
+But your friend there, the Doctor, eats nothing at all.&rsquo;
+&lsquo;O&mdash;Oh!&rsquo; quoth my friend, &lsquo;he&rsquo;ll come on in a trice,
+He&rsquo;s keeping a corner for something that&rsquo;s nice:           100
+There&rsquo;s a pasty&rsquo;&mdash;&lsquo;A pasty!&rsquo; repeated the Jew,
+&lsquo;I don&rsquo;t care if I keep a corner for&rsquo;t too.&rsquo;
+&lsquo;What the de&rsquo;il, mon, a pasty!&rsquo; re-echoed the Scot,
+&lsquo;Though splitting, I&rsquo;ll still keep a corner for thot.&rsquo;
+&lsquo;We&rsquo;ll all keep a corner,&rsquo; the lady cried out;             105
+&lsquo;We&rsquo;ll all keep a corner,&rsquo; was echoed about.
+While thus we resolv&rsquo;d, and the pasty delay&rsquo;d,
+With look that quite petrified, enter&rsquo;d the maid;
+A visage so sad, and so pale with affright,
+Wak&rsquo;d Priam in drawing his curtains by night.              110
+But we quickly found out, for who could mistake her?
+That she came with some terrible news from the baker:<a name="page_99" id="page_99"></a>
+And so it fell out, for that negligent sloven
+Had shut out the pasty on shutting his oven
+Sad Philomel thus&mdash;but let similes drop&mdash;                    115
+And now that I think on&rsquo;t, the story may stop.
+To be plain, my good Lord, it&rsquo;s but labour misplac&rsquo;d
+To send such good verses to one of your taste;
+You&rsquo;ve got an odd something&mdash;a kind of discerning&mdash;
+A relish&mdash;a taste&mdash;sicken&rsquo;d over by learning;                120
+At least, it&rsquo;s your temper, as very well known,
+That you think very slightly of all that&rsquo;s your own:
+So, perhaps, in your habits of thinking amiss,
+You may make a mistake, and think slightly of this.
+</pre>
+
+<hr />
+
+<h3><a name="poem31"></a><a name="page_100" id="page_100"></a>
+EPITAPH ON THOMAS PARNELL</h3>
+
+<pre xml:space="preserve">
+     THIS tomb, inscrib&rsquo;d to gentle Parnell&rsquo;s name,
+     May speak our gratitude, but not his fame.
+     What heart but feels his sweetly-moral lay,
+     That leads to truth through pleasure&rsquo;s flowery way!
+     Celestial themes confess&rsquo;d his tuneful aid;             5
+     And Heaven, that lent him genius, was repaid.
+     Needless to him the tribute we bestow&mdash;
+     The transitory breath of fame below:
+     More lasting rapture from his works shall rise,
+     While Converts thank their poet in the skies.          10
+</pre>
+
+<hr />
+
+<h3><a name="poem32"></a>
+THE CLOWN&rsquo;S REPLY</h3>
+
+<pre xml:space="preserve">
+     JOHN TROTT was desired by two witty peers
+     To tell them the reason why asses had ears?
+     &lsquo;An&rsquo;t please you,&rsquo; quoth John, &lsquo;I&rsquo;m not given to letters,
+     Nor dare I pretend to know more than my betters;
+     Howe&rsquo;er, from this time I shall ne&rsquo;er see your graces,  5
+     As I hope to be saved! without thinking on asses.&rsquo;
+</pre>
+
+<hr />
+
+<h3><a name="poem33"></a>
+EPITAPH ON EDWARD PURDON</h3>
+
+<pre xml:space="preserve">
+          HERE lies poor Ned Purdon, from misery freed,
+            Who long was a bookseller&rsquo;s hack;
+          He led such a damnable life in this world,&mdash;
+            I don&rsquo;t think he&rsquo;ll wish to come back.
+</pre>
+
+<hr />
+
+<h3><a name="poem34"></a><a name="page_101" id="page_101"></a>
+EPILOGUE FOR MR. LEE LEWES</h3>
+
+<pre xml:space="preserve">
+     HOLD! Prompter, hold! a word before your nonsense;
+     I&rsquo;d speak a word or two, to ease my conscience.
+     My pride forbids it ever should be said,
+     My heels eclips&rsquo;d the honours of my head;
+     That I found humour in a piebald vest,                  5
+     Or ever thought that jumping was a jest.
+                                (<i>Takes off his mask.</i>)
+     Whence, and what art thou, visionary birth?
+     Nature disowns, and reason scorns thy mirth,
+     In thy black aspect every passion sleeps,
+     The joy that dimples, and the woe that weeps.          10
+     How has thou fill&rsquo;d the scene with all thy brood,
+     Of fools pursuing, and of fools pursu&rsquo;d!
+     Whose ins and outs no ray of sense discloses,
+     Whose only plot it is to break our noses;
+     Whilst from below the trap-door Demons rise,           15
+     And from above the dangling deities;
+     And shall I mix in this unhallow&rsquo;d crew?
+     May rosined lightning blast me, if I do!
+     No&mdash;I will act, I&rsquo;ll vindicate the stage:
+     Shakespeare himself shall feel my tragic rage.         20
+     Off! off! vile trappings! a new passion reigns!
+     The madd&rsquo;ning monarch revels in my veins.
+     Oh! for a Richard&rsquo;s voice to catch the theme:
+     &lsquo;Give me another horse! bind up my wounds!&mdash;soft&mdash;
+       &rsquo;twas but a dream.&rsquo;
+     Aye, &rsquo;twas but a dream, for now there&rsquo;s no retreating: 25
+     If I cease Harlequin, I cease from eating.
+     &rsquo;Twas thus that Aesop&rsquo;s stag, a creature blameless,
+     Yet something vain, like one that shall be nameless,
+     Once on the margin of a fountain stood,
+     And cavill&rsquo;d at his image in the flood.                30
+     &lsquo;The deuce confound,&rsquo; he cries, &lsquo;these drumstick shanks,
+     They never have my gratitude nor thanks;
+     They&rsquo;re perfectly disgraceful! strike me dead!
+     But for a head, yes, yes, I have a head.
+     How piercing is that eye! how sleek that brow!         35
+     My horns! I&rsquo;m told horns are the fashion now.&rsquo;
+     Whilst thus he spoke, astonish&rsquo;d, to his view,
+     Near, and more near, the hounds and huntsmen drew.
+     &lsquo;Hoicks! hark forward!&rsquo; came thund&rsquo;ring from behind,
+     He bounds aloft, outstrips the fleeting wind:          40
+     He quits the woods, and tries the beaten ways;
+     He starts, he pants, he takes the circling maze.
+     At length his silly head, so priz&rsquo;d before,
+     Is taught his former folly to deplore;
+     Whilst his strong limbs conspire to set him free,      45
+     And at one bound he saves himself,&mdash;like me.
+                 (<i>Taking a jump through the stage door.</i>)
+</pre>
+
+<hr />
+
+<h3><a name="poem35"></a><a name="page_103" id="page_103"></a>
+EPILOGUE<br /> <br /> <small>INTENDED TO HAVE BEEN SPOKEN FOR<br />
+&lsquo;SHE STOOPS TO CONQUER&rsquo;</small></h3>
+      
+    <p>
+      <i>Enter</i> M<small>RS.</small> B<small>ULKLEY</small>, <i>who curtsies
+      very low as beginning to speak. Then enter</i> M<small>ISS</small> C<small>ATLEY</small>,
+      <i>who stands full before her, and curtsies to the audience.</i>
+    </p>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+    HOLD, Ma&rsquo;am, your pardon. What&rsquo;s your business here?
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+    The Epilogue.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+            The Epilogue?
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+                            Yes, the Epilogue, my dear.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+    Sure you mistake, Ma&rsquo;am. The Epilogue, <i>I</i> bring it.
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+    Excuse me, Ma&rsquo;am. The Author bid <i>me</i> sing it.
+</pre>
+    <p>
+      <i>Recitative.</i>
+    </p>
+<pre xml:space="preserve">
+    Ye beaux and belles, that form this splendid ring,      5
+    Suspend your conversation while I sing.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+    Why, sure the girl&rsquo;s beside herself: an Epilogue of singing,
+    A hopeful end indeed to such a blest beginning.<a name="page_104" id="page_104"></a>
+    Besides, a singer in a comic set!&mdash;
+    Excuse me, Ma&rsquo;am, I know the etiquette.                10
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+    What if we leave it to the House?
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+                     The House!&mdash;Agreed.
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+                                            Agreed.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+        And she, whose party&rsquo;s largest, shall proceed.
+        And first I hope, you&rsquo;ll readily agree
+        I&rsquo;ve all the critics and the wits for me.
+        They, I am sure, will answer my commands:              15
+        Ye candid-judging few, hold up your hands.
+        What! no return? I find too late, I fear,
+        That modern judges seldom enter here.
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+    I&rsquo;m for a different set.&mdash;Old men, whose trade is
+    Still to gallant and dangle with the ladies;&mdash;          20
+</pre>
+    <p>
+      <i>Recitative.</i>
+    </p>
+<pre xml:space="preserve">
+    Who mump their passion, and who, grimly smiling,
+    Still thus address the fair with voice beguiling:&mdash;
+</pre>
+    <p>
+      <i>Air&mdash;Cotillon.</i>
+    </p>
+<pre xml:space="preserve">
+          Turn, my fairest, turn, if ever
+            Strephon caught thy ravish&rsquo;d eye;
+          Pity take on your swain so clever,                   25
+            Who without your aid must die.<a name="page_105" id="page_105"></a>
+                        Yes, I shall die, hu, hu, hu, hu!
+                        Yes, I must die, ho, ho, ho, ho!
+                                                (<i>Da capo.</i>)
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+          Let all the old pay homage to your merit;
+          Give me the young, the gay, the men of spirit.       30
+          Ye travell&rsquo;d tribe, ye macaroni train,
+          Of French friseurs, and nosegays, justly vain,
+          Who take a trip to Paris once a year
+          To dress, and look like awkward Frenchmen here,
+          Lend me your hands.&mdash;Oh! fatal news to tell:          35
+          Their hands are only lent to the Heinel.
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+          Ay, take your travellers, travellers indeed!
+          Give me my bonny Scot, that travels from the Tweed.
+          Where are the chiels? Ah! Ah, I well discern
+          The smiling looks of each bewitching bairn.          40
+</pre>
+    <p>
+      <i>Air&mdash;A bonny young lad is my Jockey.</i><br />
+    </p>
+<pre xml:space="preserve">
+          I&rsquo;ll sing to amuse you by night and by day,
+          And be unco merry when you are but gay;
+          When you with your bagpipes are ready to play,
+          My voice shall be ready to carol away
+                 With Sandy, and Sawney, and Jockey            45
+                 With Sawney, and Jarvie, and Jockey.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+          Ye gamesters, who, so eager in pursuit,
+          Make but of all your fortune one <i>va toute</i>;
+          Ye jockey tribe, whose stock of words are few,
+          &lsquo;I hold the odds.&mdash;Done, done, with you, with you;&rsquo;   50
+          Ye barristers, so fluent with grimace,
+          &lsquo;My Lord,&mdash;your Lordship misconceives the case;&rsquo;
+          Doctors, who cough and answer every misfortuner,
+          &lsquo;I wish I&rsquo;d been called in a little sooner:&rsquo;
+          Assist my cause with hands and voices hearty;        55
+          Come, end the contest here, and aid my party.
+</pre>
+    <p>
+      <br /> MISS CATLEY.<br /> <br /> <i>Air&mdash;Ballinamony.</i><br />
+    </p>
+<pre xml:space="preserve">
+          Ye brave Irish lads, hark away to the crack,
+          Assist me, I pray, in this woful attack;
+          For sure I don&rsquo;t wrong you, you seldom are slack,
+          When the ladies are calling, to blush and hang back; 60
+              For you&rsquo;re always polite and attentive,
+              Still to amuse us inventive,
+              And death is your only preventive:
+                Your hands and your voices for me.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+          Well, Madam, what if, after all this sparring,       65
+          We both agree, like friends, to end our jarring?
+</pre>
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+          And that our friendship may remain unbroken,
+          What if we leave the Epilogue unspoken?
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+          Agreed.
+</pre>
+
+    <p>
+      MISS CATLEY.
+    </p>
+<pre xml:space="preserve">
+          Agreed.
+</pre>
+    <p>
+      MRS. BULKLEY.
+    </p>
+<pre xml:space="preserve">
+                        And now with late repentance,
+          Un-epilogued the Poet waits his sentence.            70
+          Condemn the stubborn fool who can&rsquo;t submit
+          To thrive by flattery, though he starves by wit.
+                                              (<i>Exeunt.</i>)
+</pre>
+
+<hr />
+
+<h3><a name="poem36"></a><a name="page_108" id="page_108"></a>
+EPILOGUE<br /> <br /> <small>INTENDED TO HAVE BEEN SPOKEN FOR<br />
+&lsquo;SHE STOOPS TO CONQUER&rsquo;</small></h3>
+
+<pre xml:space="preserve">
+     THERE is a place, so Ariosto sings,
+     A treasury for lost and missing things;
+     Lost human wits have places assign&rsquo;d them,
+     And they, who lose their senses, there may find them.
+     But where&rsquo;s this place, this storehouse of the age?        5
+     The Moon, says he:&mdash;but <i>I</i> affirm the Stage:
+     At least in many things, I think, I see
+     His lunar, and our mimic world agree.
+     Both shine at night, for, but at Foote&rsquo;s alone,
+     We scarce exhibit till the sun goes down.                 10
+     Both prone to change, no settled limits fix,
+     And sure the folks of both are lunatics.
+     But in this parallel my best pretence is,
+     That mortals visit both to find their senses.
+     To this strange spot, Rakes, Macaronies, Cits             15
+     Come thronging to collect their scatter&rsquo;d wits.
+     The gay coquette, who ogles all the day,
+     Comes here at night, and goes a prude away.
+     Hither the affected city dame advancing,
+     Who sighs for operas, and dotes on dancing,               20
+     Taught by our art her ridicule to pause on,
+     Quits the <i>Ballet</i>, and calls for <i>Nancy Dawson.</i>
+     The Gamester too, whose wit&rsquo;s all high or low,
+     Oft risks his fortune on one desperate throw,
+     Comes here to saunter, having made his bets,              25
+     Finds his lost senses out, and pay his debts.<a name="page_109" id="page_109"></a>
+     The Mohawk too&mdash;with angry phrases stored,
+     As &lsquo;D&mdash; &mdash;, Sir,&rsquo; and &lsquo;Sir, I wear a sword&rsquo;;
+     Here lesson&rsquo;d for a while, and hence retreating,
+     Goes out, affronts his man, and takes a beating.          30
+     Here come the sons of scandal and of news,
+     But find no sense&mdash;for they had none to lose.
+     Of all the tribe here wanting an adviser
+     Our Author&rsquo;s the least likely to grow wiser;
+     Has he not seen how you your favour place,                35
+     On sentimental Queens and Lords in lace?
+     Without a star, a coronet or garter,
+     How can the piece expect or hope for quarter?
+     No high-life scenes, no sentiment:&mdash;the creature
+     Still stoops among the low to copy nature.                40
+     Yes, he&rsquo;s far gone:&mdash;and yet some pity fix,
+     The English laws forbid to punish lunatics.
+</pre>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="captivity" id="captivity"></a>
+THE CAPTIVITY
+</h2>
+
+<p class="center">
+      <small>AN</small><br /> <br /> ORATORIO
+    </p>
+
+<hr />
+
+<p class="center">
+      THE PERSONS.<br /> <br />
+    </p>
+    <table summary="List of the persons">
+      <tr>
+        <td></td>
+      </tr>
+      <tr>
+        <td align="left">
+          F<small>IRST</small> I<small>SRAELITISH</small> P<small>ROPHET</small>.<br />
+          S<small>ECOND</small> I<small>SRAELITISH</small> P<small>ROPHET</small>.<br />
+          I<small>SRAELITISH</small> W<small>OMAN</small>.<br /> F<small>IRST</small>
+          C<small>HALDEAN</small> P<small>RIEST</small>.<br /> S<small>ECOND</small>
+          C<small>HALDEAN</small> P<small>RIEST</small>.<br /> C<small>HALDEAN</small>
+          W<small>OMAN</small>.<br /> C<small>HORUS&nbsp; OF</small> Y<small>OUTHS&nbsp;
+          AND</small> V<small>IRGINS</small>.
+        </td>
+      </tr>
+    </table>
+    <p>
+      <br /> S<small>CENE</small>&mdash;The Banks of the River Euphrates, near
+      Babylon.<br /> <br />
+    </p>
+
+<hr />
+
+<p class="center"><a name="page_113" id="page_113"></a>
+      <b>THE CAPTIVITY</b><br /> <br /> ACT I&mdash;S<small>CENE</small> I.<br />
+      <br /> <i>Israelites sitting on the Banks of the Euphrates.</i><br /> <br />
+      FIRST PROPHET.<br /> <br /> RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    YE captive tribes, that hourly work and weep
+    Where flows Euphrates murmuring to the deep,
+    Suspend awhile the task, the tear suspend,
+    And turn to God, your Father and your Friend.
+    Insulted, chain&rsquo;d, and all the world a foe,             5
+    Our God alone is all we boast below.
+</pre>
+    <p>
+      FIRST PROPHET.<br /> <br /> AIR.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+        Our God is all we boast below,
+          To him we turn our eyes;
+        And every added weight of woe
+          Shall make our homage rise.                  10
+</pre>
+    <p>
+      SECOND PROPHET.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+        And though no temple richly drest,
+          Nor sacrifice is here;
+        We&rsquo;ll make his temple in our breast,
+          And offer up a tear.
+            [<i>The first stanza repeated by the Chorus.</i>
+</pre>
+
+    <p><a name="page_114" id="page_114"></a>
+      SECOND PROPHET.<br /> <br /> RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    That strain once more; it bids remembrance rise,       15
+    And brings my long-lost country to mine eyes.
+    Ye fields of Sharon, dress&rsquo;d in flow&rsquo;ry pride,
+    Ye plains where Jordan rolls its glassy tide,
+    Ye hills of Lebanon, with cedars crown&rsquo;d,
+    Ye Gilead groves, that fling perfumes around,          20
+    These hills how sweet! Those plains how wond&rsquo;rous fair,
+    But sweeter still, when Heaven was with us there!
+</pre>
+    <p>
+      AIR.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+        O Memory, thou fond deceiver,
+          Still importunate and vain;
+        To former joys recurring ever,                 25
+          And turning all the past to pain;
+
+        Hence intruder, most distressing,
+          Seek the happy and the free:
+        The wretch who wants each other blessing,
+          Ever wants a friend in thee.                 30
+</pre>
+    <p>
+      FIRST PROPHET.<br /> <br /> RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Yet, why complain? What, though by bonds confin&rsquo;d,
+    Should bonds repress the vigour of the mind?
+    Have we not cause for triumph when we see
+    Ourselves alone from idol-worship free?
+    Are not this very morn those feasts begun?             35
+    Where prostrate error hails the rising sun?
+    Do not our tyrant lords this day ordain
+    For superstitious rites and mirth profane?
+    And should we mourn? Should coward virtue fly,
+    When impious folly rears her front on high?            40
+    No; rather let us triumph still the more,
+    And as our fortune sinks, our wishes soar.
+</pre>
+    <p>
+      AIR.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+        The triumphs that on vice attend
+        Shall ever in confusion end;
+        The good man suffers but to gain,              45
+        And every virtue springs from pain:
+
+        As aromatic plants bestow
+        No spicy fragrance while they grow;
+        But crush&rsquo;d, or trodden to the ground,
+        Diffuse their balmy sweets around.             50
+</pre>
+    <p>
+      SECOND PROPHET.<br /> <br /> RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    But hush, my sons, our tyrant lords are near;
+    The sounds of barb&rsquo;rous pleasure strike mine ear;
+    Triumphant music floats along the vale;
+    Near, nearer still, it gathers on the gale;
+    The growing sound their swift approach declares;&mdash;      55
+    Desist, my sons, nor mix the strain with theirs.
+</pre>
+    <p>
+      <i>Enter</i> C<small>HALDEAN</small> P<small>RIESTS</small> <i>attended.</i>
+      <br /> FIRST PRIEST.<br /> <br /> AIR.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Come on, my companions, the triumph display;
+      Let rapture the minutes employ;
+    The sun calls us out on this festival day,
+      And our monarch partakes in the joy.                 60
+</pre>
+
+    <p>
+      SECOND PRIEST.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Like the sun, our great monarch all rapture supplies,
+      Both similar blessings bestow;
+    The sun with his splendour illumines the skies,
+      And our monarch enlivens below.
+</pre>
+    <p>
+      A CHALDEAN WOMAN.<br /> <br /> AIR.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Haste, ye sprightly sons of pleasure;                  65
+    Love presents the fairest treasure,
+      Leave all other joys for me.
+</pre>
+    <p>
+      A CHALDEAN ATTENDANT.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Or rather, Love&rsquo;s delights despising,
+    Haste to raptures ever rising
+      Wine shall bless the brave and free.                 70
+</pre>
+    <p>
+      FIRST PRIEST.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Wine and beauty thus inviting,
+    Each to different joys exciting,
+      Whither shall my choice incline?
+</pre>
+    <p>
+      SECOND PRIEST.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    I&rsquo;ll waste no longer thought in choosing;
+    But, neither this nor that refusing,                   75
+      I&rsquo;ll make them both together mine.
+</pre>
+    <p>
+      RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    But whence, when joy should brighten o&rsquo;er the land,
+    This sullen gloom in Judah&rsquo;s captive band?
+    Ye sons of Judah, why the lute unstrung?
+    Or why those harps on yonder willows hung?             80
+    Come, take the lyre, and pour the strain along,
+    The day demands it; sing us Sion&rsquo;s song.
+    Dismiss your griefs, and join our warbling choir,
+    For who like you can wake the sleeping lyre?
+</pre>
+    <p>
+      SECOND PROPHET.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    Bow&rsquo;d down with chains, the scorn of all mankind,      85
+    To want, to toil, and every ill consign&rsquo;d,
+    Is this a time to bid us raise the strain,
+    Or mix in rites that Heaven regards with pain?
+    No, never! May this hand forget each art
+    That speeds the power of music to the heart,           90
+    Ere I forget the land that gave me birth,
+    Or join with sounds profane its sacred mirth!
+</pre>
+    <p>
+      FIRST PRIEST.
+    </p>
+<pre xml:space="preserve">
+    Insulting slaves! If gentler methods fail,
+    The whips and angry tortures shall prevail.
+                    [<i>Exeunt Chaldeans</i>
+</pre>
+    <p>
+      FIRST PROPHET.
+    </p>
+<pre xml:space="preserve">
+    Why, let them come, one good remains to cheer;         95
+    We fear the Lord, and know no other fear.
+</pre>
+    <p>
+      CHORUS.
+    </p>
+<pre xml:space="preserve">
+        Can whips or tortures hurt the mind
+        On God&rsquo;s supporting breast reclin&rsquo;d?
+        Stand fast, and let our tyrants see
+        That fortitude is victory.
+                        [<i>Exeunt.</i>
+</pre>
+
+<hr />
+
+<p class="center">
+      ACT II.<br /> <br /> <i>Scene as before.</i> CHORUS OF ISRAELITES.<br />
+      <br />
+    </p>
+<pre xml:space="preserve">
+        O PEACE of mind, angelic guest!
+        Thou soft companion of the breast!
+          Dispense thy balmy store.
+        Wing all our thoughts to reach the skies,
+        Till earth, receding from our eyes,             5
+          Shall vanish as we soar.
+</pre>
+    <p>
+      FIRST PRIEST.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    No more! Too long has justice been delay&rsquo;d,
+    The king&rsquo;s commands must fully be obey&rsquo;d;
+    Compliance with his will your peace secures,
+    Praise but our gods, and every good is yours.          10
+    But if, rebellious to his high command,
+    You spurn the favours offer&rsquo;d from his hand,
+    Think, timely think, what terrors are behind;
+    Reflect, nor tempt to rage the royal mind.
+</pre>
+    <p>
+      SECOND PRIEST.<br /> <br /> AIR.<br />
+    </p>
+<pre xml:space="preserve">
+        Fierce is the whirlwind howling               15
+          O&rsquo;er Afric&rsquo;s sandy plain,
+        And fierce the tempest rolling
+          Along the furrow&rsquo;d main:
+            But storms that fly,
+            To rend the sky,                          20
+          Every ill presaging,
+            Less dreadful show
+            To worlds below
+          Than angry monarch&rsquo;s raging.
+</pre>
+
+<div class="fig" style="width:100%;">
+<a name="page_119" id="page_119"></a>
+<a name="autograph" id="autograph"></a>
+<img src="images/autograph.jpg" width="268" height="291" alt="[Illustration: ]" />
+<p class="caption">GOLDSMITH&rsquo;S AUTOGRAPH<br />
+(Stanzas from &lsquo;The Captivity&rsquo;)</p>
+</div>
+
+    <p>
+      ISRAELITISH WOMAN.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    Ah, me! What angry terrors round us grow;              25
+    How shrinks my soul to meet the threaten&rsquo;d blow!
+    Ye prophets, skill&rsquo;d in Heaven&rsquo;s eternal truth,
+    Forgive my sex&rsquo;s fears, forgive my youth!
+    If, shrinking thus, when frowning power appears,
+    I wish for life, and yield me to my fears.             30
+    Let us one hour, one little hour obey;
+    To-morrow&rsquo;s tears may wash our stains away.
+</pre>
+    <p>
+      AIR.
+    </p>
+<pre xml:space="preserve">
+        To the last moment of his breath
+          On hope the wretch relies;
+        And e&rsquo;en the pang preceding death              35
+          Bids expectation rise.
+
+        Hope, like the gleaming taper&rsquo;s light,
+          Adorns and cheers our way;
+        And still, as darker grows the night,
+          Emits a brighter ray.                        40
+</pre>
+    <p>
+      SECOND PRIEST. RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    Why this delay? At length for joy prepare;
+    I read your looks, and see compliance there.
+    Come on, and bid the warbling rapture rise,
+    Our monarch&rsquo;s fame the noblest theme supplies.
+    Begin, ye captive bands, and strike the lyre,          45
+    The time, the theme, the place, and all conspire.
+</pre>
+    <p>
+      CHALDEAN WOMAN.<br /> <br /> AIR.
+    </p>
+<pre xml:space="preserve">
+        See the ruddy morning smiling,
+        Hear the grove to bliss beguiling;
+        Zephyrs through the woodland playing,
+        Streams along the valley straying.             50
+</pre>
+    <p>
+      FIRST PRIEST.
+    </p>
+<pre xml:space="preserve">
+        While these a constant revel keep,
+        Shall Reason only teach to weep?
+        Hence, intruder! We&rsquo;ll pursue
+        Nature, a better guide than you.
+</pre>
+    <p>
+      SECOND PRIEST.
+    </p>
+<pre xml:space="preserve">
+        Every moment, as it flows,                     55
+        Some peculiar pleasure owes;
+        Then let us, providently wise,
+        Seize the debtor as it flies.
+
+        Think not to-morrow can repay
+        The pleasures that we lose to-day;             60
+        To-morrow&rsquo;s most unbounded store
+        Can but pay its proper score.
+</pre>
+    <p>
+      FIRST PRIEST.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    But hush! See, foremost of the captive choir,
+    The master-prophet grasps his full-ton&rsquo;d lyre.
+    Mark where he sits, with executing art,                65
+    Feels for each tone, and speeds it to the heart;
+    See how prophetic rapture fills his form,
+    Awful as clouds that nurse the growing storm;
+    And now his voice, accordant to the string,
+    Prepares our monarch&rsquo;s victories to sing.              70
+</pre>
+    <p>
+      FIRST PROPHET.<br /> <br /> AIR.
+    </p>
+<pre xml:space="preserve">
+      From north, from south, from east, from west,
+        Conspiring nations come;
+      Tremble thou vice-polluted breast;
+        Blasphemers, all be dumb.
+
+      The tempest gathers all around,                      75
+        On Babylon it lies;
+      Down with her! down&mdash;down to the ground;
+        She sinks, she groans, she dies.
+</pre>
+    <p>
+      SECOND PROPHET.
+    </p>
+<pre xml:space="preserve">
+        Down with her, Lord, to lick the dust,
+          Ere yonder setting sun;                          80
+        Serve her as she hath served the just!
+          &rsquo;Tis fixed&mdash;it shall be done.
+</pre>
+    <p>
+      FIRST PRIEST.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    No more! When slaves thus insolent presume,
+    The king himself shall judge, and fix their doom.
+    Unthinking wretches! have not you, and all,            85
+    Beheld our power in Zedekiah&rsquo;s fall?
+    To yonder gloomy dungeon turn your eyes;
+    See where dethron&rsquo;d your captive monarch lies,
+    Depriv&rsquo;d of sight and rankling in his chain;
+    See where he mourns his friends and children slain.    90
+    Yet know, ye slaves, that still remain behind
+    More ponderous chains, and dungeons more confin&rsquo;d.
+</pre>
+    <p>
+      CHORUS OF ALL.
+    </p>
+<pre xml:space="preserve">
+        Arise, all potent ruler, rise,
+          And vindicate thy people&rsquo;s cause;
+        Till every tongue in every land                95
+          Shall offer up unfeign&rsquo;d applause.
+                        [<i>Exeunt.</i>
+</pre>
+
+<hr  />
+
+<p class="center">
+      ACT III.<br /> <br /> <i>Scene as before.</i><br /> <br /> FIRST PRIEST.<br />
+      <br /> RECITATIVE.<br /> <br />
+    </p>
+<pre xml:space="preserve">
+    YES, my companions, Heaven&rsquo;s decrees are past,
+    And our fix&rsquo;d empire shall for ever last;
+    In vain the madd&rsquo;ning prophet threatens woe,
+    In vain rebellion aims her secret blow;
+    Still shall our fame and growing power be spread,       5
+    And still our vengeance crush the traitor&rsquo;s head.
+</pre>
+    <p>
+      AIR.
+    </p>
+<pre xml:space="preserve">
+              Coeval with man
+              Our empire began,
+              And never shall fail
+              Till ruin shakes all;                    10
+              When ruin shakes all,
+              Then shall Babylon fall.
+</pre>
+
+    <p>
+      FIRST PROPHET.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    &rsquo;Tis thus that pride triumphant rears the head,
+    A little while, and all their power is fled;
+    But ha! what means yon sadly plaintive train,          15
+    That this way slowly bend along the plain?
+    And now, methinks, to yonder bank they bear
+    A palled corse, and rest the body there.
+    Alas! too well mine eyes indignant trace
+    The last remains of Judah&rsquo;s royal race:                20
+    Our monarch falls, and now our fears are o&rsquo;er,
+    Unhappy Zedekiah is no more!
+</pre>
+    <p>
+      AIR.
+    </p>
+<pre xml:space="preserve">
+        Ye wretches who, by fortune&rsquo;s hate,
+          In want and sorrow groan;
+        Come ponder his severer fate,                  25
+          And learn to bless your own.
+
+        You vain, whom youth and pleasure guide,
+          Awhile the bliss suspend;
+        Like yours, his life began in pride,
+          Like his, your lives shall end.              30
+</pre>
+    <p>
+      SECOND PROPHET.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    Behold his wretched corse with sorrow worn,
+    His squalid limbs with pond&rsquo;rous fetters torn;
+    Those eyeless orbs that shock with ghastly glare,
+    Those ill-becoming rags&mdash;that matted hair!
+    And shall not Heaven for this its terrors show,        35
+    Grasp the red bolt, and lay the guilty low?
+    How long, how long, Almighty God of all,
+    Shall wrath vindictive threaten ere it fall!
+</pre>
+    <p>
+      ISRAELITISH WOMAN.<br /> <br /> AIR.
+    </p>
+<pre xml:space="preserve">
+        As panting flies the hunted hind,
+          Where brooks refreshing stray;               40
+        And rivers through the valley wind,
+          That stop the hunter&rsquo;s way:
+
+        Thus we, O Lord, alike distrest,
+          For streams of mercy long;
+        Those streams which cheer the sore opprest,    45
+          And overwhelm the strong.
+</pre>
+    <p>
+      FIRST PROPHET.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    But, whence that shout?  Good heavens! amazement all!
+    See yonder tower just nodding to the fall:
+    See where an army covers all the ground,
+    Saps the strong wall, and pours destruction round;     50
+    The ruin smokes, destruction pours along;
+    How low the great, how feeble are the strong!
+    The foe prevails, the lofty walls recline&mdash;
+    O God of hosts, the victory is thine!
+</pre>
+    <p>
+      CHORUS OF ISRAELITES.
+    </p>
+<pre xml:space="preserve">
+        Down with them, Lord, to lick the dust;        55
+          Thy vengeance be begun:
+        Serve them as they have serv&rsquo;d the just,
+          And let thy will be done.
+</pre>
+
+    <p>
+      FIRST PRIEST.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    All, all is lost. The Syrian army fails,
+    Cyrus, the conqueror of the world, prevails,           60
+    The ruin smokes, the torrent pours along;
+    How low the proud, how feeble are the strong!
+    Save us, O Lord! to thee, though late, we pray,
+    And give repentance but an hour&rsquo;s delay.
+</pre>
+    <p>
+      FIRST AND SECOND PRIEST.<br /> <br /> AIR.
+    </p>
+<pre xml:space="preserve">
+        Thrice happy, who in happy hour                65
+          To Heaven their praise bestow,
+        And own his all-consuming power
+          Before they feel the blow!
+</pre>
+    <p>
+      FIRST PROPHET.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    Now, now&rsquo;s our time! ye wretches bold and blind,
+    Brave but to God, and cowards to mankind,              70
+    Too late you seek that power unsought before,
+    Your wealth, your pride, your kingdom, are no more.
+</pre>
+    <p>
+      AIR.
+    </p>
+<pre xml:space="preserve">
+      O Lucifer, thou son of morn,
+        Alike of Heaven and man the foe;
+          Heaven, men, and all,                            75
+          Now press thy fall,
+        And sink thee lowest of the low.
+</pre>
+
+    <p>
+      FIRST PROPHET.
+    </p>
+<pre xml:space="preserve">
+      O Babylon, how art thou fallen!
+        Thy fall more dreadful from delay!
+          Thy streets forlorn                             80
+          To wilds shall turn,
+        Where toads shall pant, and vultures prey.
+</pre>
+    <p>
+      SECOND PROPHET.<br /> <br /> RECITATIVE.
+    </p>
+<pre xml:space="preserve">
+    Such be her fate. But listen! from afar
+    The clarion&rsquo;s note proclaims the finish&rsquo;d war!
+    Cyrus, our great restorer, is at hand,                 85
+    And this way leads his formidable band.
+    Give, give your songs of Sion to the wind,
+    And hail the benefactor of mankind:
+    He comes pursuant to divine decree,
+    To chain the strong, and set the captive free.         90
+</pre>
+    <p>
+      CHORUS OF YOUTHS.
+    </p>
+<pre xml:space="preserve">
+        Rise to transports past expressing,
+          Sweeter from remember&rsquo;d woes;
+        Cyrus comes, our wrongs redressing,
+          Comes to give the world repose.
+</pre>
+    <p>
+      CHORUS OF VIRGINS.
+    </p>
+<pre xml:space="preserve">
+        Cyrus comes, the world redressing,             95
+          Love and pleasure in his train;
+        Comes to heighten every blessing,
+          Comes to soften every pain.
+</pre>
+
+    <p>
+      SEMI-CHORUS.
+    </p>
+<pre xml:space="preserve">
+        Hail to him with mercy reigning,
+          Skilled in every peaceful art;              100
+        Who from bonds our limbs unchaining,
+          Only binds the willing heart.
+</pre>
+    <p>
+      THE LAST CHORUS.
+    </p>
+<pre xml:space="preserve">
+    But chief to Thee, our God, defender, friend,
+      Let praise be given to all eternity;
+    O Thou, without beginning, without end,               105
+      Let us, and all, begin and end, in Thee!
+</pre>
+
+<hr />
+
+<h3><a name="poem37"></a><a name="page_128" id="page_128"></a>
+VERSES IN REPLY TO AN INVITATION TO<br /> DINNER AT DR. BAKER&rsquo;S.<br />
+      <br /> &lsquo;This <i>is</i> a poem! This <i>is</i> a copy of verses!&rsquo;</h3>
+
+<pre xml:space="preserve">
+        YOUR mandate I got,
+        You may all go to pot;
+        Had your senses been right,
+        You&rsquo;d have sent before night;
+        As I hope to be saved,                          5
+        I put off being shaved;
+        For I could not make bold,
+        While the matter was cold,
+        To meddle in suds,
+        Or to put on my duds;                          10
+        So tell Horneck and Nesbitt,
+        And Baker and his bit,
+        And Kauffmann beside,
+        And the Jessamy Bride,
+        With the rest of the crew,                     15
+        The Reynoldses two,
+        Little Comedy&rsquo;s face,
+        And the Captain in lace,
+        (By-the-bye you may tell him,
+        I have something to sell him;                  20
+        Of use I insist,
+        When he comes to enlist.
+        Your worships must know
+        That a few days ago,
+        An order went out,                             25
+        For the foot guards so stout<a name="page_129" id="page_129"></a>
+        To wear tails in high taste,
+        Twelve inches at least:
+        Now I&rsquo;ve got him a scale
+        To measure each tail,                          30
+        To lengthen a short tail,
+        And a long one to curtail.)&mdash;
+          Yet how can I when vext,
+        Thus stray from my text?
+        Tell each other to rue                         35
+        Your Devonshire crew,
+        For sending so late
+        To one of my state.
+        But &rsquo;tis Reynolds&rsquo;s way
+        From wisdom to stray,                          40
+        And Angelica&rsquo;s whim
+        To be frolick like him,
+But, alas! Your good worships, how could they be wiser,
+When both have been spoil&rsquo;d in to-day&rsquo;s <i>Advertiser</i>?
+</pre>
+
+    <p>
+      O<small>LIVER</small> G<small>OLDSMITH</small>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+    </p>
+
+<hr />
+
+<h3><a name="poem38"></a><a name="page_130" id="page_130"></a>
+LETTER IN PROSE AND VERSE TO<br /> MRS. BUNBURY</h3>
+
+    <p>
+      M<small>ADAM</small>,<br /> I read your letter with all that allowance
+      which critical candour could require, but after all find so much to object
+      to, and so much to raise my indignation, that I cannot help giving it a
+      serious answer.
+    </p>
+
+    <p>
+      I am not so ignorant, Madam, as not to see there are many sarcasms
+      contained in it, and solecisms also. (Solecism is a word that comes from
+      the town of Soleis in Attica, among the Greeks, built by Solon, and
+      applied as we use the word Kidderminster for curtains, from a town also of
+      that name;&mdash;but this is learning you have no taste for!)&mdash;I say,
+      Madam, there are sarcasms in it, and solecisms also. But not to seem an
+      ill-natured critic, I&rsquo;ll take leave to quote your own words, and give you
+      my remarks upon them as they occur. You begin as follows:&mdash;
+    </p>
+
+<p class="poem">
+    &lsquo;I hope, my good Doctor, you soon will be here,<br />
+     And your spring-velvet coat very smart will appear,<br />
+     To open our ball the first day of the year.&rsquo;
+</p>
+
+    <p>
+      Pray, Madam, where did you ever find the epithet &lsquo;good,&rsquo; applied to the
+      title of Doctor? Had you called me &lsquo;learned Doctor,&rsquo; or &lsquo;grave Doctor,&rsquo; or
+      &lsquo;noble Doctor,&rsquo; it might be allowable, because they belong to the
+      profession. But, not to cavil at trifles, you talk of my &lsquo;spring-velvet
+      coat,&rsquo; and advise me to wear it the first day in the year,&mdash;that is,
+      in the middle of winter!&mdash;a spring-velvet in the middle of winter!!!
+      That would be
+<a name="page_131" id="page_131"></a>
+      a solecism indeed! and yet, to increase the inconsistence, in another part
+      of your letter you call me a beau. Now, on one side or other, you must be
+      wrong. If I am a beau, I can never think of wearing a spring-velvet in
+      winter: and if I am not a beau, why then, that explains itself. But let me
+      go on to your two next strange lines:&mdash;
+    </p>
+
+<p class="poem">
+    &lsquo;And bring with you a wig, that is modish and gay,<br />
+    dance with the girls that are makers of hay.&rsquo;
+</p>
+
+    <p>
+      The absurdity of making hay at Christmas, you yourself seem sensible of:
+      you say your sister will laugh; and so indeed she well may! The Latins
+      have an expression for a contemptuous sort of laughter, &lsquo;Naso contemnere
+      adunco&rsquo;; that is, to laugh with a crooked nose. She may laugh at you in
+      the manner of the ancients if she thinks fit. But now I come to the most
+      extraordinary of all extraordinary propositions, which is, to take your
+      and your sister&rsquo;s advice in playing at loo. The presumption of the offer
+      raises my indignation beyond the bounds of prose; it inspires me at once
+      with verse and resentment. I take advice! and from whom? You shall hear.
+    </p>
+
+<pre xml:space="preserve">
+First let me suppose, what may shortly be true,
+The company set, and the word to be, Loo;
+All smirking, and pleasant, and big with adventure,
+And ogling the stake which is fix&rsquo;d in the centre.
+Round and round go the cards, while I inwardly damn             5
+At never once finding a visit from Pam.
+I lay down my stake, apparently cool,
+While the harpies about me all pocket the pool.<a name="page_132" id="page_132"></a>
+I fret in my gizzard, yet, cautious and sly,
+I wish all my friends may be bolder than I:                    10
+Yet still they sit snug, not a creature will aim
+By losing their money to venture at fame.
+&rsquo;Tis in vain that at niggardly caution I scold,
+&rsquo;Tis in vain that I flatter the brave and the bold:
+All play their own way, and they think me an ass,&mdash;             15
+&lsquo;What does Mrs. Bunbury?&rsquo; &lsquo;I, Sir? I pass.&rsquo;
+&lsquo;Pray what does Miss Horneck? Take courage, come do,&rsquo;&mdash;
+&lsquo;Who, I? let me see, Sir, why I must pass too.&rsquo;
+Mr. Bunbury frets, and I fret like the devil,
+To see them so cowardly, lucky, and civil.                     20
+Yet still I sit snug, and continue to sigh on,
+Till made by my losses as bold as a lion,
+I venture at all,&mdash;while my avarice regards
+The whole pool as my own&mdash;&lsquo;Come, give me five cards.&rsquo;
+&lsquo;Well done!&rsquo; cry the ladies; &lsquo;Ah, Doctor, that&rsquo;s good!         25
+The pool&rsquo;s very rich&mdash;ah! the Doctor is loo&rsquo;d!&rsquo;
+Thus foil&rsquo;d in my courage, on all sides perplex&rsquo;d,
+I ask for advice from the lady that&rsquo;s next:
+&lsquo;Pray, Ma&rsquo;am, be so good as to give your advice;
+Don&rsquo;t you think the best way is to venture for &rsquo;t twice?&rsquo;      30
+&lsquo;I advise,&rsquo; cries the lady, &lsquo;to try it, I own.&mdash;
+Ah! the Doctor is loo&rsquo;d! Come, Doctor, put down.&rsquo;
+Thus, playing, and playing, I still grow more eager,
+And so bold, and so bold, I&rsquo;m at last a bold beggar.
+Now, ladies, I ask, if law-matters you&rsquo;re skill&rsquo;d in,          35
+Whether crimes such as yours should not come before Fielding?<a name="page_133" id="page_133"></a>
+For giving advice that is not worth a straw,
+May well be call&rsquo;d picking of pockets in law;
+And picking of pockets, with which I now charge ye,
+Is, by quinto Elizabeth, Death without Clergy.                 40
+What justice, when both to the Old Bailey brought!
+By the gods, I&rsquo;ll enjoy it; though &rsquo;tis but in thought!
+Both are plac&rsquo;d at the bar, with all proper decorum,
+With bunches of fennel, and nosegays before &rsquo;em;
+Both cover their faces with mobs and all that;                 45
+But the judge bids them, angrily, take off their hat.
+When uncover&rsquo;d, a buzz of enquiry runs round,&mdash;
+&lsquo;Pray what are their crimes?&rsquo;&mdash;&lsquo;They&rsquo;ve been pilfering found.&rsquo;
+&lsquo;But, pray, whom have they pilfer&rsquo;d?&rsquo;&mdash;&lsquo;A Doctor, I hear.&rsquo;
+&lsquo;What, yon solemn-faced, odd-looking man that stands near!&rsquo;    50
+&lsquo;The same.&rsquo;&mdash;&lsquo;What a pity! how does it surprise one!
+Two handsomer culprits I never set eyes on!&rsquo;
+Then their friends all come round me with cringing and leering,
+To melt me to pity, and soften my swearing.
+First Sir Charles advances with phrases well strung,           55
+&lsquo;Consider, dear Doctor, the girls are but young.&rsquo;
+&lsquo;The younger the worse,&rsquo; I return him again,
+&lsquo;It shows that their habits are all dyed in grain.&rsquo;
+&lsquo;But then they&rsquo;re so handsome, one&rsquo;s bosom it grieves.&rsquo;
+&lsquo;What signifies <i>handsome</i>, when people are thieves?&rsquo;            60
+&lsquo;But where is your justice? their cases are hard.&rsquo;
+&lsquo;What signifies <i>justice</i>? I want the <i>reward</i>.
+</pre>
+
+    <p>
+      There&rsquo;s the parish of Edmonton offers forty pounds;
+      there&rsquo;s the parish of St. Leonard, Shoreditch, offers forty pounds;
+      there&rsquo;s the parish of Tyburn, from the Hog-in-the-Pound to St. Giles&rsquo;s
+      watchhouse, offers forty pounds,&mdash;I shall have all that if I convict
+      them!&rsquo;&mdash;
+    </p>
+
+<pre xml:space="preserve">
+&lsquo;But consider their case,&mdash;it may yet be your own!
+And see how they kneel! Is your heart made of stone?&rsquo;
+This moves:&mdash;so at last I agree to relent,                      65
+For ten pounds in hand, and ten pounds to be spent.
+</pre>
+
+    <p>
+      I challenge you all to answer this: I tell you, you cannot. It cuts deep;&mdash;but
+      now for the rest of the letter: and next&mdash; but I want room&mdash;so I
+      believe I shall battle the rest out at Barton some day next week.
+    </p>
+
+    <p>
+      I don&rsquo;t value you all!&nbsp;&nbsp;&nbsp;&nbsp;<br />
+      O. G.
+    </p>
+
+<hr />
+
+<h3><a name="poem39"></a><a name="page_135" id="page_135"></a>
+VIDA&rsquo;S GAME OF CHESS<br /> <br /> TRANSLATED</h3>
+
+<pre xml:space="preserve">
+ARMIES of box that sportively engage
+And mimic real battles in their rage,
+Pleased I recount; how, smit with glory&rsquo;s charms,
+Two mighty Monarchs met in adverse arms,
+Sable and white; assist me to explore,                       5
+Ye Serian Nymphs, what ne&rsquo;er was sung before.
+No path appears: yet resolute I stray
+Where youth undaunted bids me force my way.
+O&rsquo;er rocks and cliffs while I the task pursue,
+Guide me, ye Nymphs, with your unerring clue.               10
+For you the rise of this diversion know,
+You first were pleased in Italy to show
+This studious sport; from Scacchis was its name,
+The pleasing record of your Sister&rsquo;s fame.
+  When Jove through Ethiopia&rsquo;s parch&rsquo;d extent               15
+To grace the nuptials of old Ocean went,
+Each god was there; and mirth and joy around
+To shores remote diffused their happy sound.
+Then when their hunger and their thirst no more
+Claim&rsquo;d their attention, and the feast was o&rsquo;er;            20
+Ocean with pastime to divert the thought,
+Commands a painted table to be brought.
+Sixty-four spaces fill the chequer&rsquo;d square;
+Eight in each rank eight equal limits share.
+Alike their form, but different are their dyes,             25
+They fade alternate, and alternate rise,
+White after black; such various stains as those
+The shelving backs of tortoises disclose.
+Then to the gods that mute and wondering sate,
+You see (says he) the field prepared for fate.              30
+Here will the little armies please your sight,
+With adverse colours hurrying to the fight:
+On which so oft, with silent sweet surprise,
+The Nymphs and Nereids used to feast their eyes,
+And all the neighbours of the hoary deep,                   35
+When calm the sea, and winds were lull&rsquo;d asleep
+But see, the mimic heroes tread the board;
+He said, and straightway from an urn he pour&rsquo;d
+The sculptured box, that neatly seem&rsquo;d to ape
+The graceful figure of a human shape:&mdash;                      40
+Equal the strength and number of each foe,
+Sixteen appear&rsquo;d like jet, sixteen like snow.
+As their shape varies various is the name,
+Different their posts, nor is their strength the same.
+There might you see two Kings with equal pride              45
+Gird on their arms, their Consorts by their side;
+Here the Foot-warriors glowing after fame,
+There prancing Knights and dexterous Archers came
+And Elephants, that on their backs sustain
+Vast towers of war, and fill and shake the plain.           50
+  And now both hosts, preparing for the storm
+Of adverse battle, their encampments form.
+In the fourth space, and on the farthest line,
+Directly opposite the Monarchs shine;
+The swarthy on white ground, on sable stands                55
+The silver King; and then they send commands.
+Nearest to these the Queens exert their might;
+One the left side, and t&rsquo;other guards the right:
+Where each, by her respective armour known.
+Chooses the colour that is like her own.                    60
+Then the young Archers, two that snowy-white
+Bend the tough yew, and two as black as night;
+(Greece call&rsquo;d them Mars&rsquo;s favourites heretofore,
+From their delight in war, and thirst of gore).
+These on each side the Monarch and his Queen                65
+Surround obedient; next to these are seen
+The crested Knights in golden armour gay;
+Their steeds by turns curvet, or snort or neigh.
+In either army on each distant wing
+Two mighty Elephants their castles bring,                   70
+Bulwarks immense! and then at last combine
+Eight of the Foot to form the second line,
+The vanguard to the King and Queen; from far
+Prepared to open all the fate of war.
+So moved the boxen hosts, each double-lined,                75
+Their different colours floating in the wind:
+As if an army of the Gauls should go,
+With their white standards, o&rsquo;er the Alpine snow
+To meet in rigid fight on scorching sands
+The sun-burnt Moors and Memnon&rsquo;s swarthy bands.             80
+  Then Father Ocean thus; you see them here,
+Celestial powers, what troops, what camps appear.
+Learn now the sev&rsquo;ral orders of the fray,
+For e&rsquo;en these arms their stated laws obey.
+To lead the fight, the Kings from all their bands           85
+Choose whom they please to bear their great commands.
+Should a black hero first to battle go,          |
+Instant a white one guards against the blow;     |
+But only one at once can charge or shun the foe. |
+Their gen&rsquo;ral purpose on one scheme is bent,                90
+So to besiege the King within the tent,
+That there remains no place by subtle flight
+From danger free; and that decides the fight.
+Meanwhile, howe&rsquo;er, the sooner to destroy
+Th&rsquo; imperial Prince, remorseless they employ                95
+Their swords in blood; and whosoever dare
+Oppose their vengeance, in the ruin share.
+Fate thins their camp; the parti-coloured field
+Widens apace, as they o&rsquo;ercome or yield,
+But the proud victor takes the captive&rsquo;s post;             100
+There fronts the fury of th&rsquo; avenging host
+One single shock: and (should he ward the blow),
+May then retire at pleasure from the foe.
+The Foot alone (so their harsh laws ordain)
+When they proceed can ne&rsquo;er return again.                  105
+  But neither all rush on alike to prove
+The terror of their arms: The Foot must move
+Directly on, and but a single square;
+Yet may these heroes, when they first prepare
+To mix in combat on the bloody mead,                       110
+Double their sally, and two steps proceed;
+But when they wound, their swords they subtly guide
+With aim oblique, and slanting pierce his side.
+But the great Indian beasts, whose backs sustain
+Vast turrets arm&rsquo;d, when on the redd&rsquo;ning plain            115
+They join in all the terror of the fight,
+Forward or backward, to the left or right,
+Run furious, and impatient of confine
+Scour through the field, and threat the farthest line.
+Yet must they ne&rsquo;er obliquely aim their blows;           | 120
+That only manner is allow&rsquo;d to those                     |
+Whom Mars has favour&rsquo;d most, who bend the stubborn bows. |
+These glancing sidewards in a straight career,
+Yet each confin&rsquo;d to their respective sphere,
+Or white or black, can send th&rsquo; unerring dart              125
+Wing&rsquo;d with swift death to pierce through ev&rsquo;ry part.
+The fiery steed, regardless of the reins,
+Comes prancing on; but sullenly disdains
+The path direct, and boldly wheeling round,                    |
+Leaps o&rsquo;er a double space at ev&rsquo;ry bound:                  130 |
+And shifts from white or black to diff&rsquo;rent colour&rsquo;d ground.   |
+But the fierce Queen, whom dangers ne&rsquo;er dismay,
+The strength and terror of the bloody day,
+In a straight line spreads her destruction wide,
+To left or right, before, behind, aside.                   135
+Yet may she never with a circling course
+Sweep to the battle like the fretful Horse;
+But unconfin&rsquo;d may at her pleasure stray,
+If neither friend nor foe block up the way;
+For to o&rsquo;erleap a warrior, &rsquo;tis decreed                    140
+Those only dare who curb the snorting steed.
+With greater caution and majestic state
+The warlike Monarchs in the scene of fate
+Direct their motions, since for these appear
+Zealous each hope, and anxious ev&rsquo;ry fear.                 145
+While the King&rsquo;s safe, with resolution stern
+They clasp their arms; but should a sudden turn
+Make him a captive, instantly they yield,
+Resolved to share his fortune in the field.
+He moves on slow; with reverence profound                  150
+His faithful troops encompass him around,
+And oft, to break some instant fatal scheme,
+Rush to their fates, their sov&rsquo;reign to redeem;
+While he, unanxious where to wound the foe,
+Need only shift and guard against a blow.                  155
+But none, however, can presume t&rsquo; appear
+Within his reach, but must his vengeance fear;
+For he on ev&rsquo;ry side his terror throws;
+But when he changes from his first repose,
+Moves but one step, most awfully sedate,                   160
+Or idly roving, or intent on fate.
+These are the sev&rsquo;ral and establish&rsquo;d laws:
+Now see how each maintains his bloody cause.
+  Here paused the god, but (since whene&rsquo;er they wage
+War here on earth the gods themselves engage               165
+In mutual battle as they hate or love,
+And the most stubborn war is oft above),
+Almighty Jove commands the circling train
+Of gods from fav&rsquo;ring either to abstain,
+And let the fight be silently survey&rsquo;d;                    170
+And added solemn threats if disobey&rsquo;d.
+Then call&rsquo;d he Phoebus from among the Powers
+And subtle Hermes, whom in softer hours
+Fair Maia bore: youth wanton&rsquo;d in their face;
+Both in life&rsquo;s bloom, both shone with equal grace.         175
+Hermes as yet had never wing&rsquo;d his feet;
+As yet Apollo in his radiant seat
+Had never driv&rsquo;n his chariot through the air,
+Known by his bow alone and golden hair.
+These Jove commission&rsquo;d to attempt the fray,               180
+And rule the sportive military day;
+Bid them agree which party each maintains,
+And promised a reward that&rsquo;s worth their pains.
+The greater took their seats; on either hand
+Respectful the less gods in order stand,                   185
+But careful not to interrupt their play,
+By hinting when t&rsquo; advance or run away.
+  Then they examine, who shall first proceed
+To try their courage, and their army lead.
+Chance gave it for the White, that he should go            190
+First with a brave defiance to the foe.
+Awhile he ponder&rsquo;d which of all his train
+Should bear his first commission o&rsquo;er the plain;
+And then determined to begin the scene
+With him that stood before to guard the Queen.             195
+He took a double step: with instant care
+Does the black Monarch in his turn prepare
+The adverse champion, and with stern command
+Bid him repel the charge with equal hand.
+There front to front, the midst of all the field,          200
+With furious threats their shining arms they wield;
+Yet vain the conflict, neither can prevail
+While in one path each other they assail.
+On ev&rsquo;ry side to their assistance fly
+Their fellow soldiers, and with strong supply              205
+Crowd to the battle, but no bloody stain
+Tinctures their armour; sportive in the plain
+Mars plays awhile, and in excursion slight
+Harmless they sally forth, or wait the fight.
+  But now the swarthy Foot, that first appear&rsquo;d            210
+To front the foe, his pond&rsquo;rous jav&rsquo;lin rear&rsquo;d
+Leftward aslant, and a pale warrior slays,
+Spurns him aside, and boldly takes his place.
+Unhappy youth, his danger not to spy!
+Instant he fell, and triumph&rsquo;d but to die.                 215
+At this the sable King with prudent care
+Removed his station from the middle square,
+And slow retiring to the farthest ground,
+There safely lurk&rsquo;d, with troops entrench&rsquo;d around.
+Then from each quarter to the war advance                  220
+The furious Knights, and poise the trembling lance:
+By turns they rush, by turns the victors yield,
+Heaps of dead Foot choke up the crimson&rsquo;d field:
+They fall unable to retreat; around
+The clang of arms and iron hoofs resound.                  225
+  But while young Phoebus pleased himself to view
+His furious Knight destroy the vulgar crew,
+Sly Hermes long&rsquo;d t&rsquo; attempt with secret aim
+Some noble act of more exalted fame.
+For this, he inoffensive pass&rsquo;d along                      230
+Through ranks of Foot, and midst the trembling throng
+Sent his left Horse, that free without confine
+Rov&rsquo;d o&rsquo;er the plain, upon some great design
+Against the King himself. At length he stood,
+And having fix&rsquo;d his station as he would,                  235
+Threaten&rsquo;d at once with instant fate the King
+And th&rsquo; Indian beast that guarded the right wing.
+Apollo sigh&rsquo;d, and hast&rsquo;ning to relieve
+The straiten&rsquo;d Monarch, griev&rsquo;d that he must leave
+His martial Elephant expos&rsquo;d to fate,                      240
+And view&rsquo;d with pitying eyes his dang&rsquo;rous state.
+First in his thoughts however was his care
+To save his King, whom to the neighbouring square
+On the right hand, he snatch&rsquo;d with trembling flight;
+At this with fury springs the sable Knight,                245
+Drew his keen sword, and rising to the blow,
+Sent the great Indian brute to shades below.
+O fatal loss! for none except the Queen
+Spreads such a terror through the bloody scene.
+Yet shall you ne&rsquo;er unpunish&rsquo;d boast your prize,           250 |
+The Delian god with stern resentment cries;                    |
+And wedg&rsquo;d him round with Foot, and pour&rsquo;d in fresh supplies.  |
+Thus close besieg&rsquo;d trembling he cast his eye
+Around the plain, but saw no shelter nigh,
+No way for flight; for here the Queen oppos&rsquo;d,             255
+The Foot in phalanx there the passage clos&rsquo;d:
+At length he fell; yet not unpleas&rsquo;d with fate,
+Since victim to a Queen&rsquo;s vindictive hate.
+With grief and fury burns the whiten&rsquo;d host,
+One of their Tow&rsquo;rs thus immaturely lost.                  260
+As when a bull has in contention stern
+Lost his right horn, with double vengeance burn
+His thoughts for war, with blood he&rsquo;s cover&rsquo;d o&rsquo;er,
+And the woods echo to his dismal roar,
+So look&rsquo;d the flaxen host, when angry fate                 265
+O&rsquo;erturn&rsquo;d the Indian bulwark of their state.
+Fired at this great success, with double rage
+Apollo hurries on his troops t&rsquo; engage,
+For blood and havoc wild; and, while he leads
+His troops thus careless, loses both his steeds:           270
+For if some adverse warriors were o&rsquo;erthrown,
+He little thought what dangers threat his own.
+But slyer Hermes with observant eyes
+March&rsquo;d slowly cautious, and at distance spies
+What moves must next succeed, what dangers next arise.     275
+Often would he, the stately Queen to snare,
+The slender Foot to front her arms prepare,
+And to conceal his scheme he sighs and feigns
+Such a wrong step would frustrate all his pains.
+Just then an Archer, from the right-hand view,             280
+At the pale Queen his arrow boldly drew,
+Unseen by Phoebus, who, with studious thought,
+From the left side a vulgar hero brought.
+But tender Venus, with a pitying eye,
+Viewing the sad destruction that was nigh,                 285
+Wink&rsquo;d upon Phoebus (for the Goddess sat
+By chance directly opposite); at that
+Roused in an instant, young Apollo threw
+His eyes around the field his troops to view:
+Perceiv&rsquo;d the danger, and with sudden fright          |    290
+Withdrew the Foot that he had sent to fight,          |
+And sav&rsquo;d his trembling Queen by seasonable flight.   |
+But Maia&rsquo;s son with shouts fill&rsquo;d all the coast:
+The Queen, he cried, the important Queen is lost.
+Phoebus, howe&rsquo;er, resolving to maintain                    295
+What he had done, bespoke the heavenly train.
+What mighty harm, in sportive mimic flight,
+Is it to set a little blunder right,
+When no preliminary rule debarr&rsquo;d?
+If you henceforward, Mercury, would guard                  300
+Against such practice, let us make the law:
+And whosoe&rsquo;er shall first to battle draw,
+Or white, or black, remorseless let him go
+At all events, and dare the angry foe.
+  He said, and this opinion pleased around:                305
+Jove turn&rsquo;d aside, and on his daughter frown&rsquo;d,
+Unmark&rsquo;d by Hermes, who, with strange surprise,
+Fretted and foam&rsquo;d, and roll&rsquo;d his ferret eyes,
+And but with great reluctance could refrain
+From dashing at a blow all off the plain.                  310
+Then he resolved to interweave deceits,&mdash;
+To carry on the war by tricks and cheats.
+Instant he call&rsquo;d an Archer from the throng,
+And bid him like the courser wheel along:
+Bounding he springs, and threats the pallid Queen.         315
+The fraud, however, was by Phoebus seen;
+He smiled, and, turning to the Gods, he said:
+Though, Hermes, you are perfect in your trade,
+And you can trick and cheat to great surprise,          |
+These little sleights no more shall blind my eyes;      |  320
+Correct them if you please, the more you thus disguise. |
+The circle laugh&rsquo;d aloud; and Maia&rsquo;s son
+(As if it had but by mistake been done)
+Recall&rsquo;d his Archer, and with motion due,
+Bid him advance, the combat to renew.                      325
+But Phoebus watch&rsquo;d him with a jealous eye,
+Fearing some trick was ever lurking nigh,
+For he would oft, with sudden sly design,
+Send forth at once two combatants to join
+His warring troops, against the law of arms,               330
+Unless the wary foe was ever in alarms.
+  Now the white Archer with his utmost force
+Bent the tough bow against the sable Horse,
+And drove him from the Queen, where he had stood
+Hoping to glut his vengeance with her blood.               335
+Then the right Elephant with martial pride
+Roved here and there, and spread his terrors wide:
+Glittering in arms from far a courser came,
+Threaten&rsquo;d at once the King and Royal Dame;
+Thought himself safe when he the post had seized,          340
+And with the future spoils his fancy pleased.
+Fired at the danger a young Archer came,
+Rush&rsquo;d on the foe, and levell&rsquo;d sure his aim;
+(And though a Pawn his sword in vengeance draws,
+Gladly he&rsquo;d lose his life in glory&rsquo;s cause).               345
+The whistling arrow to his bowels flew,
+And the sharp steel his blood profusely drew;
+He drops the reins, he totters to the ground,
+And his life issued murm&rsquo;ring through the wound.
+Pierced by the Foot, this Archer bit the plain;     |      350
+The Foot himself was by another slain;              |
+And with inflamed revenge, the battle burns again.  |
+Towers, Archers, Knights, meet on the crimson ground,
+And the field echoes to the martial sound.
+Their thoughts are heated, and their courage fired,        355
+Thick they rush on with double zeal inspired;
+Generals and Foot, with different colour&rsquo;d mien,    |
+Confusedly warring in the camps are seen,&mdash;          |
+Valour and fortune meet in one promiscuous scene.   |
+Now these victorious, lord it o&rsquo;er the field;              360
+Now the foe rallies, the triumphant yield:
+Just as the tide of battle ebbs or flows.
+As when the conflict more tempestuous grows
+Between the winds, with strong and boisterous sweep
+They plough th&rsquo; Ionian or Atlantic deep!                   365
+By turns prevail the mutual blustering roar,
+And the big waves alternate lash the shore.
+  But in the midst of all the battle raged
+The snowy Queen, with troops at once engaged;
+She fell&rsquo;d an Archer as she sought the plain,&mdash;             370
+As she retired an Elephant was slain:
+To right and left her fatal spears she sent,
+Burst through the ranks, and triumph&rsquo;d as she went;
+Through arms and blood she seeks a glorious fate,
+Pierces the farthest lines, and nobly great                375
+Leads on her army with a gallant show,
+Breaks the battalions, and cuts through the foe.
+At length the sable King his fears betray&rsquo;d,
+And begg&rsquo;d his military consort&rsquo;s aid:
+With cheerful speed she flew to his relief,                380
+And met in equal arms the female chief.
+  Who first, great Queen, and who at last did bleed?
+How many Whites lay gasping on the mead?
+Half dead, and floating in a bloody tide,
+Foot, Knights, and Archer lie on every side.               385
+Who can recount the slaughter of the day?
+How many leaders threw their lives away?
+The chequer&rsquo;d plain is fill&rsquo;d with dying box,
+Havoc ensues, and with tumultuous shocks
+The different colour&rsquo;d ranks in blood engage,              390
+And Foot and Horse promiscuously rage.
+With nobler courage and superior might
+The dreadful Amazons sustain the fight,
+Resolved alike to mix in glorious strife,
+Till to imperious fate they yield their life.              395
+  Meanwhile each Monarch, in a neighbouring cell,
+Confined the warriors that in battle fell,
+There watch&rsquo;d the captives with a jealous eye,
+Lest, slipping out again, to arms they fly.
+But Thracian Mars, in stedfast friendship join&rsquo;d           400
+To Hermes, as near Phoebus he reclined,
+Observed each chance, how all their motions bend,
+Resolved if possible to serve his friend.
+He a Foot-soldier and a Knight purloin&rsquo;d
+Out from the prison that the dead confined;                405
+And slyly push&rsquo;d &rsquo;em forward on the plain;               |
+Th&rsquo; enliven&rsquo;d combatants their arms regain,              |
+Mix in the bloody scene, and boldly war again.           |
+  So the foul hag, in screaming wild alarms
+O&rsquo;er a dead carcase muttering her charms,                  410
+(And with her frequent and tremendous yell
+Forcing great Hecate from out of hell)
+Shoots in the corpse a new fictitious soul;              |
+With instant glare the supple eyeballs roll,             |
+Again it moves and speaks, and life informs the whole.   | 415
+  Vulcan alone discern&rsquo;d the subtle cheat;
+And wisely scorning such a base deceit,
+Call&rsquo;d out to Phoebus.  Grief and rage assail
+Phoebus by turns; detected Mars turns pale.
+Then awful Jove with sullen eye reproved                   420
+Mars, and the captives order&rsquo;d to be moved
+To their dark caves; bid each fictitious spear
+Be straight recall&rsquo;d, and all be as they were.
+  And now both Monarchs with redoubled rage
+Led on their Queens, the mutual war to wage.               425
+O&rsquo;er all the field their thirsty spears they send,
+Then front to front their Monarchs they defend.
+But lo! the female White rush&rsquo;d in unseen,
+And slew with fatal haste the swarthy Queen;
+Yet soon, alas! resign&rsquo;d her royal spoils,                 430
+Snatch&rsquo;d by a shaft from her successful toils.
+Struck at the sight, both hosts in wild surprise
+Pour&rsquo;d forth their tears, and fill&rsquo;d the air with cries;
+They wept and sigh&rsquo;d, as pass&rsquo;d the fun&rsquo;ral train,
+As if both armies had at once been slain.                  435
+  And now each troop surrounds its mourning chief,
+To guard his person, or assuage his grief.
+One is their common fear; one stormy blast
+Has equally made havoc as it pass&rsquo;d.
+Not all, however, of their youth are slain;                440
+Some champions yet the vig&rsquo;rous war maintain.
+Three Foot, an Archer, and a stately Tower,
+For Phoebus still exert their utmost power.
+Just the same number Mercury can boast,
+Except the Tower, who lately in his post                   445
+Unarm&rsquo;d inglorious fell, in peace profound,
+Pierced by an Archer with a distant wound;
+But his right Horse retain&rsquo;d its mettled pride,&mdash;
+The rest were swept away by war&rsquo;s strong tide.
+  But fretful Hermes, with despairing moan,                450
+Griev&rsquo;d that so many champions were o&rsquo;erthrown,
+Yet reassumes the fight; and summons round
+The little straggling army that he found,&mdash;
+All that had &rsquo;scaped from fierce Apollo&rsquo;s rage,&mdash;
+Resolved with greater caution to engage                    455
+In future strife, by subtle wiles (if fate
+Should give him leave) to save his sinking state.
+The sable troops advance with prudence slow,
+Bent on all hazards to distress the foe.
+More cheerful Phoebus, with unequal pace,                  460
+Rallies his arms to lessen his disgrace.
+But what strange havoc everywhere has been!        |
+A straggling champion here and there is seen;      |
+And many are the tents, yet few are left within.   |
+  Th&rsquo; afflicted Kings bewail their consorts dead,          465
+And loathe the thoughts of a deserted bed;
+And though each monarch studies to improve
+The tender mem&rsquo;ry of his former love,
+Their state requires a second nuptial tie.
+Hence the pale ruler with a love-sick eye                  470
+Surveys th&rsquo; attendants of his former wife,
+And offers one of them a royal life.
+These, when their martial mistress had been slain,
+Weak and despairing tried their arms in vain;
+Willing, howe&rsquo;er, amidst the Black to go,                  475
+They thirst for speedy vengeance on the foe.
+Then he resolves to see who merits best,
+By strength and courage, the imperial vest;
+Points out the foe, bids each with bold design
+Pierce through the ranks, and reach the deepest line:      480
+For none must hope with monarchs to repose
+But who can first, through thick surrounding foes,
+Through arms and wiles, with hazardous essay,
+Safe to the farthest quarters force their way.
+Fired at the thought, with sudden, joyful pace             485
+They hurry on; but first of all the race
+Runs the third right-hand warrior for the prize,&mdash;
+The glitt&rsquo;ring crown already charms her eyes.
+Her dear associates cheerfully give o&rsquo;er             |
+The nuptial chase; and swift she flies before,       |     490
+And Glory lent her wings, and the reward in store.   |
+Nor would the sable King her hopes prevent,
+For he himself was on a Queen intent,
+Alternate, therefore, through the field they go.
+Hermes led on, but by a step too slow,                     495
+His fourth left Pawn: and now th&rsquo; advent&rsquo;rous White
+Had march&rsquo;d through all, and gain&rsquo;d the wish&rsquo;d for site.
+Then the pleased King gives orders to prepare
+The crown, the sceptre, and the royal chair,
+And owns her for his Queen: around exult                   500
+The snowy troops, and o&rsquo;er the Black insult.
+  Hermes burst into tears,&mdash;with fretful roar
+Fill&rsquo;d the wide air, and his gay vesture tore.
+The swarthy Foot had only to advance
+One single step; but oh! malignant chance!                 505
+A towered Elephant, with fatal aim,
+Stood ready to destroy her when she came:
+He keeps a watchful eye upon the whole,
+Threatens her entrance, and protects the goal.
+Meanwhile the royal new-created bride,                     510
+Pleased with her pomp, spread death and terror wide;
+Like lightning through the sable troops she flies,
+Clashes her arms, and seems to threat the skies.
+The sable troops are sunk in wild affright,
+And wish th&rsquo; earth op&rsquo;ning snatch&rsquo;d &rsquo;em from her sight.    515
+In burst the Queen, with vast impetuous swing:          |
+The trembling foes come swarming round the King,        |
+Where in the midst he stood, and form a valiant ring.   |
+So the poor cows, straggling o&rsquo;er pasture land,
+When they perceive the prowling wolf at hand,              520
+Crowd close together in a circle full,
+And beg the succour of the lordly bull;
+They clash their horns, they low with dreadful sound,
+And the remotest groves re-echo round.
+  But the bold Queen, victorious, from behind              525
+Pierces the foe; yet chiefly she design&rsquo;d
+Against the King himself some fatal aim,
+And full of war to his pavilion came.
+Now here she rush&rsquo;d, now there; and had she been
+But duly prudent, she had slipp&rsquo;d between,                 530
+With course oblique, into the fourth white square,
+And the long toil of war had ended there,
+The King had fallen, and all his sable state;
+And vanquish&rsquo;d Hermes cursed his partial fate.
+For thence with ease the championess might go,             535
+Murder the King, and none could ward the blow.
+  With silence, Hermes, and with panting heart,
+Perceived the danger, but with subtle art,
+(Lest he should see the place) spurs on the foe,
+Confounds his thoughts, and blames his being slow.         540
+For shame! move on; would you for ever stay?
+What sloth is this, what strange perverse delay?&mdash;
+How could you e&rsquo;er my little pausing blame?&mdash;
+What! you would wait till night shall end the game?
+Phoebus, thus nettled, with imprudence slew                545
+A vulgar Pawn, but lost his nobler view.
+Young Hermes leap&rsquo;d, with sudden joy elate;
+And then, to save the monarch from his fate,
+Led on his martial Knight, who stepp&rsquo;d between,
+Pleased that his charge was to oppose the Queen&mdash;           550
+Then, pondering how the Indian beast to slay,
+That stopp&rsquo;d the Foot from making farther way,&mdash;
+From being made a Queen; with slanting aim
+An archer struck him; down the monster came,
+And dying shook the earth: while Phoebus tries             555
+Without success the monarch to surprise.
+The Foot, then uncontroll&rsquo;d with instant pride,
+Seized the last spot, and moved a royal bride.
+And now with equal strength both war again,
+And bring their second wives upon the plain;               560
+Then, though with equal views each hop&rsquo;d and fear&rsquo;d,
+Yet, as if every doubt had disappear&rsquo;d,
+As if he had the palm, young Hermes flies
+Into excess of joy; with deep disguise,
+Extols his own Black troops, with frequent spite           565
+And with invective taunts disdains the White.
+Whom Phoebus thus reproved with quick return&mdash;
+As yet we cannot the decision learn
+Of this dispute, and do you triumph now?
+Then your big words and vauntings I&rsquo;ll allow,              570
+When you the battle shall completely gain;
+At present I shall make your boasting vain.
+He said, and forward led the daring Queen;
+Instant the fury of the bloody scene
+Rises tumultuous, swift the warriors fly                   575
+From either side to conquer or to die.
+They front the storm of war: around &rsquo;em Fear,
+Terror, and Death, perpetually appear.
+All meet in arms, and man to man oppose,
+Each from their camp attempts to drive their foes;         580
+Each tries by turns to force the hostile lines;
+Chance and impatience blast their best designs.
+The sable Queen spread terror as she went
+Through the mid ranks: with more reserved intent
+The adverse dame declined the open fray,                   585
+And to the King in private stole away:
+Then took the royal guard, and bursting in,
+With fatal menace close besieged the King.
+Alarm&rsquo;d at this, the swarthy Queen, in haste,
+From all her havoc and destructive waste                   590
+Broke off, and her contempt of death to show,          |
+Leap&rsquo;d in between the Monarch and the foe,             |
+To save the King and state from this impending blow.   |
+But Phoebus met a worse misfortune here:
+For Hermes now led forward, void of fear,                  595
+His furious Horse into the open plain,
+That onward chafed, and pranced, and pawed amain.
+Nor ceased from his attempts until he stood
+On the long-wished-for spot, from whence he could
+Slay King or Queen.  O&rsquo;erwhelm&rsquo;d with sudden fears,        600
+Apollo saw, and could not keep from tears.
+Now all seem&rsquo;d ready to be overthrown;
+His strength was wither&rsquo;d, ev&rsquo;ry hope was flown.
+Hermes, exulting at this great surprise,
+Shouted for joy, and fill&rsquo;d the air with cries;            605
+Instant he sent the Queen to shades below,
+And of her spoils made a triumphant show.
+But in return, and in his mid career,
+Fell his brave Knight, beneath the Monarch&rsquo;s spear.
+  Phoebus, however, did not yet despair,                   610
+But still fought on with courage and with care.
+He had but two poor common men to show,
+And Mars&rsquo;s favourite with his iv&rsquo;ry bow.
+The thoughts of ruin made &rsquo;em dare their best
+To save their King, so fatally distress&rsquo;d.                 615
+But the sad hour required not such an aid;
+And Hermes breathed revenge where&rsquo;er he stray&rsquo;d.
+Fierce comes the sable Queen with fatal threat,
+Surrounds the Monarch in his royal seat;
+Rushed here and there, nor rested till she slew            620
+The last remainder of the whiten&rsquo;d crew.
+Sole stood the King, the midst of all the plain,
+Weak and defenceless, his companions slain.
+As when the ruddy morn ascending high
+Has chased the twinkling stars from all the sky,           625
+Your star, fair Venus, still retains its light,
+And, loveliest, goes the latest out of sight.
+No safety&rsquo;s left, no gleams of hope remain;
+Yet did he not as vanquish&rsquo;d quit the plain,
+But tried to shut himself between the foe,&mdash;          |     630
+Unhurt through swords and spears he hoped to go,     |
+Until no room was left to shun the fatal blow.       |
+For if none threaten&rsquo;d his immediate fate,
+And his next move must ruin all his state,
+All their past toil and labour is in vain,           |     635
+Vain all the bloody carnage of the plain,&mdash;           |
+Neither would triumph then, the laurel neither gain. |
+Therefore through each void space and desert tent,
+By different moves his various course he bent:
+The Black King watch&rsquo;d him with observant eye,             640
+Follow&rsquo;d him close, but left him room to fly.
+Then when he saw him take the farthest line,
+He sent the Queen his motions to confine,
+And guard the second rank, that he could go
+No farther now than to that distant row.                   645
+The sable monarch then with cheerful mien
+Approach&rsquo;d, but always with one space between.
+But as the King stood o&rsquo;er against him there,
+Helpless, forlorn, and sunk in his despair,
+The martial Queen her lucky moment knew,          |        650
+Seized on the farthest seat with fatal view,      |
+Nor left th&rsquo; unhappy King a place to flee unto.   |
+At length in vengeance her keen sword she draws,    |
+Slew him, and ended thus the bloody cause:          |
+And all the gods around approved it with applause.  |      655
+  The victor could not from his insults keep,
+But laugh&rsquo;d and sneer&rsquo;d to see Apollo weep.
+Jove call&rsquo;d him near, and gave him in his hand
+The powerful, happy, and mysterious wand
+By which the Shades are call&rsquo;d to purer day,               660
+When penal fire has purged their sins away;
+By which the guilty are condemn&rsquo;d to dwell
+In the dark mansions of the deepest hell;
+By which he gives us sleep, or sleep denies,
+And closes at the last the dying eyes.                     665
+Soon after this, the heavenly victor brought
+The game on earth, and first th&rsquo; Italians taught.
+  For (as they say) fair Scacchis he espied
+Feeding her cygnets in the silver tide,
+(Sacchis, the loveliest Seriad of the place)               670
+And as she stray&rsquo;d, took her to his embrace.
+Then, to reward her for her virtue lost,
+Gave her the men and chequer&rsquo;d board, emboss&rsquo;d
+With gold and silver curiously inlay&rsquo;d;
+And taught her how the game was to be play&rsquo;d.              675
+Ev&rsquo;n now &rsquo;tis honour&rsquo;d with her happy name;
+And Rome and all the world admire the game.
+All which the Seriads told me heretofore,
+When my boy-notes amused the Serian shore.
+</pre>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2>NOTES</h2>
+
+<h3><a name="note01"></a>INTRODUCTION</h3>
+
+    <p>
+      <a href="#page_ix">He was born . . . at Pallas.</a> This is the usual
+      account. But it was maintained by the family of the poet&rsquo;s mother, and has
+      been contended (by Dr. Michael F. Cox in a Lecture on &lsquo;The Country and
+      Kindred of Oliver Goldsmith,&rsquo; published in vol. 1, pt. 2, of the <i>Journal</i>
+      of the &lsquo;National Literary Society of Ireland.&rsquo; 1900) that his real
+      birth-place was the residence of Mrs. Goldsmith&rsquo;s parents, Smith-Hill
+      House, Elphin, Roscommon, to which she was in the habit of paying frequent
+      visits. Meanwhile, in 1897, a window was placed to Goldsmith&rsquo;s memory in
+      Forgney Church, Longford,&mdash;the church of which, at the time of his
+      birth, his father was curate.
+    </p>
+
+    <p>
+      <a href="#page_x">his academic career was not a success.</a> &lsquo;Oliver
+      Goldsmith is recorded on two occasions as being remarkably diligent at
+      Morning Lecture; again, as cautioned for bad answering at Morning and
+      Greek Lectures; and finally, as put down into the next class for neglect
+      of his studies&rsquo; (Dr. Stubbs&rsquo;s <i>History of the University of Dublin</i>,
+      1889, p. 201 n.)
+    </p>
+
+    <p>
+      <a href="#page_xi">a scratched signature upon a window-pane.</a> This,
+      which is now at Trinity College, Dublin, is here reproduced in facsimile.
+      When the garrets of No. 35, Parliament Square, were pulled down in 1837,
+      it was cut out of the window by the last occupant of the rooms, who broke
+      it in the process. (Dr. J. F. Waller in Cassell&rsquo;s <i>Works</i> of
+      Goldsmith, [1864–5], pp. xiii-xiv n.)
+    </p>
+
+    <p>
+      <a href="#page_xiii">a poor physician.</a> Where he obtained his diploma
+      is not known. It was certainly not at Padua (<i>Athenaeum</i>, July
+      21, 1894). At Leyden and Louvain Prior made inquiries but, in each case,
+      without success. The annals of the University of Louvain were, however,
+      destroyed in the revolutionary wars. (Prior, <i>Life</i>, 1837, i,
+      pp. 171, 178).
+    </p>
+
+    <p>
+      <a href="#page_xv">declared it to be by Goldsmith.</a> Goldsmith&rsquo;s
+      authorship of this version has now been placed beyond a doubt by the
+      publication in facsimile of his signed receipt to Edward Dilly for
+      third share of &lsquo;my translation,&rsquo; such third share amounting to 6 pounds
+      13s. 4d. The receipt, which belongs to Mr. J. W. Ford of Enfield Old Park,
+      is dated &lsquo;January 11th, 1758.&rsquo; (<i>Memoirs of a Protestant</i>,
+      etc., Dent&rsquo;s edition, 1895, i, pp. xii-xviii.)
+    </p>
+
+    <p>
+      <a href="#page_xvi">12, Green Arbour Court, Old Bailey.</a> This was a
+      tiny square occupying a site now absorbed by the Holborn Viaduct and
+      Railway Station. No. 12, where Goldsmith lived, was later occupied by
+      Messrs. Smith, Elder &amp; Co. as a printing office. An engraving of the
+      Court forms the frontispiece to the <i>European Magazine</i> for
+      January, 1803.
+    </p>
+    <p>
+      <a href="#page_xvii">or some of his imitators.</a> The proximate cause of
+      the <i>Citizen of the World</i>, as the present writer has suggested
+      elsewhere, <i> may</i> have been Horace Walpole&rsquo;s <i>Letter from XoHo</i>
+      [Soho?], <i>a Chinese Philosopher at London, to his friend Lien Chi, at
+      Peking</i>. This was noticed as &lsquo;in Montesquieu&rsquo;s manner&rsquo; in the May issue
+      of the <i>Monthly Review</i> for 1757, to which Goldsmith was a
+      contributor (<i>Eighteenth Century Vignettes</i>, first series,
+      second edition, 1897, pp. 108–9).
+    </p>
+
+    <p>
+      <a href="#page_xix"> demonstrable from internal evidence.</a> e.g.&mdash;The
+      references to the musical glasses (ch. ix), which were the rage in 1761–2;
+      and to the <i>Auditor</i> (ch. xix) established by Arthur Murphy in
+      June of the latter year. The sale of the &lsquo;Vicar&rsquo; is discussed at length in
+      chapter vii of the editor&rsquo;s <i>Life of Oliver Goldsmith</i> (&lsquo;Great
+      Writers&rsquo; series), 1888, pp. 110–21.
+    </p>
+
+    <p>
+      <a href="#page_xxii">started with a loss.</a> This, which to some critics
+      has seemed unintelliglble, rests upon the following: &lsquo;The first three
+      editions, . . . resulted in a loss, and the fourth, which was not issued
+      until eight [four?] years after the first, started with a balance against
+      it of &pound;2 16s. 6d., and it was not until that fourth edition had been
+      sold that the balance came out on the right side&rsquo; (<i>A Bookseller of
+      the Last Century</i> [John Newbery] by Charles Welsh, 1885, p. 61). The
+      writer based his statement upon Collins&rsquo;s &lsquo;Publishing book, account of
+      books printed and shares therein, No. 3, 1770 to 1785.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_xxvii">James&rsquo;s Powder.</a> This was a famous patent
+      panacea, invented by Johnson&rsquo;s Lichfield townsman, Dr. Robert James of the
+      <i>Medicinal Dictionary</i>. It was sold by John Newbery, and had an
+      extraordinary vogue. The King dosed Princess Elizabeth with it; Fielding,
+      Gray, and Cowper all swore by it, and Horace Walpole, who wished to try it
+      upon Mme. du Deffand <i>in extremis</i>,
+      said he should use it if the house were on fire. William Hawes, the Strand
+      apothecary who attended Goldsmith, wrote an interesting <i>Account of the
+      late Dr. Goldsmith&rsquo;s Illness, so far as relates to the Exhibition of Dr.
+      James&rsquo;s Powders,</i> etc., 1774, which he dedicated to Reynolds and Burke.
+      To Hawes once belonged the poet&rsquo;s worn old wooden writing-desk, now in the
+      South Kensington Museum, where are also his favourite chair and cane.
+      Another desk-chair, which had descended from his friend, Edmund Bott, was
+      recently for sale at Sotheby&rsquo;s (July, 1906).
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="greenarbor"></a>
+<img src="images/greenarbor.jpg" width="244" height="355" alt="[Illustration:
+Green Arbour Court, Little Old Bailey.]" />
+<p class="caption">GREEN ARBOUR COURT,<br />
+LITTLE OLD BAILEY<br />
+(as it appeared in 1803)</p>
+</div>
+
+<h3><a name="note02"></a>EDITIONS OF THE POEMS.</h3>
+
+    <p>
+      No collected edition of Goldsmith&rsquo;s poetical works appeared until after
+      his death. But, in 1775, W. Griffin, who had published the <i>Essays</i>
+      of ten years earlier, issued a volume entitled <i>The Miscellaneous
+      Works of Oliver Goldsmith, M.B., containing all his Essays and Poems</i>.
+      The &lsquo;poems&rsquo; however were confined to &lsquo;The Traveller,&rsquo; &lsquo;The Deserted
+      Village,&rsquo; &lsquo;Edwin and Angelina,&rsquo; &lsquo;The Double Transformation,&rsquo; &lsquo;A New
+      Simile,&rsquo; and &lsquo;Retaliation,&rsquo;&mdash;an obviously imperfect harvesting. In
+      the following year G. Kearsly printed an eighth edition of <i>Retaliation</i>,
+      with which he included &lsquo;The Hermit&rsquo; (&lsquo;Edwin and Angelina&rsquo;), &lsquo;The Gift,&rsquo;
+      &lsquo;Madam Blaize,&rsquo; and the epilogues to <i>The Sister</i> and <i>She
+      stoops to Conquer</i>;* while to an edition of <i>The Haunch of
+      Venison</i>, also put forth in 1776, he added the &lsquo;Epitaph on Parnell&rsquo;
+      and two songs from the oratorio of <i>The Captivity</i>. The next
+      collection appeared in a volume of <i>Poems and Plays</i> published
+      at Dublin in 1777, where it was preceded by a &lsquo;Life,&rsquo; written by W.
+      Glover, one of Goldsmith&rsquo;s &lsquo;Irish clients.&rsquo; Then, in 1780, came vol. i of
+      T. Evans&rsquo;s <i> Poetical and Dramatic Works, etc., now first collected</i>,
+      also having a &lsquo;Memoir,&rsquo; and certainly fuller than anything which had gone
+      before. Next followed the long-deferred <i>Miscellaneous Works,</i>
+      etc., of 1801, in four volumes, vol. ii of which comprised the plays and
+      poems. Prefixed to this edition is the important biographical sketch,
+      compiled under the direction of Bishop Percy, and usually described as the
+      <i>Percy Memoir</i>, by which title it is referred to in the ensuing
+      notes. The next memorable edition was that edited for the Aldine Series in
+      1831, by the Rev. John Mitford. Prior and Wright&rsquo;s edition in vol. iv of
+      the <i>Miscellaneous Works</i>, etc., of 1837, comes after this;
+      then Bolton Corney&rsquo;s excellent <i>Poetical Works</i> of 1845; and
+      vol. i of Peter Cunningham&rsquo;s <i>Works</i>, etc. of 1854. There are
+      other issues of the poems, the latest of which is to be found in vol. ii
+      (1885) of the complete <i>Works</i>, in five volumes, edited for
+      Messrs. George Bell and Sons by J. W. M. Gibbs.
+    </p>
+
+<p class="footnote">
+* Some copies of this are dated 1777, and contain <i>The Haunch
+      of Venison</i> and a few minor pieces.
+    </p>
+
+    <p>
+      Most of the foregoing editions have been consulted for the following
+      notes; but chiefly those of Mitford, Prior, Bolton Corney, and Cunningham.
+      Many of the illustrations and explanations now supplied will not, however,
+      be found in any of the sources indicated. When an elucidatory or parallel
+      passage is cited, an attempt has been made, as far as possible, to give
+      the credit of it to the first discoverer. Thus, some of the illustrations
+      in Cunningham&rsquo;s notes are here transferred to Prior, some of Prior&rsquo;s to
+      Mitford, and so forth. As regards the notes themselves, care has been
+      taken to make them full enough to obviate the necessity, except in rare
+      instances, of further investigation. It is the editor&rsquo;s experience that
+      references to external authorities are, as a general rule, sign-posts to
+      routes which are seldom travelled.*
+    </p>
+
+<p class="footnote">
+* In this connexion may be recalled the dictum of Hume quoted by Dr.
+      Birkbeck Hill:&mdash;&lsquo;Every book should be as complete as possible within
+      itself, and should never refer for anything material to other books&rsquo; (<i>History
+      of England</i>, 1802, ii. 101).
+    </p>
+
+<h3><a name="note03"></a>THE TRAVELLER.</h3>
+
+    <p>
+      It was on those continental wanderings which occupied Goldsmith between
+      February, 1755 and February, 1756 that he conceived his first idea of
+      this, the earliest of his poems to which he prefixed his name; and he
+      probably had in mind Addison&rsquo;s <i>Letter from Italy to Lord Halifax</i>,
+      a work in which he found &lsquo;a strain of political thinking that was, at that
+      time [1701]. new in our poetry.&rsquo; (<i>Beauties of English Poesy</i>,
+      1767, i. III). From the dedicatory letter to his brother&mdash;which says
+      expressly, &lsquo;as a part of this Poem was formerly written to you from
+      Switzerland, the whole can now, with propriety, be only inscribed
+      to you&rsquo;&mdash;it is plain that some portion of it must have been actually
+      composed abroad. It was not, however, actually published until the 19th of
+      December, 1764, and the title-page bore the date of 1765.* The publisher
+      was John Newbery, of St. Paul&rsquo;s Churchyard, and the price of the book, a
+      quarto of 30 pages, was 1s. 6d. A second, third and fourth edition quickly
+      followed, and a ninth, from which it is here reprinted, was issued in
+      1774, the year of the author&rsquo;s death. Between the first and the sixth
+      edition of 1770 there were numerous alterations, the more important of
+      which are indicated in the ensuing notes.
+    </p>
+
+<p class="footnote">
+* This is the generally recognized first edition. But the late Mr.
+      Frederick Locker Lampson, the poet and collector, possessed a quarto copy,
+      dated 1764, which had no author&rsquo;s name, and in which the dedication ran as
+      follows:&mdash;&lsquo;This poem is inscribed to the Rev. Henry Goldsmith, M.A.
+      By his most affectionate Brother Oliver Goldsmith.&rsquo; It was, in all
+      probability, unique, though it is alleged that there are octavo copies
+      which present similar characteristics. It has now gone to America with the
+      Rowfant Library.<br/>
+    In 1902 an interesting discovery was made by Mr. Bertram Dobell, to
+      whom the public are indebted for so many important literary &lsquo;finds.&rsquo; In a
+      parcel of pamphlets he came upon a number of loose printed leaves entitled
+      <i>A Prospect of Society</i>. They obviously belonged to <i>The
+      Traveller</i>; but seemed to be its &lsquo;formless unarranged material,&rsquo; and
+      contained many variations from the text of the first edition. Mr. Dobell&rsquo;s
+      impression was that &lsquo;the author&rsquo;s manuscript, written on loose leaves, had
+      fallen into confusion, and was then printed without any attempt at
+      re-arrangement.&rsquo; This was near the mark; but the complete solution of the
+      riddle was furnished by Mr. Quiller Couch in an article in the <i>Daily
+      News</i> for March 31, 1902, since recast in his charming volume <i>From
+      a Cornish Window</i>, 1906, pp. 86–92. He showed conclusively that
+      <i>The Prospect</i> was &lsquo;merely an early draft of <i>The
+      Traveller</i> printed backwards in fairly regular sections.&rsquo; What had
+      manifestly happened was this. Goldsmith, turning over each page as
+      written, had laid it on the top of the preceding page of MS. and forgotten
+      to rearrange them when done. Thus the series of pages were reversed; and,
+      so reversed, were set up in type by a matter-of-fact compositor. Mr.
+      Dobell at once accepted this happy explanation; which&mdash;as Mr. Quiller
+      Couch points out&mdash;has the advantage of being a &lsquo;blunder just so
+      natural to Goldsmith as to be almost postulable.&rsquo; One or two of the
+      variations of Mr. Dobell&rsquo;s &lsquo;find&rsquo;&mdash;variations, it should be added,
+      antecedent to the first edition&mdash;are noted in their places.
+    </p>
+
+    <p>
+      The didactic purpose of <i>The Traveller</i> is defined in the
+      concluding paragraph of the <i>Dedication</i>; and, like many of the
+      thoughts which it contains, had been anticipated in a passage
+      of <i>The Citizen of the World</i>, 1762, i. 185:&mdash;&lsquo;Every mind
+      seems capable of entertaining a certain quantity of happiness, which no
+      institutions can encrease, no circumstances alter, and entirely
+      independent on fortune.&rsquo; But the best short description of the poem is
+      Macaulay&rsquo;s:&mdash;&lsquo;In the <i>Traveller</i> the execution, though
+      deserving of much praise, is far inferior to the design. No philosophical
+      poem, ancient or modern, has a plan so noble, and at the same time so
+      simple. An English wanderer, seated on a crag among the Alps, near the
+      point where three great countries meet, looks down on the boundless
+      prospect, reviews his long pilgrimage, recalls the varieties of scenery,
+      of climate, of government, of religion, of national character, which he
+      has observed, and comes to the conclusion, just or unjust, that our
+      happiness depends little on political institutions, and much on the temper
+      and regulation of our own minds.&rsquo; (<i>Encyclop. Britannica</i>,
+      Goldsmith, February, 1856.)
+    </p>
+
+    <p>
+      The only definite record of payment for <i> The Traveller</i> is
+      &lsquo;Copy of the Traveller, a Poem, 21<i>l</i>,&rsquo; in Newbery&rsquo;s MSS.; but as the
+      same sum occurs in Memoranda of much later date than 1764, it is possible
+      that the success of the book may have prompted some supplementary fee.
+    </p>
+
+    <p>
+      <a href="#page_3">A Prospect</a>, i.e. &lsquo;a view.&rsquo; &lsquo;I went to Putney, and
+      other places on the Thames, to take &lsquo;prospects&rsquo; in crayon, to carry into
+      France, where I thought to have them engraved&rsquo; (Evelyn, <i>Diary</i>,
+      20th June, 1649). And Reynolds uses the word of Claude in his Fourth
+      Discourse:&mdash;&lsquo;His pictures are a composition of the various draughts
+      which he had previously made from various beautiful scenes and prospects&rsquo;
+      (<i>Works</i>, by Malone, 1798, i. 105). The word is common on old
+      prints, e.g. <i>An Exact Prospect of the Magnificent Stone Bridge at
+      Westminster</i>, etc., 1751.
+    </p>
+
+    <p>
+      <a href="#page_3"> Dedication.</a> The Rev. Henry Goldsmith, says the
+      Percy <i> Memoir</i>, 1801, p. 3, &lsquo;had distinguished himself both at
+      school and at college, but he unfortunately married at the early age of
+      nineteen; which confined him to a Curacy, and prevented his rising to
+      preferment in the church.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_3">with an income of forty pounds a year.</a> Cf. <i>The
+      Deserted Village</i>, ll. 141–2:&mdash;
+    </p>
+
+<p class="poem">
+    A man he was, to all the country dear,<br/>
+    And passing rich with <i>forty pounds a year</i>.
+</p>
+
+<p class="noindent">
+      Cf. also Parson Adams in ch. iii of <i>Joseph Andrews</i>, who has
+      twenty-three; and Mr. Rivers, in the <i>Spiritual Quixote</i>,
+      1772:&mdash;&lsquo;I do not choose to go into orders to be a curate all my
+      life-time, and work for about fifteen-pence a day, or twenty-five pounds
+      a year&rsquo; (bk. vi, ch. xvii). Dr. Primrose&rsquo;s stipend is thirty-five in the
+      first instance, fifteen in the second (<i>Vicar of Wakefield</i>,
+      chapters ii and iii). But Professor Hales (<i>Longer English Poems</i>,
+      1885, p. 351) supplies an exact parallel in the case of Churchill, who, he
+      says, when a curate at Rainham, &lsquo;prayed and starved on <i> forty pounds a
+      year</i>.&rsquo; The latter words are Churchill&rsquo;s own, and sound like a
+      quotation; but he was dead long before <i>The Deserted Village</i>
+      appeared in 1770. There is an interesting paper in the <i>Gentleman&rsquo;s
+      Magazine</i> for November, 1763, on the miseries and hardships of the
+      &lsquo;inferior clergy.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_3">But of all kinds of ambition, etc.</a> In the first
+      edition of 1765, p. ii, this passage was as follows:&mdash;&lsquo;But of all
+      kinds of ambition, as things are now circumstanced, perhaps that which
+      pursues poetical fame, is the wildest. What from the encreased refinement
+      of the times, from the diversity of judgments produced by opposing systems
+      of criticism, and from the more prevalent divisions of opinion influenced
+      by party, the strongest and happiest efforts can expect to please but in a
+      very narrow circle. Though the poet were as sure of his aim as the
+      imperial archer of antiquity, who boasted that he never missed the heart;
+      yet would many of his shafts now fly at random, for the heart is too often
+      in the wrong place.&rsquo; In the second edition it was curtailed; in the sixth
+      it took its final form.
+    </p>
+
+    <p>
+      <a href="#page_4">they engross all that favour once shown to her.</a>
+      First version&mdash;&lsquo;They engross all favour to themselves.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_4">the elder&rsquo;s birthright.</a> Cunningham here aptly
+      compares Dryden&rsquo;s epistle <i>To Sir Godfrey Kneller</i>, II. 89–92:&mdash;
+    </p>
+
+<p class="poem">
+    Our arts are sisters, though not twins in birth;<br/>
+    For hymns were sung in Eden&rsquo;s happy earth:<br/>
+    But oh, the painter muse, though last in place,<br/>
+    Has seized the blessing first, like Jacob&rsquo;s race.
+</p>
+
+    <p>
+      <a href="#page_4"><i>Party</i></a>=faction. Cf. lines 31–2 on Edmund Burke in
+      <i> Retaliation</i>:&mdash;
+    </p>
+
+<p class="poem">
+    Who, born for the Universe, narrow&rsquo;d his mind,<br/>
+    And to <i>party</i> gave up what was meant for mankind.
+</p>
+
+    <p>
+      <a href="#page_4">Such readers generally admire, etc.</a> &lsquo;I suppose this
+      paragraph to be directed against Paul Whitehead, or Churchill,&rsquo; writes
+      Mitford. It was clearly aimed at Churchill, since Prior (<i>Life</i>,
+      1837, ii. 54) quotes a portion of a contemporary article in the <i>St.
+      James&rsquo;s Chronicle</i> for February 7–9, 1765, attributed to Bonnell
+      Thornton, which leaves little room for doubt upon the question. &lsquo;The
+      latter part of this paragraph,&rsquo; says the writer, referring to the passage
+      now annotated, &lsquo;we cannot help considering as a reflection on the memory
+      of the late Mr. Churchill, whose talents as a poet were so greatly and so
+      deservedly admired, that during his short reign, his merit in great
+      measure eclipsed that of others; and we think it no mean acknowledgment of
+      the excellencies of this poem [<i>The Traveller</i>] to say that,
+      like the stars, they appear the more brilliant now that the sun of our
+      poetry is gone down.&rsquo; Churchill died on the 4th of November, 1764, some
+      weeks before the publication of <i>The Traveller</i>. His powers, it
+      may be, were misdirected and misapplied; but his rough vigour and his
+      manly verse deserved a better fate at Goldsmith&rsquo;s hands.
+    </p>
+
+    <p>
+      <a href="#page_4">tawdry</a> was added in the sixth edition of 1770.
+    </p>
+
+    <p>
+      <a href="#page_4">blank verse.</a> Cf. <i>The Present State of Polite
+      Learning</i>, 1759, p. 150&mdash;&lsquo;From a desire in the critic of
+      grafting the spirit of ancient languages upon the English, has proceeded
+      of late several disagreeable instances of pedantry. Among the number, I
+      think we may reckon <i>blank verse</i>. Nothing but the greatest sublimity
+      of subject can render such a measure pleasing; however, we now see it used
+      on the most trivial occasions&rsquo;&mdash;by which last remark Goldsmith
+      probably, as Cunningham thinks, intended to refer to the efforts of
+      Akenside, Dyer, and Armstrong. His views upon blank verse were shared by
+      Johnson and Gray. At the date of the present dedication, the latest
+      offender in this way had been Goldsmith&rsquo;s old colleague on <i>The
+      Monthly Review</i>, Dr. James Grainger, author of <i>The Sugar Cane</i>,
+      which was published in June, 1764. (Cf. also <i>The Bee</i> for 24th
+      November, 1759, &lsquo;An account of the Augustan Age of England.&rsquo;)
+    </p>
+
+    <p>
+      <a href="#page_4">and that this principle, etc.</a> In the first edition
+      this read&mdash;&lsquo;and that this principle in each state, and in our own in
+      particular, may be carried to a mischievous excess.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_5">Remote, unfriended, melancholy, slow.</a> Mitford
+      (Aldine edition, 1831, p. 7) compares the following lines from Ovid:&mdash;
+    </p>
+
+<p class="poem">
+        Solus, inops, exspes, leto poenaeque relictus.<br/>
+                    <i>Metamorphoses</i>, xiv. 217.<br/>
+<br/>
+        Exsul, inops erres, alienaque limina lustres, etc.<br/>
+                    <i>Ibis</i>. 113.
+</p>
+
+    <p>
+      <a href="#page_5">slow.</a> A well-known passage from Boswell must here be
+      reproduced:&mdash;&lsquo;Chamier once asked him [Goldsmith], what he meant by <i>slow</i>,
+      the last word in the first line of <i>The Traveller</i>,
+    </p>
+
+<p class="poem">
+          Remote, unfriended, melancholy, slow.
+</p>
+
+<p class="noindent">
+      Did he mean tardiness of locomotion? Goldsmith, who would say something
+      without consideration, answered &ldquo;yes.&rdquo; I [Johnson] was sitting by, and
+      said, &ldquo;No, Sir, you do not mean tardiness of locomotion; you mean, that
+      sluggishness of mind which comes upon a man in solitude.&rdquo; Chamier believed
+      then that I had written the line as much as if he had seen me write it.&rsquo;
+      [Birkbeck Hill&rsquo;s <i>Boswell</i>, 1887, iii. 252–3.) It is quite
+      possible, however, that Goldsmith meant no more than he said.
+    </p>
+
+    <p>
+      <a href="#page_5">the rude Carinthian boor.</a> &lsquo;Carinthia,&rsquo; says
+      Cunningham, &lsquo;was visited by Goldsmith in 1755, and still (1853) retains
+      its character for inhospitality.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_5">Campania.</a> &lsquo;Intended,&rsquo; says Bolton Corney, &lsquo;to denote
+      <i>La campagna di Roma</i>. The portion of it which extends from Rome to
+      Terracina is scarcely habitable.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_5">a lengthening chain.</a> Prior compares Letter iii of
+      <i>The Citizen of the World</i>, 1762, i. 5:&mdash;&lsquo;The farther I
+      travel I feel the pain of separation with stronger force, those ties that
+      bind me to my native country, and you, are still unbroken. By every
+      remove, I only drag a greater length of chain.&rsquo; But, as Mitford points
+      out, Cibber has a similar thought in his <i>Comical Lovers</i>,
+      1707, Act v:&mdash;&lsquo;When I am with Florimel, it [my heart] is still your
+      prisoner, <i>it only draws a longer chain after it</i>.&rsquo; And earlier still
+      in Dryden&rsquo;s &lsquo;All for Love&rsquo;, 1678, Act ii, Sc. 1:&mdash;
+    </p>
+
+<p class="poem">
+        My life on&rsquo;t, he still drags a chain along,<br/>
+        That needs must clog his flight.
+</p>
+
+    <p>
+      <a href="#page_5">with simple plenty crown&rsquo;d.</a> In the first edition
+      this read &lsquo;where mirth and peace abound.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_6">the luxury of doing good.</a> Prior compares Garth&rsquo;s
+      <i>Claremont</i>, 1715, where he speaks of the Druids:&mdash;
+    </p>
+
+<p class="poem">
+        Hard was their Lodging, homely was their Food,<br/>
+        For all their <i>Luxury was doing Good</i>.
+</p>
+
+    <p>
+      <a href="#page_6">my prime of life.</a> He was seven-and-twenty when he
+      landed at Dover in February, 1756.
+    </p>
+
+    <p>
+      <a href="#page_6">That, like the circle bounding, etc.</a> Cf. <i>Vicar
+      of Wakefield</i>, 1766, ii. 160–1 (ch. x):&mdash;&lsquo;Death, the only
+      friend of the wretched, for a little while mocks the weary traveller with
+      the view, and like his horizon, still flies before him.&rsquo; [Prior.]
+    </p>
+
+    <p>
+      <a href="#page_6">And find no spot of all the world my own.</a> Prior
+      compares his namesake&rsquo;s lines <i>In the Beginning of</i> [Jacques] <i>Robbe&rsquo;s
+      Geography</i>, 1700:&mdash;
+    </p>
+
+<p class="poem">
+        My destin&rsquo;d Miles I shall have gone,<br/>
+        By THAMES or MAESE, by PO or RHONE,<br/>
+        And <i>found no Foot of Earth my own.</i>
+</p>
+
+    <p>
+      <a href="#page_6">above the storm&rsquo;s career.</a> Cf. 1. 190 of <i>The
+      Deserted Village.</i>
+    </p>
+
+    <p>
+      <a href="#page_6">should thankless pride repine?</a> First edition,
+      &lsquo;&rsquo;twere thankless to repine.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_6">Say, should the philosophic mind, etc.</a> First
+      edition:&mdash;
+    </p>
+
+<p class="poem">
+        &rsquo;Twere affectation all, and school-taught pride,<br/>
+        To spurn the splendid things by heaven supply&rsquo;d
+</p>
+
+    <p>
+      <a href="#page_7">hoard.</a> &lsquo;Sum&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_7">Boldly proclaims that happiest spot his own.</a> In the
+      first version this was&mdash;
+    </p>
+
+<p class="poem">
+        Boldly asserts that country for his own.
+</p>
+
+    <p>
+      <a href="#page_7">And yet, perhaps, etc.</a> In the first edition, for
+      this and the following five lines appeared these eight:&mdash;
+    </p>
+
+<p class="poem">
+        And yet, perhaps, if states with states we scan,<br/>
+        Or estimate their bliss on Reason&rsquo;s plan,<br/>
+        Though patriots flatter, and though fools contend,<br/>
+        We still shall find uncertainty suspend;<br/>
+        Find that each good, by Art or Nature given,<br/>
+        To these or those, but makes the balance even:<br/>
+        Find that the bliss of all is much the same,<br/>
+        And patriotic boasting reason&rsquo;s shame!
+</p>
+
+    <p>
+      <a href="#page_8">On Idra&rsquo;s cliffs.</a> Bolton Corney conjectures that
+      Goldsmith meant &lsquo;Idria, a town in Carniola, noted for its mines.&rsquo;
+      &lsquo;Goldsmith in his &ldquo;History of Animated Nature&rdquo; makes mention of the mines,
+      and spells the name in the same way as here.&rsquo; (Mr. J. H. Lobban&rsquo;s <i>Select
+      Poems of Goldsmith</i>, 1900, p. 87). Lines 84–5, it may be added, are
+      not in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_8">And though the rocky-crested summits frown.</a> In the
+      first edition:&mdash;
+    </p>
+
+<p class="poem">
+        And though rough rocks or gloomy summits frown.
+</p>
+
+    <p>
+      <a href="#page_8">lines 91–2.</a> are not in the first editions.
+    </p>
+
+    <p>
+      <a href="#page_8">peculiar,</a> i.e. &lsquo;proper,&rsquo; &lsquo;appropriate.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_9">winnow,</a> i.e. &lsquo;waft,&rsquo; &lsquo;disperse.&rsquo; John Evelyn refers
+      to these &lsquo;sea-born gales&rsquo; in the &lsquo;Dedication&rsquo; of his <i>Fumifugium</i>,
+      1661:&mdash; &lsquo;Those who take notice of the scent of the orange-flowers
+      from the rivage of Genoa, and St. Pietro dell&rsquo; Arena; the blossomes of the
+      rosemary from the Coasts of Spain, many leagues off at sea; or the
+      manifest, and odoriferous wafts which flow from Fontenay and Vaugirard,
+      even to Paris in the season of roses, with the contrary effect of those
+      less pleasing smells from other accidents, will easily consent to what I
+      suggest [i.e. the planting of sweet-smelling trees].&rsquo; (<i>Miscellaneous
+      Writings</i>, 1825, p. 208.)
+    </p>
+
+    <p>
+      <a href="#page_9">Till, more unsteady, etc.</a> In the first edition:&mdash;
+    </p>
+
+<p class="poem">
+        But, more unsteady than the southern gale,<br/>
+        Soon Commerce turn&rsquo;d on other shores her sail.
+</p>
+
+    <p>
+      There is a certain resemblance between this passage and one of the later
+      paradoxes of Smollett&rsquo;s Lismahago;&mdash;&lsquo;He affirmed, the nature of
+      commerce was such, that it could not be fixed or perpetuated, but, having
+      flowed to a certain height, would immediately begin to ebb, and so
+      continue till the channels should be left almost dry; but there was no
+      instance of the tide&rsquo;s rising a second time to any considerable influx in
+      the same nation&rsquo; (<i>Humphry Clinker</i>, 1771, ii. 192. Letter of
+      Mr. Bramble to Dr. Lewis).
+    </p>
+
+    <p>
+      <a href="#page_10">lines 141–2.</a> are not in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_10">Its former strength was but plethoric ill.</a> Cf.
+      <i>The Citizen of the World</i>, 1762, i. 98:&mdash;&lsquo;In short, the
+      state resembled one of those bodies bloated with disease, whose bulk is
+      only a symptom of its wretchedness.&rsquo; [Mitford.]
+    </p>
+
+    <p>
+      <a href="#page_10">Yet still the loss, etc.</a> In the first edition:&mdash;
+    </p>
+
+<p class="poem">
+        Yet, though to fortune lost, here still abide<br/>
+        Some splendid arts, the wrecks of former pride.
+</p>
+
+    <p>
+      <a href="#page_10">The paste-board triumph and the cavalcade.</a> &lsquo;Happy
+      Country [he is speaking of Italy], where the pastoral age begins to
+      revive! Where the wits even of Rome are united into a rural groupe of
+      nymphs and swains, under the appellation of modern Arcadians [i.e. the
+      Bolognese Academy of the <i>Arcadi</i>]. Where in the midst of porticos,
+      processions, and cavalcades, abbes turn&rsquo;d into shepherds, and
+      shepherdesses without sheep, indulge their innocent <i> divertimenti</i>.&rsquo;
+      (<i>Present State of Polite Learning</i>, 1759, pp. 50–1.) Some of
+      the &lsquo;paste-board triumphs&rsquo; may be studied in the plates of Jacques Callot.
+    </p>
+
+    <p>
+      <a href="#page_10">By sports like these, etc.</a> A pretty and well-known
+      story is told with regard to this couplet. Calling once on Goldsmith,
+      Reynolds, having vainly tried to attract attention, entered unannounced.
+      &lsquo;His friend was at his desk, but with hand uplifted, and a look directed
+      to another part of the room; where a little dog sat with difficulty on his
+      haunches, looking imploringly at his teacher, whose rebuke for toppling
+      over he had evidently just received. Reynolds advanced, and looked past
+      Goldsmith&rsquo;s shoulder at the writing on his desk. It seemed to be some
+      portions of a poem; and looking more closely, he was able to read a
+      couplet which had been that instant written. The ink of the second line
+      was wet:&mdash;
+    </p>
+
+<p class="poem">
+        By sports like these are all their cares beguil&rsquo;d;<br/>
+        The sports of children satisfy the child.
+</p>
+
+<p class="noindent">
+        (Forster&rsquo;s <i>Life</i>, 1871, i. pp. 347–8).
+</p>
+
+    <p>
+      <a href="#page_10">The sports of children.</a> This line, in the first
+      edition, was followed by:&mdash;
+    </p>
+
+<p class="poem">
+        At sports like these, while foreign arms advance,<br/>
+        In passive ease they leave the world to chance.
+</p>
+
+    <p>
+      <a href="#page_10">Each nobler aim, etc.</a> The first edition reads:&mdash;
+    </p>
+
+<p class="poem">
+        When struggling Virtue sinks by long controul,<br/>
+        She leaves at last, or feebly mans the soul.
+</p>
+
+    <p>
+      This was changed in the second, third, fourth, and fifth editions to:&mdash;
+    </p>
+
+<p class="poem">
+        When noble aims have suffer&rsquo;d long controul,<br/>
+        They sink at last, or feebly man the soul.
+</p>
+
+    <p>
+      <a href="#page_10">No product here, etc.</a> The Swiss mercenaries, here
+      referred to, were long famous in European warfare.
+    </p>
+
+<p class="poem">
+        They parted with a thousand kisses,<br/>
+        And fight e&rsquo;er since for pay, like Swisses.<br/>
+                             Gay&rsquo;s <i>Aye and No, a Fable</i>.
+</p>
+
+    <p>
+      <a href="#page_11">breasts</a> This fine use of &lsquo;breasts&rsquo;&mdash;as
+      Cunningham points out&mdash;is given by Johnson as an example in his
+      Dictionary.
+    </p>
+
+    <p>
+      <a href="#page_11">With patient angle, trolls the finny deep.</a> &lsquo;Troll,&rsquo;
+      i.e. as for pike. Goldsmith uses &lsquo;finny prey&rsquo; in <i>The Citizen of the
+      World</i>, 1762, ii. 99:&mdash;&lsquo;The best manner to draw up the <i>finny
+      prey</i>.&rsquo; Cf. also &lsquo;warbling grove,&rsquo; <i>Deserted Village</i>, l.
+      361, as a parallel to &lsquo;finny deep.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_11">the struggling savage,</a> i.e. wolf or bear. Mitford
+      compares the following:&mdash;&lsquo;He is a beast of prey, and the laws should
+      make use of as many stratagems and as much force to drive the <i>
+      reluctant savage</i> into the toils, as the Indians when they hunt the
+      hyena or the rhinoceros.&rsquo; (<i>Citizen of the World</i>, 1762, i.
+      112.) See also Pope&rsquo;s <i>Iliad</i>, Bk. xvii:&mdash;
+    </p>
+
+<p class="poem">
+        But if the <i>savage</i> turns his glaring eye,<br/>
+        They howl aloof, and round the forest fly.
+</p>
+
+    <p>
+      <a href="#page_12">lines 201–2</a> are not in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_12">For every want,</a> etc. Mitford quotes a parallel
+      passage in <i>Animated Nature</i>, 1774, ii. 123:&mdash;&lsquo;Every want
+      thus becomes a means of pleasure, in the redressing.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_12">Their morals, like their pleasures, are but low.</a>
+      Probably Goldsmith only uses &lsquo;low&rsquo; here in its primitive sense, and not in
+      that which, in his own day, gave so much umbrage to so many
+      eighteenth-century students of humanity in the rough. Cf. Fielding, <i>Tom
+      Jones</i>, 1749, iii. 6:&mdash; &lsquo;Some of the Author&rsquo;s Friends cry&rsquo;d&mdash;&ldquo;Look&rsquo;e,
+      Gentlemen, the Man is a Villain; but it is Nature for all that.&rdquo; And all
+      the young Critics of the Age, the Clerks, Apprentices, etc., called it <i>Low</i>
+      and fell a Groaning.&rsquo; See also <i>Tom Jones</i>, iv. 94, and 226–30.
+      &lsquo;There&rsquo;s nothing comes out but the &lsquo;most lowest&rsquo; stuff in nature&rsquo;&mdash;says
+      Lady Blarney in ch. xi of the <i> Vicar</i>, whose author is
+      eloquent on this topic in <i>The Present State of Polite Learning</i>,
+      1759, pp. 154–6, and in
+      <i>She Stoops to Conquer</i>, 1773 (Act i); while Graves (<i>Spiritual
+      Quixote</i>, 1772, bk. i, ch. vi) gives the fashion the scientific
+      appellation of <i> tapino-phoby,</i> which he defines as &lsquo;a dread of
+      everything that is <i>low</i>, either in writing or in conversation.&rsquo; To
+      Goldsmith, if we may trust George Colman&rsquo;s <i>Prologue</i> to Miss
+      Lee&rsquo;s <i>Chapter of Accidents</i>, 1780, belongs the credit of
+      exorcising this particular form of depreciation:&mdash;
+    </p>
+
+<p class="poem">
+        When Fielding, Humour&rsquo;s fav&rsquo;rite child, appear&rsquo;d,<br/>
+        <i>Low</i> was the word&mdash;a word each author fear&rsquo;d!<br/>
+        Till chas&rsquo;d at length, by pleasantry&rsquo;s bright ray,<br/>
+        Nature and mirth resum&rsquo;d their legal sway;<br/>
+        And Goldsmith&rsquo;s genius bask&rsquo;d in open day.
+</p>
+
+    <p>
+      According to Borrow&rsquo;s <i>Lavengro</i>, ch. xli, Lord Chesterfield
+      considered that the speeches of Homer&rsquo;s heroes were frequently
+      &lsquo;exceedingly low.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_13">How often, etc.</a> This and the lines which
+      immediately follow are autobiographical. Cf. George Primrose&rsquo;s story in
+      <i>The Vicar of Wakefield</i>, 1766, ii. 24–5 (ch. i):&mdash;&lsquo;I
+      passed among the harmless peasants of Flanders, and among such of the
+      French as were poor enough to be very merry; for I ever found them
+      sprightly in proportion to their wants. Whenever I approached a peasant&rsquo;s
+      house towards night-fall, I played one of my most merry tunes, and that
+      procured me not only a lodging, but subsistence for the next day.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_13">gestic lore,</a> i.e. traditional gestures or motions.
+      Scott uses the word &lsquo;gestic&rsquo; in <i>Peveril of the Peak</i>, ch. xxx,
+      where King Charles the Second witnesses the dancing of Fenella:&mdash;&lsquo;He
+      bore time to her motions with the movement of his foot&mdash;applauded
+      with head and with hand&mdash;and seemed, like herself, carried away by
+      the enthusiasm of the <i>gestic</i> art.&rsquo; [Hales.]
+    </p>
+
+    <p>
+      <a href="#page_13">Thus idly busy rolls their world away.</a> Pope has
+      &lsquo;Life&rsquo;s <i>idle business</i>&rsquo; (<i>Unfortunate Lady</i>, l. 81), and&mdash;
+    </p>
+
+<p class="poem">
+        The <i>busy, idle</i> blockheads of the ball.<br/>
+                         Donne&rsquo;s <i>Satires</i>, iv. l. 203.
+</p>
+
+    <p>
+      <a href="#page_14">And all are taught an avarice of praise.</a> Professor
+      Hales (<i>Longer English Poems</i>) compares Horace of the Greeks:&mdash;
+    </p>
+
+<p class="poem">
+        Praeter laudem, nullius avaris.<br/>
+                                 <i>Ars Poetica</i>, l. 324.
+</p>
+
+    <p>
+      <a href="#page_14">copper lace.</a> &lsquo;St Martin&rsquo;s lace,&rsquo; for which, in
+      Strype&rsquo;s day, Blowbladder St. was famous. Cf. the actress&rsquo;s &lsquo;copper tail&rsquo;
+      in <i>Citizen of the World</i>, 1762, ii. 60.
+    </p>
+
+    <p>
+      <a href="#page_14">To men of other minds, etc.</a> Prior compares with the
+      description that follows a passage in vol. i. p. 276 of <i>Animated
+      Nature</i>, 1774:&mdash;&lsquo;But we need scarce mention these, when we find
+      that the whole kingdom of Holland seems to be a conquest upon the sea, and
+      in a manner rescued from its bosom. The surface of the earth, in this
+      country, is below the level of the bed of the sea; and I remember, upon
+      approaching the coast, to have looked down upon it from the sea, as into a
+      valley.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_14">Where the broad ocean leans against the land.</a> Cf.
+      Dryden in <i>Annus Mirabilis</i>, 1666, st. clxiv. l. 654:&mdash;
+    </p>
+
+<p class="poem">
+        And view the ocean leaning on the sky.
+</p>
+
+    <p>
+      <a href="#page_14">the tall rampire&rsquo;s,</a> i.e. rampart&rsquo;s (Old French, <i>rempart,
+      rempar</i>). Cf. <i>Timon of Athens</i>, Act v. Sc. 4:&mdash;&lsquo;Our
+      rampir&rsquo;d gates.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_15">bosom reign</a> in the first edition was &lsquo;breast
+      obtain.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_15">Even liberty itself is barter&rsquo;d here.</a> &lsquo;Slavery,&rsquo;
+      says Mitford, &lsquo;was permitted in Holland; children were sold by their
+      parents for a certain number of years.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_15">A land of tyrants, and a den of slaves.</a> Goldsmith
+      uses this very line as prose in Letter xxxiv of <i>The Citizen of the
+      World</i>, 1762, i. 147.
+    </p>
+
+    <p>
+      <a href="#page_15">dishonourable graves.</a> <i>Julius Caesar</i>,
+      Act i. Sc. 2.
+    </p>
+
+    <p>
+      <a href="#page_15">Heavens! how unlike, etc.</a> Prior compares a passage
+      from a manuscript <i> Introduction to the History of the Seven Years&rsquo;
+      War</i>:&mdash;&lsquo;How unlike the brave peasants their ancestors, who
+      spread terror into either India, and always declared themselves the allies
+      of those who drew the sword in defence of freedom.&rsquo;*
+    </p>
+
+<p class="footnote">
+* J. W. M. Gibbs (<i>Works</i>, v. 9) discovered that parts of
+      this <i>History</i>, hitherto supposed to have been written in 1761, were
+      published in the <i>Literary Magazine</i>, 1757–8.
+    </p>
+
+    <p>
+      <a href="#page_15">famed Hydaspes,</a> i.e. the <i>fabulosus Hydaspes</i>
+      of Horace, Bk. i. Ode xxii, and the <i>Medus Hydaspes</i> of Virgil,
+      <i> Georg</i>, iv. 211, of which so many stores were told. It is now
+      known as the Jhilum, one of the five rivers which give the Punjaub its
+      name.
+    </p>
+
+    <p>
+      <a href="#page_16">Pride in their port,</a> etc. In the first edition
+      these two lines were inverted.
+    </p>
+
+    <p>
+      <a href="#page_16">Here by the bonds of nature feebly held.</a> In the
+      first edition&mdash;
+    </p>
+
+<p class="poem">
+        See, though by circling deeps together held.
+</p>
+
+    <p>
+      <a href="#page_16">Nature&rsquo;s ties</a> was &lsquo;social bonds&rsquo; in the first
+      edition.
+    </p>
+
+    <p>
+      <a href="#page_17">Where kings have toil&rsquo;d, and poets wrote for fame.</a>
+      In the first edition this line read:&mdash;
+    </p>
+
+<p class="poem">
+        And monarchs toil, and poets pant for fame.
+</p>
+
+    <p>
+      <a href="#page_17">Yet think not, etc.</a> &lsquo;In the things I have hitherto
+      written I have neither allured the vanity of the great by flattery, nor
+      satisfied the malignity of the vulgar by scandal, but I have endeavoured
+      to get an honest reputation by liberal pursuits.&rsquo; (Preface to <i>
+      English History.</i>) [Mitford.]
+    </p>
+
+    <p>
+      <a href="#page_17">Ye powers of truth, etc.</a> The first version has:&mdash;
+    </p>
+
+<p class="poem">
+        Perish the wish; for, inly satisfy&rsquo;d,<br/>
+        Above their pomps I hold my ragged pride.
+</p>
+
+    <p>
+      Mr. Forster thinks (<i>Life</i>, 1871, i. 375) that Goldsmith
+      altered this (i.e. &lsquo;ragged pride&rsquo;) because, like the omitted <i>Haud
+      inexpertus loquor</i> of the <i> Enquiry</i>, it involved an
+      undignified admission.
+    </p>
+
+    <p>
+      <a href="#page_17">lines 365–80</a> are not in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_18">Contracting regal power to stretch their own.</a> &lsquo;It
+      is the interest of the great, therefore, to diminish kingly power as much
+      as possible; because whatever they take from it is naturally restored to
+      themselves; and all they have to do in a state, is to undermine the single
+      tyrant, by which they resume their primaeval authority.&rsquo; (<i>Vicar of
+      Wakefield</i>, 1766, i. 202, ch. xix.)
+    </p>
+
+    <p>
+      <a href="#page_18">When I behold, etc.</a> Prior compares a passage in
+      Letter xlix of <i> The Citizen of the World</i>, 1762, i. 218, where
+      the Roman senators are spoken of as still flattering the people &lsquo;with a
+      shew of freedom, while themselves only were free.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_18">Laws grind the poor, and rich men rule the law.</a>
+      Prior notes a corresponding utterance in <i>The Vicar of Wakefield</i>,
+      1766, i. 206, ch. xix:&mdash;&lsquo;What they may then expect, may be seen by
+      turning our eyes to Holland, Genoa, or Venice, where the laws govern the
+      poor, and the rich govern the law.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_18">I fly from petty tyrants to the throne.</a> Cf. Dr.
+      Primrose, <i>ut supra</i>, p. 201:&mdash;&lsquo;The generality of mankind also
+      are of my
+      way of thinking, and have unanimously created one king, whose election at
+      once diminishes the number of tyrants, and puts tyranny at the greatest
+      distance from the greatest number of people.&rsquo; Cf. also Churchill, <i>The
+      Farewell</i>, ll. 363–4 and 369–70:&mdash;
+    </p>
+
+<p class="poem">
+        Let not a Mob of Tyrants seize the helm,<br/>
+        Nor titled upstarts league to rob the realm...<br/>
+        Let us, some comfort in our griefs to bring,<br/>
+        Be slaves to one, and be that one a King.
+</p>
+
+    <p>
+      <a href="#page_18">lines 393–4.</a> Goldsmith&rsquo;s first thought was&mdash;
+    </p>
+
+<p class="poem">
+        Yes, my lov&rsquo;d brother, cursed be that hour<br/>
+        When first ambition toil&rsquo;d for foreign power,&mdash;
+</p>
+
+<p class="noindent">
+      an entirely different couplet to that in the text, and certainly more
+      logical. (Dobell&rsquo;s <i>Prospect of Society</i>, 1902, pp. xi, 2, and
+      Notes, v, vi). Mr. Dobell plausibly suggests that this Tory substitution
+      is due to Johnson.
+    </p>
+
+    <p>
+      <a href="#page_18">Have we not seen, etc.</a> These lines contain the
+      first idea of the subsequent poem of <i>The Deserted Village</i> (<i>q.v.</i>).
+    </p>
+
+    <p>
+      <a href="#page_19">Where wild Oswego spreads her swamps around.</a> The
+      Oswego is a river which runs between Lakes Oneida and Ontario. In the
+      <i>Threnodia Augustalis</i>, 1772, Goldsmith writes:&mdash;
+    </p>
+
+<p class="poem">
+        Oswego&rsquo;s dreary shores shall be my grave.
+</p>
+
+    <p>
+      The &lsquo;desarts of Oswego&rsquo; were familiar to the eighteenth-century reader in
+      connexion with General Braddock&rsquo;s ill-fated expedition of 1755, an
+      account of which Goldsmith had just given in <i>An History of England,
+      in a Series of Letters from a Nobleman to his Son</i>, 1764, ii. 202–4.
+    </p>
+
+    <p>
+      <a href="#page_19">marks with murderous aim.</a> In the first edition
+      &lsquo;takes a deadly aim.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_19">pensive exile.</a> This, in the version mentioned in
+      the next note, was &lsquo;famish&rsquo;d exile.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_19">To stop too fearful, and too faint to go.</a> This
+      line, upon Boswell&rsquo;s authority, is claimed for Johnson (Birkbeck Hill&rsquo;s
+      <i> Boswell</i>, 1887, ii. 6). Goldsmith&rsquo;s original ran:&mdash;
+    </p>
+
+<p class="poem">
+        And faintly fainter, fainter seems to go.
+</p>
+
+<p class="noindent">
+      (Dobell&rsquo;s <i>Prospect of Society</i>, 1902, p. 3).
+    </p>
+
+    <p>
+      <a href="#page_19">How small, of all, etc.</a> Johnson wrote these
+      concluding
+      ten lines with the exception of the penultimate couplet. They and line 420
+      were all&mdash;he told Boswell&mdash;of which he could be sure (Birkbeck
+      Hill&rsquo;s <i>Boswell</i>, <i>ut supra</i>). Like Goldsmith, he
+      sometimes worked his prose ideas into his verse. The first couplet is
+      apparently a reminiscence of a passage in his own <i>Rasselas</i>,
+      1759, ii. 112, where the astronomer speaks of &lsquo;the task of a king . . .
+      who has the care only of a few millions, to whom he cannot do much good or
+      harm.&rsquo; (Grant&rsquo;s <i>Johnson</i>, 1887, p. 89.) &lsquo;I would not give half
+      a guinea to live under one form of government rather than another,&rsquo; he
+      told that &lsquo;vile Whig,&rsquo; Sir Adam Fergusson, in 1772. &lsquo;It is of no moment to
+      the happiness of an individual&rsquo; (Birkbeck Hill&rsquo;s <i> Boswell</i>,
+      1887, ii. 170).
+    </p>
+
+    <p>
+      <a href="#page_19">The lifted axe.</a> Mitford here recalls Blackmore&rsquo;s
+    </p>
+
+<p class="poem">
+        Some the sharp axe, and some the painful wheel.
+</p>
+
+    <p>
+      The &lsquo;lifted axe&rsquo; he also traces to Young and Blackmore, with both of whom
+      Goldsmith seems to have been familiar; but it is surely not necessary to
+      assume that he borrowed from either in this instance.
+    </p>
+
+    <p>
+      <a href="#page_19">Luke&rsquo;s iron crown.</a> George and Luke Dosa, or Doscha,
+      headed a rebellion in Hungary in 1513. The former was proclaimed king by
+      the peasants; and, in consequence suffered, among other things, the
+      torture of the red-hot iron crown. Such a punishment took place at
+      Bordeaux when Montaigne was seventeen (Morley&rsquo;s Florio&rsquo;s <i> Montaigne</i>,
+      1886, p. xvi). Much ink has been shed over Goldsmith&rsquo;s lapse of &lsquo;Luke&rsquo; for
+      George. In the book which he cited as his authority, the family name of
+      the brothers was given as Zeck,&mdash;hence Bolton Corney, in his edition
+      of the <i> Poetical Works</i>, 1845, p. 36, corrected the line to&mdash;
+    </p>
+
+<p class="poem">
+        <i>Zeck&rsquo;s</i> iron crown, etc.,
+</p>
+
+<p class="noindent">
+      an alteration which has been adopted by other editors. (See also Forster&rsquo;s
+      <i>Life</i>, 1871, i. 370.)
+    </p>
+
+    <p>
+      <a href="#page_19">Damien&rsquo;s bed of steel.</a> Robert-Francois Damiens,
+      1714–57. Goldsmith writes &lsquo;Damien&rsquo;s.&rsquo; In the <i>Gentlemen&rsquo;s Magazine</i>
+      for 1757, vol. xxvii. pp. 87 and 151, where there is an account of this
+      poor half-witted wretch&rsquo;s torture and execution for attempting to
+      assassinate Louis XV, the name is thus spelled, as also in other
+      contemporary records and caricatures. The following passage explains the
+      &lsquo;bed of steel&rsquo;:&mdash;&lsquo;Being conducted
+      to the Conciergerie, an &lsquo;iron bed&rsquo;, which likewise served for a chair, was
+      prepared for him, and to this he was fastened with chains. The torture was
+      again applied, and a physician ordered to attend to see what degree of
+      pain he could support,&rsquo; etc. (Smollett&rsquo;s <i>History of England</i>,
+      1823, bk. iii, ch. 7, &sect; xxv.) Goldsmith&rsquo;s own explanation&mdash;according
+      to Tom Davies, the bookseller&mdash;was that he meant the rack. But Davies
+      may have misunderstood him, or Goldsmith himself may have forgotten the
+      facts. (See Forster&rsquo;s <i>Life</i>, 1871, i. 370.) At pp. 57–78 of
+      the <i> Monthly Review</i> for July, 1757 (upon which Goldsmith was
+      at this date employed), is a summary, &lsquo;from our correspondent at Paris,&rsquo;
+      of the official record of the Damiens&rsquo; Trial, 4 vols. 12 mo.; and his deed
+      and tragedy make a graphic chapter in the remarkable <i>Strange
+      Adventures of Captain Dangerous</i>, by George Augustus Sala, 1863,
+      iii. pp. 154–180.
+    </p>
+
+    <p>
+      <a href="#page_19">line 438.</a> In the first edition of &lsquo;The Traveller&rsquo;
+      there are only 416 lines.
+    </p>
+    
+<h3><a name="note04"></a><a href="#page_21">THE DESERTED VILLAGE.</a></h3>
+
+    <p>
+      After having been for some time announced as in preparation, <i>The
+      Deserted Village</i> made its first appearance on May 26, 1770.* It was
+      received with great enthusiasm. In June a second, third, and fourth
+      edition followed, and in August a fifth was published. The text here given
+      is that of the fourth edition, which was considerably revised. Johnson, we
+      are told, thought <i>The Deserted Village</i> inferior to <i>The
+      Traveller</i>: but &lsquo;time,&rsquo; to use Mr. Forster&rsquo;s words, &lsquo;has not
+      confirmed <i>that</i> judgment.&rsquo; Its germ is perhaps to be found in ll.
+      397–402 of the earlier poem.
+    </p>
+
+<p class="footnote">
+* In the American <i>Bookman</i> for February, 1901, pp.
+      563–7, Mr. Luther S. Livingston gives an account (with facsimile
+      title-pages) of three <i>octavo</i> (or rather duodecimo) editions all
+      dated 1770; and ostensibly printed for &lsquo;W. Griffin, at Garrick&rsquo;s Head, in
+      Catherine-street, Strand.&rsquo; He rightly describes their existence as &lsquo;a
+      bibliographical puzzle.&rsquo; They afford no important variations; are not
+      mentioned by the early editors; and are certainly not in the form in which
+      the poem was first advertised and reviewed, as this was a quarto. But they
+      are naturally of interest to the collector; and the late Colonel Francis
+      Grant, a good Goldsmith scholar, described one of them in the <i>Athenaeum</i>
+      for June 20, 1896 (No. 3582).
+    </p>
+
+    <p>
+      Much research has been expended in the endeavour to identify the scene
+      with Lissoy, the home of the poet&rsquo;s youth (see <i>Introduction</i>, p.
+      ix); but the result has only been partially successful. The truth seems
+      that Goldsmith, living in England, recalled in a poem that was English in
+      its conception many of the memories and accessories of his early life in
+      Ireland, without intending or even caring to draw an exact picture. Hence,
+      as Lord Macaulay has observed, in a much criticized and characteristic
+      passage, &lsquo;it is made up of incongruous parts. The village in its happy
+      days is a true English village. The village in its decay is an Irish
+      village. The felicity and the misery which Goldsmith has brought close
+      together belong to two different countries, and to two different stages in
+      the progress of society. He had assuredly never seen in his native island
+      such a rural paradise, such a seat of plenty, content, and tranquillity,
+      as his &ldquo;Auburn.&rdquo; He had assuredly never seen in England all the
+      inhabitants of such a paradise turned out of their homes in one day and
+      forced to emigrate in a body to America. The hamlet he had probably seen
+      in Kent; the ejectment he had probably seen in Munster; but, by joining
+      the two, he has produced something which never was and never will be seen
+      in any part of the world.&rsquo; (<i>Encyclop. Britannica</i>, 1856.) It
+      is obvious also that in some of his theories&mdash;the depopulation of the
+      kingdom, for example&mdash;Goldsmith was mistaken. But it was not for its
+      didactic qualities then, nor is it for them now, that <i>The Deserted
+      Village</i>&rsquo; delighted and delights. It maintains its popularity by its
+      charming <i>genre</i>-pictures, its sweet and tender passages, its
+      simplicity, its sympathetic hold upon the enduring in human nature. To
+      test it solely with a view to establish its topographical accuracy, or to
+      insist too much upon the value of its ethical teaching, is to mistake its
+      real mission as a work of art.
+    </p>
+
+    <p>
+      <a href="#page_21">Dedication. I am ignorant of that art in which you are
+      said to excel.</a> This modest confession did not prevent Goldsmith from
+      making fun of the contemporary connoisseur. See the letter from the young
+      virtuoso in <i>The Citizen of the World</i>, 1762, i. 145,
+      announcing that a famous &lsquo;torse&rsquo; has been discovered to be not &lsquo;a
+      Cleopatra bathing&rsquo; but &lsquo;a Hercules spinning&rsquo;; and Charles Primrose&rsquo;s
+      experiences at Paris (<i>Vicar of Wakefield</i>, 1766, ii. 27–8).
+    </p>
+
+    <p>
+      <a href="#page_21">He is since dead.</a> Henry Goldsmith died in May,
+      1768, at the age of forty-five, being then curate of Kilkenny West. (See
+      note, p. 164.)
+    </p>
+
+    <p>
+      <a href="#page_216">a long poem.</a> &lsquo;I might dwell upon such thoughts . .
+      . were I not afraid of making this preface too tedious; especially since I
+      shall want all the patience of the reader, for having enlarged it with the
+      following verses.&rsquo; (Tickell&rsquo;s Preface to Addison&rsquo;s <i> Works</i>, at
+      end.)
+    </p>
+
+    <p>
+      <a href="#page_22">the increase of our luxuries.</a> The evil of luxury
+      was a &lsquo;common topick&rsquo; with Goldsmith. (Birkbeck Hill&rsquo;s <i>Boswell</i>,
+      1887, ii. 217–8.) Smollett also, speaking with the voice of Lismahago, and
+      continuing the quotation on p. 169, was of the opinion that &lsquo;the sudden
+      affluence occasioned by trade, forced open all the sluices of luxury, and
+      overflowed the land with every species of profligacy and corruption.&rsquo; (<i>Humphry
+      Clinker</i>, 1771, ii. 192.&mdash;Letter of Mr. Bramble to Dr. Lewis.)
+    </p>
+    <p>
+      <br />
+    </p>
+    <p>
+      <a href="#page_23">Sweet</a> AUBURN. Forster, <i>Life</i>, 1871, ii.
+      206, says that Goldsmith obtained this name from Bennet Langton. There is
+      an Aldbourn or Auburn in Wiltshire, not far from Marlborough, which Prior
+      thinks may have furnished the suggestion.
+    </p>
+
+    <p>
+      <a href="#page_23">Seats of my youth.</a> This alone would imply that
+      Goldsmith had in mind the environment of his Irish home.
+    </p>
+
+    <p>
+      <a href="#page_23">The decent church that topp&rsquo;d the neighbouring hill.</a>
+      This corresponds with the church of Kilkenny West as seen from the house
+      at Lissoy.
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="kilkenny"></a>
+<img src="images/kilkenny.jpg" width="319" height="226" alt="[Illustration: ]" />
+<p class="caption">KILKENNY WEST CHURCH<br />
+(R. H. Newell)</p>
+</div>
+
+    <p>
+      <a href="#page_23">The hawthorn bush.</a> The Rev. Annesley Strean, Henry
+      Goldsmith&rsquo;s successor at Kilkenny West, well remembered the hawthorn bush
+      in front of the village ale-house. It had originally three trunks; but
+      when he wrote in 1807 only one remained, &lsquo;the other two having been cut,
+      from time to time, by persons carrying pieces of it away to be made into
+      toys, etc., in honour of the bard, and of the celebrity of his poem.&rsquo; (<i>Essay
+      on Light Reading</i>, by the Rev. Edward Mangin, M.A., 1808, 142–3.)
+      Its remains were enclosed by a Captain Hogan previously to 1819; but
+      nevertheless when Prior visited the place in 1830, nothing was apparent
+      but &lsquo;a very tender shoot [which] had again forced its way to the surface.&rsquo;
+      (Prior, <i> Life</i>, 1837, ii. 264.) An engraving of the tree by S.
+      Alken, from a sketch made in 1806–9, is to be
+      found at p. 41 of Goldsmith&rsquo;s <i>Poetical Works</i>, R. H. Newell&rsquo;s
+      edition, 1811, and is reproduced in the present volume.
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="hawthorn"></a>
+<img src="images/hawthorn.jpg" width="318" height="225" alt="[Illustration: ]" />
+<p class="caption">HAWTHORN TREE<br />
+(R. H. Newell)</p>
+</div>
+
+    <p>
+      <a href="#page_23">How often have I bless&rsquo;d the coming day.</a> Prior,
+      <i>Life</i>, 1837, ii. 261, finds in this an allusion &lsquo;to the
+      Sundays or numerous holidays, usually kept in Roman Catholic countries.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_24">Amidst thy bowers the tyrant&rsquo;s hand is seen.</a>
+      Strean&rsquo;s explanation (Mangin, <i>ut supra</i>, pp. 140–1) of this is as
+      follows:&mdash;&lsquo;The poem of <i>The Deserted Village</i>, took its
+      origin from the circumstance of general Robert Napper [Napier or Naper],
+      (the grandfather of the gentleman who now [1807] lives in the house,
+      within half a mile of Lissoy, and built by the general) having purchased
+      an extensive tract of the country surrounding Lissoy, or <i>Auburn</i>; in
+      consequence of which many families, here called <i>cottiers</i>, were
+      removed, to make room for the intended improvements of what was now to
+      become the wide domain of a rich man, warm with the idea of changing the
+      face of his new acquisition; and were forced, &ldquo;<i>with fainting steps,</i>&rdquo;
+      to go in search of &ldquo;<i>torrid tracts</i>&rdquo; and &ldquo;<i>distant climes.</i>&rdquo;&rsquo;
+    </p>
+
+    <p>
+      Prior (<i>Life</i>, 1837, i. 40–3) points out that Goldsmith was not
+      the first to give poetical expression to the wrongs of the dispossessed
+      Irish peasantry; and he quotes a long extract from the <i>Works</i>
+      (1741) of a Westmeath poet, Lawrence Whyte, which contains such passages
+      as these:&mdash;
+    </p>
+
+<p class="poem">
+        Their native soil were forced to quit,<br/>
+        So Irish landlords thought it fit;<br/>
+        Who without ceremony or rout,<br/>
+        For their improvements turn&rsquo;d them out ...<br/>
+        How many villages they razed,<br/>
+        How many parishes laid waste ...<br/>
+        Whole colonies, to shun the fate<br/>
+        Of being oppress&rsquo;d at such a rate,<br/>
+        By tyrants who still raise their rent,<br/>
+        Sail&rsquo;d to the Western Continent.
+</p>
+
+    <p>
+      <a href="#page_24">The hollow-sounding bittern guards its nest</a>. &lsquo;Of
+      all those sounds,&rsquo; says Goldsmith, speaking of the cries of waterfowl,
+      &lsquo;there is none so dismally hollow as the booming of the bittern.&rsquo; . . . &lsquo;I
+      remember in the place where I was a boy with what terror this bird&rsquo;s note
+      affected the whole village; they
+      considered it as the presage of some sad event; and generally found or
+      made one to succeed it.&rsquo; (<i>Animated Nature</i>, 1774, vi. 1–2, 4.)
+    </p>
+
+    <p>
+      Bewick, who may be trusted to speak of a bird which he has drawn with such
+      exquisite fidelity, refers (<i>Water Birds</i>, 1847, p. 49) to &lsquo;the
+      hollow booming noise which the bittern makes during the night, in the
+      breeding season, from its swampy retreats.&rsquo; Cf. also that close observer
+      Crabbe (<i>The Borough</i>, Letter xxii, ll. 197–8):&mdash;
+    </p>
+
+<p class="poem">
+        And the loud bittern, from the bull-rush home,<br/>
+        Gave from the salt-ditch side the bellowing boom.
+</p>
+
+    <p>
+      <a href="#page_25">Princes and lords may flourish, or may fade;<br />
+      A breath can make them, as a breath has made.</a>
+    </p>
+
+    <p>
+      Mitford compares <i>Confessio Amantis</i>, fol. 152:&mdash;
+    </p>
+
+<p class="poem">
+            A kynge may make a lorde a knave,<br/>
+              And of a knave a lord also;
+</p>
+
+    <p>
+      and Professor Hales recalls Burns&rsquo;s later line in the <i>Cotter&rsquo;s
+      Saturday Night</i>, 1785:&mdash;
+    </p>
+
+<p class="poem">
+        Princes and lords are but the breath of kings.
+</p>
+
+    <p>
+      But Prior finds the exact equivalent of the second line in the verses of
+      an old French poet, De. Caux, upon an hour-glass:&mdash;
+    </p>
+
+<p class="poem">
+                    C&rsquo;est un verre qui luit,<br/>
+        Qu&rsquo;un souffle peut détruire, et qu&rsquo;un souffle a
+produit.
+</p>
+
+    <p>
+      <a href="#page_25">A time there was, ere England&rsquo;s griefs began.</a> Here
+      wherever the locality of Auburn, the author had clearly England in mind. A
+      caustic commentator has observed that the &lsquo;time&rsquo; indicated must have been
+      a long while ago.
+    </p>
+
+    <p>
+      <a href="#page_25">opulence.</a> In the first edition the word is
+      &lsquo;luxury.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_25">And, many a year elapsed, return to view.</a> &lsquo;It is
+      strongly contended at Lishoy, that &ldquo;<i>the Poet</i>,&rdquo; as he is usually
+      called there, after his pedestrian tour upon the Continent of Europe,
+      returned to and resided in the village some time. . . . It is moreover
+      believed, that the havock which had been made in his absence among those
+      favourite scenes of his youth, affected his mind so deeply, that he
+      actually composed great part of the Deserted Village &lsquo;at&rsquo; Lishoy.&rsquo; (<i>Poetical
+      Works, with Remarks</i>, etc., by the Rev. R. H. Newell, 1811, p. 74.)
+    </p>
+
+    <p>
+      Notwithstanding the above, there is no evidence that Goldsmith ever
+      returned to his native island. In a letter to his brother-in-law, Daniel
+      Hodson, written in 1758, he spoke of hoping to do so &lsquo;in five or six
+      years.&rsquo; (<i>Percy Memoir</i>, 1801, i. 49). But in another letter,
+      written towards the close of his life, it is still a thing to come. &lsquo;I am
+      again,&rsquo; he says, &lsquo;just setting out for Bath, and I honestly say I had much
+      rather it had been for Ireland with my nephew, but that pleasure I hope to
+      have before I die.&rsquo; (Letter to Daniel Hodson, no date, in possession of
+      the late Frederick Locker Lampson.)
+    </p>
+
+    <p>
+      <a href="#page_25">Where once the cottage stood, the hawthorn grew.</a>
+      Here followed, in the first edition:&mdash;
+    </p>
+
+<p class="poem">
+        Here, as with doubtful, pensive steps I range,<br/>
+        Trace every scene, and wonder at the change,<br/>
+        Remembrance, etc.
+</p>
+
+    <p>
+      <a href="#page_26">In all my griefs&mdash;and God has given my share.</a>
+      Prior notes a slight similarity here to a line of Collins:&mdash;
+    </p>
+
+<p class="poem">
+        Ye mute companions of my toils, that bear,<br/>
+        <i>In all my griefs</i>, a more than equal share!<br/>
+                          <i>Hassan; or, The Camel Driver.</i>
+</p>
+
+    <p>
+      In <i>The Present State of Polite Learning</i>, 1759, p. 143,
+      Goldsmith refers feelingly to &lsquo;the neglected author of the Persian
+      eclogues, which, however inaccurate, excel any in our language.&rsquo; He
+      included four of them in <i>The Beauties of English Poesy</i>, 1767,
+      i. pp. 239–53.
+    </p>
+
+    <p>
+      <a href="#page_26">To husband out,</a> etc. In the first edition this ran:&mdash;
+    </p>
+
+<p class="poem">
+        My anxious day to husband near the close,<br/>
+        And keep life&rsquo;s flame from wasting by repose.
+</p>
+
+    <p>
+      <a href="#page_26">Here to return&mdash;and die at home at last.</a>
+      Forster compares a passage in <i>The Citizen of the World</i>, 1762,
+      ii. 153:&mdash;&lsquo;There is something so seducing in that spot in which we
+      first had existence, that nothing but it can please; whatever vicissitudes
+      we experience in life, however we toil, or wheresoever we wander, our
+      fatigued wishes still recur to home for tranquillity, we long to die in
+      that spot which gave us birth, and in that pleasing expectation opiate
+      every calamity.&rsquo; The poet Waller too&mdash;he adds&mdash;wished to die
+      &lsquo;like the stag where he was roused.&rsquo; (<i>Life</i>, 1871, ii. 202.)
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="southview"></a>
+<img src="images/southview.jpg" width="600" height="421" alt="[Illustration: ]" />
+<p class="caption">South View from Goldsmith&rsquo;s Mount<br/>
+(R.H. Newell)</p>
+</div>
+
+    <p>
+      <a href="#page_26">How happy he.</a> &lsquo;How blest is he&rsquo; in the first
+      edition.
+    </p>
+
+    <p>
+      <a href="#page_26">And, since &rsquo;tis hard to combat, learns to fly.</a>
+      Mitford compares <i>The Bee</i> for October 13, 1759, p. 56:&mdash;&lsquo;By
+      struggling with misfortunes, we are sure to receive some wounds in the
+      conflict. The only method to come off victorious, is by running away.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_26">surly porter.</a> Mr. J. M. Lobban compares the <i>Citizen
+      of the World</i>, 1762, i. 123:&mdash;&lsquo;I never see a nobleman&rsquo;s door
+      half opened that some surly porter or footman does not stand full in the
+      breach.&rsquo; (<i>Select Poems of Goldsmith</i>, 1900, p. 98.)
+    </p>
+
+    <p>
+      <a href="#page_26">Bends.</a> &lsquo;Sinks&rsquo; in the first edition. <i>unperceived
+      decay</i>. Cf. Johnson, <i>Vanity of Human Wishes</i>, 1749, l. 292:&mdash;
+    </p>
+
+<p class="poem">
+        An age that melts with unperceiv&rsquo;d decay,<br/>
+        And glides in modest innocence away;
+</p>
+
+<p class="noindent">
+      and <i>Irene</i>, Act ii, Sc. 7:&mdash;
+    </p>
+
+<p class="poem">
+        And varied life steal unperceiv&rsquo;d away.
+</p>
+
+    <p>
+      <a href="#page_26">While Resignation,</a> etc. In 1771 Sir Joshua
+      exhibited a picture of &lsquo;An Old Man,&rsquo; studied from the beggar who was his
+      model for Ugolino. When it was engraved by Thomas Watson in 1772, he
+      called it &lsquo;Resignation,&rsquo; and inscribed the print to Goldsmith in the
+      following words:&mdash;&lsquo;This attempt to express a Character in <i>The
+      Deserted Village</i>, is dedicated to Dr. Goldsmith, by his sincere
+      Friend and admirer, J<small>OSHUA</small> R<small>EYNOLDS</small>.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_27">Up yonder hill.</a> It has been suggested that
+      Goldsmith was here thinking of the little hill of Knockaruadh (Red Hill)
+      in front of Lissoy parsonage, of which there is a sketch in Newell&rsquo;s <i>Poetical
+      Works</i>, 1811. When Newell wrote, it was already known as
+      &lsquo;Goldsmith&rsquo;s mount&rsquo;; and the poet himself refers to it in a letter to his
+      brother-in-law Hodson, dated Dec. 27, 1757:&mdash;&lsquo;I had rather be placed
+      on the little mount before Lishoy gate, and there take in, to me, the most
+      pleasing horizon in nature.&rsquo; (<i>Percy Memoir</i>, 1801, p. 43.)
+    </p>
+
+    <p>
+      <a href="#page_27">And fill&rsquo;d each pause the nightingale had made.</a> In
+      <i>Animated Nature</i>, 1774, v. 328, Goldsmith says:&mdash;&lsquo;The
+      nightingale&rsquo;s pausing song would be the proper epithet for this bird&rsquo;s
+      music.&rsquo; [Mitford.]
+    </p>
+
+    <p>
+      <a href="#page_27">No cheerful murmurs fluctuate in the gale.</a> (Cf.
+      Goldsmith&rsquo;s Essay on <i> Metaphors</i> (<i>British Magazine</i>):&mdash;&lsquo;Armstrong
+      has used the word &lsquo;fluctuate&rsquo; with admirable efficacy, in his
+      philosophical poem entitled <i>The Art of Preserving Health</i>.
+    </p>
+
+<p class="poem">
+        Oh! when the growling winds contend, and all<br/>
+        The sounding forest &lsquo;fluctuates&rsquo; in the storm,<br/>
+        To sink in warm repose, and hear the din<br/>
+        Howl o&rsquo;er the steady battlements.
+</p>
+
+    <p>
+      <a href="#page_27">The sad historian of the pensive plain.</a> Strean (see
+      note to l. 13) identified the old watercress gatherer as a certain
+      Catherine Giraghty (or Geraghty). Her children (he said) were still living
+      in the neighbourhood of Lissoy in 1807. (Mangin&rsquo;s <i>Essay on Light
+      Reading</i>, 1808, p. 142.)
+    </p>
+
+    <p>
+      <a href="#page_27">The village preacher&rsquo;s modest mansion rose.</a> &lsquo;The
+      Rev. Charles Goldsmith is allowed by all that knew him, to have been
+      faithfully represented by his son in the character of the Village
+      Preacher.&rsquo; So writes his daughter, Catharine Hodson (<i>Percy Memoir</i>,
+      1801, p. 3). Others, relying perhaps upon the &lsquo;forty pounds a year&rsquo; of the
+      Dedication to <i>The Traveller</i>, make the poet&rsquo;s brother Henry
+      the original; others, again, incline to kindly Uncle Contarine (<i>vide
+      Introduction</i>). But as Prior justly says (<i>Life</i>, 1837, ii.
+      249), &lsquo;the fact perhaps is that he fixed upon no one individual, but
+      borrowing like all good poets and painters a little from each, drew the
+      character by their combination.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_28">with forty pounds a year.</a> Cf. Dedication to <i>The
+      Traveller</i>, p. 3, l. 14.
+    </p>
+
+    <p>
+      <a href="#page_28"> Unpractis&rsquo;d.</a> &lsquo;Unskilful&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_28">More skilled.</a> &lsquo;More bent&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_28">The long remember&rsquo;d beggar.</a> &lsquo;The same persons,&rsquo;
+      says Prior, commenting upon this passage, &lsquo;are seen for a series of years
+      to traverse the same tract of country at certain intervals, intrude into
+      every house which is not defended by the usual outworks of wealth, a gate
+      and a porter&rsquo;s lodge, exact their portion of the food of the family, and
+      even find an occasional resting-place for the night, or from severe
+      weather, in the chimney-corner of respectable farmers.&rsquo; (<i>Life</i>,
+      1837, ii. 269.) Cf. Scott on the Scottish mendicants in the
+      &lsquo;Advertisement&rsquo; to <i>The Antiquary</i>, 1816, and Leland&rsquo;s <i>Hist.
+      of Ireland</i>, 1773, i. 35.
+    </p>
+
+    <p>
+      <a href="#page_28">The broken soldier.</a> The disbanded soldier let loose
+      upon the country at the conclusion of the &lsquo;Seven Years&rsquo; War&rsquo; was a
+      familiar figure at this period. Bewick, in his <i>Memoir</i>
+      (&lsquo;Memorial Edition&rsquo;), 1887, pp. 44–5, describes some of these ancient
+      campaigners with their battered old uniforms and their endless stories of
+      Minden and Quebec; and a picture of two of them by T. S. Good of Berwick
+      belonged to the late Mr. Locker Lampson. Edie Ochiltree (<i>Antiquary</i>)&mdash;it
+      may be remembered&mdash;had fought at Fontenoy.
+    </p>
+
+    <p>
+      <a href="#page_28">Allur&rsquo;d to brighter worlds.</a> Cf. Tickell on Addison&mdash;&lsquo;Saints
+      who taught and led the way to Heaven.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_29">And fools, who came to scoff, remained to pray.</a>
+      Prior compares the opening lines of Dryden&rsquo;s <i>Britannia Rediviva</i>:&mdash;
+    </p>
+
+<p class="poem">
+        Our vows are heard betimes, and heaven takes care<br/>
+        To grant, before we can conclude the prayer;<br/>
+        Preventing angels met it half the way,<br/>
+        And sent us back to praise, who came to pray.
+</p>
+
+    <p>
+      <a href="#page_29">As some tall cliff,</a> etc. Lucan, Statius, and
+      Claudian have been supposed to have helped Goldsmith to this fine and
+      deservedly popular simile. But, considering his obvious familiarity with
+      French literature, and the rarity of his &lsquo;obligations to the ancients,&rsquo; it
+      is not unlikely that, as suggested by a writer in the <i>Academy</i>
+      for Oct. 30, 1886, his source of suggestion is to be found in the
+      following passage of an Ode addressed by Chapelain (1595–1674) to
+      Richelieu:&mdash;
+    </p>
+
+<p class="poem">
+        Dans un paisible mouvement<br/>
+        Tu t&rsquo;élèves au firmament,<br/>
+Et laisses contre toi murmurer cette terre;<br/>
+    Ainsi le haut Olympe, à son pied sablonneux,<br/>
+Laisse fumer la foudre et gronder le tonnerre,<br/>
+    Et garde son sommet tranquille et lumineux.
+</p>
+
+    <p>
+      Or another French model&mdash;indicated by Mr. Forster (<i>Life</i>,
+      1871, ii. 115–16) by the late Lord Lytton&mdash;may have been these lines
+      from a poem by the Abbé de Chaulieu (1639–1720):&mdash;
+    </p>
+
+<p class="poem">
+        Au milieu cependant de ces peines cruelles<br/>
+        De notre triste hiver, compagnes trop fidèles,<br/>
+        Je suis tranquille et gai.  Quel bien plus précieux<br/>
+        Puis-je espérer jamais de la bonté des dieux!<br/>
+            Tel qu&rsquo;un rocher dont la tête,<br/>
+            Égalant le Mont Athos,<br/>
+            Voit à ses pieds la tempête<br/>
+            Troubler le calme des flots,<br/>
+            La mer autour bruit et gronde;<br/>
+            Malgré ses emotions,<br/>
+        Sur son front élevé règne une paix profonde,<br/>
+            Que tant d&rsquo;agitations<br/>
+            Et que ses fureurs de l&rsquo;onde<br/>
+        Respectent à l&rsquo;égal du nid des alcyons.
+</p>
+
+    <p>
+      On the other hand, Goldsmith may have gone no further than Young&rsquo;s <i>Complaint:
+      Night the Second</i>, 1742, p. 42, where, as Mitford points out, occur
+      these lines:&mdash;
+    </p>
+
+<p class="poem">
+        As some tall Tow&rsquo;r, or lofty Mountain&rsquo;s Brow,<br/>
+        Detains the Sun, Illustrious from its Height,<br/>
+        While rising Vapours, and descending Shades,<br/>
+        With Damps, and Darkness drown the Spatious Vale:<br/>
+        Undampt by Doubt, Undarken&rsquo;d by Despair,<br/>
+        <i>Philander</i>, thus, augustly rears his Head.
+</p>
+
+    <p>
+      Prior also (<i>Life</i>, 1837, ii. 252) prints a passage from <i>Animated
+      Nature</i>, 1774, i. 145, derived from Ulloa, which perhaps served as
+      the raw material of the simile.
+    </p>
+
+    <p>
+      <a href="#page_30">Full well they laugh&rsquo;d,</a> etc. Steele, in <i>Spectator</i>,
+      No. 49 (for April 26, 1711) has a somewhat similar thought:&mdash;&lsquo;<i>Eubulus</i>
+      has so great an Authority in his little Diurnal Audience, that when he
+      shakes his Head at any Piece of publick News, they all of them appear
+      dejected; and, on the contrary, go home to their Dinners with a good
+      Stomach and chearful Aspect, when <i>Eubulus</i> seems to intimate
+      that Things go well.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_30">Yet he was kind,</a> etc. For the rhyme of &lsquo;fault&rsquo; and
+      &lsquo;aught&rsquo; in this couplet Prior cites the precedent of Pope:&mdash;
+    </p>
+
+<p class="poem">
+        Before his sacred name flies ev&rsquo;ry fault,<br/>
+        And each exalted stanza teems with thought!
+</p>
+
+    <p>
+      (<i>Essay on Criticism</i>, l. 422). He might also have cited
+      Waller, who elides the &lsquo;l&rsquo;:&mdash;
+    </p>
+
+<p class="poem">
+        Were we but less indulgent to our fau&rsquo;ts,<br/>
+        And patience had to cultivate our thoughts.
+</p>
+
+    <p><a name="page_187" id="page_187"></a>
+      Goldsmith uses a like rhyme in <i>Edwin and Angelina</i>, Stanza
+      xxxv:&mdash;
+    </p>
+
+<p class="poem">
+But mine the sorrow, mine the fault,<br/>
+    And well my life shall pay;<br/>
+I&rsquo;ll seek the solitude he sought,<br/>
+    And stretch me where he lay.
+</p>
+
+    <p>
+      Cf. also <i>Retaliation</i>, ll. 73–4. Perhaps&mdash;as indeed Prior
+      suggests&mdash;he pronounced &lsquo;fault&rsquo; in this fashion.
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="school"></a>
+<img src="images/school.jpg" width="326" height="227" alt="[Illustration: ]" />
+<p class="caption">THE SCHOOL HOUSE<br />
+(R. H. Newell)</p>
+</div>
+
+    <p>
+      <a href="#page_30">That one small head could carry all he knew.</a> Some
+      of the traits of this portrait are said to be borrowed from Goldsmith&rsquo;s
+      own master at Lissoy:&mdash;&lsquo;He was instructed in reading, writing, and
+      arithmetic&rsquo;&mdash;says his sister Catherine, Mrs. Hodson&mdash;&lsquo;by a
+      schoolmaster in his father&rsquo;s village, who had been a quartermaster in the
+      army in Queen Anne&rsquo;s wars, in that detachment which was sent to Spain:
+      having travelled over a considerable part of Europe and being of a very
+      romantic turn, he used to entertain Oliver with his adventures; and the
+      impressions these made on his scholar were believed by the family to have
+      given him that wandering and unsettled turn which so much appeared in his
+      future life.&rsquo; (<i>Percy Memoir</i>, 1801, pp. 3–4.) The name of this
+      worthy, according to Strean, was Burn (Byrne). (Mangin&rsquo;s <i> Essay on
+      Light Reading</i>, 1808, p. 142.)
+    </p>
+
+    <p>
+      <a href="#page_30">Near yonder thorn.</a> See note to l. 13.
+    </p>
+
+    <p>
+      <a href="#page_30">The chest contriv&rsquo;d a double debt to pay.</a> Cf. the
+      <i>Description of an Author&rsquo;s Bedchamber</i>, p. 48, l. ult.:&mdash;
+    </p>
+
+<p class="poem">
+A cap by night&mdash;a stocking all the day!
+</p>
+
+    <p>
+      <a href="#page_31">The twelve good rules.</a> &lsquo;A constant one&rsquo; (i.e.
+      picture) &lsquo;in every house was &ldquo;King Charles&rsquo; Twelve Good Rules.&rdquo;&rsquo; (Bewick&rsquo;s
+      <i>Memoir</i>, &lsquo;Memorial Edition,&rsquo; 1887, p. 262.) This old
+      broadside, surmounted by a rude woodcut of the King&rsquo;s execution, is still
+      prized by collectors. The rules, as &lsquo;found in the study of King Charles
+      the First, of Blessed Memory,&rsquo; are as follow:&mdash; &lsquo;1. Urge no healths;
+      2. Profane no divine ordinances; 3. Touch no state matters; 4. Reveal no
+      secrets; 5. Pick no quarrels; 6. Make no comparisons; 7. Maintain no ill
+      opinions; 8. Keep no bad company; 9. Encourage no vice; 10. Make no long
+      meals; 11. Repeat no grievances; 12. Lay no Wagers.&rsquo; Prior, <i>Misc.
+      Works</i>, 1837, iv. 63, points out that Crabbe also
+<a name="page_188" id="page_188"></a>
+      makes the &lsquo;Twelve Good Rules&rsquo; conspicuous in the <i>Parish Register</i>
+      (ll. 51–2):&mdash;
+    </p>
+
+<p class="poem">
+        There is King Charles, and all his Golden Rules,<br/>
+        Who proved Misfortune&rsquo;s was the best of schools.
+</p>
+
+    <p>
+      Her late Majesty, Queen Victoria, kept a copy of these rules in the
+      servants&rsquo; hall at Windsor Castle.
+    </p>
+
+    <p>
+      <a href="#page_31">the royal game of goose.</a> The &lsquo;Royal and
+      Entertaining Game of the Goose&rsquo; is described at length in Strutt&rsquo;s <i>Sports
+      and Pastimes</i>, bk. iv, ch. 2 (xxv). It may be briefly defined as a
+      game of compartments with different titles through which the player
+      progresses according to the numbers he throws with the dice. At every
+      fourth or fifth compartment is depicted a goose, and if the player&rsquo;s cast
+      falls upon one of these, he moves forward double the number of his throw.
+    </p>
+
+    <p>
+      <a href="#page_31">While broken tea-cups.</a> Cf. the <i>Description of
+      an Author&rsquo;s Bedchamber</i>, p. 48, l. 18:&mdash;
+    </p>
+
+<p class="poem">
+        And five crack&rsquo;d teacups dress&rsquo;d the chimney board.
+</p>
+
+    <p>
+      Mr. Hogan, who repaired or rebuilt the ale-house at Lissoy, did not
+      forget, besides restoring the &lsquo;Royal Game of Goose&rsquo; and the &lsquo;Twelve Good
+      Rules,&rsquo; to add the broken teacups, &lsquo;which for better security in the frail
+      tenure of an Irish publican, or the doubtful decorum of his guests, were
+      embedded in the mortar.&rsquo; (Prior, <i>Life</i>, 1837, ii. 265.)
+    </p>
+
+    <p>
+      <a href="#page_31">Shall kiss the cup.</a> Cf. Scott&rsquo;s <i>Lochinvar</i>:&mdash;
+    </p>
+
+<p class="poem">
+        The bride kissed the goblet: the knight took it up,<br/>
+        He quaff&rsquo;d off the wine and he threw down the cup.
+</p>
+
+    <p>
+      Cf. also <i>The History of Miss Stanton</i> (<i>British Magazine</i>,
+      July, 1760).&mdash;&lsquo;The earthen mug went round. <i>Miss touched the cup</i>,
+      the stranger pledged the parson,&rsquo; etc.
+    </p>
+
+    <p>
+      <a href="#page_32">Between a splendid and a happy land.</a> Prior compares
+      <i>The Citizen of the World</i>, 1762, i. 98:&mdash;&lsquo;Too much
+      commerce may injure a nation as well as too little; and . . . there is a
+      wide difference between a conquering and a flourishing empire.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_33">To see profusion that he must not share.</a> Cf. <i>Animated
+      Nature</i>, iv. p. 43:&mdash;&lsquo;He only guards those luxuries he is not
+      fated to share.&rsquo; [Mitford.]
+    </p>
+
+    <p>
+      <a href="#page_33">To see those joys.</a> Up to the third edition the
+      words were <i>each joy</i>.
+    </p>
+
+    <p>
+      <a href="#page_33">There the black gibbet glooms beside the way.</a> The
+      gallows, under the savage penal laws of the eighteenth century, by which
+      horse-stealing, forgery, shop-lifting, and even the cutting of a hop-bind
+      in a plantation were punishable with death, was a common object in the
+      landscape. Cf. <i>Vicar of Wakefield</i>, 1706, ii. 122:&mdash;&lsquo;Our
+      possessions are paled up with new edicts every day, and hung round with
+      gibbets to scare every invader&rsquo;; and <i> Citizen of the World</i>,
+      1762, ii. 63–7. Johnson, who wrote eloquently on capital punishment in
+      <i>The Rambler</i> for April 20, 1751, No. 114, also refers to the
+      ceaseless executions in his <i>London</i>, 1738, ll. 238–43:&mdash;
+    </p>
+
+<p class="poem">
+        Scarce can our fields, such crowds at Tyburn die,<br/>
+        With hemp the gallows and the fleet supply.<br/>
+        Propose your schemes, ye senatorian band,<br/>
+        Whose ways and means support the sinking land:<br/>
+        Lest ropes be wanting in the tempting spring,<br/>
+        To rig another convoy for the king.
+</p>
+
+    <p>
+      <a href="#page_34">Where the poor houseless shivering female lies.</a>
+      Mitford compares Letter cxiv of <i>The Citizen of the World</i>,
+      1762, ii. 211:&mdash;&lsquo;These <i>poor shivering females</i> have once seen
+      happier days, and been flattered into beauty. They have been prostituted
+      to the gay luxurious villain, and are now turned out to meet the severity
+      of winter. Perhaps now lying at the doors of their betrayers, they sue to
+      wretches whose hearts are insensible, or debauchees who may curse, but
+      will not relieve them.&rsquo; The same passage occurs in <i>The Bee</i>,
+      1759, p. 126 (<i>A City Night-Piece</i>).
+    </p>
+
+    <p>
+      <a href="#page_34">Near her betrayer&rsquo;s door,</a> etc. Cf. the foregoing
+      quotation.
+    </p>
+
+    <p>
+      <a href="#page_34">wild Altama,</a> i.e. the Alatamaha, a river in
+      Georgia, North America. Goldsmith may have been familiar with this name in
+      connexion with his friend Oglethorpe&rsquo;s expedition of 1733.
+    </p>
+
+    <p>
+      <a href="#page_35">crouching tigers,</a> a poetical licence, as there are
+      no tigers in the locality named. But Mr. J. H. Lobban calls attention to a
+      passage from <i>Animated Nature</i> [1774, iii. 244], in which
+      Goldsmith seems to defend himself:&mdash;&lsquo;There is an animal of
+      America, which is usually called the Red Tiger, but Mr. Buffon calls it
+      the Cougar, which, no doubt, is very different from the tiger of the east.
+      Some, however, have thought proper to rank both together, and I will take
+      leave to follow their example.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_35">The good old sire.</a> Cf. <i>Threnodia Augustalis</i>,
+      ll. 16–17:&mdash;
+    </p>
+
+<p class="poem">
+        The good old sire, unconscious of decay,<br/>
+        The modest matron, clad in homespun gray
+</p>
+
+    <p>
+      <a href="#page_35">a father&rsquo;s.</a> &lsquo;Her father&rsquo;s&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_36">silent.</a> &lsquo;Decent&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_37">On Torno&rsquo;s cliffs, or Pambamarca&rsquo;s side.</a>
+      &lsquo;Torno&rsquo;=Tornea, a river which falls into the Gulf of Bothnia; Pambamarca
+      is a mountain near Quito, South America. &lsquo;The author&rsquo;&mdash;says Bolton
+      Corney&mdash;&lsquo;bears in memory the operations of the French philosophers in
+      the arctic and equatorial regions, as described in the celebrated
+      narratives of M. Maupertuis and Don Antonio de Ulloa.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_37">That trade&rsquo;s proud empire,</a> etc. These last four
+      lines are attributed to Johnson on Boswell&rsquo;s authority:&mdash;&lsquo;Dr. Johnson
+      . . . favoured me by marking the lines which he furnished to Goldsmith&rsquo;s
+      <i> Deserted Village</i>, which are only the &lsquo;last four&rsquo;.&rsquo; (Birkbeck
+      Hill&rsquo;s <i>Boswell</i>, 1887, ii. 7.)
+    </p>
+
+<h3><a name="note05"></a><a href="#page_41">PROLOGUE OF LABERIUS.</a></h3>
+
+    <p>
+      This translation, or rather imitation, was first published at pp. 176–7 of
+      <i>An Enquiry into the Present State of Polite Learning in Europe</i>,
+      1759 (Chap. xii, &lsquo;Of the Stage&rsquo;), where it is prefaced as follows:&mdash;
+      &lsquo;M<small>ACROBIUS</small> has preserved a prologue, spoken and written by
+      the poet [Decimus] Laberius, a Roman knight, whom Caesar forced upon the
+      stage, written with great elegance and spirit, which shews what opinion
+      the Romans in general entertained of the profession of an actor.&rsquo; In the
+      second edition of 1774 the prologue was omitted. The original lines, one
+      of which Goldsmith quotes, are to found in the <i>Saturnalia</i> of
+      Macrobius, lib. ii, cap. vii (<i>Opera</i>, London, 1694). He seems
+      to have confined himself to imitating the first fifteen:&mdash;
+    </p>
+
+<p class="poem">
+    Necessitas, cujus cursus transversi impetum<br/>
+    Voluerunt multi effugere, pauci potuerunt,<br/>
+    Quo me detrusit paene extremis sensibus?<br/>
+    Quem nulla ambitio, nulla umquam largitio,<br/>
+    Nullus timor, vis nulla, nulla auctoritas<br/>
+    Movere potuit in juventa de statu;<br/>
+    Ecce in senecta ut facile labefecit loco<br/>
+    Viri Excellentis mente clemente edita<br/>
+    Submissa placide blandiloquens oratio!<br/>
+    Etenim ipsi di negare cui nihil potuerunt,<br/>
+    Hominem me denegare quis posset pati?<br/>
+    Ergo bis tricenis annis actis sine tota<br/>
+    Eques Romanus Lare egressus meo<br/>
+    Domum revertar mimus.  nimirum hoc die<br/>
+    Uno plus vixi mihi quam vivendum fuit.
+</p>
+
+<p class="noindent">
+      Rollin gives a French translation of this prologue in his <i>Traité
+      des Études</i>. It is quoted by Bolton Corney in his <i>Poetical
+      Works of Oliver Goldsmith</i>, 1845, pp. 203–4. In his Aldine edition
+      of 1831, p. 114, Mitford completed Goldsmith&rsquo;s version as follows:&mdash;
+    </p>
+
+<p class="poem">
+    Too lavish still in good, or evil hour,<br/>
+    To show to man the empire of thy power,<br/>
+    If fortune, at thy wild impetuous sway,<br/>
+    The blossoms of my fame must drop away,<br/>
+    Then was the time the obedient plant to strain<br/>
+    When life was warm in every vigorous vein,<br/>
+    To mould young nature to thy plastic skill,<br/>
+    And bend my pliant boyhood to thy will.<br/>
+    So might I hope applauding crowds to hear,<br/>
+    Catch the quick smile, and HIS attentive ear.<br/>
+    But ah!  for what has thou reserv&rsquo;d my age?<br/>
+    Say, how can I expect the approving stage;<br/>
+    Fled is the bloom of youth&mdash;the manly air&mdash;<br/>
+    The vigorous mind that spurn&rsquo;d at toil and care;<br/>
+    Gone is the voice, whose clear and silver tone<br/>
+    The enraptur&rsquo;d theatre would love to own.<br/>
+    As clasping ivy chokes the encumber&rsquo;d tree,<br/>
+    So age with foul embrace has ruined me.<br/>
+    Thou, and the tomb, Laberius, art the same,<br/>
+    Empty within, what hast thou but a name?
+</p>
+
+    <p>
+      Macrobius, it may be remembered, was the author, with a quotation from
+      whom Johnson, after a long silence, electrified the company upon his first
+      arrival at Pembroke College, thus giving (says Boswell) &lsquo;the first
+      impression of that more extensive reading in which he had indulged
+      himself&rsquo; (Birkbeck Hill&rsquo;s <i>Boswell</i>, 1887, i. 59). If the study
+      of Macrobius is to be regarded as a test of &lsquo;more extensive reading&rsquo; that
+      praise must therefore be accorded to Goldsmith, who cites him in his first
+      book.
+    </p>
+
+<h3><a name="note06"></a><a href="#page_42">ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING.</a></h3>
+
+    <p>
+      This quatrain, the original of which does not appear to have been traced,
+      was first published in <i>The Bee</i> for Saturday, the 6th of
+      October, 1759, p. 8. It is there succeeded by the following Latin epigram,
+      &lsquo;in the same spirit&rsquo;:&mdash;
+    </p>
+
+<p class="poem">
+LUMINE Acon dextro capta est Leonida sinistro<br/>
+    Et poterat forma vincere uterque Deos.<br/>
+Parve puer lumen quod habes concede puellae<br/>
+    Sic tu caecus amor sic erit illa Venus.<br/>
+</p>
+
+<p class="noindent">
+      There are several variations of this in the <i>Gentleman&rsquo;s Magazine</i>
+      for 1745, pp. 104, 159, 213, 327, one of which is said to be &lsquo;By a monk of
+      Winchester,&rsquo; with a reference to &lsquo;Cambden&rsquo;s <i>Remains</i>, p. 413.&rsquo;
+      None of these corresponds exactly with Goldsmith&rsquo;s text; and the lady&rsquo;s
+      name is uniformly given as &lsquo;Leonilla.&rsquo; A writer in the <i> Quarterly
+      Review</i>, vol. 171, p. 296, prints the &lsquo;original&rsquo; thus&mdash;
+    </p>
+
+<p class="poem">
+Lumine Acon dextro, capta est Leonilla sinistro,<br/>
+    Et potis est forma vincere uterque Deos.<br/>
+Blande puer, lumen quod habes concede sorori;<br/>
+    Sic tu caecus Amor, sic erit illa Venus;
+</p>
+
+<p class="noindent">
+      and says &lsquo;it was written by Girolamo Amalteo, and will be found in any of
+      the editions of the <i>Trium Fratrum Amaltheorum Carmina</i>, under
+      the title of &lsquo;De gemellis, fratre et sorore, luscis.&rsquo; According to Byron
+      on Bowles (<i>Works</i>, 1836, vi. p. 390), the persons referred to
+      are the Princess of Eboli, mistress of Philip II of Spain, and Maugiron,
+      minion of Henry III of France, who had each of them lost an eye. But for
+      this the reviewer above quoted had found no authority.
+    </p>
+
+<h3><a name="note07"></a>
+<a href="#page_43">THE GIFT.</a></h3>
+
+    <p>
+      This little trifle, in which a French levity is wedded to the language of
+      Prior, was first printed in <i>The Bee</i>, for Saturday, the 13th
+      of October, 1759. Its original, which is as follows, is to be found where
+      Goldsmith found it, namely in Part iii of the <i>Ménagiana</i>,
+      (ed. 1729, iii, 397), and not far from the ditty of <i>le fameux la
+      Galisse</i>. (See <i>An Elegy on Mrs. Mary Blaize</i>, <i> infra</i>,
+      p. 198):&mdash;
+    </p>
+
+<p class="center">
+      E<small>TRENE</small> <small>A</small> I<small>RIS</small>.
+    </p>
+
+<p class="poem">
+            Pour témoigner de ma flame,<br/>
+            Iris, du meilleur de mon ame<br/>
+            Je vous donne à ce nouvel an<br/>
+            Non pas dentelle ni ruban,<br/>
+            Non pas essence, ni pommade,<br/>
+            Quelques boites de marmelade,<br/>
+            Un manchon, des gans, un bouquet,<br/>
+            Non pas heures, ni chapelet.<br/>
+            Quoi donc?  Attendez, je vous donne<br/>
+            O fille plus belle que bonne ...<br/>
+            Je vous donne: Ah! le puis-je dire?<br/>
+            Oui, c&rsquo;est trop souffrir le martyre,<br/>
+            Il est tems de s&rsquo;émanciper,<br/>
+            Patience va m&rsquo;échaper,<br/>
+            Fussiez-vous cent fois plus aimable,<br/>
+            Belle Iris, je vous donne ... au Diable.
+</p>
+
+<p class="noindent">
+      In Bolton Corney&rsquo;s edition of Goldsmith&rsquo;s <i> Poetical Works</i>,
+      1845, p. 77, note, these lines are attributed to Bernard de la Monnoye
+      (1641–1728), who is said to have included them in a collection of <i>Étrennes
+      en vers</i>, published in 1715.
+    </p>
+
+    <p>
+      <a href="#page_42">I&rsquo;ll give thee.</a> See an anecdote <i>à propos</i>
+      of this anticlimax in Trevelyan&rsquo;s <i>Life and Letters of Lord Macaulay</i>,
+      ed. 1889, p. 600:&mdash;&lsquo;There was much laughing about Mrs. Beecher Stowe
+      [then (16th March, 1853) expected in England], and what we were to give
+      her. I referred the ladies to Goldsmith&rsquo;s poems for what I should give.
+      Nobody but Hannah understood me; but some of them have since been thumbing
+      Goldsmith to make out the riddle.&rsquo;
+    </p>
+
+<h3><a name="note08"></a>
+<a href="#page_44">THE LOGICIANS REFUTED.</a></h3>
+
+    <p>
+      These lines, which have often, and even of late years, been included among
+      Swift&rsquo;s works, were first printed as Goldsmith&rsquo;s by T. Evans at vol. i.
+      pp. 115–17 of <i>The Poetical and Dramatic Works of Oliver Goldsmith,
+      M.B.</i>, 1780. They originally appeared in <i>The Busy Body</i>
+      for Thursday, October the 18th, 1759 (No. v), having this notification
+      above the title: &lsquo;The following Poem written by D<small>R</small>. S<small>WIFT</small>,
+      is communicated to the Public by the B<small>USY</small> B<small>ODY</small>,
+      to whom it was presented by a Nobleman of distinguished Learning and
+      Taste.&rsquo; In No. ii they had already been advertised as forthcoming. The
+      sub-title, &lsquo;In imitation of Dean Swift,&rsquo; seems to have been added by
+      Evans. The text here followed is that of the first issue.
+    </p>
+
+    <p>
+      <a href="#page_44">Wise Aristotle and Smiglecius.</a> Cf. <i>The Life
+      of Parnell</i>, 1770, p. 3:&mdash;&lsquo;His imagination might have been too
+      warm to relish the cold logic of Burgersdicius, or the dreary subtleties
+      of <i> Smiglesius</i>; but it is certain that as a classical scholar, few
+      could equal him.&rsquo; Martin Smiglesius or Smigletius, a Polish Jesuit,
+      theologian and logician, who died in 1618, appears to have been a special
+      <i>bête noire</i> to Goldsmith; and the reference to him here would
+      support the ascription of the poem to Goldsmith&rsquo;s pen, were it not that
+      Swift seems also to have cherished a like antipathy:&mdash;&lsquo;He told me
+      that he had made many efforts, upon his entering the College [i.e. Trinity
+      College, Dublin], to read some of the old treatises on logic writ by <i>Smeglesius</i>,
+      Keckermannus, Burgersdicius, etc., and that he never had patience to go
+      through three pages of any of them, he was so disgusted at the stupidity
+      of the work.&rsquo; (Sheridan&rsquo;s <i>Life of Swift</i>, 2nd ed., 1787, p.
+      4.)
+    </p>
+
+    <p>
+      <a href="#page_44">Than reason-boasting mortal&rsquo;s pride.</a> So in <i>The
+      Busy Body</i>. Some editors&mdash;Mitford, for example&mdash;print the
+      line:&mdash;
+    </p>
+
+<p class="poem">
+        Than reason,&mdash;boasting mortals&rsquo; pride.
+</p>
+
+    <p>
+      <a href="#page_44"><i>Deus est anima brutorum</i>.</a> Cf. Addison in
+      <i>Spectator</i>, No. 121 (July 19, 1711): &lsquo;A modern Philosopher,
+      quoted by Monsieur <i> Bale</i> in his Learned Dissertation on the Souls
+      of Brutes delivers the same Opinion [i.e.&mdash;That Instinct is the
+      immediate direction of Providence], tho&rsquo; in a bolder form of words where
+      he says <i>Deus est Anima Brutorum</i>, God himself is the Soul of
+      Brutes.&rsquo; There is much in &lsquo;Monsieur Bayle&rsquo; on this theme. Probably Addison
+      had in mind the following passage of the <i>Dict. Hist. et Critique</i>
+      (3rd ed., 1720, 2481<i>b</i>.) which Bayle cites from M. Bernard:&mdash;&lsquo;Il
+      me semble d&rsquo;avoir lu quelque part cette Thèse, <i>Deus est anima
+      brutorum</i>: l&rsquo;expression est un peu dure; mais elle peut recevoir un
+      fort bon sens.&rsquo;
+    </p>
+
+<p>
+<a href="#page_45"> B&mdash;b</a>=Bob, i.e. Sir Robert Walpole, the Prime
+Minister, for whom many venal &lsquo;quills were drawn&rsquo; <i>circa</i>
+1715–42. Cf. Pope&rsquo;s <i>Epilogue to the Satires</i>, 1738, Dialogue i, ll.
+27–32:&mdash;
+</p>
+
+<p class="poem">
+        Go see Sir ROBERT&mdash;<br/>
+             P. See Sir ROBERT!&mdash;hum&mdash;<br/>
+        And never laugh&mdash;for all my life to come?<br/>
+        Seen him I have, but in his happier hour<br/>
+        Of Social Pleasure, ill-exchang&rsquo;d for Pow&rsquo;r;<br/>
+        Seen him, uncumber&rsquo;d with the Venal tribe,<br/>
+        Smile without Art, and win without a Bribe.
+</p>
+
+    <p>
+      <a href="#page_45">A courtier any ape surpasses.</a> Cf. Gay&rsquo;s <i>Fables,
+      passim</i>. Indeed there is more of Gay than Swift in this and the
+      lines that follow. Gay&rsquo;s life was wasted in fruitless expectations of
+      court patronage, and his disappointment often betrays itself in his
+      writings.
+    </p>
+
+    <p>
+      <a href="#page_45">And footmen, lords and dukes can act.</a> Cf. <i>Gil
+      Blas</i>, 1715–35, liv. iii, chap. iv:&mdash;&lsquo;Il falloit voir comme
+      nous nous portions des santés à tous moments, en nous
+      donnant les uns aux autres les surnoms de nos maîtres. Le valet de
+      don Antonio appeloit Gamb celuiet nous nous enivrions peu à peu
+      sous ces noms empruntés, tout aussi bien que les seigneurs qui les
+      portoient véritablement.&rsquo; But Steele had already touched this
+      subject in <i>Spectator</i>, No. 88, for June 11, 1711, &lsquo;On the
+      Misbehaviour of Servants,&rsquo; a paper supposed to have afforded the hint for
+      Townley&rsquo;s farce of <i>High Life below Stairs</i>, which, about a
+      fortnight after <i>The Logicians Refuted</i> appeared, was played
+      for the first time at Drury Lane, not much to the gratification of the
+      gentlemen&rsquo;s gentlemen in the upper gallery. Goldsmith himself wrote &lsquo;A
+      Word or two on the late Farce, called <i>High Life below Stairs</i>,&rsquo;
+      in <i> The Bee</i> for November 3, 1759, pp. 154–7.
+    </p>
+
+<h3><a name="note09"></a>
+<a href="#page_46">A SONNET.</a></h3>
+
+    <p>
+      This little piece first appears in <i>The Bee</i> for October 20,
+      1759 (No. iii). It is there called &lsquo;A Sonnet,&rsquo; a title which is only
+      accurate in so far as it is &lsquo;a little song.&rsquo; Bolton Corney affirms that it
+      is imitated from the French of Saint-Pavin (i.e. Denis Sanguin de
+      Saint-Pavin, d. 1670), whose works were edited in 1759, the year in which
+      Goldsmith published the collection of essays and verses in which it is to
+      be found. The text here followed is that of the &lsquo;new edition&rsquo; of <i>The
+      Bee</i>, published by W. Lane, Leadenhall Street, no date, p. 94.
+      Neither by its motive nor its literary merits&mdash;it should be added&mdash;did
+      the original call urgently for translation; and the poem is here included
+      solely because, being Goldsmith&rsquo;s, it cannot be omitted from his complete
+      works.
+    </p>
+
+    <p>
+      <a href="#page_46">This and the following line</a> in the first version
+      run:&mdash;
+    </p>
+
+<p class="poem">
+        Yet, why this killing soft dejection?<br/>
+          Why dim thy beauty with a tear?
+</p>
+
+<h3><a name="note10"></a><a href="#page_47">STANZAS ON THE TAKING OF QUEBEC.</a></h3>
+
+    <p>
+      Quebec was taken on the 13th September, 1759. Wolfe was wounded pretty
+      early in the action, while leading the advance of the Louisbourg
+      grenadiers. &lsquo;A shot shattered his wrist. He wrapped his handkerchief about
+      it and kept on. Another shot struck him, and he still advanced, when a
+      third lodged in his breast. He staggered, and sat on the ground.
+      Lieutenant Brown, of the grenadiers, one Henderson, a volunteer in the
+      same company, and a private soldier, aided by an officer of artillery who
+      ran to join them, carried him in their arms to the rear. He begged them to
+      lay him down. They did so, and asked if he would have a surgeon. &ldquo;There&rsquo;s
+      no need,&rdquo; he answered; &ldquo;it&rsquo;s all over with me.&rdquo; A moment after, one of
+      them cried out, &ldquo;They run; see how they run!&rdquo; &ldquo;Who run?&rdquo; Wolfe demanded,
+      like a man roused from sleep. &ldquo;The enemy, sir. They give way everywhere!&rdquo;
+      &ldquo;Go, one of you, to Colonel Burton,&rdquo; returned the dying man; &ldquo;tell him to
+      march Webb&rsquo;s regiment down to Charles River, to cut off their retreat from
+      the bridge.&rdquo; Then, turning on his side, he
+      murmured, &ldquo;Now, God be praised, I will die in peace!&rdquo; and in a few moments
+      his gallant soul had fled.&rsquo; (Parkman&rsquo;s <i>Montcalm and Wolfe</i>,
+      1885, ii. 296–7.) In his <i> History of England in a Series of Letters</i>,
+      1764, ii. 241, Goldsmith says of this event:&mdash;&lsquo;Perhaps the loss of
+      such a man was greater to the nation than the conquering of all Canada was
+      advantageous; but it is the misfortune of humanity, that we can never know
+      true greatness till the moment when we are going to lose it.&rsquo;* The present
+      stanzas were first published in <i>The Busy Body</i> (No. vii) for
+      Tuesday, the 22nd October, 1759, a week after the news of Wolfe&rsquo;s death
+      had reached this country (Tuesday the 16th). According to Prior (<i>Life</i>,
+      1837, i. 6), Goldsmith claimed to be related to Wolfe by the father&rsquo;s
+      side, the maiden name of the General&rsquo;s mother being Henrietta Goldsmith.
+      It may be noted that Benjamin West&rsquo;s popular rendering of Wolfe&rsquo;s death
+      (1771)&mdash;a rendering which Nelson never passed in a print shop without
+      being stopped by it&mdash;was said to be based upon the descriptions of an
+      eye-witness. It was engraved by Woollett and Ryland in 1776. A key to the
+      names of those appearing in the picture was published in the <i>Army
+      and Navy Gazette</i> of January 20, 1893.
+    </p>
+
+<p class="footnote">
+* He repeats this sentiment, in different words, in the later <i>History
+      of England</i> of 1771, iv. 400.
+    </p>
+
+<h3><a name="note11"></a><a href="#page_47">AN ELEGY ON MRS. MARY BLAIZE.</a></h3>
+
+    <p>
+      The publication in February, 1751, of Gray&rsquo;s <i>Elegy Wrote in a
+      Country Church Yard</i> had set a fashion in poetry which long
+      continued. Goldsmith, who considered that work &lsquo;a very fine poem, but
+      overloaded with epithet&rsquo; (<i>Beauties of English Poesy</i>, 1767, i.
+      53), and once proposed to amend it &lsquo;by leaving out an idle word in every
+      line&rsquo; [!] (Cradock&rsquo;s <i> Memoirs</i>, 1826, i. 230), resented these
+      endless imitations, and his antipathy to them frequently reveals itself.
+      Only a few months before the appearance of Mrs. Blaize in <i>The Bee</i>
+      for October 27, 1759, he had written in the <i>Critical Review</i>,
+      vii. 263, when noticing Langhorne&rsquo;s <i>Death of Adonis</i>, as
+      follows:&mdash;&lsquo;It is not thus that many of our moderns have composed what
+      they call elegies; they seem scarcely to have known its real character. If
+      an hero or a poet
+      happens to die with us, the whole band of elegiac poets raise the dismal
+      chorus, adorn his herse with all the paltry escutcheons of flattery, rise
+      into bombast, paint him at the head of his thundering legions, or reining
+      Pegasus in his most rapid career; they are sure to strew cypress enough
+      upon the bier, dress up all the muses in mourning, and look themselves
+      every whit as dismal and sorrowful as an undertaker&rsquo;s shop.&rsquo; He returned
+      to the subject in a <i>Chinese Letter</i> of March 4, 1761, in the
+      <i>Public Ledger</i> (afterwards Letter ciii of <i>The Citizen of
+      the World</i>, 1762, ii. 162–5), which contains the lines <i>On the
+      Death of the Right Honourable ***</i>; and again, in <i>The Vicar of
+      Wakefield</i>, 1766, i. 174, <i> à propos</i> of the <i>Elegy
+      on the Death of a Mad Dog</i>, he makes Dr. Primrose say, &lsquo;I have wept
+      so much at all sorts of elegies of late, that without an enlivening glass
+      I am sure this will overcome me.&rsquo;
+    </p>
+
+    <p>
+      The model for <i>An Elegy on Mrs. Mary Blaize</i> is to be found in
+      the old French popular song of Monsieur de la Palisse or Palice, about
+      fifty verses of which are printed in Larousse&rsquo;s <i>Grand Dictionnaire
+      Universel du XIX</i> me <i>Siècle</i>, x. p. 179. It is
+      there stated to have originated in some dozen stanzas suggested to la
+      Monnoye (<i>v. supra</i>, p. 193) by the extreme artlessness of a military
+      quatrain dating from the battle of Pavia, and the death upon that occasion
+      of the famous French captain, Jacques de Chabannes, seigneur de la Palice:&mdash;
+    </p>
+
+<p class="poem">
+Monsieur d&rsquo;La Palice est mort,<br/>
+    Mort devant Pavie;<br/>
+Un quart d&rsquo;heure avant sa mort,<br/>
+    <i>Il était encore en vie.</i>
+</p>
+
+    <p>
+      The remaining verses, i.e. in addition to those of la Monnoye, are the
+      contributions of successive generations. Goldsmith probably had in mind
+      the version in Part iii of the <i>Ménagiana</i>, (ed. 1729,
+      iii, 384–391) where apparently by a typographical error, the hero is
+      called <i>&lsquo;le fameux la Galisse, homme imaginaire.&rsquo;</i> The verses he
+      imitated most closely are reproduced below. It may be added that this poem
+      supplied one of its last inspirations to the pencil of Randolph Caldecott,
+      who published it as a picture-book in October, 1885. (See also <i>An
+      Elegy on the Death of a Mad Dog</i>, p. 212.)
+    </p>
+
+    <p>
+      <a href="#page_47">Who left a pledge behind.</a> Caldecott cleverly
+      converted this line into the keynote of the poem, by making the heroine a
+      pawnbroker.
+    </p>
+
+    <p>
+      <a href="#page_47">When she has walk&rsquo;d before.</a> Cf. the French:&mdash;
+    </p>
+
+<p class="poem">
+On dit que dans ses amours<br/>
+    Il fut caresse des belles,<br/>
+Qui le suivirent toujours,<br/>
+    <i>Tant qu&rsquo;il marcha devant elles.</i>
+</p>
+
+    <p>
+      <a href="#page_47">Her last disorder mortal.</a> Cf. the French:&mdash;
+    </p>
+
+<p class="poem">
+Il fut par un triste sort<br/>
+    Blesse d&rsquo;une main cruelle.<br/>
+On croit, puis qu&rsquo;il en est mort,<br/>
+    <i>Que la plaie étoit mortelle.</i>
+</p>
+
+    <p>
+      <a href="#page_45">Kent Street,</a> Southwark, &lsquo;chiefly inhabited,&rsquo; said
+      Strype, &lsquo;by Broom Men and Mumpers&rsquo;; and Evelyn tells us (<i>Diary</i>
+      5th December, 1683) that he assisted at the marriage, to her fifth
+      husband, of a Mrs. Castle, who was &lsquo;the daughter of one Burton, a
+      broom-man . . . in Kent Street&rsquo; who had become not only rich, but Sheriff
+      of Surrey. It was a poor neighbourhood corresponding to the present &lsquo;old
+      Kent-road, from Kent to Southwark and old London Bridge&rsquo; (Cunningham&rsquo;s
+      <i>London</i>).* Goldsmith himself refers to it in <i>The Bee</i>
+      for October 20, 1759, being the number immediately preceding that in which
+      <i>Madam Blaize</i> first appeared:&mdash;&lsquo;You then, O ye beggars of
+      my acquaintance, whether in rags or lace; whether in <i>Kent-street</i>
+      or the Mall; whether at the Smyrna or St. Giles&rsquo;s, might I advise as a
+      friend, never seem in want of the favour which you solicit&rsquo; (p. 72). Three
+      years earlier he had practised as &lsquo;a physician, in a humble way&rsquo; in
+      Bankside, Southwark, and was probably well acquainted with the humours of
+      Kent Street.
+    </p>
+
+<p class="footnote">
+* In contemporary maps Kent (now Tabard) Street is shown extending
+      between the present New Kent Road and Blackman Street.
+    </p>
+
+<h3><a name="note12"></a><a href="#page_48">DESCRIPTION OF AN AUTHOR&rsquo;S BEDCHAMBER.</a></h3>
+
+    <p>
+      In a letter written to the Rev. Henry Goldsmith in 1759 (<i>Percy
+      Memoir</i>, 1801, pp. 53–9), Goldsmith thus refers to the first form of
+      these verses:&mdash;&lsquo;Your last letter, I repeat it, was
+      too short; you should have given me your opinion of the design of the
+      heroicomical poem which I sent you: you remember I intended to introduce
+      the hero of the poem, as lying in a paltry alehouse. You may take the
+      following specimen of the manner, which I flatter myself is quite
+      original. The room in which he lies, may be described somewhat this way:&mdash;
+    </p>
+
+<p class="poem">
+        The window, patch&rsquo;d with paper, lent a ray,<br/>
+        That feebly shew&rsquo;d the state in which he lay.<br/>
+        The sanded floor, that grits beneath the tread:<br/>
+        The humid wall with paltry pictures spread;<br/>
+        The game of goose was there expos&rsquo;d to view<br/>
+        And the twelve rules the royal martyr drew:<br/>
+        The seasons, fram&rsquo;d with listing, found a place,<br/>
+        And Prussia&rsquo;s monarch shew&rsquo;d his lamp-black face<br/>
+        The morn was cold; he views with keen desire,<br/>
+        A rusty grate unconscious of a fire.<br/>
+        An unpaid reck&rsquo;ning on the frieze was scor&rsquo;d,<br/>
+        And five crack&rsquo;d tea-cups dress&rsquo;d the chimney board.
+</p>
+
+<p class="noindent">
+      And now imagine after his soliloquy, the landlord to make his appearance,
+      in order to dun him for the reckoning:&mdash;
+    </p>
+
+<p class="poem">
+        Not with that face, so servile and so gay,<br/>
+        That welcomes every stranger that can pay,<br/>
+        With sulky eye he smoak&rsquo;d the patient man,<br/>
+        Then pull&rsquo;d his breeches tight, and thus began, etc.
+</p>
+
+<p class="noindent">
+      All this is taken, you see, from nature. It is a good remark of
+      Montaign[e]&rsquo;s, that the wisest men often have friends, with whom they do
+      not care how much they play the fool. Take my present follies as instances
+      of regard. Poetry is a much easier, and more agreeable species of
+      composition than prose, and could a man live by it, it were no unpleasant
+      employment to be a poet.&rsquo;
+    </p>
+
+    <p>
+      In Letter xxix of <i>The Citizen of the World</i>, 1762, i. 119–22,
+      which first appeared in <i>The Public Ledger</i> for May 2, 1760,
+      they have a different setting. They are read at a club of authors by a
+      &lsquo;poet, in shabby finery,&rsquo; who asserts that he has composed them the day
+      before. After some preliminary difficulties, arising from the fact that
+      the laws of the club do not permit any author to inflict his own works
+      upon the assembly without a money payment, he introduces them as
+      follows:&mdash;&lsquo;Gentlemen, says he,
+      the present piece is not one of your common epic
+      poems, which come from the press like paper kites in summer; there are
+      none of your Turnuses or Dido&rsquo;s in it; it is an heroical description of
+      nature. I only beg you&rsquo;ll endeavour to make your souls unison* with mine,
+      and hear with the same enthusiasm with which I have written. The poem
+      begins with the description of an author&rsquo;s bedchamber: the picture was
+      sketched in my own apartment; for you must know, gentlemen, that I am
+      myself the heroe. Then putting himself into the attitude of an orator,
+      with all the emphasis of voice and action, he proceeded.
+    </p>
+
+<p class="poem">
+        Where the Red Lion, etc.&rsquo;
+</p>
+
+<p class="footnote">
+* i.e. accord, conform.
+    </p>
+
+<p class="noindent">
+      The verses then follow as they are printed in this volume; but he is
+      unable to induce his audience to submit to a further sample. In a slightly
+      different form, some of them were afterwards worked into <i>The
+      Deserted Village</i>, 1770. (See ll. 227–36.)
+    </p>
+
+    <p>
+      <a href="#page_48">Where Calvert&rsquo;s butt, and Parsons&rsquo; black champagne.</a>
+      The Calverts and Humphrey Parsons were noted brewers of &lsquo;entire butt beer&rsquo;
+      or porter, also known familiarly as &lsquo;British Burgundy&rsquo; and &lsquo;black
+      Champagne.&rsquo; Calvert&rsquo;s &lsquo;Best Butt Beer&rsquo; figures on the sign in Hogarth&rsquo;s
+      <i> Beer Street</i>, 1751.
+    </p>
+
+    <p>
+      <a href="#page_48">The humid wall with paltry pictures spread.</a> Bewick
+      gives the names of some of these popular, if paltry, decorations:&mdash;&lsquo;In
+      cottages everywhere were to be seen the &ldquo;Sailor&rsquo;s Farewell&rdquo; and his &ldquo;Happy
+      Return,&rdquo; &ldquo;Youthful Sports,&rdquo; and the &ldquo;Feats of Manhood,&rdquo; &ldquo;The Bold Archers
+      Shooting at a Mark,&rdquo; &ldquo;The Four Seasons,&rdquo; etc.&rsquo; (<i>Memoir</i>,
+      &lsquo;Memorial Edition,&rsquo; 1887, p. 263.)
+    </p>
+
+    <p>
+      <a href="#page_48">The royal game of goose was there in view.</a> (See
+      note, <a href="#page_188">p. 188.</a>)
+    </p>
+
+    <p>
+      <a href="#page_48">And the twelve rules the royal martyr drew.</a> (See
+      note, <a href="#page_187">p. 187.</a>)
+    </p>
+
+    <p>
+      <a href="#page_48">The Seasons, fram&rsquo;d with listing.</a> See note to l. 10
+      above, as to &lsquo;The Seasons.&rsquo; Listing, ribbon, braid, or tape is still used
+      as a primitive <i>encadrement</i>. In a letter dated August 15, 1758, to
+      his cousin, Mrs. Lawder (Jane Contarine), Goldsmith again refers to this
+      device. Speaking of some &lsquo;maxims of frugality&rsquo; with which he intends to
+      adorn his room, he adds&mdash;&lsquo;my
+      landlady&rsquo;s daughter shall frame them with the parings of my black
+      waistcoat.&rsquo; (Prior, <i>Life</i>, 1837, i. 271.)
+    </p>
+
+    <p>
+      <a href="#page_48">And brave Prince William.</a> William Augustus, Duke of
+      Cumberland, 1721–65. The &lsquo;lamp-black face&rsquo; would seem to imply that the
+      portrait was a silhouette. In the letter quoted on p. 200 it is &lsquo;Prussia&rsquo;s
+      monarch&rsquo; (i.e. Frederick the Great).
+    </p>
+
+    <p>
+      <a href="#page_48">With beer and milk arrears.</a> See the lines relative
+      to the landlord in Goldsmith&rsquo;s above-quoted letter to his brother. In
+      another letter of August 14, 1758, to Robert Bryanton, he describes
+      himself as &lsquo;in a garret writing for bread, and expecting to be dunned for
+      a milk score.&rsquo; Hogarth&rsquo;s <i>Distrest Poet</i>, 1736, it will be
+      remembered, has already realized this expectation.
+    </p>
+
+    <p>
+      <a href="#page_48">A cap by night&mdash;a stocking all the day.</a> &lsquo;With
+      this last line,&rsquo; says <i>The Citizen of the World</i>, 1762, i. 121,
+      &lsquo;he [the author] seemed so much elated, that he was unable to proceed:
+      &ldquo;There gentlemen, cries he, there is a description for you; Rab[e]lais&rsquo;s
+      bed-chamber is but a fool to it:
+    </p>
+
+<p class="poem">
+        <i>A cap by night&mdash;a stocking all the day!</i>
+</p>
+
+<p class="noindent">
+      There is sound and sense, and truth, and nature in the trifling compass of
+      ten little syllables.&rdquo;&rsquo; (Letter xxix.) Cf. also <i>The Deserted Village</i>,
+      l. 230:&mdash;
+    </p>
+
+<p class="poem">
+        A bed by night, a chest of drawers by day.
+</p>
+
+    <p>
+      If Goldsmith&rsquo;s lines did not belong to 1759, one might suppose he had in
+      mind the later <i>Pauvre Diable</i> of his favourite Voltaire. (See
+      also <a href="#page_262">A<small>PPENDIX</small> B.</a>)
+    </p>
+
+<h3><a name="note13"></a><a href="#page_49">ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****.</a></h3>
+
+    <p>
+      These verses, intended for a specimen of the newspaper Muse, are from
+      Letter lxxxii of <i>The Citizen of the World</i>, 1762, ii. 87,
+      first printed in <i>The Public Ledger</i>, October 21, 1760.
+    </p>
+
+<h3><a name="note14"></a><a href="#page_50">ON THE DEATH OF THE RIGHT HON. ***</a></h3>
+
+    <p>
+      From Letter ciii of <i>The Citizen of the World</i>, 1762, ii. 164,
+      first printed in <i>The Public Ledger</i>, March 4, 1761. The verses
+      are
+      given as a &lsquo;specimen of a poem on the decease of a great man.&rsquo; Goldsmith
+      had already used the trick of the final line of the quatrain in <i>An
+      Elegy on Mrs. Mary Blaize</i>, ante, p. 198.
+    </p>
+
+<h3><a name="note15"></a><a href="#page_51">AN EPIGRAM.</a></h3>
+
+    <p>
+      From Letter cx of <i>The Citizen of the World</i>, 1762, ii. 193,
+      first printed in <i>The Public Ledger</i>, April 14, 1761. It had,
+      however, already been printed in the &lsquo;Ledger&rsquo;, ten days before.
+      Goldsmith&rsquo;s animosity to Churchill (cf. note to l. 41 of the dedication to
+      <i>The Traveller</i>) was notorious; but this is one of his doubtful
+      pieces.
+    </p>
+
+    <p>
+      <a href="#page_51">virtue.</a> &lsquo;Charity&rsquo; (<i>Author&rsquo;s note</i>).
+    </p>
+
+    <p>
+      <a href="#page_51">bounty.</a> &lsquo;Settled at One Shilling&mdash;the Price of
+      the Poem&rsquo; (<i>Author&rsquo;s note</i>).
+    </p>
+
+<h3><a name="note16"></a><a href="#page_51">TO G. C. AND R. L.</a></h3>
+
+    <p>
+      From the same letter as the preceding. George Colman and Robert Lloyd of
+      the <i>St. James&rsquo;s Magazine</i> were supposed to have helped
+      Churchill in <i>The Rosciad</i>, the &lsquo;it&rsquo; of the epigram.
+    </p>
+
+<h3><a name="note17"></a><a href="#page_51">TRANSLATION OF A SOUTH AMERICAN ODE.</a></h3>
+
+    <p>
+      From Letter cxiii of <i>The Citizen of the World</i>, 1762, ii. 209,
+      first printed in <i>The Public Ledger</i>, May 13, 1761.
+    </p>
+
+<h3><a name="note18"></a><a href="#page_52">THE DOUBLE TRANSFORMATION.</a></h3>
+
+    <p>
+      <i>The Double Transformation</i> first appeared in <i>Essays: By
+      Mr. Goldsmith</i>, 1765, where it figures as Essay xxvi, occupying pp.
+      229–33. It was revised for the second edition of 1766, becoming Essay
+      xxviii, pp. 241–45. This is the text here followed. The poem is an obvious
+      imitation of what its author calls (<i>Letters from a Nobleman to his
+      Son</i>, 1764, ii. 140) that &lsquo;French elegant easy manner of telling a
+      story,&rsquo; which Prior had caught from La Fontaine. But the inherent
+      simplicity of Goldsmith&rsquo;s style is
+      curiously evidenced by the absence of those illustrations and ingenious
+      allusions which are Prior&rsquo;s chief characteristic. And although Goldsmith
+      included <i>The Ladle</i> and <i>Hans Carvel</i> in his <i>Beauties
+      of English Poesy</i>, 1767, he refrained wisely from copying the
+      licence of his model.
+    </p>
+
+    <p>
+      <a href="#page_52">Jack Book-worm led a college life.</a> The version of
+      1765 reads &lsquo;liv&rsquo;d&rsquo; for &lsquo;led&rsquo;.
+    </p>
+
+    <p>
+      <a href="#page_52">And freshmen wonder&rsquo;d as he spoke.</a> The earlier
+      version adds here&mdash;
+    </p>
+
+<p class="poem">
+        Without politeness aim&rsquo;d at breeding,<br/>
+        And laugh&rsquo;d at pedantry and reading.
+</p>
+
+    <p>
+      <a href="#page_52">Her presence banish&rsquo;d all his peace.</a> Here in the
+      first version the paragraph closes, and a fresh one is commenced as
+      follows:&mdash;
+    </p>
+
+<p class="poem">
+    Our alter&rsquo;d Parson now began<br/>
+        To be a perfect ladies&rsquo; man;<br/>
+        Made sonnets, lisp&rsquo;d his sermons o&rsquo;er,<br/>
+        And told the tales he told before,<br/>
+        Of bailiffs pump&rsquo;d, and proctors bit,<br/>
+        At college how he shew&rsquo;d his wit;<br/>
+        And, as the fair one still approv&rsquo;d,<br/>
+        He fell in love&mdash;or thought he lov&rsquo;d.<br/>
+        So with decorum, etc.
+</p>
+
+    <p>
+      The fifth line was probably a reminiscence of the college riot in which
+      Goldsmith was involved in May, 1747, and for his part in which he was
+      publicly admonished. (See <a href="#page_xi"><i>Introduction</i>,</a>
+      p. xi, l. 3.)
+    </p>
+
+    <p>
+      <a href="#page_53">usage.</a> This word, perhaps by a printer&rsquo;s error, is
+      &lsquo;visage&rsquo; in the first version.
+    </p>
+
+    <p>
+      <a href="#page_53">Skill&rsquo;d in no other arts was she.</a> Cf. Prior:&mdash;
+    </p>
+
+<p class="poem">
+        For in all Visits who but She,<br/>
+        To Argue, or to Repartee.
+</p>
+
+    <p>
+      <a href="#page_53">Five greasy nightcaps wrapp&rsquo;d her head.</a> Cf. <i>Spectator</i>,
+      No. 494&mdash; &lsquo;At length the Head of the Colledge came out to him, from
+      an inner Room, with half a Dozen Night-Caps upon his Head.&rsquo; See also
+      Goldsmith&rsquo;s essay on the Coronation (<i>Essays</i>, 1766, p. 238),
+      where Mr. Grogan speaks of his wife as habitually
+      &lsquo;mobbed up in flannel night caps, and trembling at a breath of air.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_53">By day, &rsquo;twas gadding or coquetting.</a> The first
+      version after &lsquo;coquetting&rsquo; begins a fresh paragraph with&mdash;
+    </p>
+
+<p class="poem">
+        Now tawdry madam kept, etc.
+</p>
+
+    <p>
+      <a href="#page_54">A sigh in suffocating smoke.</a> Here in the first
+      version follows:&mdash;
+    </p>
+
+<p class="poem">
+        She, in her turn, became perplexing,<br/>
+        And found substantial bliss in vexing.<br/>
+        Thus every hour was pass&rsquo;d, etc.
+</p>
+
+    <p>
+      <a href="#page_52">Thus as her faults each day were known.</a> First
+      version: &lsquo;Each day, the more her faults,&rsquo; etc.
+    </p>
+
+    <p>
+      <a href="#page_54">Now, to perplex.</a> The first version has &lsquo;Thus.&rsquo; But
+      the alteration in line 61 made a change necessary.
+    </p>
+
+    <p>
+      <a href="#page_54">paste.</a> First version &lsquo;pastes.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_55">condemn&rsquo;d to hack,</a> i.e. to hackney, to plod.
+    </p>
+
+<h3><a name="note19"></a><a href="#page_56">A NEW SIMILE.</a></h3>
+
+    <p>
+      The <i>New Simile</i> first appears in <i>Essays: By Mr.
+      Goldsmith</i>, 1765, pp. 234–6, where it forms Essay xxvii. In the
+      second edition of 1766 it occupies pp. 246–8 and forms Essay xix. The
+      text here followed is that of the second edition, which varies slightly
+      from the first. In both cases the poem is followed by the enigmatical
+      initials &lsquo;*J. B.,&rsquo; which, however, as suggested by Gibbs, may simply stand
+      for &lsquo;Jack Bookworm&rsquo; of <i>The Double Transformation</i>. (See p.
+      204.)
+    </p>
+
+    <p>
+      <a href="#page_56">Long had I sought in vain to find.</a> The text of 1765
+      reads&mdash;
+    </p>
+
+<p class="poem">
+        &lsquo;I long had rack&rsquo;d my brains to find.&rsquo;
+</p>
+
+    <p>
+      <a href="#page_56">Tooke&rsquo;s Pantheon.</a> Andrew Tooke (1673–1732) was
+      first usher and then Master at the Charterhouse. In the latter capacity he
+      succeeded Thomas Walker, the master of Addison and Steele. His <i>
+      Pantheon</i>, a revised translation from the Latin of the Jesuit,
+      Francis Pomey, was a popular school-book of mythology, with copper-plates.
+    </p>
+
+    <p>
+      <a href="#page_56">Wings upon either side&mdash;mark that.</a> The petasus
+      of Mercury, like his sandals (l. 24), is winged.
+    </p>
+
+<p>
+<a href="#page_57">No poppy-water half so good.</a> Poppy-water, made by
+boiling the heads of the white, black, or red poppy, was a favourite
+eighteenth-century soporific:&mdash;&lsquo;Juno shall give her peacock
+<i>poppy-water</i>, that he may fold his ogling tail.&rsquo; (Congreve&rsquo;s
+<i>Love for Love</i>, 1695, iv. 3.)
+</p>
+
+    <p>
+      <a href="#page_57">With this he drives men&rsquo;s souls to hell.</a>
+    </p>
+
+<p class="poem">
+        Tu....<br/>
+        ....virgaque levem coerces<br/>
+        Aurea turbam.&mdash;Hor. <i>Od</i>. i. 10.
+</p>
+
+    <p>
+      <a href="#page_58">Moreover, Merc&rsquo;ry had a failing.</a>
+    </p>
+
+<p class="poem">
+        Te canam....<br/>
+        Callidum, quidquid placuit, iocoso<br/>
+        Condere furto.&mdash;Hor. <i>Od</i>. i. 10.
+</p>
+
+<p class="noindent">
+      Goldsmith, it will be observed, rhymes &lsquo;failing&rsquo; and &lsquo;stealing.&rsquo; But Pope
+      does much the same:&mdash;
+    </p>
+
+<p class="poem">
+        That Jelly&rsquo;s rich, this Malmsey healing,<br/>
+        Pray dip your Whiskers and your tail in.<br/>
+                  (<i>Imitation of Horace</i>, Bk. ii, Sat. vi.)
+</p>
+
+<p class="noindent">
+      Unless this is to be explained by poetical licence, one of these words
+      must have been pronounced in the eighteenth century as it is not
+      pronounced now.
+    </p>
+
+    <p>
+      <a href="#page_58">In which all modern bards agree.</a> The text of 1765
+      reads &lsquo;our scribling bards.&rsquo;
+    </p>
+
+<h3><a name="note20"></a><a href="#page_59">EDWIN AND ANGELINA.</a></h3>
+
+    <p>
+      This ballad, usually known as <i>The Hermit</i>, was written in or
+      before 1765, and printed privately in that year &lsquo;for the amusement of the
+      Countess of Northumberland,&rsquo; whose acquaintance Goldsmith had recently
+      made through Mr. Nugent. (See the prefatory note to <i>The Haunch of
+      Venison</i>.) Its title was &lsquo;<i>Edwin and Angelina. A Ballad</i>.
+      By Mr. Goldsmith.&rsquo; It was first published in <i>The Vicar of Wakefield</i>,
+      1766, where it appears at pp. 70–7, vol. i. In July, 1767, Goldsmith was
+      accused [by Dr. Kenrick] in the <i>St. James&rsquo;s Chronicle</i> of
+      having taken it from Percy&rsquo;s <i> Friar of Orders Gray</i>. Thereupon
+      he addressed a letter to the paper, of which the following is the material
+      portion:&mdash;&lsquo;Another Correspondent of yours accuses me of having
+      taken a Ballad, I published some Time ago, from one by the ingenious Mr.
+      Percy. I do not think there is any great Resemblance between the two
+      Pieces in Question. If there be any, his Ballad is taken from mine. I read
+      it to Mr. Percy some Years ago, and he (as we both considered these Things
+      as Trifles at best) told me, with his usual Good Humour, the next Time I
+      saw him, that he had taken my Plan to form the fragments of Shakespeare
+      into a Ballad of his own. He then read me his little Cento, if I may so
+      call it, and I highly approved it. Such petty Anecdotes as these are
+      scarce worth printing, and were it not for the busy Disposition of some of
+      your Correspondents, the Publick should never have known that he owes me
+      the Hint of his Ballad, or that I am obliged to his Friendship and
+      Learning for Communications of a much more important Nature.&mdash;I am,
+      Sir, your&rsquo;s etc. O<small>LIVER</small> G<small>OLDSMITH</small>.&rsquo; (<i>St.
+      James&rsquo;s Chronicle</i>, July 23–5, 1767.) No contradiction of this
+      statement appears to have been offered by Percy; but in re-editing his
+      <i>Reliques of Ancient English Poetry</i> in 1775, shortly after
+      Goldsmith&rsquo;s death, he affixed this note to <i>The Friar of Orders Gray</i>:&mdash;&lsquo;As
+      the foregoing song has been thought to have suggested to our late
+      excellent poet, Dr. Goldsmith, the plan of his beautiful ballad of <i>Edwin
+      and Emma</i> [<i>Angelina</i>], first printed [published?] in his
+      <i> Vicar of Wakefield</i>, it is but justice to his memory to
+      declare, that his poem was written first, and that if there is any
+      imitation in the case, they will be found both to be indebted to the
+      beautiful old ballad, <i>Gentle Herdsman, etc.</i>, printed in the
+      second volume of this work, which the doctor had much admired in
+      manuscript, and has finely improved&rsquo; (vol. i. p. 250). The same story is
+      told, in slightly different terms, at pp. 74–5 of the <i>Memoir</i>
+      of Goldsmith drawn up under Percy&rsquo;s superintendence for the <i>Miscellaneous
+      Works</i> of 1801, and a few stanzas of <i>Gentle Herdsman</i>,
+      which Goldsmith is supposed to have had specially in mind, are there
+      reproduced. References to them will be found in the ensuing notes. The
+      text here adopted (with exception of ll. 117–20) is that of the fifth
+      edition of <i>The Vicar of Wakefield</i>, 1773[4], i. pp. 78–85; but
+      the variations of the earlier version of 1765 are duly chronicled,
+      together with certain hitherto neglected differences between the first and
+      later editions of the novel. The poem was also printed in the <i>Poems
+      for Young Ladies</i>, 1767, pp. 91–8.* The author himself, it may be added,
+      thought highly of it. &lsquo;As to my &ldquo;Hermit,&rdquo; that poem,&rsquo; he is reported to
+      have said, &lsquo;cannot be amended.&rsquo; (Cradock&rsquo;s <i>Memoirs</i>, 1828, iv.
+      286.)
+    </p>
+
+<p class="footnote">
+* This version differs considerably from the others, often following
+      that of 1765; but it has not been considered necessary to record the
+      variations here. That Goldsmith unceasingly revised the piece is
+      sufficiently established.
+    </p>
+
+    <p>
+      <a href="#page_59">Turn, etc.</a> The first version has&mdash;
+    </p>
+
+<p class="poem">
+Deign saint-like tenant of the dale,<br/>
+    To guide my nightly way,<br/>
+To yonder fire, that cheers the vale<br/>
+    With hospitable ray.
+</p>
+
+    <p>
+      <a href="#page_59">For yonder faithless phantom flies.</a> <i>The Vicar
+      of Wakefield</i>, first edition, has&mdash;
+    </p>
+
+<p class="poem">
+        &lsquo;For yonder phantom only flies.&rsquo;
+</p>
+
+    <p>
+      <a href="#page_60">All.</a> <i> Vicar of Wakefield</i>, first
+      edition, &lsquo;For.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_60">Man wants but little here below.</a> Cf. Young&rsquo;s <i>Complaint</i>,
+      1743, <i>Night</i> iv. 9, of which this and the next line are a
+      recollection. According to Prior (<i>Life</i>, 1837, ii. 83), they
+      were printed as a quotation in the version of 1765. Young&rsquo;s line is&mdash;
+    </p>
+
+<p class="poem">
+        Man wants but Little; nor that Little, long.
+</p>
+
+    <p>
+      <a href="#page_60">modest.</a> <i>Vicar of Wakefield</i>, first
+      edition, &lsquo;grateful.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_60">Far in a wilderness obscure.</a> First version, and
+      <i>Vicar of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+        Far shelter&rsquo;d in a glade obscure<br/>
+          The modest mansion lay.
+</p>
+
+    <p>
+      <a href="#page_60">The wicket, opening with a latch.</a> First version,
+      and <i>Vicar of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+        The door just opening with a latch.
+</p>
+
+    <p>
+      <a href="#page_60">And now, when busy crowds retire.</a> First version,
+      and <i>Vicar of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+        And now, when worldly crowds retire<br/>
+          To revels or to rest.
+</p>
+
+    <p>
+      <a href="#page_61">But nothing, etc.</a> In the first version this stanza
+      runs as follows:&mdash;
+    </p>
+
+<p class="poem">
+But nothing mirthful could assuage<br/>
+    The pensive stranger&rsquo;s woe;<br/>
+For grief had seized his early age,<br/>
+    And tears would often flow.
+</p>
+
+    <p>
+      <a href="#page_61">modern.</a> <i>Vicar of Wakefield</i>, first
+      edition, reads &lsquo;haughty.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_62">His love-lorn guest betray&rsquo;d.</a> First version, and
+      <i>Vicar of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+        The bashful guest betray&rsquo;d.
+</p>
+
+    <p>
+      <a href="#page_62">Surpris&rsquo;d, he sees, etc.</a> First version, and <i>Vicar
+      of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+He sees unnumber&rsquo;d beauties rise,<br/>
+    Expanding to the view;<br/>
+Like clouds that deck the morning skies,<br/>
+    As bright, as transient too.
+</p>
+
+    <p>
+      <a href="#page_62">The bashful look, the rising breast.</a> First version,
+      and <i>Vicar of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+        Her looks, her lips, her panting breast.
+</p>
+
+    <p>
+      <a href="#page_62">But let a maid, etc.</a> For this, and the next two
+      stanzas, the first version substitutes:&mdash;
+    </p>
+
+<p class="poem">
+Forgive, and let thy pious care<br/>
+    A heart&rsquo;s distress allay;<br/>
+That seeks repose, but finds despair<br/>
+    Companion of the way.<br/>
+<br/>
+My father liv&rsquo;d, of high degree,<br/>
+    Remote beside the Tyne;<br/>
+And as he had but only me,<br/>
+    Whate&rsquo;er he had was mine.<br/>
+<br/>
+To win me from his tender arms,<br/>
+    Unnumber&rsquo;d suitors came;<br/>
+Their chief pretence my flatter&rsquo;d charms,<br/>
+    My wealth perhaps their aim.
+</p>
+
+    <p>
+      <a href="#page_63">a mercenary crowd.</a> <i>Vicar of Wakefield</i>,
+      first edition, has:&mdash;&lsquo;the gay phantastic crowd.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_63">Amongst the rest young Edwin bow&rsquo;d.</a> First version:&mdash;
+    </p>
+
+<p class="poem">
+Among the rest young Edwin bow&rsquo;d,<br/>
+    Who offer&rsquo;d only love.
+</p>
+
+    <p>
+      <a href="#page_63">Wisdom and worth, etc.</a> First version, and <i>Vicar
+      of Wakefield</i>, first edition:&mdash;
+    </p>
+
+<p class="poem">
+A constant heart was all he had,<br/>
+    But that was all to me.
+</p>
+
+    <p>
+      <a href="#page_63">And when beside me, etc.</a> For this &lsquo;additional
+      stanza,&rsquo; says the <i>Percy Memoir</i>, p. 76, &lsquo;the reader is
+      indebted to Richard Archdal, Esq., late a member of the Irish Parliament,
+      to whom it was presented by the author himself.&rsquo; It was first printed in
+      the <i>Miscellaneous Works</i>, 1801, ii. 25. In Prior&rsquo;s edition of
+      the <i>Miscellaneous Works</i>, 1837, iv. 41, it is said to have
+      been &lsquo;written some years after the rest of the poem.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_63">The blossom opening to the day, etc.</a> For this and
+      the next two stanzas the first version substitutes:&mdash;
+    </p>
+
+<p class="poem">
+Whene&rsquo;er he spoke amidst the train,<br/>
+    How would my heart attend!<br/>
+And till delighted even to pain,<br/>
+    How sigh for such a friend!<br/>
+And when a little rest I sought<br/>
+    In Sleep&rsquo;s refreshing arms,<br/>
+How have I mended what he taught,<br/>
+    And lent him fancied charms!<br/>
+Yet still (and woe betide the hour!)<br/>
+    I spurn&rsquo;d him from my side,<br/>
+And still with ill-dissembled power<br/>
+    Repaid his love with pride.
+</p>
+
+    <p>
+      <a href="#page_63">For still I tried each fickle art, etc.</a> Percy finds
+      the prototype of this in the following stanza of <i>Gentle Herdsman</i>:&mdash;
+    </p>
+
+<p class="poem">
+And grew soe coy and nice to please,<br/>
+    As women&rsquo;s lookes are often soe,<br/>
+He might not kisse, nor hand forsoothe,<br/>
+    Unlesse I willed him soe to doe.
+</p>
+
+    <p>
+      <a href="#page_63">Till quite dejected with my scorn, etc.</a> The first
+      edition reads this stanza and the first two lines of the next thus:&mdash;
+    </p>
+
+<p class="poem">
+Till quite dejected by my scorn,<br/>
+    He left me to deplore;<br/>
+And sought a solitude forlorn,<br/>
+    And ne&rsquo;er was heard of more.<br/>
+Then since he perish&rsquo;d by my fault,<br/>
+    This pilgrimage I pay, etc.
+</p>
+
+    <p>
+      <a href="#page_63">And sought a solitude forlorn.</a> Cf. <i>Gentle
+      Herdsman</i>:&mdash;
+    </p>
+
+<p class="poem">
+He gott him to a secrett place,<br/>
+    And there he dyed without releeffe.
+</p>
+
+    <p>
+      <a href="#page_64">And there forlorn, despairing, hid, etc.</a> The first
+      edition for this and the next two stanzas substitutes the following:&mdash;
+    </p>
+
+<p class="poem">
+And there in shelt&rsquo;ring thickets hid,<br/>
+    I&rsquo;ll linger till I die;<br/>
+&rsquo;Twas thus for me my lover did,<br/>
+    And so for him will I.<br/>
+&lsquo;Thou shalt not thus,&rsquo; the Hermit cried,<br/>
+    And clasp&rsquo;d her to his breast;<br/>
+The astonish&rsquo;d fair one turned to chide,&mdash;<br/>
+    &rsquo;Twas Edwin&rsquo;s self that prest.<br/>
+For now no longer could he hide,<br/>
+    What first to hide he strove;<br/>
+His looks resume their youthful pride,<br/>
+    And flush with honest love.
+</p>
+
+    <p>
+      <a href="#page_64">&rsquo;Twas so for me, etc.</a> Cf. <i>Gentle Herdsman</i>:&mdash;
+    </p>
+
+<p class="poem">
+Thus every day I fast and pray,<br/>
+    And ever will doe till I dye;<br/>
+And gett me to some secret place,<br/>
+    For soe did hee, and soe will I.
+</p>
+
+    <p>
+      <a href="#page_64">Forbid it, Heaven.</a> <i>Vicar of Wakefield</i>,
+      first edition, like the version of 1765, has &lsquo;Thou shalt not thus.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_64">My life.</a> <i>Vicar of Wakefield</i>, first
+      edition, has &lsquo;O thou.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_64">No, never from this hour, etc.</a> The first edition
+      reads:&mdash;
+    </p>
+
+<p class="poem">
+No, never, from this hour to part,<br/>
+    Our love shall still be new;<br/>
+And the last sigh that rends thy heart,<br/>
+    Shall break thy Edwin&rsquo;s too.
+</p>
+
+    <p>
+      The poem then concluded thus:&mdash;
+    </p>
+
+<p class="poem">
+Here amidst sylvan bowers we&rsquo;ll rove,<br/>
+    From lawn to woodland stray;<br/>
+Blest as the songsters of the grove,<br/>
+    And innocent as they.<br/>
+To all that want, and all that wail,<br/>
+    Our pity shall be given,<br/>
+And when this life of love shall fail,<br/>
+    We&rsquo;ll love again in heaven.
+</p>
+
+    <p>
+      These couplets, with certain alterations in the first and last lines, are
+      to be found in the version printed in <i>Poems for Young Ladies</i>,
+      1767, p. 98.
+    </p>
+
+<h3><a name="note21"></a><a href="#page_65">AN ELEGY ON THE DEATH OF A MAD DOG.</a></h3>
+
+    <p>
+      This poem was first published in <i>The Vicar of Wakefield</i>,
+      1766, i. 175–6, where it is sung by one of the little boys. In common
+      with the <i>Elegy on Mrs. Mary Blaize</i> (p. 47) it owes something
+      of its origin to Goldsmith&rsquo;s antipathy to fashionable elegiacs, something
+      also to the story of M. de la Palisse. As regards mad dogs, its author
+      seems to have been more reasonable than many of his contemporaries, since
+      he ridiculed, with much common sense, their exaggerated fears on this
+      subject (<i>v. Chinese Letter</i> in <i>The Public Ledger</i>
+      for August 29, 1760, afterwards Letter lxvi of <i> The Citizen of the
+      World</i>, 1762, ii. 15). But it is ill jesting with hydrophobia. Like
+      <i>Madam Blaize</i>, these verses have been illustrated by Randolph
+      Caldecott.
+    </p>
+
+    <p>
+      <a href="#page_65">In Islington there was a man.</a> Goldsmith had
+      lodgings at Mrs. Elizabeth Fleming&rsquo;s in Islington (or &lsquo;Isling town&rsquo; as the
+      earlier editions have it) in 1763–4; and the choice of the locality may
+      have been determined by this circumstance. But the date of the composition
+      of the poem is involved in the general obscurity which hangs over the <i>Vicar</i>
+      in its unprinted state. (See <a href="#page_xviii"><i>Introduction</i>,</a>
+      pp. xviii-xix.)
+    </p>
+
+    <p>
+      <a href="#page_65">The dog, to gain some private ends.</a> The first
+      edition reads &lsquo;his private ends.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_66">The dog it was that died.</a> This catastrophe suggests
+      the couplet from the <i>Greek Anthology</i>, ed. Jacobs, 1813–7, ii.
+      387:&mdash;
+    </p>
+
+<p class="poem">
+        Kappadoken pot exidna kake daken alla kai aute<br/>
+          katthane, geusamene aimatos iobolou.
+</p>
+
+    <p>
+      Goldsmith, however, probably went no farther back than Voltaire on Fréron:&mdash;
+    </p>
+
+<p class="poem">
+        L&rsquo;autre jour, au fond d&rsquo;un vallon,<br/>
+        Un serpent mordit Jean Fréron.<br/>
+        Devinez ce qu&rsquo;il arriva?<br/>
+        Ce fut le serpent qui creva.
+</p>
+
+<p class="noindent">
+      This again, according to M. Edouard Fournier (<i>L&rsquo;Esprit des Autres</i>,
+      sixth edition, 1881, p. 288), is simply the readjustment of an earlier
+      quatrain, based upon a Latin distich in the <i>Epigrammatum delectus</i>,
+      1659:&mdash;
+    </p>
+
+<p class="poem">
+        Un gros serpent mordit Aurelle.<br/>
+        Que croyez-vous qu&rsquo;il arriva?<br/>
+        Qu&rsquo;Aurelle en mourut?&mdash;Bagatelle!<br/>
+        Ce fut le serpent qui creva.
+</p>
+
+<h3><a name="note22"></a><a href="#page_67">SONG</a><br />
+<small>FROM &lsquo;THE VICAR OF WAKEFIELD.&rsquo;</small></h3>
+
+    <p>
+      First published in <i>The Vicar of Wakefield</i>, 1766, ii. 78
+      (chap. v). It is there sung by Olivia Primrose, after her return home with
+      her father. &lsquo;Do, my pretty Olivia,&rsquo; says Mrs. Primrose, let us have that
+      little melancholy air your pappa was so fond of, your sister Sophy has
+      already obliged us. Do child, it will please your old father.&rsquo; &lsquo;She
+      complied in a manner so exquisitely pathetic,&rsquo; continues Dr. Primrose, &lsquo;as
+      moved me.&rsquo; The charm of the words, and the graceful way in which they are
+      introduced, seem to have blinded criticism to the impropriety, and even
+      inhumanity, of requiring poor Olivia to sing a song so completely
+      applicable to her own case. No source has been named for this piece; and
+      its perfect conformity with the text would appear to indicate that
+      Goldsmith was not indebted to any earlier writer for his idea.
+    </p>
+
+    <p>
+      His well-known obligations to French sources seem, however, to have
+      suggested that, if a French original could not be discovered for the
+      foregoing lyric, it might be desirable to invent one. A clever
+      paragraphist in the <i>St. James&rsquo;s Gazette</i> for January 28th,
+      1889, accordingly reproduced the following stanzas, which he alleged, were
+      to be found in the poems of Segur, &lsquo;printed in Paris in 1719&rsquo;:&mdash;
+    </p>
+
+<p class="poem">
+Lorsqu&rsquo;une femme, après trop de tendresse,<br/>
+    D&rsquo;un homme sent la trahison,<br/>
+Comment, pour cette si douce foiblesse<br/>
+    Peut-elle trouver une guérison?<br/>
+<br/>
+Le seul remède qu&rsquo;elle peut ressentir,<br/>
+    La seul revanche pour son tort,<br/>
+Pour faire trop tard l&rsquo;amant repentir,<br/>
+    Helas! trop tard&mdash;est la mort.
+</p>
+
+    <p>
+      As a correspondent was not slow to point out, Goldsmith, if a copyist, at
+      all events considerably improved his model (see in particular lines 7 and
+      8 of the French). On the 30th of the month the late Sir William Fraser
+      gave it as his opinion, that, until the volume of 1719 should be produced,
+      the &lsquo;very inferior verses quoted&rsquo; must be classed with the fabrications of
+      &lsquo;Father Prout,&rsquo; and he instanced that very version of the <i> Burial of
+      Sir John Moore</i> (<i>Les Funérailles de Beaumanoir</i>)
+      which has recently (August 1906) been going the round of the papers once
+      again. No Ségur volume of 1719 was, of course, forthcoming.
+    </p>
+
+    <p>
+      Kenrick, as we have already seen, had in 1767 accused Goldsmith of taking
+      <i>Edwin and Angelina</i> from Percy (p. 206). Thirty years later,
+      the charge of plagiarism was revived in a different way when <i>Raimond
+      and Angéline</i>, a French translation of the same poem,
+      appeared, as Goldsmith&rsquo;s original, in a collection of Essays called <i>The
+      Quiz</i>, 1797. It was eventually discovered to be a translation &lsquo;from&rsquo;
+      Goldsmith by a French poet named Léonard, who had included it in a
+      volume dated 1792, entitled <i>Lettres de deux Amans, Habitans de Lyon</i>
+      (Prior&rsquo;s <i>Life</i>, 1837, ii. 89–94). It may be added that,
+      according to the <i> Biographie Universelle</i>, 1847, vol. 18 (Art.
+      &lsquo;Goldsmith&rsquo;), there were then no fewer than at least three French
+      imitations of <i>The Hermit</i> besides Léonard&rsquo;s.
+    </p>
+
+<h3><a name="note23"></a><a href="#page_68">EPILOGUE TO &lsquo;THE GOOD NATUR&rsquo;D MAN.&rsquo;</a></h3>
+
+    <p>
+      Goldsmith&rsquo;s comedy of <i>The Good Natur&rsquo;d Man</i> was produced by
+      Colman, at Covent Garden, on Friday, January 29, 1768. The following note
+      was appended to the Epilogue when printed:&mdash;&lsquo;The Author, in
+      expectation of an Epilogue from a friend at Oxford, deferred writing one
+      himself till the very last hour. What is here offered, owes all its
+      success to the graceful manner of the Actress who spoke it.&rsquo; It was spoken
+      by Mrs. Bulkley, the &lsquo;Miss Richland&rsquo; of the piece. In its first form it is
+      to be
+      found in <i>The Public Advertiser</i> for February 3. Two days later
+      the play was published, with the version here followed.
+    </p>
+
+    <p>
+      <a href="#page_68">As puffing quacks.</a> Goldsmith had devoted a Chinese
+      letter to this subject. See <i>Citizen of the World</i>, 1762, ii.
+      10 (Letter lxv).
+    </p>
+
+    <p>
+      <a href="#page_68">No, no: I&rsquo;ve other contests, etc.</a> This couplet is
+      not in the first version. The old building of the College of Physicians
+      was in Warwick Lane; and the reference is to the long-pending dispute,
+      occasionally enlivened by personal collision, between the Fellows and
+      Licentiates respecting the exclusion of certain of the latter from
+      Fellowships. On this theme Bonnell Thornton, himself an M.B. like
+      Goldsmith, wrote a satiric additional canto to Garth&rsquo;s <i> Dispensary</i>,
+      entitled <i>The Battle of the Wigs</i>, long extracts from which are
+      printed in <i>The Gentleman&rsquo;s Magazine</i> for March, 1768, p. 132.
+      The same number also reviews <i>The Siege of the Castle of Æsculapius,
+      an heroic Comedy, as it is acted in Warwick-Lane</i>. Goldsmith&rsquo;s
+      couplet is, however, best illustrated by the title of one of Sayer&rsquo;s
+      caricatures, <i>The March of the Medical Militants to the Siege of
+      Warwick-Lane-Castle in the Year</i> 1767. The quarrel was finally
+      settled in favour of the college in June, 1771.
+    </p>
+
+    <p>
+      <a href="#page_68">Go, ask your manager.</a> Colman, the manager of Covent
+      Garden, was not a prolific, although he was a happy writer of prologues
+      and epilogues.
+    </p>
+
+    <p>
+      <a href="#page_69">The quotation</a> is from <i>King Lear</i>, Act
+      iii, Sc. 4.
+    </p>
+
+    <p>
+      <a href="#page_69">In the first version</a> the last line runs:&mdash;
+    </p>
+
+<p class="poem">
+        And view with favour, the &lsquo;Good-natur&rsquo;d Man.&rsquo;
+</p>
+
+<h3><a name="note24"></a><a href="#page_70">EPILOGUE TO &lsquo;THE SISTER.&rsquo;</a></h3>
+
+    <p>
+      <i>The Sister</i>, produced at Covent Garden February 18, 1769, was
+      a comedy by Mrs. Charlotte Lenox or Lennox, &lsquo;an ingenious lady,&rsquo; says
+      <i>The Gentleman&rsquo;s Magazine</i> for April in the same year, &lsquo;well
+      known in the literary world by her excellent writings, particularly the
+      Female Quixote, and Shakespeare illustrated. . . . The audience expressed
+      their disapprobation of it with so much clamour and appearance of
+      prejudice, that she would not suffer an attempt to exhibit it a second
+      time (p. 199).&rsquo; According to the
+<a name="page_216" id="page_216"></a>
+      same authority it was based upon one of the writer&rsquo;s own novels, <i>Henrietta</i>,
+      published in 1758. Though tainted with the prevailing sentimentalism,
+      <i>The Sister</i> is described by Forster as &lsquo;both amusing and
+      interesting&rsquo;; and it is probable that it was not fairly treated when it
+      was acted. Mrs. Lenox (1720–1804), daughter of Colonel Ramsay,
+      Lieut.-Governor of New York, was a favourite with the literary magnates of
+      her day. Johnson was half suspected of having helped her in her book on
+      Shakespeare; Richardson admitted her to his readings at Parson&rsquo;s Green;
+      Fielding, who knew her, calls her, in the <i>Journal of a Voyage to
+      Lisbon</i>, 1755, p. 35 (first version), &lsquo;the inimitable author of the
+      Female Quixote&rsquo;; and Goldsmith, though he had no kindness for genteel
+      comedy (see <i> post</i>, p. 228), wrote her this lively epilogue, which
+      was spoken by Mrs. Bulkley, who personated the &lsquo;Miss Autumn&rsquo; of the piece.
+      Mrs. Lenox died in extremely reduced circumstances, and was buried by the
+      Right Hon. George Ross, who had befriended her later years. There are
+      several references to her in Boswell&rsquo;s <i>Life of Johnson</i>. (See
+      also Hawkins&rsquo; <i>Life</i>, 2nd ed. 1787, pp. 285–7.)
+    </p>
+
+<h3><a name="note25"></a><a href="#page_72">PROLOGUE TO &lsquo;ZOBEIDE.&rsquo;</a></h3>
+
+    <p>
+      <i>Zobeide</i>, a play by Joseph Cradock (1742–1826), of Gumley, in
+      Leicestershire, was produced by Colman at Covent Garden on Dec. 11, 1771.
+      It was a translation from three acts of <i>Les Scythes</i>, an
+      unfinished tragedy by Voltaire. Goldsmith was applied to, through the
+      Yates&rsquo;s, for a prologue, and sent that here printed to the author of the
+      play with the following note:&mdash;&lsquo;Mr. Goldsmith presents his best
+      respects to Mr. Cradock, has sent him the Prologue, such as it is. He
+      cannot take time to make it better. He begs he will give Mr. Yates the
+      proper instructions; and so, even so, commits him to fortune and the
+      publick.&rsquo; (Cradock&rsquo;s <i>Memoirs</i>, 1826, i. 224.) Yates, to the
+      acting of whose wife in the character of the heroine the success of the
+      piece, which ran for thirteen nights, was mainly attributable, was to have
+      spoken the prologue, but it ultimately fell to Quick, later the &lsquo;Tony
+      Lumpkin&rsquo; of <i>She Stoops to Conquer</i>, who delivered it in the
+      character of a sailor. Cradock seems
+      subsequently to have sent a copy of <i> Zobeide</i> to Voltaire, who
+      replied in English as follows:&mdash;
+    </p>
+
+<p class="right">
+                              9e. 8bre. 1773. à ferney.
+</p>
+
+<p class="letter">
+        Sr.<br/>
+          Thanks to yr muse a foreign copper shines
+          Turn&rsquo;d in to gold, and coin&rsquo;d in sterling lines.
+          You have done to much honour to an old sick man of eighty.
+</p>
+
+<p class="right">
+             I am with the most sincere esteem and gratitude<br/>
+                 Sr.<br/>
+                     Yr. obdt. Servt. Voltaire.<br/>
+        A Monsieur Monsieur J. Cradock.
+</p>
+
+    <p>
+      The text of the prologue is here given as printed in Cradock&rsquo;s <i>Memoirs</i>,
+      1828, iii. 8–9. It is unnecessary to specify the variations between this
+      and the earlier issue of 1771.
+    </p>
+
+    <p>
+      <a href="#page_72">In these bold times, etc.</a> The reference is to Cook,
+      who, on June 12, 1771, had returned to England in the <i>Endeavour</i>,
+      after three years&rsquo; absence, having gone to Otaheite to observe the transit
+      of Venus (l. 4).
+    </p>
+
+    <p>
+      <a href="#page_72">Botanists.</a> Mr. (afterward Sir Joseph) Banks and Dr.
+      Solander, of the British Museum, accompanied Cook.
+    </p>
+
+    <p>
+      <a href="#page_72">go simpling,</a> i.e. gathering simples, or herbs. Cf.
+      <i>Merry Wives of Windsor</i>, Act iii, Sc. 3:&mdash;
+    </p>
+
+<p class="poem">
+&lsquo;&mdash;These lisping hawthorn buds that ... smell like Bucklersbury
+in <i>simple</i>-time.&rsquo;
+</p>
+
+    <p>
+      In the caricatures of the day Solander figured as &lsquo;The <i>simpling</i>
+      Macaroni.&rsquo; (See note, p. 247, l. 31.)
+    </p>
+
+    <p>
+      <a href="#page_72">With Scythian stores.</a> The scene of the play was
+      laid in Scythia (<i>v. supra</i>).
+    </p>
+
+    <p>
+      <a href="#page_73">to make palaver,</a> to hold a parley, generally with
+      the intention of cajoling. Two of Goldsmith&rsquo;s notes to Garrick in 1773 are
+      endorsed by the actor&mdash;&lsquo;Goldsmith&rsquo;s parlaver.&rsquo; (Forster&rsquo;s <i> Life</i>,
+      1871, ii. 397.)
+    </p>
+
+    <p>
+      <a href="#page_73">mercenary.</a> Cradock gave the profits of <i>Zobeide</i>
+      to Mrs. Yates. &lsquo;I mentioned the disappointment it would be to you&rsquo;&mdash;she
+      says in a letter to him dated April 26, 1771&mdash;&lsquo;as you had generously
+      given the emoluments of the piece to me.&rsquo; (<i>Memoirs</i>, 1828, iv.
+      211.)
+    </p>
+
+<h3><a name="note26"></a><a href="#page_74">THRENODIA AUGUSTALIS.</a></h3>
+
+    <p>
+      Augusta, widow of Frederick, Prince of Wales, and mother of George the
+      Third, died at Carlton House, February 8, 1772. This piece was spoken and
+      sung in Mrs. Teresa Cornelys&rsquo;s Great Room in Soho Square, on the Thursday
+      following (the 20th), being sold at the door as a small quarto pamphlet,
+      printed by William Woodfall. The author&rsquo;s name was not given; but it was
+      prefaced by this &lsquo;advertisement,&rsquo; etc.:&mdash;
+    </p>
+
+    <p>
+      &lsquo;The following may more properly be termed a compilation than a poem. It
+      was prepared for the composer in little more than two days: and may be
+      considered therefore rather as an industrious effort of gratitude than of
+      genius. In justice to the composer it may likewise be right to inform the
+      public, that the music was adapted in a period of time equally short.
+    </p>
+
+<p class="center">
+      <small>SPEAKERS.</small><br /> <i>Mr. Lee and Mrs. Bellamy.</i><br /> <br />
+      <small>SINGERS.</small>
+    </p>
+
+<p class="center">
+      <i>Mr. Champnes, Mr. Dine, and Miss Jameson;
+      with twelve chorus singers. The music prepared and adapted by Signor
+      Vento.</i>
+    </p>
+
+<p>
+It is&mdash;as Cunningham calls it&mdash;a &lsquo;hurried and unworthy
+off-spring of the muse of Goldsmith.&rsquo;
+</p>
+
+    <p>
+      (Part I).<br /> <a href="#page_78">Celestial-like her bounty fell.</a> The
+      Princess&rsquo;s benefactions are not exaggerated. &lsquo;She had paid off the whole
+      of her husband&rsquo;s debts, and she had given munificent sums in charity. More
+      than 10,000 pounds a year were given away by her in pensions to
+      individuals whom she judged deserving, very few of whom were aware, until
+      her death, whence the bounty came. The whole of her income she spent in
+      England, and very little on herself&rsquo; (<i>Augusta: Princess of Wales</i>,
+      by W. H. Wilkins, <i> Nineteenth Century</i>, October, 1903, p.
+      675).
+    </p>
+
+    <p>
+      <a href="#page_78">There faith shall come.</a> This, and the three lines
+      that follow, are borrowed from Collins&rsquo;s <i>Ode written in the
+      beginning of the year</i> 1746.
+    </p>
+
+    <p>
+      (Part II).<br /> <a href="#page_80">The towers of Kew.</a> &lsquo;The
+      embellishments of Kew palace and gardens, under the direction of [Sir
+      William] Chambers, and others, was the favourite object of her [Royal Highness&rsquo;s]
+      widowhood&rsquo; (Bolton Corney).
+    </p>
+
+    <p>
+      <a href="#page_82">Along the billow&rsquo;d main.</a> Cf. <i>The Captivity</i>,
+      Act ii, l. 18.
+    </p>
+
+    <p>
+      <a href="#page_82">Oswego&rsquo;s dreary shores.</a> Cf. <i>The Traveller</i>,
+      l. 411.
+    </p>
+
+    <p>
+      <a href="#page_82">And with the avenging fight.</a> Varied from Collins&rsquo;s
+      <i>Ode on the Death of Colonel Charles Ross at Fontenoy</i>.
+    </p>
+
+    <p>
+      <a href="#page_83">Its earliest bloom.</a> Cf. Collins&rsquo;s <i>Dirge in
+      Cymbeline</i>.
+    </p>
+
+<h3><a name="note27"></a><a href="#page_84">SONG</a><br />
+<small>FROM &lsquo;SHE STOOPS TO CONQUER.&rsquo;</small></h3>
+
+    <p>
+      This thoroughly characteristic song, for a parallel to which one must go
+      to Congreve, or to the &lsquo;Here&rsquo;s to the maiden of bashful fifteen&rsquo; of <i>The
+      School for Scandal</i>, has one grave defect,&mdash;it is too good to
+      have been composed by Tony Lumpkin, who, despite his inability to read
+      anything but &lsquo;print-hand,&rsquo; declares, in Act i. Sc. 2 of <i>She Stoops
+      to Conquer</i>, 1773, that he himself made it upon the ale-house (&lsquo;The
+      Three Pigeons&rsquo;) in which he sings it, and where it is followed by the
+      annexed comments, directed by the author against the sentimentalists, who,
+      in <i>The Good Natur&rsquo;d Man</i> of five years before, had insisted
+      upon the omission of the Bailiff scene:&mdash;
+    </p>
+    <p>
+      &lsquo;O<small>MNES</small>.
+    </p>
+    <p>
+      Bravo, bravo!
+    </p>
+    <p>
+      <i>First</i> F<small>ELLOW</small>.
+    </p>
+    <p>
+      The &rsquo;Squire has got spunk in him.
+    </p>
+    <p>
+      <i>Second</i> F<small>ELLOW</small>.
+    </p>
+    <p>
+      I loves to hear him sing, bekeays he never gives us nothing that&rsquo;s <i>low</i>
+      . . .
+    </p>
+    <p>
+      <i>Fourth</i> F<small>ELLOW</small>.
+    </p>
+    <p>
+      The genteel thing is the genteel thing at any time. If so be that a
+      gentleman bees in a concatenation accordingly.
+    </p>
+    <p>
+      <i>Third</i> F<small>ELLOW</small>.
+    </p>
+    <p>
+      I like the maxum of it, Master Muggins. What, tho&rsquo; I am obligated to dance
+      a bear, a man may be a gentleman for all that. May this be my poison if my
+      bear ever dances but to
+      the very genteelest of tunes. <i>Water Parted</i>,* or the minuet in
+      <i>Ariadne</i>.&rsquo;
+    </p>
+
+<p class="footnote">
+* i.e. Arne&rsquo;s <i>Water Parted from the Sea</i>,&mdash;the song
+      of Arbaces in the opera of <i> Artaxerxes</i> 1762. The minuet in
+      <i>Ariadne</i> was by Handel. It came at the end of the overture,
+      and is said to have been the best thing in the opera.
+    </p>
+
+    <p>
+      <a href="#page_84">When Methodist preachers, etc.</a> Tony Lumpkin&rsquo;s
+      utterance accurately represents the view of this sect taken by some of his
+      contemporaries. While moderate and just spectators of the Johnson type
+      could recognize the sincerity of men, who, like Wesley, travelled &lsquo;nine
+      hundred miles in a month, and preached twelve times a week&rsquo; for no
+      ostensibly adequate reward, there were others who saw in Methodism, and
+      especially in the extravagancies of its camp followers, nothing but cant
+      and duplicity. It was this which prompted on the stage Foote&rsquo;s <i>Minor</i>
+      (1760) and Bickerstaffe&rsquo;s <i> Hypocrite</i> (1768); in art the <i>Credulity,
+      Superstition, and Fanaticism</i> of Hogarth (1762); and in literature
+      the <i>New Bath Guide</i> of Anstey (1766), the <i>Spiritual
+      Quixote</i> of Graves, 1772, and the sarcasms of Sterne, Smollett and
+      Walpole.
+    </p>
+
+    <p>
+      It is notable that the most generous contemporary portrait of these much
+      satirised sectaries came from one of the originals of the <i>Retaliation</i>
+      gallery. Scott highly praises the character of Ezekiel Daw in Cumberland&rsquo;s
+      <i> Henry</i>, 1795, adding, in his large impartial fashion, with
+      reference to the general practice of representing Methodists either as
+      idiots or hypocrites, &lsquo;A very different feeling is due to many, perhaps to
+      most, of this enthusiastic sect; nor is it rashly to be inferred, that he
+      who makes religion the general object of his life, is for that sole reason
+      to be held either a fool or an impostor.&rsquo; (Scott&rsquo;s <i>Miscellaneous
+      Prose Works</i>, 1834, iii. 222.)
+    </p>
+
+    <p>
+      <a href="#page_84">But of all the birds in the air.</a> Hypercriticism may
+      object that &lsquo;the hare&rsquo; is not a bird. But exigence of rhyme has to answer
+      for many things. Some editors needlessly read &lsquo;the <i>gay</i> birds&rsquo; to
+      lengthen the line. There is no sanction for this in the earlier editions.
+    </p>
+
+<h3><a name="note28"></a><a href="#page_85">EPILOGUE TO &lsquo;SHE STOOPS TO CONQUER.&rsquo;</a></h3>
+
+    <p>
+      This epilogue was spoken by Mrs. Bulkley in the character of Miss
+      Hardcastle. It is probably the epilogue described by
+      Goldsmith to Cradock, in the letter quoted at p. 246, as &lsquo;a very mawkish
+      thing,&rsquo; a phrase not so incontestable as Bolton Corney&rsquo;s remark that it is
+      &lsquo;an obvious imitation of Shakespere.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_85">That pretty Bar-maids have done execution.</a> Cf.
+      <i>The Vicar of Wakefield</i>, 1766, i. 7:&mdash;&lsquo;Sophia&rsquo;s features
+      were not so striking at first; but often did more certain execution.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_85">coquets the guests.</a> Johnson explains this word &lsquo;to
+      entertain with compliments and amorous tattle,&rsquo; and quotes the following
+      illustration from Swift, &lsquo;You are <i>coquetting</i> a maid of honour, my
+      lord looking on to see how the gamesters play, and I railing at you both.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_85">Nancy Dawson.</a> Nancy Dawson was a famous &lsquo;toast&rsquo; and
+      horn-pipe dancer, who died at Haverstock Hill, May 27, 1767, and was
+      buried behind the Foundling, in the burial-ground of St. George the
+      Martyr. She first appeared at Sadler&rsquo;s Wells, and speedily passed to the
+      stage of Covent Garden, where she danced in the <i>Beggar&rsquo;s Opera</i>.
+      There is a portrait of her in the Garrick Club, and there are several
+      contemporary prints. She was the heroine of a popular song, here referred
+      to, beginning:&mdash;
+    </p>
+
+<p class="poem">
+Of all the girls in our town,<br/>
+The black, the fair, the red, the brown,<br/>
+Who dance and prance it up and down,<br/>
+    There&rsquo;s none like Nancy Dawson:<br/>
+Her easy mien, her shape so neat,<br/>
+She foots, she trips, she looks so sweet,<br/>
+Her ev&rsquo;ry motion is complete;<br/>
+    I die for Nancy Dawson.
+</p>
+
+    <p>
+      Its tune&mdash;says J. T. Smith (<i>Book for a Rainy Day</i>,
+      Whitten&rsquo;s ed., 1905, p. 10) was &lsquo;as lively as that of &ldquo;Sir Roger de
+      Coverley.&rdquo;&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_85">Che farò,</a> i.e. <i>Che farò senza
+      Euridice</i>, the lovely lament from Gl&uuml;ck&rsquo;s <i>Orfeo</i>,
+      1764.
+    </p>
+
+    <p>
+      <a href="#page_85">the Heinel of Cheapside.</a> The reference is to
+      Mademoiselle Anna-Frederica Heinel, 1752–1808, a beautiful Prussian,
+      subsequently the wife of Gaetano Apollino Balthazar Vestris, called
+      &lsquo;Vestris the First.&rsquo; After extraordinary success as a <i>danseuse</i> at
+      Stuttgard and Paris, where Walpole saw her in 1771
+      (Letter to the Earl of Strafford 25th August), she had come to London;
+      and, at this date, was the darling of the Macaronies (cf. the note on p.
+      247, l. 31), who, from their club, added a <i>regallo</i> (present) of six
+      hundred pounds to the salary allowed her at the Haymarket. On April 1,
+      1773, Metastasio&rsquo;s <i>Artaserse</i> was performed for her benefit,
+      when she was announced to dance a minuet with Monsieur Fierville, and
+      &lsquo;Tickets were to be hand, at her house in Piccadilly, two doors from Air
+      Street.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_86">spadille,</a> i.e. the ace of spades, the first trump
+      in the game of Ombre. Cf. Swift&rsquo;s <i>Journal of a Modern Lady in a
+      Letter to a Person of Quality</i>, 1728:&mdash;
+    </p>
+
+<p class="poem">
+        She draws up card by card, to find<br/>
+        Good fortune peeping from behind;<br/>
+        With panting heart, and earnest eyes,<br/>
+        In hope to see <i>spadillo</i> rise;<br/>
+        In vain, alas! her hope is fed;<br/>
+        She draws an ace, and sees it red.
+</p>
+
+    <p>
+      <a href="#page_86">Bayes.</a> The chief character in Buckingham&rsquo;s <i>Rehearsal</i>,
+      1672, and intended for John Dryden. Here the name is put for the &lsquo;poet&rsquo; or
+      &lsquo;dramatist.&rsquo; Cf. Murphy&rsquo;s Epilogue to Cradock&rsquo;s <i> Zobeide</i>,
+      1771:&mdash;
+    </p>
+
+<p class="poem">
+        Not e&rsquo;en poor &lsquo;Bayes&rsquo; within must hope to be<br/>
+        Free from the lash:&mdash;His Play he writ for me<br/>
+        &rsquo;Tis true&mdash;and now my gratitude you&rsquo;ll see;
+</p>
+
+<p class="noindent">
+      and Colman&rsquo;s Epilogue to <i>The School for Scandal</i>, 1777:&mdash;
+    </p>
+
+<p class="poem">
+        So wills our virtuous bard&mdash;the motley <i>Bayes</i><br/>
+        Of crying epilogues and laughing plays!
+</p>
+
+<h3><a name="note29"></a><a href="#page_87">RETALIATION.</a></h3>
+
+    <p>
+      <i>Retaliation: A Poem. By Doctor Goldsmith. Including Epitaphs on the
+      Most Distinguished Wits of this Metropolis</i>, was first published by
+      G. Kearsly in April, 1774, as a 4to pamphlet of 24 pp. On the title-page
+      is a vignette head of the author, etched by James Basire, after Reynolds&rsquo;s
+      portrait; and the verses are prefaced by an anonymous letter to the
+      publisher, concluding as follows:&mdash;&lsquo;Dr. Goldsmith <i>belonged to a
+      Club of</i> Beaux Esprits, <i>where Wit sparkled sometimes at the Expence
+      of Good-nature.It was proposed to write Epitaphs on the Doctor; his Country, Dialect
+      and Person, furnished Subjects of Witticism.&mdash;The Doctor was called
+      on for&rsquo; Retaliation, &lsquo;and at their next Meeting produced the following
+      Poem, which I think adds one Leaf to his immortal Wreath.</i> This account
+      seems to have sufficed for Evans, Percy, and the earlier editors. But in
+      vol. i. p. 78 of his edition of Goldsmith&rsquo;s <i>Works</i>, 1854, Mr.
+      Peter Cunningham published for the first time a fuller version of the
+      circumstances, derived from a manuscript lent to him by Mr. George Daniel
+      of Islington; and (says Mr. Cunningham) &lsquo;evidently designed as a preface
+      to a collected edition of the poems which grew out of Goldsmith&rsquo;s trying
+      his epigrammatic powers with Garrick.&rsquo; It is signed &lsquo;D. Garrick.&rsquo; &lsquo;At a
+      meeting&rsquo;&mdash;says the writer&mdash;&lsquo;of a company of gentlemen, who were
+      well known to each other, and diverting themselves, among many other
+      things, with the peculiar oddities of Dr. Goldsmith, who would never allow
+      a superior in any art, from writing poetry down to dancing a horn-pipe,
+      the Dr. with great eagerness insisted upon trying his epigrammatic powers
+      with Mr. Garrick, and each of them was to write the other&rsquo;s epitaph. Mr.
+      Garrick immediately said that his epitaph was finished, and spoke the
+      following distich extempore:&mdash;
+    </p>
+
+<p class="poem">
+        Here lies NOLLY Goldsmith, for shortness call&rsquo;d Noll,<br/>
+        Who wrote like an angel, but talk&rsquo;d like poor Poll.
+</p>
+
+<p class="noindent">
+      Goldsmith, upon the company&rsquo;s laughing very heartily, grew very
+      thoughtful, and either would not, or could not, write anything at that
+      time: however, he went to work, and some weeks after produced the
+      following printed poem called <i> Retaliation</i>, which has been
+      much admired, and gone through several editions.&rsquo; This account, though
+      obviously from Garrick&rsquo;s point of view, is now accepted as canonical, and
+      has superseded those of Davies, Cradock, Cumberland, and others, to which
+      some reference is made in the ensuing notes. A few days after the
+      publication of the first edition, which appeared on the 18th or 19th of
+      April, a &lsquo;new&rsquo; or second edition was issued, with four pages of
+      &lsquo;Explanatory Notes, Observations, etc.&rsquo; At the end came the following
+      announcement:&mdash;&lsquo;G. Kearsly, the Publisher, thinks it his duty to
+      declare, that
+      Dr. Goldsmith wrote the Poem as it is here printed, a few errors of the
+      press excepted, which are taken notice of at the bottom of this page.&rsquo;
+      From this version <i> Retaliation</i> is here reproduced. In the
+      third edition, probably in deference to some wounded susceptibilities, the
+      too comprehensive &lsquo;most Distinguished Wits of the Metropolis&rsquo; was
+      qualified into &lsquo;<i>some of the most</i> Distinguished Wits,&rsquo; etc., but no
+      further material alteration was made in the text until the suspicious
+      lines on Caleb Whitefoord were added to the fifth edition.
+    </p>
+
+    <p>
+      With the exception of Garrick&rsquo;s couplet, and the fragment of Whitefoord
+      referred to at p. 234, none of the original epitaphs upon which Goldsmith
+      was invited to &lsquo;retaliate&rsquo; have survived. But the unexpected ability of
+      the retort seems to have prompted a number of <i>ex post facto</i>
+      performances, some of which the writers would probably have been glad to
+      pass off as their first essays. Garrick, for example, produced three short
+      pieces, one of which (&lsquo;Here, Hermes! says Jove, who with nectar was
+      mellow&rsquo;) hits off many of Goldsmith&rsquo;s contradictions and foibles with
+      considerable skill (<i>v.</i> Davies&rsquo;s <i>Garrick</i>, 2nd ed.,
+      1780, ii. 157). Cumberland (<i>v. Gent. Mag.</i>, Aug. 1778, p. 384)
+      parodied the poorest part of <i> Retaliation</i>, the comparison of
+      the guests to dishes, by likening them to liquors, and Dean Barnard in
+      return rhymed upon Cumberland. He wrote also an apology for his first
+      attack, which is said to have been very severe, and conjured the poet to
+      set his wit at Garrick, who, having fired his first shot, was keeping out
+      of the way:&mdash;
+    </p>
+
+<p class="poem">
+On him let all thy vengeance fall;<br/>
+    On me you but misplace it:<br/>
+Remember how he called thee <i>Poll</i>&mdash;<br/>
+    But, ah! he dares not face it.
+</p>
+
+<p class="noindent">
+      For these, and other forgotten pieces arising out of <i>Retaliation</i>,
+      Garrick had apparently prepared the above-mentioned introduction. It may
+      be added that the statement, prefixed to the first edition, that
+      <i>Retaliation</i>, as we now have it, was produced at the &lsquo;next meeting&rsquo; of
+      the Club, is manifestly incorrect. It was composed and circulated in
+      detached fragments, and Goldsmith was still working at it when he was
+      seized with his last illness.
+    </p>
+
+    <p>
+      <a href="#page_87">Of old, when Scarron, etc.</a> Paul Scarron (1610–60),
+      the author <i>inter alia</i> of the <i>Roman Comique</i>, 1651–7,
+      upon a translation
+      of which Goldsmith was occupied during the last months of his life. It was
+      published by Griffin in 1776.
+    </p>
+
+    <p>
+      <a href="#page_87">Each guest brought his dish.</a> &lsquo;Chez Scarron,&rsquo;&mdash;says
+      his editor, M. Charles Baumet, when speaking of the poet&rsquo;s entertainments,&mdash;&lsquo;venait
+      d&rsquo;ailleurs l&rsquo;élite des dames, des courtisans &amp; des hommes de
+      lettres. On y dinait joyeusement. <i>Chacun apportait son plat</i>.&rsquo; (<i>Œuvres
+      de Scarron</i>, 1877, i. viii.) Scarron&rsquo;s company must have been as
+      brilliant as Goldsmith&rsquo;s. Villarceaux, Vivonne, the Maréchal
+      d&rsquo;Albret, figured in his list of courtiers; while for ladies he had
+      Mesdames Deshoulières, de Scudéry, de la Sablière,
+      and de Sévigné, to say nothing of Ninon de Lenclos and
+      Marion Delorme. (Cf. also Guizot, <i> Corneille et son Temps</i>,
+      1862, 429–30.)
+    </p>
+
+    <p>
+      <a href="#page_87">If our landlord.</a> The &lsquo;explanatory note&rsquo; to the
+      second edition says&mdash;&lsquo;The master of the St. James&rsquo;s coffee-house,
+      where the Doctor, and the friends he has characterized in this Poem, held
+      an occasional club.&rsquo; This, it should be stated, was not the famous
+      &lsquo;Literary Club,&rsquo; which met at the Turk&rsquo;s Head Tavern in Gerrard Street.
+      The St. James&rsquo;s Coffee-house, as familiar to Swift and Addison at the
+      beginning, as it was to Goldsmith and his friends at the end of the
+      eighteenth century, was the last house but one on the south-west corner
+      of St. James&rsquo;s Street. It now no longer exists. Cradock (<i>Memoirs</i>,
+      1826, i. 228–30) speaks of dining <i>at the bottom of St. James&rsquo;s Street</i>
+      with Goldsmith, Percy, the two Burkes (<i>v. infra</i>), Johnson, Garrick,
+      Dean Barnard, and others. &lsquo;We sat very late;&rsquo; he adds in conclusion, &lsquo;and
+      the conversation that at last ensued, was the direct cause of my friend
+      Goldsmith&rsquo;s poem, called &ldquo;<i>Retaliation.</i>&rdquo;&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_87">Our Dean.</a> Dr. Thomas Barnard, an Irishman, at this
+      time Dean of Derry. He died at Wimbledon in 1806. It was Dr. Barnard who,
+      in reply to a rude sally of Johnson, wrote the charming verses on
+      improvement after the age of forty-five, which end&mdash;
+    </p>
+
+<p class="poem">
+If I have thoughts, and can&rsquo;t express them,<br/>
+Gibbon shall teach me how to dress them,<br/>
+    In terms select and terse;<br/>
+Jones teach me modesty and Greek,<br/>
+Smith how to think, Burke how to speak,<br/>
+    And Beauclerk to converse.<br/>
+<br/>
+Let Johnson teach me how to place<br/>
+In fairest light, each borrow&rsquo;d grace,<br/>
+    From him I&rsquo;ll learn to write;<br/>
+Copy his clear, familiar style,<br/>
+And from the roughness of his file<br/>
+    Grow like himself&mdash;polite.
+</p>
+
+    <p>
+      (Northcote&rsquo;s <i>Life of Reynolds</i>, 2nd ed., 1819, i. 221.)
+      According to Cumberland (<i>Memoirs</i>, 1807, i. 370), &lsquo;The dean
+      also gave him [Goldsmith] an epitaph, and Sir Joshua illuminated the
+      dean&rsquo;s verses with a sketch of his bust in pen and ink inimitably
+      caricatured.&rsquo; What would collectors give for that sketch and epitaph!
+      Unfortunately in Cumberland&rsquo;s septuagenarian recollections the &lsquo;truth
+      severe&rsquo; is mingled with an unusual amount of &lsquo;fairy fiction.&rsquo; However Sir
+      Joshua <i>did</i> draw caricatures, for a number of them were exhibited at
+      the Grosvenor Gallery (by the Duke of Devonshire) in the winter of 1883–4.
+    </p>
+
+    <p>
+      <a href="#page_87">Our Burke.</a> The Right Hon. Edmund Burke, 1729–97.
+    </p>
+
+    <p>
+      <a href="#page_87">Our Will.</a> &lsquo;Mr. William Burke, late Secretary to
+      General Conway, and member for Bedwin, Wiltshire&rsquo; (Note to second
+      edition). He was a kinsman of Edmund Burke, and one of the supposed
+      authors of Junius&rsquo;s <i> Letters</i>. He died in 1798. &lsquo;It is said
+      that the notices Goldsmith first wrote of the Burkes were so severe that
+      Hugh Boyd persuaded the poet to alter them, and entirely rewrite the
+      character of William, for he was sure that if the Burkes saw what was
+      originally written of them the peace of the Club would be disturbed.&rsquo;
+      (Rev. W. Hunt in <i>Dict. Nat. Biography</i>, Art. &lsquo;William Burke.&rsquo;)
+    </p>
+
+    <p>
+      <a href="#page_87">And Dick.</a> Richard Burke, Edmund Burke&rsquo;s younger
+      brother. He was for some years Collector to the Customs at Grenada, being
+      on a visit to London when <i>Retaliation</i> was written (Forster&rsquo;s
+      <i> Life</i>, 1871, ii. 404). He died in 1794, Recorder of Bristol.
+    </p>
+
+    <p>
+      <a href="#page_87">Our Cumberland&rsquo;s sweetbread.</a> Richard Cumberland,
+      the poet, novelist, and dramatist, 1731–1811, author of <i>The West
+      Indian</i>, 1771, <i>The Fashionable Lover</i>, 1772, and many
+      other more or less sentimental plays. In his <i>Memoirs</i>, 1807,
+      i. 369–71, he gives an account of the origin of <i> Retaliation</i>,
+      which adds a few dubious particulars to that of Garrick. But it was
+      written from memory long after the events it records.
+    </p>
+
+    <p>
+      <a href="#page_87">Douglas.</a> &lsquo;Dr. Douglas, since Bishop of Salisbury,&rsquo;
+      says Cumberland. He died in 1807 (<i>v. infra</i>).
+    </p>
+
+    <p>
+      <a href="#page_87">Ridge.</a> &lsquo;Counsellor John Ridge, a gentleman
+      belonging to the Irish Bar&rsquo; (Note to second edition). &lsquo;Burke,&rsquo; says Bolton
+      Corney, &lsquo;in 1771, described him as &ldquo;one of the honestest and best-natured
+      men living, and inferior to none of his profession in ability.&rdquo;&rsquo; (See also
+      note to line 125.)
+    </p>
+
+    <p>
+      <a href="#page_87">Hickey.</a> The commentator of the second edition of
+      <i>Retaliation</i> calls this gentleman &lsquo;honest Tom Hickey&rsquo;. His
+      Christian name, however, was <i>Joseph</i> (Letter of Burke, November 8,
+      1774). He was a jovial, good-natured, over-blunt Irishman, the legal
+      adviser of both Burke and Reynolds. Indeed it was Hickey who drew the
+      conveyance of the land on which Reynolds&rsquo;s house &lsquo;next to the Star and
+      Garter&rsquo; at Richmond (Wick House) was built by Chambers the architect.
+      Hickey died in 1794. Reynolds painted his portrait for Burke, and it was
+      exhibited at the Royal Academy in 1772 (No. 208). In 1833 it belonged to
+      Mr. T. H. Burke. Sir Joshua also painted Miss Hickey in 1769–73. Her
+      father, not much to Goldsmith&rsquo;s satisfaction, was one of the Paris party
+      in 1770. See also note to l. 125.
+    </p>
+
+    <p>
+      <a href="#page_87">Magnanimous Goldsmith.</a> According to Malone
+      (Reynolds&rsquo;s <i>Works</i>, second edition, 1801, i. xc), Goldsmith
+      intended to have concluded with his own character.
+    </p>
+
+    <p>
+      <a href="#page_88">Tommy Townshend,</a> M.P. for Whitchurch, Hampshire,
+      afterwards first Viscount Sydney. He died in 1800. Junius says Bolton
+      Corney, gives a portrait of him as <i>still life</i>. His presence in
+      <i> Retaliation</i> is accounted for by the fact that he had
+      commented in Parliament upon Johnson&rsquo;s pension. &lsquo;I am well assured,&rsquo; says
+      Boswell, &lsquo;that Mr. Townshend&rsquo;s attack upon Johnson was the occasion of his
+      &ldquo;hitching in a rhyme&rdquo;; for, that in the original copy of Goldsmith&rsquo;s
+      character of Mr. Burke, in his <i> Retaliation</i> another person&rsquo;s
+      name stood in the couplet where Mr. Townshend is now introduced.&rsquo;
+      (Birkbeck Hill&rsquo;s <i> Boswell</i>, 1887, iv. 318.)
+    </p>
+
+    <p>
+      <a href="#page_88">too deep for his hearers.</a> &lsquo;The emotion to which he
+      commonly appealed was that too rare one, the love of wisdom, and he
+      combined his thoughts and knowledge in propositions of wisdom so weighty
+      and strong, that the minds of ordinary hearers
+      were not on the instant prepared for them.&rsquo; (Morley&rsquo;s <i>Burke</i>,
+      1882, 209–10.)
+    </p>
+
+    <p>
+      <a href="#page_88">And thought of convincing, while they thought of
+      dining.</a> For the reason given in the previous note, many of Burke&rsquo;s
+      hearers often took the opportunity of his rising to speak, to retire to
+      dinner. Thus he acquired the nickname of the &lsquo;Dinner Bell.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_88">To eat mutton cold.</a> There is a certain resemblance
+      between this character and Gray&rsquo;s lines on himself written in 1761,
+      beginning &lsquo;Too poor for a bribe, and too proud to importune.&rsquo; (See Gosse&rsquo;s
+      <i>Gray&rsquo;s Works</i>, 1884, i. 127.) But both Gray and Goldsmith may
+      have been thinking of a line in the once popular song of <i>Ally
+      Croaker</i>:&mdash;
+    </p>
+
+<p class="poem">
+        Too dull for a wit, too grave for a joker.
+</p>
+
+    <p>
+      <a href="#page_88">honest William,</a> i.e. William Burke (<i>v. supra</i>).
+    </p>
+
+    <p>
+      <a href="#page_88">Now breaking a jest, and now breaking a limb.</a> A
+      note to the second edition says&mdash;&lsquo;The above Gentleman [Richard Burke,
+      <i>v. supra</i>] having slightly fractured one of his arms and legs, at
+      different times, the Doctor [i.e. Goldsmith] has rallied him on those
+      accidents, as a kind of <i>retributive</i> justice for breaking his jests
+      on other people.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_89">Here Cumberland lies.</a> According to Boaden&rsquo;s <i>Life
+      of Kemble</i>, 1825, i. 438, Mrs. Piozzi rightly regarded this portrait
+      as wholly ironical; and Bolton Corney, without much expenditure of acumen,
+      discovers it to have been written in a spirit of <i>persiflage</i>.
+      Nevertheless, Cumberland himself (<i>Memoirs</i>, 1807, i. 369)
+      seems to have accepted it in good faith. Speaking of Goldsmith he says&mdash;I
+      conclude my account of him with gratitude for the epitaph he bestowed on
+      me in his poem called <i> Retaliation</i>.&rsquo; From the further details
+      which he gives of the circumstances, it would appear that his own
+      performance, of which he could recall but one line&mdash;
+    </p>
+
+<p class="poem">
+        All mourn the poet, I lament the man&mdash;
+</p>
+
+    <p>
+      was conceived in a less malicious spirit than those of the others, and had
+      predisposed the sensitive bard in his favour. But no very genuine
+      cordiality could be expected to exist between the rival authors of <i>The
+      West Indian</i> and <i>She Stoops to Conquer</i>.
+    </p>
+
+    <p>
+      <a href="#page_89">And Comedy wonders at being so fine.</a> It is
+      instructive
+      here to transcribe Goldsmith&rsquo;s serious opinion of the kind of work which
+      Cumberland essayed:&mdash;&lsquo;A new species of Dramatic Composition has been
+      introduced, under the name of <i> Sentimental</i> Comedy, in which the
+      virtues of Private Life are exhibited, rather than the Vices exposed; and
+      the Distresses rather than the Faults of Mankind, make our interest in the
+      piece. . . . In these Plays almost all the Characters are good, and
+      exceedingly generous; they are lavish enough of their <i>Tin</i> Money on
+      the Stage, and though they want Humour, have abundance of Sentiment and
+      Feeling. If they happen to have Faults or Foibles, the Spectator is taught
+      not only to pardon, but to applaud them, in consideration of the goodness
+      of their hearts; so that Folly, instead of being ridiculed, is commended,
+      and the Comedy aims at touching our Passions without the power of being
+      truly pathetic.&rsquo; (<i>Westminster Magazine</i>, 1772, i. 5.) Cf. also
+      the <i>Preface to The Good Natur&rsquo;d Man</i>, where he &lsquo;hopes that too
+      much refinement will not banish humour and character from our&rsquo;s, as it has
+      already done from the French theatre. Indeed the French comedy is now
+      become so very elevated and sentimental, that it has not only banished
+      humour and <i>Moliere</i> from the stage, but it has banished all
+      spectators too.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_89">The scourge of impostors, the terror of quacks.</a> Dr.
+      John Douglas (<i>v. supra</i>) distinguished himself by his exposure of
+      two of his countrymen, Archibald Bower, 1686–1766, who, being secretly a
+      member of the Catholic Church, wrote a <i>History of the Popes</i>;
+      and William Lauder 1710–1771, who attempted to prove Milton a plagiarist.
+      Cf. Churchill&rsquo;s <i>Ghost</i>, Bk. ii:&mdash;
+    </p>
+
+<p class="poem">
+        By TRUTH inspir&rsquo;d when <i>Lauder&rsquo;s</i> spight<br/>
+        O&rsquo;er MILTON cast the Veil of Night,<br/>
+        DOUGLAS arose, and thro&rsquo; the maze<br/>
+        Of intricate and winding ways,<br/>
+        Came where the subtle Traitor lay,<br/>
+        And dragg&rsquo;d him trembling to the day.
+</p>
+
+<p class="noindent">
+      &lsquo;Lauder on Milton&rsquo; is one of the books bound to the trunk-maker&rsquo;s in
+      Hogarth&rsquo;s <i>Beer Street</i>, 1751. He imposed on Johnson, who wrote
+      him a &lsquo;Preface&rsquo; and was consequently trounced by Churchill (<i>ut supra</i>)
+      as &lsquo;<i>our Letter&rsquo;d</i> P<small>OLYPHEME</small>.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_90">Our Dodds shall be pious.</a> The reference is to the
+      Rev. Dr. William Dodd, who three years after the publication of <i>Retaliation</i>
+      (i.e. June 27, 1777) was hanged at Tyburn for forging the signature of the
+      fifth Earl of Chesterfield, to whom he had been tutor. His life previously
+      had long been scandalous enough to justify Goldsmith&rsquo;s words. Johnson made
+      strenuous and humane exertions to save Dodd&rsquo;s life, but without avail.
+      (See Birkbeck Hill&rsquo;s <i>Boswell</i>, 1887, iii. 139–48.) There is an
+      account of Dodd&rsquo;s execution at the end of vol. i of Angelo&rsquo;s <i>Reminiscences</i>,
+      1830.
+    </p>
+
+    <p>
+      <a href="#page_90">our Kenricks.</a> Dr. William Kenrick&mdash;say the
+      earlier annotators&mdash;who &lsquo;read lectures at the Devil Tavern, under the
+      Title of &ldquo;The School of Shakespeare.&rdquo;&rsquo; The lectures began January 19,
+      1774, and help to fix the date of the poem. Goldsmith had little reason
+      for liking this versatile and unprincipled Ishmaelite of letters, who,
+      only a year before, had penned a scurrilous attack upon him in <i>The
+      London Packet</i>. Kenrick died in 1779.
+    </p>
+
+    <p>
+      <a href="#page_90">Macpherson.</a> &lsquo;David [James] Macpherson, Esq.; who
+      lately, from the mere <i>force of his style</i>, wrote down the first poet
+      of all antiquity.&rsquo; (Note to second edition.) This was &lsquo;Ossian&rsquo; Macpherson,
+      1738–96, who, in 1773, had followed up his Erse epics by a prose
+      translation of Homer, which brought him little but opprobrium. &lsquo;Your
+      abilities, since your Homer, are not so formidable,&rsquo; says Johnson in the
+      knockdown letter which he addressed to him in 1775. (Birkbeck Hill&rsquo;s <i>Boswell</i>,
+      1887, ii. 298.)
+    </p>
+
+    <p>
+      <a href="#page_90">Our Townshend.</a> See note to line 34.
+    </p>
+
+    <p>
+      <a href="#page_90">New Lauders and Bowers.</a> See note to l. 80.
+    </p>
+
+    <p>
+      <a href="#page_90">And Scotchman meet Scotchman, and cheat in the dark.</a>
+      Mitford compares Farquhar&rsquo;s <i>Love and a Bottle</i>, 1699, Act iii&mdash;
+    </p>
+
+<p class="poem">
+        But gods meet gods and jostle in the dark.
+</p>
+
+<p class="noindent">
+      But Farquhar was quoting from Dryden and Lee&rsquo;s <i>Oedipus</i>, 1679,
+      Act iv (at end).
+    </p>
+
+    <p>
+      <a href="#page_90">Here lies David Garrick.</a> &lsquo;The sum of all that can
+      be said for and against Mr. Garrick, some people think, may be found in
+      these lines of Goldsmith,&rsquo; writes Davies in his <i>Life of Garrick</i>,
+      2nd ed., 1780, ii. 159. Posterity has been less hesitating in its verdict.
+      &lsquo;The lines on Garrick,&rsquo; says Forster, <i>Life of Goldsmith</i>,
+      1871, ii. 409, &lsquo;are quite perfect writing. Without anger, the satire is
+      finished, keen, and uncompromising; the wit is adorned by most
+      discriminating praise; and the truth is
+      only the more unsparing for its exquisite good manners and good taste.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_91">Ye Kenricks.</a> See note to line 86.
+    </p>
+
+    <p>
+      <a href="#page_91">ye Kellys.</a> Hugh Kelly (1739–1777), an Irishman,
+      the author of <i>False Delicacy</i>, 1768; <i>A Word to the Wise</i>,
+      1770; <i>The School for Wives</i>, 1774, and other <i>sentimental
+      dramas,</i> is here referred to. His first play, which is described in
+      Garrick&rsquo;s prologue as a &lsquo;Sermon,&rsquo; &lsquo;preach&rsquo;d in Acts,&rsquo; was produced at
+      Drury Lane just six days before Goldsmith&rsquo;s comedy of <i>The Good
+      Natur&rsquo;d Man</i> appeared at Covent Garden, and obtained a success which
+      it ill deserved. <i>False Delicacy</i>&mdash;said Johnson truly
+      (Birkbeck Hill&rsquo;s <i> Boswell</i>, 1887, ii. 48)&mdash;&lsquo;was totally
+      void of character,&rsquo;&mdash;a crushing accusation to make against a drama.
+      But Garrick, for his private ends, had taken up Kelly as a rival to
+      Goldsmith; and the <i>comédie sérieuse</i> or <i> larmoyante</i>
+      of La Chaussée, Sedaine, and Diderot had already found votaries in
+      England. <i>False Delicacy</i>, weak, washy, and invertebrate as it
+      was, completed the transformation of &lsquo;genteel&rsquo; into &lsquo;sentimental&rsquo; comedy,
+      and establishing that <i>genre</i> for the next few years, effectually retarded
+      the wholesome reaction towards humour and character which Goldsmith had
+      tried to promote by <i>The Good Natur&rsquo;d Man</i>. (See note to l.
+      66.)
+    </p>
+
+    <p>
+      <a href="#page_91">Woodfalls.</a> &lsquo;William Woodfall&rsquo;&mdash;says Bolton
+      Corney&mdash;&lsquo;successively editor of <i>The London Packet</i> and
+      <i>The Morning Chronicle</i>, was matchless as a reporter of
+      speeches, and an able theatrical critic. He made lofty pretensions to
+      editorial impartiality&mdash;but the actor [i.e. Garrick] was not <i>
+      always</i> satisfied.&rsquo; He died in 1803. He must not be confounded with
+      Henry Sampson Woodfall, the editor of Junius&rsquo;s <i> Letters</i>. (See
+      note to l. 162.)
+    </p>
+
+    <p>
+      <a href="#page_91">To act as an angel.</a> There is a sub-ironic touch in
+      this phrase which should not be overlooked. Cf. l. 102.
+    </p>
+
+    <p>
+      <a href="#page_91">Here Hickey reclines.</a> See note to l. 15. In
+      Cumberland&rsquo;s <i>Poetical Epistle to Dr. Goldsmith; or Supplement to his
+      Retaliation</i> (<i>Gentleman&rsquo;s Magazine</i>, Aug. 1778, p. 384)
+      Hickey&rsquo;s genial qualities are thus referred to:&mdash;
+    </p>
+
+<p class="poem">
+        Give RIDGE and HICKY, generous souls!<br/>
+        Of WHISKEY PUNCH convivial bowls.
+</p>
+
+    <p>
+      <a href="#page_91">a special attorney.</a> A special attorney was merely
+      an attorney who practised in one court only. The species is now said to be
+      extinct.
+    </p>
+
+    <p>
+      <a href="#page_91">burn ye.</a> The annotator of the second edition,
+      apologizing for this &lsquo;forced&rsquo; rhyme to &lsquo;attorney,&rsquo; informs the English
+      reader that the phrase of &lsquo;burn ye&rsquo; is &lsquo;a familiar method of salutation in
+      Ireland amongst the lower classes of the people.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_91">Here Reynolds is laid.</a> This shares the palm with
+      the admirable epitaphs on Garrick and Burke. But Goldsmith loved Reynolds,
+      and there are no satiric strokes in the picture. If we are to believe
+      Malone (Reynolds&rsquo;s <i>Works</i>, second edition, 1801, i. xc),
+      &lsquo;these were the last lines the author wrote.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_91">bland.</a> Malone (<i>ut supra</i>, lxxxix) notes this
+      word as &lsquo;eminently happy, and characteristick of his [Reynolds&rsquo;s] easy and
+      placid manners.&rsquo; Boswell (Dedication of <i>Life of Johnson</i>)
+      refers to his &lsquo;equal and placid temper.&rsquo; Cf. also Dean Barnard&rsquo;s verses
+      (Northcote&rsquo;s <i>Life of Reynolds</i>, 2nd ed., 1819, i. 220), and
+      Mrs. Piozzi&rsquo;s lines in her <i>Autobiography</i>, 2nd ed., 1861, ii.
+      175–6.
+    </p>
+
+    <p>
+      <a href="#page_92">He shifted his trumpet.</a> While studying Raphael in
+      the Vatican in 1751, Reynolds caught so severe a cold &lsquo;as to occasion a
+      deafness which obliged him to use an ear-trumpet for the remainder of his
+      life.&rsquo; (Taylor and Leslie&rsquo;s <i>Reynolds</i>, 1865, i. 50.) This
+      instrument figures in a portrait of himself which he painted for Thrale
+      about 1775. See also Zoffany&rsquo;s picture of the &lsquo;Academicians gathered about
+      the model in the Life School at Somerset House,&rsquo; 1772, where he is shown
+      employing it to catch the conversation of Wilton and Chambers.
+    </p>
+
+    <p>
+      <a href="#page_92">and only took snuff.</a> Sir Joshua was a great
+      snuff-taker. His snuff-box, described in the Catalogue as the one
+      &lsquo;immortalized in Goldsmith&rsquo;s <i>Retaliation</i>,&rsquo; was exhibited,
+      with his spectacles and other personal relics, at the Grosvenor Gallery in
+      1883–4. In the early editions this epitaph breaks off abruptly at the word
+      &lsquo;snuff.&rsquo; But Malone says that half a line more had been written. Prior
+      gives this half line as &lsquo;By flattery unspoiled&mdash;,&rsquo; and affirms that
+      among several erasures in the manuscript sketch devoted to Reynolds it
+      &lsquo;remained unaltered.&rsquo; (<i>Life</i>, 1837, ii. 499.) See notes to ll.
+      53, 56, and 91 of <i>The Haunch of Venison</i>.
+    </p>
+
+    <p>
+      <a href="#page_92">Here Whitefoord reclines.</a> The circumstances which
+      led to the insertion of these lines in the fifth edition are detailed in
+      the prefatory words of the publisher given at p. 92. There is more than a
+      suspicion that Whitefoord wrote them himself; but they have too long been
+      accepted as an appendage to the poem to be now displaced. Caleb Whitefoord
+      (born 1734) was a Scotchman, a wine-merchant, and an art connoisseur, to
+      whom J. T. Smith, in his <i>Life of Nollekens</i>, 1828, i. 333–41,
+      devotes several pages. He was one of the party at the St. James&rsquo;s
+      Coffee-house. He died in 1810. There is a caricature of him in
+      &lsquo;Connoisseurs inspecting a Collection of George Morland,&rsquo; November, 16,
+      1807; and Wilkie&rsquo;s <i>Letter of Introduction</i>, 1814, was a
+      reminiscence of a visit which, when he first came to London, he paid to
+      Whitefoord. He was also painted by Reynolds and Stuart. Hewins&rsquo;s <i>Whitefoord
+      Papers</i>, 1898, throw no light upon the story of the epitaph.
+    </p>
+
+    <p>
+      <a href="#page_92">a grave man.</a> Cf. <i>Romeo and Juliet</i>, Act
+      iii, Sc. 1:&mdash;&lsquo;Ask for me to-morrow, and you shall find me <i>a grave
+      man</i>.&rsquo; This Shakespearean recollection is a little like Goldsmith&rsquo;s
+      way. (See note to <i>The Haunch of Venison</i>, l. 120.)
+    </p>
+
+    <p>
+      <a href="#page_92">and rejoic&rsquo;d in a pun.</a> &lsquo;Mr. W. is so notorious a
+      punster, that Doctor Goldsmith used to say, it was impossible to keep him
+      company, without being <i>infected</i> with the <i>itch of punning</i>.&rsquo;
+      (Note to fifth edition.)
+    </p>
+
+    <p>
+      <a href="#page_93">&lsquo;if the table he set on a roar.&rsquo;</a> Cf. <i>Hamlet</i>,
+      Act v, Sc. I.
+    </p>
+
+    <p>
+      <a href="#page_93">Woodfall,</a> i.e. Henry Sampson Woodfall, printer of
+      <i>The Public Advertiser</i>. He died in 1805. (See note to l. 115.)
+    </p>
+
+    <p>
+      <a href="#page_93">Cross-Readings, Ship-News, and Mistakes of the Press.</a>
+      Over the <i>nom de guerre</i> of &lsquo;Papyrius Cursor,&rsquo; a real Roman name, but
+      as happy in its applicability as Thackeray&rsquo;s &lsquo;Manlius Pennialinus,&rsquo;
+      Whitefoord contributed many specimens of this mechanic wit to <i>The
+      Public Advertiser</i>. The &lsquo;Cross Readings&rsquo; were obtained by taking two
+      or three columns of a newspaper horizontally and &lsquo;onwards&rsquo; instead of
+      &lsquo;vertically&rsquo; and downwards, thus:&mdash;
+    </p>
+
+<p class="poem">
+        Colds caught at this season are<br/>
+        The Companion to the Playhouse.
+</p>
+
+<p class="noindent">
+      or
+    </p>
+
+<p class="poem">
+        To be sold to the best Bidder,<br/>
+        My seat in Parliament being vacated.
+</p>
+
+<p class="noindent">
+      A more elaborate example is
+    </p>
+
+<p class="poem">
+        On Tuesday an address was presented;<br/>
+        it unhappily missed fire and the villain made off,<br/>
+        when the honour of knighthood was conferred on him<br/>
+        to the great joy of that noble family
+</p>
+
+<p class="noindent">
+      Goldsmith was hugely delighted with Whitefoord&rsquo;s &lsquo;lucky inventions&rsquo; when
+      they first became popular in 1766. &lsquo;He declared, in the heat of his
+      admiration of them, it would have given him more pleasure to have been the
+      author of them than of all the works he had ever published of his own&rsquo;
+      (Northcote&rsquo;s <i>Life of Reynolds</i>, 2nd ed., 1819, i. 217). What
+      is perhaps more remarkable is, that Johnson spoke of Whitefoord&rsquo;s
+      performances as &lsquo;ingenious and diverting&rsquo; (Birkbeck Hill&rsquo;s <i>Boswell</i>,
+      1887, iv. 322); and Horace Walpole laughed over them till he cried (Letter
+      to Montagu, December 12, 1766). To use Voltaire&rsquo;s witticism, he is <i>bien
+      heureux</i> who can laugh now. It may be added that Whitefoord did not, as
+      he claimed, originate the &lsquo;Cross Readings.&rsquo; They had been anticipated in
+      No. 49 of Harrison&rsquo;s spurious <i>Tatler</i>, vol. v [1720].
+    </p>
+
+    <p>
+      The fashion of the &lsquo;Ship-News&rsquo; was in this wise: &lsquo;August 25 [1765]. We
+      hear that his Majestys Ship <i>Newcastle</i> will soon have a new
+      figurehead, the old one being almost worn out.&rsquo; The &lsquo;Mistakes of the
+      Press&rsquo; explain themselves. (See also Smith&rsquo;s <i>Life of Nollekens</i>,
+      1828, i. 336–7; Debrett&rsquo;s <i>New Foundling Hospital for Wit</i>,
+      1784, vol. ii, and <i>Gentleman&rsquo;s Magazine</i>, 1810, p. 300.)
+    </p>
+
+    <p>
+      <a href="#page_93">That a Scot may have humour, I had almost said wit.</a>
+      Goldsmith,&mdash;if he wrote these verses,&mdash;must have forgotten that
+      he had already credited Whitefoord with &lsquo;wit&rsquo; in l. 153.
+    </p>
+
+    <p>
+      <a href="#page_93">Thou best humour&rsquo;d man with the worst humour&rsquo;d muse.</a>
+      Cf. Rochester of Lord Buckhurst, afterwards Earl of Dorset:&mdash;
+    </p>
+
+<p class="poem">
+        The best good man, with the worst-natur&rsquo;d muse.
+</p>
+
+    <p>
+      Whitefoord&rsquo;s contribution to the epitaphs on Goldsmith is said to have
+      been unusually severe,&mdash;so severe that four only of its eight lines
+      are quoted in the <i> Whitefoord Papers</i>, 1898, the rest being
+      &lsquo;unfit for publication&rsquo; (p. xxvii). He afterwards addressed a metrical
+      apology to Sir Joshua, which is printed at pp. 217–8 of Northcote&rsquo;s <i>
+      Life</i>, 2nd ed., 1819. See also Forster&rsquo;s <i> Goldsmith</i>,
+      1871, ii. 408–9.
+    </p>
+
+<h3><a name="note30"></a>
+<a href="#page_94">SONG FOR &lsquo;SHE STOOPS TO CONQUER.&rsquo;</a></h3>
+
+    <p>
+      Boswell, to whom we are indebted for the preservation of this lively song,
+      sent it to <i>The London Magazine</i> for June, 1774 (vol. xliii, p.
+      295), with the following:&mdash;
+    </p>
+<p class="center">
+      &lsquo;To the Editor of <i>The London Magazine</i>.
+    </p>
+    <p>
+      S<small>IR</small>,&mdash;I send you a small production of the late Dr. <i>Goldsmith</i>,
+      which has never been published, and which might perhaps have been totally
+      lost had I not secured it. He intended it as a song in the character of
+      Miss <i> Hardcastle</i>, in his admirable comedy, <i>She stoops to
+      conquer</i>; but it was left out, as Mrs. <i>Bulkley</i> who played the
+      part did not sing. He sung it himself in private companies very agreeably.
+      The tune is a pretty Irish air, called <i>The Humours of Balamagairy</i>,
+      to which, he told me, he found it very difficult to adapt words; but he
+      has succeeded happily in these few lines. As I could sing the tune, and
+      was fond of them, he was so good as to give me them about a year ago, just
+      as I was leaving London, and bidding him adieu for that season, little
+      apprehending that it was a last farewell. I preserve this little relick in
+      his own handwriting with an affectionate care.
+    </p>
+
+<p class="right">
+      I am, Sir,&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;
+      &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;<br />
+      Your humble Servant,&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;<br /> J<small>AMES</small> B<small>OSWELL</small>.&rsquo;&nbsp;
+    </p>
+
+    <p>
+      When, seventeen years later, Boswell published his <i>Life of Samuel
+      Johnson, LL.D.</i>, he gave an account of his dining at General
+      Oglethorpe&rsquo;s in April, 1773, with Johnson and Goldsmith; and he says that
+      the latter sang the <i>Three Jolly Pigeons</i>, and this song, to
+      the ladies in the tea-room. Croker, in a note, adds that the younger
+      Colman more appropriately employed the &lsquo;essentially low comic&rsquo; air for
+      Looney Mactwolter in the [<i>Review; or the</i>] <i>Wags of Windsor</i>,
+      1808 [i.e. in that character&rsquo;s song beginning&mdash;&lsquo;Oh, whack! Cupid&rsquo;s a
+      mannikin&rsquo;], and that Moore tried to bring it into good company in the
+      ninth number of the <i>Irish Melodies</i>. But Croker did not admire
+      the tune, and thought poorly of Goldsmith&rsquo;s words. Yet they are certainly
+      fresher than Colman&rsquo;s or Moore&rsquo;s:&mdash;
+    </p>
+
+<p class="poem">
+Sing&mdash;sing&mdash;Music was given,<br/>
+    To brighten the gay, and kindle the loving;<br/>
+Souls here, like planets in Heaven,<br/>
+    By harmony&rsquo;s laws alone are kept moving, etc.
+</p>
+
+<h3><a name="note31"></a>
+<a href="#page_94">TRANSLATION.</a></h3>
+
+    <p>
+      These lines, which appear at p. 312 of vol. V of the <i>History of the
+      Earth and Animated Nature</i>, 1774, are freely translated from some
+      Latin verses by Addison in No 412 of the <i>Spectator</i>, where
+      they are introduced as follows:&mdash;&lsquo;Thus we see that every different
+      Species of sensible Creatures has its different Notions of Beauty, and
+      that each of them is most affected with the Beauties of its own kind. This
+      is nowhere more remarkable than in Birds of the same Shape and Proportion,
+      where we often see the Male determined in his Courtship by the single
+      Grain or Tincture of a Feather, and never discovering any Charms but in
+      the Colour of its own Species.&rsquo; Addison&rsquo;s lines, of which Goldsmith
+      translated the first fourteen only, are printed from his corrected MS. at
+      p. 4 of <i>Some Portions of Essays contributed to the Spectator by Mr.
+      Joseph Addison</i> [by the late J. Dykes Campbell], 1864.
+    </p>
+
+<h3><a name="note32"></a><a href="#page_95">THE HAUNCH OF VENISON.</a></h3>
+
+    <p>
+      It is supposed that this poem was written early in 1771, although it was
+      not printed until 1776, when it was published by G. Kearsly and J. Ridley
+      under the title of <i>The Haunch of Venison, a Poetical Epistle to the
+      Lord Clare. By the late Dr. Goldsmith. With a Head of the Author, Drawn by
+      Henry Bunbury, Esq; and Etched by</i> [<i>James</i>] <i> Bretherton.</i>
+      A second edition, the text of which is here followed, appeared in the same
+      year &lsquo;With considerable Additions and Corrections, Taken from the Author&rsquo;s
+      <i>last</i> Transcript.&rsquo; The Lord Clare to whom the verses are addressed
+      was Robert Nugent, of Carlanstown, Westmeath, M.P. for St. Mawes in
+      1741–54. In 1766 he was created Viscount Clare; in 1776 Earl Nugent. In
+      his youth he had himself been an easy if not very original versifier; and
+      there are several of his performances in the second volume of Dodsley&rsquo;s
+      <i>Collection of Poems by Several Hands</i>, 4th ed., 1755. One of
+      the Epistles, beginning &lsquo;Clarinda, dearly lov&rsquo;d, attend The Counsels of a
+      faithful friend,&rsquo; seems to have betrayed Goldsmith into the blunder of
+      confusing it, in the <i>Poems for Young Ladies</i>. 1767, p. 114,
+      with Lyttelton&rsquo;s better-known <i> Advice to a Lady</i> (&lsquo;The
+      counsels of
+      a friend, Belinda, hear&rsquo;), also in Dodsley&rsquo;s miscellany; while another
+      piece, an <i>Ode to William Pultney, Esq.</i>, contains a stanza so
+      good that Gibbon worked it into his character of Brutus:&mdash;
+    </p>
+
+<p class="poem">
+What tho&rsquo; the good, the brave, the wise,<br/>
+With adverse force undaunted rise,<br/>
+    To break th&rsquo; eternal doom!<br/>
+Tho&rsquo; CATO liv&rsquo;d, tho&rsquo; TULLY spoke,<br/>
+Tho&rsquo; BRUTUS dealt the godlike stroke,<br/>
+    Yet perish&rsquo;d fated ROME.
+</p>
+
+    <p>
+      Detraction, however, has insinuated that Mallet, his step-son&rsquo;s tutor, was
+      Nugent&rsquo;s penholder in this instance. &lsquo;Mr. Nugent sure did not write his
+      own Ode,&rsquo; says Gray to Walpole (Gray&rsquo;s <i>Works</i>, by Gosse, 1884,
+      ii. 220). Earl Nugent died in Dublin in October, 1788, and was buried at
+      Gosfield in Essex, a property he had acquired with his second wife. A <i>
+      Memoir</i> of him was written in 1898 by Mr. Claud Nugent. He is described
+      by Cunningham as &lsquo;a big, jovial, voluptuous Irishman, with a loud voice, a
+      strong Irish accent, and a ready though coarse wit.&rsquo; According to Percy (<i>Memoir</i>,
+      1801, p. 66), he had been attracted to Goldsmith by the publication of
+      <i>The Traveller</i> in 1764, and he mentioned him favourably to the
+      Earl of Northumberland, then Lord Lieutenant of Ireland. A note in
+      Forster&rsquo;s <i>Life</i>, 1871, ii. 329–30, speaks of Goldsmith as a
+      frequent visitor at Gosfield, and at Nugent&rsquo;s house in Great George
+      Street, Westminster, where he had often for playmate his host&rsquo;s daughter,
+      Mary, afterwards Marchioness of Buckingham.
+    </p>
+
+    <p>
+      Scott and others regarded <i>The Haunch of Venison</i> as
+      autobiographical. To what extent this is the case, it is difficult to say.
+      That it represents the actual thanks of the poet to Lord Clare for an
+      actual present of venison, part of which he promptly transferred to
+      Reynolds, is probably the fact. But, as the following notes show, it is
+      also clear that Goldsmith borrowed, if not his entire fable, at least some
+      of its details from Boileau&rsquo;s third satire; and that, in certain of the
+      lines, he had in memory Swift&rsquo;s <i>Grand Question Debated</i>, the
+      measure of which he adopts. This throws more than a doubt upon the truth
+      of the whole. &lsquo;His genius&rsquo; (as Hazlitt says) &lsquo;was a mixture of originality
+      and imitation&rsquo;; and fact and fiction often mingle inseparably
+      in his work. The author of the bailiff scene in the <i>Good Natur&rsquo;d Man</i>
+      was quite capable of inventing for the nonce the tragedy of the unbaked
+      pasty, or of selecting from the Pilkingtons and Purdons of his
+      acquaintance such appropriate guests for his Mile End Amphitryon as the
+      writers of the <i>Snarler</i> and the <i>Scourge</i>. It may
+      indeed even be doubted whether, if <i>The Haunch of Venison</i> had
+      been absolute personal history, Goldsmith would ever have retailed it to
+      his noble patron at Gosfield, although it may include enough of real
+      experience to serve as the basis for a <i>jeu d&rsquo;esprit</i>.
+    </p>
+
+    <p>
+      <a href="#page_95">The fat was so white, etc.</a> The first version reads&mdash;&lsquo;The
+      white was so white, and the red was so ruddy.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_95">Though my stomach was sharp, etc.</a> This couplet is
+      not in the first version.
+    </p>
+
+    <p>
+      <a href="#page_95">One gammon of bacon.</a> Prior compared a passage from
+      Goldsmith&rsquo;s <i>Animated Nature</i>, 1774, iii. 9, <i>à propos</i>
+      of a similar practice in Germany, Poland, and Switzerland. &lsquo;A piece of
+      beef,&rsquo; he says, &lsquo;hung up there, is considered as an elegant piece of
+      furniture, which, though seldom touched, at least argues the possessor&rsquo;s
+      opulence and ease.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_95">a bounce,</a> i.e. a braggart falsehood. Steele, in No.
+      16 of <i>The Lover</i>, 1715, p. 110, says of a manifest piece of
+      brag, &lsquo;But this is supposed to be only a <i>Bounce</i>.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_95">Mr. Byrne,</a> spelled &lsquo;Burn&rsquo; in the earlier editions,
+      was a relative of Lord Clare.
+    </p>
+
+    <p>
+      <a href="#page_95"> M&mdash;r&mdash;&rsquo;s.</a> M<small>ONROE</small>&rsquo;s in the
+      first version. &lsquo;Dorothy Monroe,&rsquo; says Bolton Corney, &lsquo;whose various charms
+      are celebrated in verse by Lord Townshend.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_96">There&rsquo;s H&mdash;d, and C&mdash;y, and H&mdash;rth, and
+      H&mdash;ff.</a> In the first version&mdash;<br /> &nbsp;&nbsp;&nbsp;&nbsp;&lsquo;There&rsquo;s
+      C<small>OLEY</small>, and W<small>ILLIAMS</small>, and H<small>OWARD</small>,
+      and H<small>IFF</small>.&rsquo;&mdash;Hiff was Paul Hiffernan, M.B., 1719–77, a
+      Grub Street author and practitioner. Bolton Corney hazards some
+      conjectures as to the others; but Cunningham wisely passes them over.
+    </p>
+
+    <p>
+      <a href="#page_96"> H&mdash;gg&mdash;ns.</a> Perhaps, suggests Bolton
+      Corney, this was the Captain Higgins who assisted at Goldsmith&rsquo;s absurd
+      &lsquo;fracas&rsquo; with Evans the bookseller, upon the occasion of Kenrick&rsquo;s letter
+      in <i>The London Packet</i> for March 24, 1773. Other accounts,
+      however, state that his companion was Captain Horneck (Prior, <i>Life</i>,
+      1837, ii. 411–12). This couplet is not in the first version.
+    </p>
+
+    <p>
+      <a href="#page_96">Such dainties to them, etc.</a> The first version
+      reads:&mdash;
+    </p>
+
+<p class="poem">
+Such dainties to them! It <i>would</i> look like a flirt,<br/>
+Like sending &rsquo;em Ruffles when wanting a Shirt.
+</p>
+
+<p class="noindent">
+      Cunningham quotes a similar idea from T. Brown&rsquo;s <i>Laconics, Works</i>,
+      1709, iv. 14. &lsquo;To treat a poor wretch with a bottle of Burgundy, or fill
+      his snuff-box, is like giving a pair of lace ruffles to a man that has
+      never a shirt on his back.&rsquo; But Goldsmith, as was his wont, had already
+      himself employed the same figure. &lsquo;Honours to one in my situation,&rsquo; he
+      says in a letter to his brother Maurice, in January, 1770, when speaking
+      of his appointment as Professor of Ancient History to the Royal Academy,
+      &lsquo;are something like ruffles to a man that wants a shirt&rsquo; (<i>Percy
+      Memoir</i>, 1801, 87–8). His source was probably, not Brown&rsquo;s <i>Laconics</i>,
+      but those French &lsquo;ana&rsquo; he knew so well. According to M. J. J. Jusserand (<i>English
+      Essays from a French Pen</i>, 1895, pp. 160–1), the originator of this
+      conceit was M. Samuel de Sorbieres, the traveller in England who was
+      assailed by Bishop Sprat. Considering himself inadequately rewarded by his
+      patrons, Mazarin, Louis XIV, and Pope Clement IX, he said bitterly&mdash;&lsquo;They
+      give lace cuffs to a man without a shirt&rsquo;; a &lsquo;consolatory witticism&rsquo; which
+      he afterwards remodelled into, &lsquo;I wish they would send me bread for the
+      butter they kindly provided me with.&rsquo; In this form it appears in the
+      Preface to the <i>Sorberiana</i>, Toulouse, 1691.
+    </p>
+
+    <p>
+      <i>a flirt</i> is a jibe or jeer. &lsquo;He would sometimes . . . cast out a
+      jesting <i>flirt</i> at me.&rsquo; (Morley&rsquo;s <i>History of Thomas Ellwood</i>,
+      1895, p. 104.) Swift also uses the word.
+    </p>
+
+    <p>
+      <a href="#page_96">An under-bred, fine-spoken fellow, etc.</a> The first
+      version reads&mdash;
+    </p>
+
+<p class="poem">
+        A fine-spoken Custom-house Officer he,<br/>
+        Who smil&rsquo;d as he gaz&rsquo;d on the Ven&rsquo;son and me.
+</p>
+
+    <p>
+      <a href="#page_96">but I hate ostentation.</a> Cf. Beau Tibbs:&mdash;&lsquo;She
+      was bred, <i>but that&rsquo;s between ourselves</i>, under the inspection of the
+      Countess of All-night.&rsquo; (<i>Citizen of the World</i>, 1762, i.
+      238.)
+    </p>
+
+    <p>
+      <a href="#page_96">We&rsquo;ll have Johnson, and Burke.</a> Cf. Boileau, <i>Sat.</i>
+      iii. ll. 25–6, which Goldsmith had in mind:&mdash;
+    </p>
+
+<p class="poem">
+        Molière avec Tartufe y doit jouer son rôle,<br/>
+        Et Lambert, qui plus est, m&rsquo;a donné sa parole.
+</p>
+
+    <p>
+      <a href="#page_97">What say you&mdash;a pasty? It shall, and it must.</a>
+      The first version reads&mdash;
+    </p>
+
+<p class="poem">
+        I&rsquo;ll take no denial&mdash;you shall, and you must.
+</p>
+
+    <p>
+      Mr. J. H. Lobban, <i>Goldsmith, Select Poems</i>, 1900, notes a
+      hitherto undetected similarity between this and the &lsquo;It <i>must</i>, and
+      it <i>shall</i> be a barrack, my life&rsquo; of Swift&rsquo;s <i>Grand Question
+      Debated</i>. See also ll. 56 and 91.
+    </p>
+
+    <p>
+      <a href="#page_97">No stirring, I beg&mdash;my dear friend&mdash;my dear
+      friend.</a> In the first edition&mdash;
+    </p>
+
+<p class="poem">
+        No words, my dear GOLDSMITH! my very good Friend!
+</p>
+    <p>
+      Mr. Lobban compares:&mdash;
+    </p>
+
+<p class="poem">
+        &lsquo;Good morrow, good captain.&rsquo; &lsquo;I&rsquo;ll wait on you down,&rsquo;&mdash;<br/>
+        &lsquo;You shan&rsquo;t stir a foot.&rsquo; &lsquo;You&rsquo;ll think me a clown.&rsquo;
+</p>
+
+    <p>
+      <a href="#page_97">&lsquo;And nobody with me at sea but myself.&rsquo;</a> This is
+      almost a textual quotation from one of the letters of Henry Frederick,
+      Duke of Cumberland, to Lady Grosvenor, a correspondence which in 1770 gave
+      great delight to contemporary caricaturists and scandal-mongers. Other
+      poets besides Goldsmith seem to have been attracted by this particular
+      lapse of his illiterate Royal Highness, since it is woven into a ballad
+      printed in <i>The Public Advertiser</i> for August 2 in the above
+      year:&mdash;
+    </p>
+
+<p class="poem">
+        The Miser who wakes in a Fright for his Pelf,<br/>
+        And finds <i>no one by him except his own Self</i>, etc.
+</p>
+
+    <p>
+      <a href="#page_97">When come to the place, etc.</a> Cf. Boileau, <i>ut
+      supra</i>, ll. 31–4:&mdash;
+    </p>
+
+<p class="poem">
+        A peine étais-je entré, que ravi de me voir,<br/>
+        Mon homme, en m&rsquo;embrassant, m&rsquo;est venu recevoir;<br/>
+        Et montrant à mes yeux une allégresse entière,<br/>
+        Nous n&rsquo;avons, m&rsquo;a-t-il dit, ni Lambert ni Molière.
+</p>
+
+    <p>
+      Lambert the musician, it may be added, had the special reputation of
+      accepting engagements which he never kept.
+    </p>
+
+    <p>
+      <a href="#page_97">and t&rsquo;other with Thrale.</a> Henry Thrale, the
+      Southwark brewer, and the husband of Mrs. Thrale, afterwards Mrs. Piozzi.
+      Johnson first made his acquaintance in 1765. Strahan complained to Boswell
+      that, by this connexion, Johnson &lsquo;was in a great measure absorbed from the
+      society of his old friends.&rsquo;
+      (Birkbeck Hill&rsquo;s <i>Boswell</i>, 1887, iii. 225.) Line 72 in the
+      first edition reads&mdash;
+    </p>
+
+<p class="poem">
+        The one at the House, and the other with THRALE.
+</p>
+
+    <p>
+      <a href="#page_97">They both of them merry and authors like you.</a>
+      &lsquo;They&rsquo; should apparently be &lsquo;they&rsquo;re.&rsquo; The first version reads&mdash;
+    </p>
+
+<p class="poem">
+        Who dabble and write in the Papers&mdash;like you.
+</p>
+
+    <p>
+      <a href="#page_97">Some think he writes Cinna&mdash;he owns to Panurge.</a>
+      &lsquo;Panurge&rsquo; and &lsquo;Cinna&rsquo; are signatures which were frequently to be found at
+      the foot of letters addressed to the <i>Public Advertiser</i> in
+      1770–1 in support of Lord Sandwich and the Government. They are said to
+      have been written by Dr. W. Scott, Vicar of Simonburn, Northumberland, and
+      chaplain of Greenwich Hospital, both of which preferments had been given
+      him by Sandwich. In 1765 he had attacked Lord Bute and his policy over the
+      signature of &lsquo;Anti-Sejanus.&rsquo; &lsquo;Sandwich and his parson Anti-Sejanus [are]
+      hooted off the stage&rsquo;&mdash;writes Walpole to Mann, March 21, 1766.
+      According to Prior, it was Scott who visited Goldsmith in his Temple
+      chambers, and invited him to &lsquo;draw a venal quill&rsquo; for Lord North&rsquo;s
+      administration. Goldsmith&rsquo;s noble answer, as reported by his reverend
+      friend, was&mdash;&lsquo;I can earn as much as will supply my wants without
+      writing for any party; the assistance therefore you offer is unnecessary
+      to me.&rsquo; (<i>Life</i>, 1837, ii. 278.) There is a caricature portrait
+      of Scott at p. 141 of <i>The London Museum</i> for February, 1771,
+      entitled &lsquo;Twitcher&rsquo;s Advocate,&rsquo; &lsquo;Jemmy Twitcher&rsquo; being the nickname of
+      Lord Sandwich.
+    </p>
+
+    <p>
+      <a href="#page_97">Swinging,</a> great, huge. &lsquo;Bishop Lowth has just
+      finished the Dramas, and sent me word, that although I have paid him the
+      most <i>swinging</i> compliment he ever received, he likes the whole book
+      more than he can say.&rsquo; (<i>Memoirs of Hannah More</i>, 1834, i.
+      236.)
+    </p>
+
+    <p>
+      <a href="#page_98">pasty.</a> The first version has Ven&rsquo;son.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_98">So there I sat, etc.</a> This couplet is not in the
+      first version.
+    </p>
+
+    <p>
+      <a href="#page_98">And, &lsquo;Madam,&rsquo; quoth he.</a> Mr. Lobban again quotes
+      Swift&rsquo;s <i>Grand Question Debated</i>:&mdash;
+    </p>
+
+<p class="poem">
+        And &lsquo;Madam,&rsquo; says he, &lsquo;if such dinners you give<br/>
+        You&rsquo;ll ne&rsquo;er want for parsons as long as you live.&rsquo;
+</p>
+
+    <p>
+      These slight resemblances, coupled with the more obvious likeness of the
+      &lsquo;Raphaels, Correggios, and stuff&rsquo; of <i> Retaliation</i> (ll. 145–6)
+      to the <i>Noueds</i> and <i> Bluturks</i> and <i>Omurs</i> and stuff&rsquo;
+      (also pointed out by Mr. Lobban) are interesting, because they show
+      plainly that Goldsmith remembered the works of Swift far better than <i>The
+      New Bath Guide</i>, which has sometimes been supposed to have set the
+      tune to the <i>Haunch</i> and <i>Retaliation</i>.
+    </p>
+
+    <p>
+      <a href="#page_98">&lsquo;may this bit be my poison.&rsquo;</a> The gentleman in <i>She
+      Stoops to Conquer</i>, Act i, who is &lsquo;obligated to dance a bear.&rsquo; Uses
+      the same asseveration. Cf. also Squire Thornhill&rsquo;s somewhat similar
+      formula in chap. vii of <i>The Vicar of Wakefield</i>, 1766, i. 59.
+    </p>
+
+    <p>
+      <a href="#page_98">&lsquo;The tripe,&rsquo; quoth the Jew, etc.</a> The first version
+      reads&mdash;
+    </p>
+
+<p class="poem">
+        &lsquo;Your Tripe!&rsquo; quoth the <i>Jew</i>, &lsquo;if the truth I may speak,<br/>
+        I could eat of this Tripe seven days in the week.&rsquo;
+</p>
+
+    <p>
+      <a href="#page_98">Re-echoed,</a> i.e. &lsquo;returned&rsquo; in the first edition.
+    </p>
+
+    <p>
+      <a href="#page_98">thot.</a> This, probably by a printer&rsquo;s error, is
+      altered to &lsquo;that&rsquo; in the second version. But the first reading is the more
+      in keeping, besides being a better rhyme.
+    </p>
+
+    <p>
+      <a href="#page_98">Wak&rsquo;d Priam.</a> Cf. 2 <i>Henry IV</i>, Act I,
+      Sc. 1:&mdash;
+    </p>
+
+<p class="poem">
+        Even such a man, so faint, so spiritless,<br/>
+        So dull, so dead in look, so woe-begone,<br/>
+        Drew Priam&rsquo;s curtain in the dead of night.<br/>
+        And would have told him half his Troy was burnt.
+</p>
+
+    <p>
+      <a href="#page_99">sicken&rsquo;d over by learning.</a> Cf. <i>Hamlet</i>,
+      Act iii, Sc. 1:
+    </p>
+
+<p class="poem">
+        And thus the native hue of resolution<br/>
+        Is <i>sicklied o&rsquo;er</i> with the pale cast of thought.
+</p>
+
+    <p>
+      Notwithstanding the condemnation of Shakespeare in the <i>Present State
+      of Polite Learning</i>, and elsewhere, Goldsmith frequently weaves
+      Shakespearean recollections into his work. Cf. <i>She Stoops to Conquer</i>,
+      1773, Act i, p. 13, &lsquo;We wanted no ghost to tell us that&rsquo; (<i>Hamlet</i>,
+      Act i, Sc. 5); and Act i, p. 9, where he uses Falstaff&rsquo;s words (1 <i>Henry
+      IV</i>, Act v, Sc. 1):&mdash;
+    </p>
+
+<p class="poem">
+        Would it were bed-time and all were well.
+</p>
+
+    <p>
+      <a href="#page_99">as very well known.</a> The first version has, &lsquo;&rsquo;tis
+      very well known.&rsquo;
+    </p>
+
+<h3><a name="note33"></a>
+<a href="#page_100">EPITAPH ON THOMAS PARNELL.</a></h3>
+
+    <p>
+      This epitaph, apparently never used, was published with <i>The Haunch
+      of Venison</i>, 1776; and is supposed to have been written about 1770.
+      In that year Goldsmith wrote a <i>Life of Thomas Parnell, D.D.</i>,
+      to accompany an edition of his poems, printed for Davies of Russell
+      Street. Parnell was born in 1679, and died at Chester in 1718, on his way
+      to Ireland. He was buried at Trinity Church in that town, on the 24th of
+      October. Goldsmith says that his father and uncle both knew Parnell (<i>Life
+      of Parnell</i>, 1770, p. v), and that he received assistance from the
+      poet&rsquo;s nephew, Sir John Parnell, the singing gentleman who figures in
+      Hogarth&rsquo;s <i>Election Entertainment</i>. Why Goldsmith should write
+      an epitaph upon a man who died ten years before his own birth, is not easy
+      to explain. But Johnson also wrote a Latin one, which he gave to Boswell.
+      (Birkbeck Hill&rsquo;s <i>Life</i>, 1887, iv. 54.)
+    </p>
+
+    <p>
+      <a href="#page_100">gentle Parnell&rsquo;s name.</a> Mitford compares Pope on
+      Parnell [<i>Epistle to Harley</i>, l. iv]:&mdash;
+    </p>
+
+<p class="poem">
+        With softest manners, gentlest Arts adorn&rsquo;d.
+</p>
+
+    <p>
+      Pope published Parnell&rsquo;s <i>Poems</i> in 1722, and his sending them
+      to Harley, Earl of Oxford, after the latter&rsquo;s disgrace and retirement, was
+      the occasion of the foregoing epistle, from which the following lines
+      respecting Parnell may also be cited:&mdash;
+    </p>
+
+<p class="poem">
+        For him, thou oft hast bid the World attend,<br/>
+        Fond to forget the statesman in the friend;<br/>
+        For SWIFT and him despis&rsquo;d the farce of state,<br/>
+        The sober follies of the wise and great;<br/>
+        Dext&rsquo;rous the craving, fawning crowd to quit,<br/>
+        And pleas&rsquo;d to &rsquo;scape from Flattery to Wit.
+</p>
+
+    <p>
+      <a href="#page_100">his sweetly-moral lay.</a> Cf. <i>The Hermit</i>,
+      the <i>Hymn to Contentment</i>, the <i>Night Piece on Death</i>&mdash;which
+      Goldsmith certainly recalled in his own <i>City Night-Piece</i>. Of
+      the last-named Goldsmith says (<i>Life of Parnell</i>, 1770, p.
+      xxxii), not without an obvious side-stroke at Gray&rsquo;s too-popular <i>Elegy</i>,
+      that it &lsquo;deserves every praise, and I should suppose with very little
+      amendment, might be made to surpass all those night pieces and church yard
+      scenes that have since appeared.&rsquo; This is certainly (as Longfellow sings)
+      to
+    </p>
+
+<p class="poem">
+    rustling hear in every breeze<br/>
+The laurels of Miltiades.
+</p>
+
+    <p>
+      Of Parnell, Hume wrote (<i>Essays</i>, 1770, i. 244) that &lsquo;after the
+      fiftieth reading; [he] is as fresh as at the first.&rsquo; But Gray (speaking&mdash;it
+      should be explained&mdash;of a dubious volume of his posthumous works)
+      said: &lsquo;Parnell is the dung-hill of Irish Grub Street&rsquo; (Gosse&rsquo;s Gray&rsquo;s
+      <i>Works</i>, 1884, ii. 372). Meanwhile, it is his fate to-day to be
+      mainly remembered by three words (not always attributed to him) in a
+      couplet from what Johnson styled &lsquo;perhaps the meanest&rsquo; of his
+      performances, the <i>Elegy&mdash; to an Old Beauty</i>:&mdash;
+    </p>
+
+<p class="poem">
+        And all that&rsquo;s madly wild, or oddly gay,<br/>
+        We call it only <i>pretty Fanny&rsquo;s way</i>.
+</p>
+
+<h3><a name="note34"></a><a href="#page_100">THE CLOWN&rsquo;S REPLY.</a></h3>
+
+    <p>
+      This, though dated &lsquo;Edinburgh 1753,&rsquo; was first printed in <i>Poems and
+      Plays</i>, 1777, p. 79.
+    </p>
+
+    <p>
+      <a href="#page_100">John Trott</a> is a name for a clown or commonplace
+      character. Miss Burney (<i>Diary</i>, 1904, i. 222) says of Dr.
+      Delap:&mdash;&lsquo;As to his person and appearance, they are much in the <i>John-trot</i>
+      style.&rsquo; Foote, Chesterfield, and Walpole use the phrase; Fielding
+      Scotticizes it into &lsquo;John Trott-Plaid, Esq.&rsquo;; and Bolingbroke employs it
+      as a pseudonym.
+    </p>
+
+    <p>
+      <a href="#page_100">I shall ne&rsquo;er see your graces.</a> &lsquo;I shall never see
+      a Goose again without thinking on Mr. <i>Neverout</i>,&rsquo;&mdash;says the
+      &lsquo;brilliant Miss Notable&rsquo; in Swift&rsquo;s <i>Polite Conversation</i>,
+      1738, p. 156.
+    </p>
+
+<h3><a name="note35"></a><a href="#page_100">EPITAPH ON EDWARD PURDON.</a></h3>
+
+    <p>
+      The occasion of this quatrain, first published as Goldsmith&rsquo;s* in <i>Poems
+      and Plays</i>, 1777, p. 79, is to be found in Forster&rsquo;s <i>Life and
+      Times of Oliver Goldsmith</i>, 1871, ii. 60. Purdon died on March 27,
+      1767 (<i>Gentleman&rsquo;s Magazine</i>, April, 1767, p. 192). &lsquo;&ldquo;Dr.
+      Goldsmith made this epitaph,&rdquo; says William Ballantyne [the author of <i>Mackliniana</i>],
+      &ldquo;in his way from his chambers in the Temple to the Wednesday evening&rsquo;s
+      club at the Globe. <i>I think he will never come back</i>, I believe he
+      said. I was
+      sitting by him, and he repeated it more than twice. (I think he will never
+      come back.)&rdquo;&rsquo; Purdon had been at Trinity College, Dublin, with Goldsmith;
+      he had subsequently been a foot soldier; ultimately he became a
+      &lsquo;bookseller&rsquo;s hack.&rsquo; He wrote an anonymous letter to Garrick in 1759, and
+      translated the <i> Henriade</i> of Voltaire. This translation
+      Goldsmith is supposed to have revised, and his own life of Voltaire was to
+      have accompanied it, though finally the Memoir and Translation seem to
+      have appeared separately. (Cf. prefatory note to <i>Memoirs of M. de
+      Voltaire</i> in Gibbs&rsquo;s <i>Works of Oliver Goldsmith</i>, 1885,
+      iv. 2.)
+    </p>
+
+<p class="footnote">
+* It had previously appeared as an extempore by a correspondent in
+      the <i>Weekly Magazine</i>, Edin., August 12, 1773 (<i>Notes and
+      Queries</i>, February 14, 1880).
+    </p>
+
+    <p>
+      Forster says further, in a note, &lsquo;The original . . . is the epitaph on &ldquo;La
+      Mort du Sieur Etienne&rdquo;:&mdash;
+    </p>
+
+<p class="poem">
+Il est au bout de ses travaux,<br/>
+    Il a passé, le Sieur Etienne;<br/>
+En ce monde il eut tant des maux<br/>
+    Qu&rsquo;on ne croit pas qu&rsquo;il revienne.
+</p>
+
+<p class="noindent">
+      With this perhaps Goldsmith was familiar, and had therefore less scruple
+      in laying felonious hands on the epigram in the <i>Miscellanies</i>
+      (Swift, xiii. 372):&mdash;
+    </p>
+
+<p class="poem">
+Well, then, poor G&mdash;&mdash; lies underground!<br/>
+    So there&rsquo;s an end of honest Jack.<br/>
+So little justice here he found,<br/>
+    &rsquo;Tis ten to one he&rsquo;ll ne&rsquo;er come back.&rsquo;
+</p>
+
+<p class="noindent">
+      Mr. Forster&rsquo;s &lsquo;felonious hands&rsquo; recalls a passage in Goldsmith&rsquo;s <i>Life
+      of Parnell</i>, 1770, in which, although himself an habitual sinner in
+      this way, he comments gravely upon the practice of plagiarism:&mdash;&lsquo;It
+      was the fashion with the wits of the last age, to conceal the places from
+      whence they took their hints or their subjects. A trifling acknowledgment
+      would have made that lawful prize, which may now be considered as plunder&rsquo;
+      (p. xxxii).
+    </p>
+
+<h3><a name="note36"></a><a href="#page_101">EPILOGUE FOR LEE LEWES&rsquo;S BENEFIT.</a></h3>
+
+    <p>
+      This benefit took place at Covent Garden on May 7, 1773, the pieces
+      performed being Rowe&rsquo;s <i>Lady Jane Grey</i>, and a popular
+      pantomimic after-piece by Theobald, called <i>Harlequin Sorcerer</i>,
+      Charles Lee Lewes (1740–1803) was the original &lsquo;Young Marlow&rsquo; of <i>She
+      Stoops to Conquer</i>. When that part was thrown up by
+      &lsquo;Gentleman&rsquo; Smith, Shuter, the &lsquo;Mr. Hardcastle&rsquo; of the comedy, suggested
+      Lewes, who was the harlequin of the theatre, as a substitute, and the
+      choice proved an admirable one. Goldsmith was highly pleased with his
+      performance, and in consequence wrote for him this epilogue. It was first
+      printed by Evans, 1780, i. 112–4.
+    </p>
+
+    <p>
+      <a href="#page_101">in thy black aspect,</a> i.e. the half-mask of
+      harlequin, in which character the Epilogue was spoken.
+    </p>
+
+    <p>
+      <a href="#page_101">rosined lightning,</a> stage-lightning, in which
+      rosin is an ingredient.
+    </p>
+
+<h3><a name="note37"></a><a href="#page_103">EPILOGUE INTENDED FOR<br />
+&lsquo;SHE STOOPS TO CONQUER.&rsquo;</a></h3>
+
+    <p>
+      This epilogue was first printed at pp. 82–6, vol. ii, of the <i>Miscellaneous
+      Works of</i> 1801. Bolton Corney says it had been given to Percy by
+      Goldsmith. It is evidently the &lsquo;quarrelling Epilogue&rsquo; referred to in the
+      following letter from Goldsmith to Cradock (<i>Miscellaneous Memoirs</i>,
+      1826, i. 225–6):&mdash;
+    </p>
+
+    <p>
+      &lsquo;M<small>Y DEAR</small> S<small>IR</small>,<br /> The Play [<i>She
+      Stoops to Conquer</i>] has met with a success much beyond your
+      expectations or mine. I thank you sincerely for your Epilogue, which,
+      however could not be used, but with your permission, shall be printed.*
+      The story in short is this; Murphy sent me rather the outline of an
+      Epilogue than an Epilogue, which was to be sung by Mrs. Catley, and which
+      she approved. Mrs. Bulkley hearing this, insisted on throwing up her part,
+      unless according to the custom of the theatre, she were permitted to speak
+      the Epilogue. In this embarrassment I thought of making a quarrelling
+      Epilogue between Catley and her, debating who should speak the Epilogue,
+      but then Mrs. Catley refused, after I had taken the trouble of drawing it
+      out. I was then at a loss indeed; an Epilogue was to be made, and for none
+      but Mrs. Bulkley. I made one, and Colman thought it too bad to be spoken;
+      I was obliged therefore to try a fourth time, and I made a very mawkish
+      thing, as you&rsquo;ll shortly see. Such is the history of my Stage adventures,
+      and which I have at last done with. I cannot help saying that I am very
+      sick of the
+      stage; and though I believe I shall get three tolerable benefits, yet I
+      shall upon the whole be a loser, even in a pecuniary light; my ease and
+      comfort I certainly lost while it was in agitation.
+    </p>
+
+<p class="right">
+      I am, my dear Cradock,&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;<br /> your obliged, and obedient servant,&nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;
+      &nbsp;&nbsp;&nbsp;&nbsp;<br /> O<small>LIVER</small> G<small>OLDSMITH</small>.&nbsp;&nbsp;&nbsp;&nbsp;
+    </p>
+    <p>
+      P.S.&mdash;Present my most humble respects to Mrs. Cradock.&rsquo;
+    </p>
+
+<p class="footnote">
+* It is so printed with the note&mdash;&lsquo;This came too late to be Spoken.&rsquo;
+    </p>
+
+    <p>
+      According to Prior (<i>Miscellaneous Works</i>, 1837, iv. 154),
+      Goldsmith&rsquo;s friend, Dr. Farr, had a copy of this epilogue which still,
+      when Prior wrote, remained in that gentleman&rsquo;s family.
+    </p>
+
+    <p>
+      <a href="#page_104">Who mump their passion,</a> i.e. grimace their
+      passion.
+    </p>
+
+    <p>
+      <a href="#page_104">ye macaroni train.</a> The Macaronies were the
+      foplings, fribbles, or beaux of Goldsmith&rsquo;s day. Walpole refers to them as
+      early as 1764; but their flourishing time was 1770–3, when the
+      print-shops, and especially Matthew Darly&rsquo;s in the Strand, No. 39, swarmed
+      with satirical designs of which they were the subject. Selwyn, March&mdash;many
+      well-known names&mdash;are found in their ranks. Richard Cosway figured as
+      &lsquo;The Macaroni Painter&rsquo;; Angelica Kauffmann as &lsquo;The Paintress of
+      Maccaroni&rsquo;s&rsquo;; Thrale as &lsquo;The Southwark Macaroni.&rsquo; Another caricature (&lsquo;The
+      Fluttering Macaroni&rsquo;) contains a portrait of Miss Catley, the singing
+      actress of the present epilogue; while Charles Horneck, the brother of
+      &lsquo;The Jessamy Bride&rsquo; (see p. 251, l. 14) is twice satirized as &lsquo;The Martial
+      Macaroni&rsquo; and &lsquo;The Military Macaroni.&rsquo; The name, as may be guessed, comes
+      from the Italian dish first made fashionable by the &lsquo;Macaroni Club,&rsquo; being
+      afterwards applied by extension to &lsquo;the younger and gayer part of our
+      nobility and gentry, who, at the same time that they gave in to the
+      luxuries of eating, went equally into the extravagancies of dress.&rsquo; (<i>Macaroni
+      and Theatrical Magazine</i>, Oct. 1772.) Cf. Sir Benjamin Backbite&rsquo;s
+      later epigram in <i>The School for Scandal</i>, 1777, Act ii, Sc. 2:&mdash;
+    </p>
+
+<p class="poem">
+        Sure never was seen two such beautiful ponies;<br/>
+        Other horses are clowns, but these <i>macaronies</i>:<br/>
+        To give them this title I&rsquo;m sure can&rsquo;t be wrong,<br/>
+        Their legs are so slim and their tails are so long.
+</p>
+
+    <p>
+      <a href="#page_105">Their hands are only lent to the Heinel.</a> See note
+      to l. 28, p. 85.
+    </p>
+
+<h3><a name="note38"></a><a href="#page_108">EPILOGUE INTENDED FOR<br />
+&lsquo;SHE STOOPS TO CONQUER.&rsquo;</a></h3>
+
+    <p>
+      This epilogue, given by Goldsmith to Dr. Percy in MS., was first published
+      in the <i>Miscellaneous Works</i> of 1801, ii. 87–8, as <i>An
+      Epilogue intended for Mrs. Bulkley</i>. Percy did not remember for what
+      play it was intended; but it is plainly (see note to l. 40) the second
+      epilogue for <i>She Stoops to Conquer</i> referred to in the letter
+      printed in this volume.
+    </p>
+
+    <p>
+      <a href="#page_108">There is a place, so Ariosto sings.</a> &lsquo;The poet
+      alludes to the thirty-fourth canto of <i>The Orlando furioso</i>.
+      Ariosto, as translated by Mr. Stewart Rose, observes of the <i>lunar world</i>;
+    </p>
+
+<p class="poem">
+        There thou wilt find, if thou wilt thither post,<br/>
+        Whatever thou on earth beneath hast lost.
+</p>
+
+<p class="noindent">
+      Astolpho undertakes the journey; discovers a portion of his own sense;
+      and, in an ample flask, the lost wits of Orlando.&rsquo; (Bolton Corney.) Cf.
+      also <i>Rape of the Lock</i>, Canto v, ll. 113–14:
+    </p>
+
+<p class="poem">
+        Some thought it mounted to the Lunar sphere,<br/>
+        Since all things lost on earth are treasur&rsquo;d there.
+</p>
+
+<p class="noindent">
+      Lord Chesterfield also refers to the &lsquo;happy extravagancy&rsquo; of Astolpho&rsquo;s
+      journey in his <i>Letters</i>, 1774, i. 557.
+    </p>
+
+    <p>
+      <a href="#page_108">at Foote&rsquo;s Alone.</a> &lsquo;Foote&rsquo;s&rsquo; was the Little Theatre
+      in the Haymarket, where, in February, 1773, he brought out what he
+      described as a &lsquo;Primitive Puppet Show,&rsquo; based upon the Italian Fantoccini,
+      and presenting a burlesque sentimental Comedy called <i>The Handsome
+      Housemaid; or, Piety in Pattens</i>, which did as much as <i> She
+      Stoops</i> to laugh false sentiment away. Foote warned his audience
+      that they would not discover &lsquo;much wit or humour&rsquo; in the piece, since &lsquo;his
+      brother writers had all agreed that it was highly improper, and beneath
+      the dignity of a mixed assembly, to show any signs of joyful satisfaction;
+      and that creating a laugh was forcing the higher order of an audience to a
+      vulgar and mean use of their muscles&rsquo;&mdash;for which reason, he
+      explained, he had, like them, given up the sensual for the sentimental
+      style. And thereupon followed the story of a maid of low degree who, &lsquo;by
+      the mere effects of morality and virtue, raised herself [like Richardson&rsquo;s
+      <i>Pamela</i>], to riches and honours.&rsquo; The
+      public, who for some time had acquiesced in the new order of things under
+      the belief that it tended to the reformation of the stage, and who were
+      beginning to weary of the &lsquo;moral essay thrown into dialogue,&rsquo; which had
+      for some time supplanted humorous situation, promptly came round under the
+      influence of Foote&rsquo;s Aristophanic ridicule, and the <i> comédie
+      larmoyante</i> received an appreciable check. Goldsmith himself had
+      prepared the way in a paper contributed to the <i>Westminster Magazine</i>
+      for December, 1772 (vol. i. p. 4), with the title of &lsquo;An Essay on the
+      Theatre; or, A Comparison between Laughing and Sentimental Comedy.&rsquo; The
+      specific reference in the Prologue is to the fact that Foote gave morning
+      performances of <i>The Handsome Housemaid</i>. There was one, for
+      instance, on Saturday, March 6, 1773.
+    </p>
+
+    <p>
+      <a href="#page_109">The Mohawk.</a> This particular species of the genus
+      &lsquo;rake&rsquo; belongs more to Swift&rsquo;s than Goldsmith&rsquo;s time, though the race is
+      eternal. There is an account of the &lsquo;Mohock Club&rsquo; in <i>Spectator</i>,
+      No. 324. See also <i>Spectator</i>, No. 347; Gay&rsquo;s <i> Trivia</i>,
+      1716, Book iii. p. 74; Swift&rsquo;s <i>Journal to Stella</i>, March 8 and
+      26, 1712; and the <i>Wentworth Papers</i>, 1883, pp. 277–8.
+    </p>
+
+    <p>
+      <a href="#page_109">Still stoops among the low to copy nature.</a> This
+      line, one would think, should have helped to convince Percy that the
+      epilogue was intended for <i>She Stoops to Conquer</i>, and for no
+      other play.
+    </p>
+
+<h3><a name="note39"></a><a href="#page_113">THE CAPTIVITY.</a></h3>
+
+    <p>
+      The Oratorio of the <i>Captivity</i> was written in 1764; but never
+      set to music. It was first printed in 1820 at pp. 451–70 of vol. ii of the
+      octavo edition of the <i> Miscellaneous Works</i> issued by the
+      trade in that year. Prior reprinted it in 1837 (<i>Works</i>, iv.
+      Pp. 79–95) from the &lsquo;original manuscript&rsquo; in Mr. Murray&rsquo;s possession; and
+      Cunningham again in 1854 (<i>Works</i>, i. pp. 63–76). It is here
+      reproduced from Prior. James Dodsley, who bought the MS. for Newbery and
+      himself, gave Goldsmith ten guineas. Murray&rsquo;s copy was the one made for
+      Dodsley, October 31, 1764; the one printed in 1820, that made for Newbery.
+      The latter, which once belonged to the autograph collector, William
+      Upcott, was in the market in 1887.
+    </p>
+
+    <p>
+      <a href="#page_114">AIR.</a> Act i. This song had been published in the
+      first edition
+      of <i>The Haunch of Venison</i>, 1776, with the second stanza varied
+      thus:&mdash;
+    </p>
+
+<p class="poem">
+Thou, like the world, th&rsquo; opprest oppressing,<br/>
+    Thy smiles increase the wretch&rsquo;s woe&rsquo;<br/>
+And he who wants each other blessing,<br/>
+    In thee must ever find a foe.
+</p>
+
+    <p>
+      <a href="#page_119">AIR.</a> Act ii. This song also had appeared in the
+      first edition of <i>The Haunch of Venison</i>, 1776, in a different
+      form:&mdash;
+    </p>
+
+<p class="poem">
+The Wretch condemn&rsquo;d with life to part,<br/>
+    Still, still on Hope relies;<br/>
+And ev&rsquo;ry pang that rends the heart,<br/>
+    Bids Expectation rise.<br/>
+<br/>
+Hope, like the glim&rsquo;ring taper&rsquo;s light,<br/>
+    Adorns and chears the way;<br/>
+And still, as darker grows the night,<br/>
+    Emits a brighter ray.
+</p>
+
+    <p>
+      Mitford, who printed <i>The Captivity</i> from Newbery&rsquo;s version,
+      records a number of &lsquo;first thoughts&rsquo; afterwards altered or improved by the
+      author in his MS. Modern editors have not reproduced them, and their
+      example has been followed here. <i>The Captivity</i> is not, in any
+      sense, one of Goldsmith&rsquo;s important efforts.
+    </p>
+
+<h3><a name="note40"></a><a href="#page_128">VERSES IN REPLY TO AN INVITATION TO DINNER.</a></h3>
+
+    <p>
+      These were first published in the <i> Miscellaneous Works</i> of
+      1837, iv. 132–3, having been communicated to the editor by Major-General
+      Sir H. E. Bunbury, Bart., the son of Henry William Bunbury, the well-known
+      comic artist, and husband of Catherine Horneck, the &lsquo;Little Comedy&rsquo; to
+      whom Goldsmith refers. Dr. Baker, to whose house the poet was invited, was
+      Dr. (afterwards Sir George) Baker, 1722–1809. He was Sir Joshua&rsquo;s doctor;
+      and in 1776 became physician to George III, whom he attended during his
+      illness of 1788–9. He is often mentioned by Fanny Burney and Hannah More.
+    </p>
+
+    <p>
+      <a href="#page_128">Horneck,</a> i.e. Mrs. Hannah Horneck&mdash;the
+      &lsquo;Plymouth Beauty&rsquo;&mdash;widow of Captain Kane William Horneck, grandson
+      of Dr. Anthony Horneck of the Savoy, mentioned in Evelyn&rsquo;s <i>Diary</i>,
+      for whose <i>Happy Ascetick</i>, 1724, Hogarth designed a
+      frontispiece. Mrs. Horneck died in 1803. Like Sir Joshua, the Hornecks
+      came from Devonshire; and through him, had made the acquaintance of
+      Goldsmith.
+    </p>
+
+    <p>
+      <a href="#page_128">Nesbitt.</a> Mr. Nesbitt was the husband of one of Mr.
+      Thrale&rsquo;s handsome sisters. He was a member of the Devonshire Club, and
+      twice (1759–61) sat to Reynolds, with whom he was intimate. He died in
+      1779, and his widow married a Mr. Scott.
+    </p>
+
+    <p>
+      <a href="#page_128">Kauffmann.</a> Angelica Kauffmann, the artist,
+      1741–1807. She had come to London in 1766. At the close of 1767 she had
+      been cajoled into a marriage with an impostor, Count de Horn, and had
+      separated from him in 1768. In 1769 she painted a &lsquo;weak and
+      uncharacteristic&rsquo; portrait of Reynolds for Mr. Parker of Saltram
+      (afterwards Baron Boringdon), which is now in the possession of the Earl
+      of Morley. It was exhibited at the Royal Academy in the winter of 1876,
+      and is the portrait referred to at l. 44 below.
+    </p>
+
+    <p>
+      <a href="#page_128">the Jessamy Bride.</a> This was Goldsmith&rsquo;s pet-name
+      for Mary, the elder Miss Horneck. After Goldsmith&rsquo;s death she married
+      Colonel F. E. Gwyn (1779). She survived until 1840. &lsquo;Her own picture with
+      a turban,&rsquo; painted by Reynolds, was left to her in his will (<i>Works</i>
+      by Malone, 2nd ed., 1798, p. cxviii). She was also painted by Romney and
+      Hoppner. &lsquo;Jessamy,&rsquo; or &lsquo;jessimy,&rsquo; with its suggestion of jasmine flowers,
+      seems in eighteenth-century parlance to have stood for &lsquo;dandified,&rsquo;
+      &lsquo;superfine,&rsquo; &lsquo;delicate,&rsquo; and the whole name was probably coined after the
+      model of some of the titles to Darly&rsquo;s prints, then common in all the
+      shops.
+    </p>
+
+    <p>
+      <a href="#page_128">The Reynoldses two,</a> i.e. Sir Joshua and his
+      sister, Miss Reynolds.
+    </p>
+
+    <p>
+      <a href="#page_128">Little Comedy&rsquo;s face.</a> &lsquo;Little Comedy&rsquo; was
+      Goldsmith&rsquo;s name for the younger Miss Horneck, Catherine, and already
+      engaged to H. W. Bunbury (<i>v. supra</i>), to whom she was married in
+      1771. She died in 1799, and had also been painted by Reynolds.
+    </p>
+
+    <p>
+      <a href="#page_128">the Captain in lace.</a> This was Charles Horneck,
+      Mrs. Horneck&rsquo;s son, an officer in the Foot-guards. He afterwards became a
+      general, and died in 1804. (See note, p. 247, l. 31.)
+    </p>
+
+    <p>
+      <a href="#page_129">to-day&rsquo;s Advertiser.</a> The lines referred to are
+      said by Prior to have been as follows:&mdash;
+    </p>
+
+<p class="poem">
+        While fair Angelica, with matchless grace,<br/>
+        Paints Conway&rsquo;s lovely form and Stanhope&rsquo;s face;<br/>
+        Our hearts to beauty willing homage pay,<br/>
+        We praise, admire, and gaze our souls away.<br/>
+        But when the likeness she hath done for thee,<br/>
+        O Reynolds! with astonishment we see,<br/>
+        Forced to submit, with all our pride we own,<br/>
+        Such strength, such harmony, excell&rsquo;d by none,<br/>
+        And thou art rivall&rsquo;d by thyself alone.
+</p>
+
+    <p>
+      They probably appeared in the newspaper at some date between 1769, when
+      the picture was painted, and August 1771, when &lsquo;Little Comedy&rsquo; was
+      married, after which time Goldsmith would scarcely speak of her except as
+      &lsquo;Mrs. Bunbury&rsquo; (see p. 132, l. 15).
+    </p>
+
+<h3><a name="note41"></a><a href="#page_130">LETTER IN PROSE AND VERSE TO MRS. BUNBURY.</a></h3>
+
+    <p>
+      This letter, which contains some of the brightest and easiest of
+      Goldsmith&rsquo;s familiar verses, was addressed to Mrs. Bunbury (the &lsquo;Little
+      Comedy&rsquo; of the <i>Verses in Reply to an Invitation to Dinner</i>,
+      pp. 250–2), in answer to a rhymed summons on her part to spend Christmas
+      at Great Barton in Suffolk, the family seat of the Bunburys. It was first
+      printed by Prior in the <i>Miscellaneous Works</i> of 1837, iv.
+      148–51, and again in 1838 in Sir Henry Bunbury&rsquo;s <i>Correspondence of
+      Sir Thomas Hanmer, Bart.</i>, pp. 379–83. The text of the latter issue
+      is here followed. When Prior published the verses, they were assigned to
+      the year 1772; in the <i>Hanmer Correspondence</i> it is stated that
+      they were &lsquo;probably written in 1773 or 1774.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_130">your spring velvet coat.</a> Goldsmith&rsquo;s pronounced
+      taste in dress, and his good-natured simplicity, made his costume a
+      fertile subject for playful raillery,&mdash;sometimes, for rather
+      discreditable practical jokes. (See next note.)
+    </p>
+
+    <p>
+      <a href="#page_131">a wig, that is modish and gay.</a> &lsquo;He always wore a
+      wig&rsquo;&mdash;said the &lsquo;Jessamy Bride&rsquo; in her reminiscences to Prior&mdash;&lsquo;a
+      peculiarity which those who judge of his appearance only from the fine poetical head
+      of Reynolds, would not suspect; and on one occasion some person contrived
+      to seriously injure this important adjunct to dress. It was the only one
+      he had in the country, and the misfortune seemed irreparable until the
+      services of Mr. Bunbury&rsquo;s valet were called in, who however performed his
+      functions so indifferently that poor Goldsmith&rsquo;s appearance became the
+      signal for a general smile&rsquo; (Prior&rsquo;s <i>Life</i>, 1837, ii. 378–9).
+    </p>
+
+    <p>
+      <a href="#page_131">Naso contemnere adunco.</a> Cf. Horace, <i>Sat</i>.
+      i. 6. 5:&mdash;
+    </p>
+
+<p class="poem">
+          naso suspendis adunco<br/>
+        Ignotos,
+</p>
+
+<p class="noindent">
+      and Martial, <i>Ep</i>. i. 4. 6:&mdash;
+    </p>
+
+<p class="poem">
+        Et pueri nasum Rhinocerotis habent.
+</p>
+
+    <p>
+      <a href="#page_131">Loo,</a> i.e. Lanctre- or Lanterloo, a popular
+      eighteenth-century game, in which <i>Pam</i>, l. 6, the knave of clubs, is
+      the highest card. Cf. Pope, <i>Rape of the Lock</i>, 1714, iii. 61:&mdash;
+    </p>
+
+<p class="poem">
+        Ev&rsquo;n might <i>Pam</i>, that Kings and Queens o&rsquo;erthrew,<br/>
+        And mow&rsquo;d down armies in the fights of Lu;
+</p>
+
+<p class="noindent">
+      and Colman&rsquo;s epilogue to <i>The School for Scandal</i>, 1777:&mdash;
+    </p>
+
+<p class="poem">
+        And at backgammon mortify my soul,<br/>
+        That pants for <i>loo</i>, or flutters at a vole?
+</p>
+
+    <p>
+      <a href="#page_132">Miss Horneck.</a> Miss Mary Horneck, the &lsquo;Jessamy
+      Bride&rsquo; <i>vide</i> note, p. 251, l. 14).
+    </p>
+
+    <p>
+      <a href="#page_132">Fielding.</a> Sir John Fielding, d. 1780, Henry
+      Fielding&rsquo;s blind half-brother, who succeeded him as a Justice of the Peace
+      for the City and Liberties of Westminster. He was knighted in 1761. There
+      are two portraits of him by Nathaniel Hone.
+    </p>
+
+    <p>
+      <a href="#page_133">by quinto Elizabeth, Death without Clergy.</a> Legal
+      authorities affirm that the Act quoted should be 8 Eliz. cap. iv, under
+      which those who stole more than twelvepence &lsquo;privately from a man&rsquo;s
+      person&rsquo; were debarred from benefit of clergy. But &lsquo;quint. Eliz.&rsquo; must have
+      offered some special attraction to poets, since Pope also refers to it in
+      the <i>Satires and Epistles</i>, i. 147–8:&mdash;
+    </p>
+
+<p class="poem">
+        Consult the Statute: <i>quart</i>. I think, it is,<br/>
+        <i>Edwardi sext.</i> or <i>prim. et quint. Eliz.</i>
+</p>
+
+    <p>
+      <a href="#page_133">With bunches of fennel, and nosegays before &rsquo;em.</a>
+      This was a custom dating from the fearful jail fever of 1750, which
+      carried off, not only prisoners, but a judge (Mr. Justice Abney) &lsquo;and many
+      jurymen and witnesses.&rsquo; &lsquo;From that time up to this day [i.e. 1855] it has
+      been usual to place sweet-smelling herbs in the prisoner&rsquo;s dock, to
+      prevent infection.&rsquo; (Lawrence&rsquo;s <i>Life of Henry Fielding</i>, 1855,
+      p. 296.) The close observation of Cruikshank has not neglected this detail
+      in the Old Bailey plate of <i>The Drunkard&rsquo;s Children</i>, 1848, v.
+    </p>
+
+    <p>
+      <a href="#page_133">mobs.</a> The mob was a loose undress or <i>dèshabillè</i>,
+      sometimes a hood. &lsquo;When we poor souls had presented ourselves with a
+      contrition suitable to our worthlessness, some pretty young ladies in <i>mobs</i>,
+      popped in here and there about the church.&rsquo; (<i>Guardian</i>, No.
+      65, May 26, 1713.) Cf. also Addison&rsquo;s &lsquo;Fine Lady&rsquo;s Diary&rsquo; (<i>Spectator</i>,
+      No. 323); &lsquo;Went in our <i>Mobbs</i> to the Dumb Man&rsquo; (Duncan Campbell).
+    </p>
+
+    <p>
+      <a href="#page_133">yon solemn-faced.</a> Cf. <i>Introduction</i>,
+      p. xxvii. According to the &lsquo;Jessamy Bride,&rsquo; Goldsmith sometimes aggravated
+      his plainness by an &lsquo;assumed frown of countenance&rsquo; (Prior, <i>Life</i>,
+      1837, ii. 379).
+    </p>
+
+    <p>
+      <a href="#page_133">Sir Charles,</a> i.e. Sir Thomas Charles Bunbury,
+      Bart., M. P., Henry Bunbury&rsquo;s elder brother. He succeeded to the title in
+      1764, and died without issue in 1821. Goldsmith, it may be observed, makes
+      &lsquo;Charles&rsquo; a disyllable. Probably, like many of his countrymen, he so
+      pronounced it. (Cf. Thackeray&rsquo;s <i>Pendennis</i>, 1850, vol. ii,
+      chap. 5 [or xliii], where this is humorously illustrated in Captain
+      Costigan&rsquo;s &lsquo;Sir <i>Chorlus</i>, I saw your neem at the Levee.&rsquo; Perhaps
+      this accounts for &lsquo;failing&rsquo; and &lsquo;stealing,&rsquo;&mdash;&lsquo;day on&rsquo; and &lsquo;Pantheon,&rsquo;
+      in the <i>New Simile</i>. Cooke (<i>European Magazine</i>, October, 1793,
+      p. 259) says that Goldsmith &lsquo;rather cultivated (than endeavoured to get
+      rid of) his brogue.&rsquo;
+    </p>
+
+    <p>
+      <a href="#page_133">dy&rsquo;d in grain,</a> i.e. fixed, ineradicable. To &lsquo;dye
+      in grain&rsquo; means primarily to colour with the scarlet or purple dye
+      produced by the <i>kermes</i> insect, called <i>granum</i> in Latin, from
+      its similarity to small seeds. Being what is styled a &lsquo;fast&rsquo; dye the
+      phrase is used by extension to signify permanence.
+    </p>
+
+<h3><a name="note42"></a>
+      <a href="#page_135">VIDA&rsquo;S GAME OF CHESS.</a></h3>
+
+    <p>
+      Forster thus describes the MS. of this poem in his <i>Life of Goldsmith</i>:&mdash;&lsquo;It
+      is a small quarto manuscript of thirty-four pages, containing 679 lines,
+      to which a fly-leaf is appended in which Goldsmith notes the differences
+      of nomenclature between Vida&rsquo;s chessmen and our own. It has occasional
+      interlineations and corrections, but such as would occur in transcription
+      rather than in a first or original copy. Sometimes indeed choice appears
+      to have been made (as at page 29) between two words equally suitable to
+      the sense and verse, as &ldquo;to&rdquo; for &ldquo;toward&rdquo;; but the insertions and erasures
+      refer almost wholly to words or lines accidentally omitted and replaced.
+      The triplet is always carefully marked; and seldom as it is found in any
+      other of Goldsmith&rsquo;s poems. I am disposed to regard its frequent
+      recurrence here as even helping, in some degree, to explain the motive
+      which had led him to the trial of an experiment in rhyme comparatively new
+      to him. If we suppose him, half consciously, it may be, taking up the
+      manner of the great master of translation, Dryden, who was at all times so
+      much a favourite with him, he would at least, in so marked a peculiarity,
+      be less apt to fall short than to err perhaps a little on the side of
+      excess. Though I am far from thinking such to be the result in the present
+      instance. The effect of the whole translation is pleasing to me, and the
+      mock-heroic effect I think not a little assisted by the reiterated use of
+      the triplet and alexandrine. As to any evidence of authorship derivable
+      from the appearance of the manuscript, I will only add another word. The
+      lines in the translation have been carefully counted, and the number is
+      marked in Goldsmith&rsquo;s hand at the close of his transcription. Such a fact
+      is, of course, only to be taken in aid of other proof; but a man is not
+      generally at the pains of counting, still less, I should say in such a
+      case as Goldsmith&rsquo;s, of elaborately transcribing, lines which are not his
+      own.&rsquo; (Forster&rsquo;s <i>Goldsmith</i>, 1871, ii. 235–6).
+    </p>
+
+    <p>
+      When Forster wrote the above, the MS. was in the possession of Mr. Bolton
+      Corney, who had not been aware of its existence when he edited Goldsmith&rsquo;s
+      Poems in 1845. In 1854 it was, with his permission, included in vol. iv of
+      Cunningham&rsquo;s <i> Works</i> of 1854, and subsequently in the Aldine
+      <i> Poems</i> of 1866.
+    </p>
+
+    <p>
+      Mark Jerome Vida of Cremona, 1490–1566, was Bishop of Alba, and favourite
+      of Leo the Magnificent. Several translators had tried their hand at his
+      <i>Game of Chess</i> before Goldsmith. Lowndes mentions Rowbotham,
+      1562; Jeffreys, 1736; Erskine, 1736; Pullin, 1750; and <i>Anon</i>.
+      (Eton), 1769 (who may have preceded Goldsmith). But after his
+      (Goldsmith&rsquo;s) death appeared another Oxford anonymous version, 1778, and
+      one by Arthur Murphy, 1786.
+    </p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="appendix" id="appendix"></a>
+APPENDIXES
+</h2>
+
+<table summary="" style="">
+
+<tr>
+<td> A. P<small>ORTRAITS OF</small> G<small>OLDSMITH.</small></td>
+</tr>
+
+<tr>
+<td> B. D<small>ESCRIPTIONS OF</small> N<small>EWELL&rsquo;S</small> V<small>IEWS OF</small> L<small>ISSOY, ETC.</small></td>
+</tr>
+
+<tr>
+<td> C. T<small>HE</small> E<small>PITHET</small> &lsquo;S<small>ENTIMENTAL</small>.&rsquo;</td>
+</tr>
+
+<tr>
+<td> D. F<small>RAGMENTS OF</small> T<small>RANSLATIONS, ETC. BY</small> G<small>OLDSMITH.</small></td>
+</tr>
+
+<tr>
+<td> E. G<small>OLDSMITH ON</small> P<small>OETRY UNDER</small> A<small>NNE AND</small> G<small>EORGE THE</small> F<small>IRST.</small></td>
+</tr>
+
+<tr>
+<td> F. C<small>RITICISMS FROM</small> G<small>OLDSMITH&rsquo;S</small> &lsquo;B<small>EAUTIES OF</small> E<small>NGLISH</small> P<small>OESY</small>.&rsquo;</td>
+</tr>
+
+</table>
+
+<div class="fig" style="width:100%;">
+<a name="oliver"></a>
+<img src="images/oliver.jpg" width="201" height="272" alt="[Illustration: ]" />
+<p class="caption">OLIVER GOLDSMITH<br />
+(M. W. Bunbury)</p>
+</div>
+
+    <h3><a name="appe01"></a>
+      APPENDIX A
+    </h3>
+    
+    <p class="center">
+      <br /> PORTRAITS OF GOLDSMITH. <br />
+    </p>
+    <p>
+      P<small>ORTRAITS</small> of Goldsmith are not numerous; and the best known
+      are those of Reynolds and H. W. Bunbury. That by Sir Joshua was painted in
+      1766–70, and exhibited in the Royal Academy (No. 151) from April 24th to
+      May 28th in the latter year. It represents the poet in a plain white
+      collar, furred mantle open at the neck, and holding a book in his right
+      hand. Its general characteristics are given at p. xxviii of the
+      &lsquo;Introduction.&rsquo; It was scraped in mezzotint in 1770 by Reynolds&rsquo;s Italian
+      pupil, Giuseppe, or Joseph Marchi; and it is dated 1st December.*
+      Bunbury&rsquo;s portrait first appeared, after Goldsmith&rsquo;s death, as a
+      frontispiece to the <i>Haunch of Venison</i>; and it was etched in
+      facsimile by James Bretherton. The plate is dated May 24, 1776. In his
+      loyal but despotic <i>Life of Goldsmith</i> (Bk. iv, ch. 6), Mr.
+      John Forster reproduces these portraits side by side; in order, he
+      professes, to show &lsquo;the distinction between truth and a caricature of it.&rsquo;
+      Bunbury, it may be, was primarily a caricaturist, and possibly looked at
+      most things from a more or less grotesque point of view; but this sketch&mdash;it
+      should be observed&mdash;was meant for a likeness, and we have the express
+      testimony of one who, if she was Bunbury&rsquo;s sister-in-law, was also
+      Goldsmith&rsquo;s friend, that it rendered Goldsmith accurately. It &lsquo;gives the
+      head with admirable fidelity&rsquo;&mdash;says the &lsquo;Jessamy Bride&rsquo; (afterwards
+      Mrs. Gwyn)&mdash;&lsquo;as he actually lived among us; nothing can exceed its
+      truth&rsquo; (Prior&rsquo;s <i>Life</i>, 1837, ii. 380). In other words, it
+      delineates Goldsmith as his contemporaries saw him, with bulbous
+      forehead, indecisive chin, and long protruding upper lip,&mdash;awkward,
+      insignificant, ill at ease,&mdash;restlessly burning &lsquo;to get in and
+      shine.&rsquo; It enables us moreover to understand how people who knew nothing
+      of his better and more lovable qualities, could speak of him as an
+      &lsquo;inspired idiot,&rsquo; as &lsquo;silly Dr. Goldsmith,&rsquo; as &lsquo;talking like poor Poll.&rsquo;
+      It is, in short, his external, objective presentment. The picture by Sir
+      Joshua, on the contrary, is almost wholly subjective. Draped judiciously
+      in a popular studio costume, which is not that of the sitter&rsquo;s day, it
+      reveals to us the author of <i>The Deserted Village</i> as Reynolds
+      conceived him to be at his best, serious, dignified, introspective, with
+      his physical defects partly extenuated by art, partly over-mastered by his
+      intellectual power. To quote the &lsquo;Jessamy Bride&rsquo; once more&mdash;it is &lsquo;a
+      fine poetical head for the admiration of posterity, but as it is divested
+      of his wig and with the shirt collar open, it was not the man as seen in
+      daily life&rsquo; (<i>Ib</i>. ii. 380). Had Goldsmith lived in our era of
+      photography, photography would doubtless have given us something which
+      would have been neither the one nor the other, but more like Bunbury than
+      Reynolds. Yet we may be grateful for both. For Bunbury&rsquo;s sketch and
+      Reynolds&rsquo;s portrait are alike indispensable to the true comprehension of
+      Goldsmith&rsquo;s curiously dual personality.**
+    </p>
+
+<p class="footnote">
+* This was the print to which Goldsmith referred in a well-known
+      anecdote. Speaking to his old Peckham pupil, Samuel Bishop, whom, after
+      many years, he met accidentally in London, he asked him eagerly whether he
+      had got an engraving of the new portrait, and finding he had not, &lsquo;said
+      with some emotion, &ldquo;if your picture had been published, I should not have
+      suffered an hour to elapse without procuring it.&rdquo;&rsquo; But he was speedily
+      &lsquo;appeased by apologies.&rsquo; (Prior&rsquo;s <i>Life</i>, 1837, i. 219–20.)
+    </p>
+
+<p class="footnote">
+** There is in existence another undated etching by Bretherton after
+      Bunbury on a larger scale, which comes much nearer to Reynolds; and it is
+      of course possible, though not in our opinion probable, that Mrs. Gwyn may
+      have referred to this. But Forster selected the other for his comparison;
+      it is prefixed to the <i>Haunch of Venison</i>; it is certainly the
+      better known; and (as we believe) cannot ever have been intended for a
+      caricature.
+    </p>
+
+<p>
+The portrait by Reynolds, above referred to, was painted for the Thrale Gallery
+at Streatham, on the dispersion of which, in May, 1816, it was bought for the
+Duke of Bedford for &pound;133 7s. It is now at Woburn Abbey (Cat. No. 254). At
+Knole, Lord Sackville possesses another version (Cat. No. 239), which was
+purchased in 1773 by the Countess Delawarr, and was shown at South Kensington
+in 1867. Here the dress is a black coat and a brown mantle with fur. The
+present owner exhibited it at the Guelph Exhibition of 1891. A third version,
+now in the Irish National Gallery, once belonged to Goldsmith himself, and then
+to his brother-in-law, Daniel Hodson. Finally there is a copy, by a pupil of
+Reynolds, in the National Portrait Gallery, to which it was bequeathed in 1890
+by Dr. Leifchild, having formerly been the property of Caleb Whitefoord. Caleb
+Whitefoord also had an &lsquo;admirable miniature&rsquo; by Reynolds, which
+belongs to the Rev. Benjamin Whitefoord, Hon. Canon of Salisbury (<i>Whitefoord
+Papers</i>, 1898, p. xxvii). A small circular print, based upon Reynolds, and
+etched by James Basire, figures on the title-page of <i>Retaliation</i>. Some
+of the plates are dated April 18, 1774.* The National Portrait Gallery has also
+a silhouette, attributed to Ozias Humphry, R.A., which was presented in 1883 by
+Sir Theodore Martin, K.C.B. Then there is the portrait by Hogarth shown at
+South Kensington in 1867 by the late Mr. Studley Martin of Liverpool. It
+depicts the poet writing at a round table in a black cap, claret-coloured coat
+and ruffles. Of this there is a wood-cut in the later editions of
+Forster&rsquo;s <i> Life</i> (Bk. iii, ch. 14). The same exhibition of 1867
+contained a portrait of Goldsmith in a brown coat and red waistcoat, &lsquo;as
+a young man.&rsquo; It was said to be extremely like him in face, and was
+attributed to Gainsborough. In Evans&rsquo;s edition of the <i>Poetical and
+Dramatic Works</i> is another portrait engraved by Cook, said, on some copies,
+to be &lsquo;from an original drawing&rsquo;; and there is in the Print Room at
+the British Museum yet another portrait still, engraved by William Ridley
+&lsquo;from a painting in the possession of the Rev. Mr. Williams,&rsquo; no
+doubt Goldsmith&rsquo;s friend, the Rev. David Williams, founder of the Royal
+Literary Fund. One of these last may have been the work to which the poet
+refers in a letter to his brother Maurice in January, 1770. &lsquo;I have sent
+my cousin Jenny [Jane Contarine] a miniature picture of myself . . . The face
+you well know, is ugly enough, but it is finely painted&rsquo; (<i>Misc.
+Works</i>, 1801, p. 88).
+</p>
+
+<p class="footnote">
+* There is also a sketch by Reynolds (?) at the British Museum.
+</p>
+
+<div class="fig" style="width:100%;">
+<a name="silhouette"></a>
+<img src="images/silhouette.jpg" width="187" height="263" alt="[Illustration: ]" />
+<p class="caption">SILHOUETTE OF GOLDSMITH<br />
+(Ozias Humphry)</p>
+</div>
+
+    <p>
+      In front of Dublin University is a bronze statue of Goldsmith by J. H.
+      Foley, R.A., erected in 1864.** Of this there is a good engraving by
+      G. Stodart. On the memorial in Westminster Abbey erected in 1776 is a
+      medallion by Joseph Nollekens.
+    </p>
+
+<p class="footnote">
+** Goldsmith&rsquo;s traditional ill-luck pursued him after death. During
+      some public procession in front of Trinity College, a number of
+      undergraduates climbed on the statue, with the result that the thin metal
+      of the poet&rsquo;s head was flattened or crushed in, requiring for its
+      readjustment very skilful restorative treatment. The Editor is indebted
+      for this item of information to the kindness of Mr. Percy Fitzgerald, who
+      was present at the subsequent operation.
+    </p>
+
+    <h3><a name="appe02"></a><a name="page_262" id="page_262"></a>
+      APPENDIX B
+    </h3>
+
+<p class="center">
+DESCRIPTIONS OF NEWELL&rsquo;S VIEWS OF LISSOY, ETC.
+    </p>
+    <p>
+      In 1811, the Rev. R. H. Newell, B.D. and Fellow of St. John&rsquo;s College,
+      Cambridge, issued an edition of the <i> Poetical Works</i> of
+      Goldsmith. The distinctive feature of this lay in the fact that it was
+      illustrated by a number of aquatints &lsquo;by Mr. Alkin&rsquo; (i.e. Samuel Alken),
+      after drawings made by Newell in 1806–9, and was accompanied by a series
+      of &lsquo;Remarks, attempting to ascertain, chiefly from local observation, the
+      actual scene of <i>The Deserted Village</i>.&rsquo; Some quotations from
+      these &lsquo;Remarks&rsquo; have already been made in the foregoing notes; but as
+      copies of six of the drawings are given in this volume, it may be well, in
+      each case, to reproduce Newell&rsquo;s &lsquo;descriptions.&rsquo;
+    </p>
+<p class="center">
+LISHOY, OR LISSOY MILL.
+    </p>
+    <p>
+      The west end of it, as seen from a field near the road; to the north the
+      country slopes away in coarsely cultivated enclosures, and the distance
+      eastward is bounded by the Longford hills. The stream ran from the south
+      side of the mill (where it is still of some width though nearly choked
+      up), and fell over the once busy wheel, into a deep channel, now overgrown
+      with weeds. Neglect and poverty appear all around. The farm house and
+      barn-like buildings, which fill up the sketch, seem to have no
+      circumstances of interest attached to them (p. 83).
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="lissoy"></a>
+<img src="images/lissoy.jpg" width="318" height="219" alt="[Illustration: ]" />
+<p class="caption">LISSOY MILL<br />
+<small>(R. H. Newell)</small></p>
+</div>
+
+<p class="center">
+KILKENNY WEST CHURCH.
+</p>
+
+    <p>
+      This south-west view was taken from the road, which passes by the church,
+      towards Lishoy, and overlooks the adjacent country to the west. The church
+      appears neat, its exterior having been lately repaired. The tree added to
+      the foreground is the only liberty taken with the subject (p. 83).
+    </p>
+
+<p class="center">
+HAWTHORN TREE.
+    </p>
+    <p>
+      An east view of the tree, as it stood in August, 1806. The Athlone road
+      occupies the centre of the sketch, winding round
+      the stone wall to the right, into the village, and to the left leading
+      toward the church. The cottage and tree opposite the hawthorn, adjoin the
+      present public-house; the avenue before the parsonage tops the distant
+      eminence (p. 84).
+    </p>
+
+<p class="center">
+SOUTH VIEW FROM GOLDSMITH&rsquo;S MOUNT.
+    </p>
+    <p>
+      In this sketch &lsquo;the decent church,&rsquo; at the top of the hill in the
+      distance, is an important object, from its exact correspondence with the
+      situation given it in the poem. Half-way up stands the solitary ruin of
+      Lord Dillon&rsquo;s castle. The hill in shadow, on the left, is above the
+      village, and is supposed to be alluded to in the line&mdash;
+    </p>
+
+<p class="poem">
+        Up yonder hill the distant murmur rose.
+</p>
+
+<p class="noindent">
+      A flat of bogland extends from the narrow lake in the centre to the mount
+      on the right of the foreground (p. 84).
+    </p>
+
+<p class="center">
+THE PARSONAGE.
+    </p>
+    <p>
+      A south view from the Athlone road, which runs parallel with the stone
+      wall, and nearly east and west: the gateway is that mentioned in
+      Goldsmith&rsquo;s letter,* the mount being directly opposite, in a field
+      contiguous with the road.
+    </p>
+
+<p class="footnote">
+* See note to l. 114 of <i>The Deserted Village</i>.
+    </p>
+
+    <p>
+      The ruinous stone wall in this and three other sketches, which is a
+      frequent sort of fence in the neighbourhood, gives a characteristic
+      propriety to the line (48)
+    </p>
+
+<p class="poem">
+        And the long grass o&rsquo;ertops the mould&rsquo;ring wall.
+</p>
+<p class="noindent">
+(pp. 84–5).
+    </p>
+
+<div class="fig" style="width:100%;">
+<a name="parsonage"></a>
+<img src="images/parsonage.jpg" width="317" height="231" alt="[Illustration: ]" />
+<p class="caption">THE PARSONAGE<br />
+(R. H. Newell)</p>
+</div>
+
+<p class="center">
+THE SCHOOL-HOUSE.
+    </p>
+    <p>
+      This cottage is situated, as the poem describes it, by the road-side, just
+      where it forms a sharp angle by branching out from the village eastward:
+      at this point a south-west view was taken (p. 85).
+    </p>
+
+    <p>
+      Newell&rsquo;s book was reissued in 1820; but no alterations were made in the
+      foregoing descriptions which, it must be borne in
+      mind, refer to 1806–9. His enthusiastic identifications will no doubt be
+      taken by the reader with the needful grain of salt. Goldsmith probably
+      remembered the hawthorn bush, the church upon the hill, the watercress
+      gatherer, and some other familiar objects of the &lsquo;seats of his youth.&rsquo; But
+      distance added charm to the regretful retrospect; and in the details his
+      fancy played freely with his memories. It would be unwise, for example, to
+      infer&mdash;as Mr. Hogan did&mdash;the decorations of the <i>Three
+      Pidgeons</i> at Lissoy from the account of the inn in the poem.* Some
+      twelve years before its publication, when he was living miserably in Green
+      Arbour Court, Goldsmith had submitted to his brother Henry a sample of a
+      heroi-comic poem describing a Grub Street writer in bed in &lsquo;a paltry
+      ale-house.&rsquo; In this &lsquo;the sanded floor,&rsquo; the &lsquo;twelve good rules&rsquo; and the
+      broken tea-cups all played their parts as accessories, and even the
+      double-dealing chest had its prototype in the poet&rsquo;s night-cap, which was
+      &lsquo;a cap by night&mdash;a stocking all the day.&rsquo; A year or two later he
+      expanded these lines in the <i>Citizen of the World</i>, and the
+      scene becomes the Red Lion in Drury Lane. From this second version he
+      adapted, or extended again, the description of the inn parlour in <i>The
+      Deserted Village</i>. It follows therefore, either that he borrowed for
+      London the details of a house in Ireland, or that he used for Ireland the
+      details of a house in London. If, on the other hand, it be contended that
+      those details were common to both places, then the identification in these
+      particulars of Auburn with Lissoy falls hopelessly to the ground.
+    </p>
+
+<p class="footnote">
+* What follows is taken from the writer&rsquo;s &lsquo;Introduction&rsquo; to Mr.
+      Edwin Abbey&rsquo;s illustrated edition of <i> The Deserted Village</i>,
+      1902, p. ix.
+    </p>
+
+<h3><a name="appe03"></a>APPENDIX C</h3>
+
+<p class="center">
+THE EPITHET &lsquo;SENTIMENTAL.&rsquo;
+    </p>
+    <p>
+      Goldsmith&rsquo;s use of &lsquo;sentimental&rsquo; in the &lsquo;prologue&rsquo; to <i>She Stoops to
+      Conquer</i> (p. 109, l. 36)&mdash;the only occasion upon which he seems
+      to have employed it in his <i>Poems</i>&mdash;affords an excuse for
+      bringing together one or two dispersed illustrations of the rise and
+      growth of this once highly-popular adjective, not as yet
+      reached in the <i>N. E. D.</i> Johnson, who must often have heard it,
+      ignores it altogether; and in Todd&rsquo;s edition of his <i>Dictionary</i>
+      (1818) it is expressly marked with a star as one of the modern words which
+      are &lsquo;not&rsquo; to be found in the Doctor&rsquo;s collection. According to Mr. Sidney
+      Lee&rsquo;s admirable article in the <i>Dictionary of National Biography</i>
+      on Sterne, that author is to be regarded as the &lsquo;only begetter&rsquo; of the
+      epithet. Mr. Lee says that it first occurs in a letter of 1740 written by
+      the future author of <i>Tristram Shandy</i> to the Miss Lumley he
+      afterwards married. Here is the precise and characteristic passage:&mdash;&lsquo;I
+      gave a thousand pensive, penetrating looks at the chair thou hadst so
+      often graced, in those quiet and <i>sentimental</i> repasts&mdash;then
+      laid down my knife and fork, and took out my handkerchief, and clapped it
+      across my face, and wept like a child&rsquo; (Sterne&rsquo;s <i>Works</i> by
+      Saintsbury, 1894, v. 25). Nine years later, however circulated,
+      &lsquo;sentimental&rsquo; has grown &lsquo;so much in vogue&rsquo; that it has reached from London
+      to the provinces. &lsquo;Mrs. Belfour&rsquo; (Lady Bradshaigh) writing from
+      Lincolnshire to Richardson says:&mdash;&lsquo;Pray, Sir, give me leave to ask
+      you . . . what, in your opinion, is the meaning of the word <i>sentimental</i>,
+      so much in vogue amongst the polite, both in town and country? In letters
+      and common conversation, I have asked several who make use of it, and have
+      generally received for answer, it is&mdash;it is&mdash;<i>sentimental</i>.
+      Every thing clever and agreeable is comprehended in that word; but [I] am
+      convinced a wrong interpretation is given, because it is impossible every
+      thing clever and agreeable can be so common as this word. I am frequently
+      astonished to hear such a one is a <i>sentimental</i> man; we were a <i>sentimental</i>
+      party; I have been taking a <i> sentimental</i> walk. And that I might be
+      reckoned a little in the fashion, and, as I thought, show them the proper
+      use of the word, about six weeks ago, I declared I had just received a <i>
+      sentimental</i> letter. Having often laughed at the word, and found fault
+      with the application of it, and this being the first time I ventured to
+      make use of it, I was loudly congratulated upon the occasion: but I should
+      be glad to know your interpretation of it&rsquo; (Richardson&rsquo;s <i>Correspondence</i>,
+      1804, iv. pp. 282–3). The reply of the author of <i>Clarissa</i>,
+      which would have been interesting, is not given; but it is clear that by
+      this date (1749) &lsquo;sentimental&rsquo; must already have been rather overworked by
+      &lsquo;the polite.&rsquo; Eleven years after this we meet with it in the Prologue to
+      Colman&rsquo;s
+      &lsquo;Dramatick Novel&rsquo; of <i>Polly Honeycombe</i>. &lsquo;And then,&rsquo; he says,
+      commenting upon the fiction of the period,&mdash;
+    </p>
+
+<p class="poem">
+        And then so <i>sentimental</i> is the Stile,<br/>
+        So chaste, yet so bewitching all the while!<br/>
+        Plot, and elopement, passion, rape, and rapture,<br/>
+        The total sum of ev&rsquo;ry dear&mdash;dear&mdash;Chapter.
+</p>
+
+    <p>
+      With February, 1768, came Sterne&rsquo;s <i> Sentimental Journey</i> upon
+      which Wesley has this comment:&mdash;&lsquo;I casually took a volume of what is
+      called, &ldquo;A Sentimental Journey through France and Italy.&rdquo; <i>Sentimental</i>!
+      what is that? It is not English: he might as well say, <i> Continental</i>
+      [!]. It is not sense. It conveys no determinate idea; yet one fool makes
+      many. And this nonsensical word (who would believe it?) is become a
+      fashionable one!&rsquo; (<i>Journal</i>, February 11, 1772). In 1773,
+      Goldsmith puts it in the &lsquo;Dedication&rsquo; to <i>She Stoops</i>:&mdash;&lsquo;The
+      undertaking a comedy, not merely <i>sentimental</i>, was very dangerous;&rsquo; and
+      Garrick (forgetting Kelly and <i>False Delicacy</i>) uses it more
+      than once in his &lsquo;Prologue&rsquo; to the same play, e.g.&mdash;&lsquo;Faces are blocks
+      in <i>sentimental</i> scenes.&rsquo; Further examples might easily be multiplied, for
+      the word, in spite of Johnson, had now come to stay. Two years
+      subsequently we find Sheridan referring to
+    </p>
+
+<p class="poem">
+        The goddess of the woful countenance,<br/>
+        The <i>sentimental</i> Muse!&mdash;
+</p>
+
+<p class="noindent">
+      in an occasional &lsquo;Prologue&rsquo; to <i>The Rivals</i>. It must already
+      have passed into the vocabulary of the learned. Todd gives examples from
+      Shenstone and Langhorne. Warton has it more than once in his <i>History
+      of English Poetry</i>; and it figures in the <i>Essays</i> of
+      Vicesimus Knox. Thus academically launched, we need no longer follow its
+      fortunes.
+    </p>
+
+<h3><a name="appe04"></a>APPENDIX D</h3>
+
+<p class="center">
+FRAGMENTS OF TRANSLATIONS, ETC., BY GOLDSMITH.
+    </p>
+    <p>
+      To the Aldine edition of 1831, the Rev. John Mitford added several
+      fragments of translation from Goldsmith&rsquo;s <i>Essays</i>. About a
+      third of these were traced by Bolton Corney in 1845 to the <i>Horace</i>
+      of Francis. He therefore compiled a fresh collection, here given.
+    </p>
+
+<p class="center">
+      <i>From a French version of Homer</i>.
+    </p>
+<p class="poem">
+        The shouting army cry&rsquo;d with joy extreme,<br/>
+        He sure must conquer, who himself can tame!<br/>
+          <i>The Bee</i>, 1759, p. 90.
+</p>
+
+    <p>
+      The next is also from Homer, and is proposed as an improvement of Pope:&mdash;
+    </p>
+
+<p class="poem">
+        They knew and own&rsquo;d the monarch of the main:<br/>
+        The sea subsiding spreads a level plain:<br/>
+        The curling waves before his coursers fly:<br/>
+        The parting surface leaves his brazen axle dry.<br/>
+          <i>Miscellaneous Works</i>, 1801, iv. 410.
+</p>
+
+    <p>
+      From the same source comes number three, a quatrain from Vida&rsquo;s <i>Eclogues</i>:&mdash;
+    </p>
+
+<p class="poem">
+        Say heavenly muse, their youthful frays rehearse;<br/>
+        Begin, ye daughters of immortal verse;<br/>
+        Exulting rocks have crown&rsquo;d the power of song!<br/>
+        And rivers listen&rsquo;d as they flow&rsquo;d along.<br/>
+          <i>Miscellaneous Works</i>, 1801, iv. 427.
+</p>
+
+    <p>
+      Another is a couplet from Ovid, the fish referred to being the <i>scarus</i>
+      or bream:&mdash;
+    </p>
+
+<p class="poem">
+        Of all the fish that graze beneath the flood,<br/>
+        He, <i>only</i>, ruminates his former food.<br/>
+          <i>History of the Earth,</i> etc., 1774, iii. 6.
+</p>
+
+    <p>
+      Bolton Corney also prints the translation from the <i>Spectator</i>,
+      already given in this volume. His last fragment is from the posthumous
+      translation of Scarron&rsquo;s <i> Roman Comique</i>:&mdash;
+    </p>
+
+<p class="poem">
+Thus, when soft love subdues the heart<br/>
+    With smiling hopes and chilling fears,<br/>
+The soul rejects the aid of art,<br/>
+    And speaks in moments more than years.<br/>
+          <i>The Comic Romance of Monsieur Scarron</i>, 1775, ii. 161.
+</p>
+
+    <p>
+      It is unnecessary to refer to any other of the poems attributed to
+      Goldsmith. Mitford included in his edition a couple of quatrains inserted
+      in the <i>Morning Chronicle</i> for April 3, 1800, which were said
+      to be by the poet; but they do not resemble his manner. Another piece with
+      the title of <i>The Fair Thief</i> was revived in July, 1893, by an
+      anonymous writer in the <i>Daily</i>
+      <i>Chronicle</i>, as being possibly by Goldsmith, to whom it was
+      assigned in an eighteenth-century anthology (1789–80). Its discoverer,
+      however, subsequently found it given in Walpole&rsquo;s <i>Noble Authors</i>
+      (Park&rsquo;s edition, 1806) to Charles Wyndham, Earl of Egremont. It has no
+      great merit; and may safely be neglected as an important addition to
+      Goldsmith&rsquo;s <i>Works</i>, already burdened with much which that
+      critical author would never have reprinted.
+    </p>
+
+<h3><a name="appe05"></a>APPENDIX E</h3>
+
+<p class="center">
+GOLDSMITH ON POETRY UNDER ANNE AND  GEORGE THE FIRST.
+</p>
+    <p>
+      In Letter xvi, vol. ii. pp.139–41, of <i>An History of England in a
+      Series of Letters from a Nobleman to his Son</i>, 1764, Goldsmith gives
+      the following short account of the state of poetry in the first quarter of
+      the Eighteenth Century.
+    </p>
+
+    <p>
+      &lsquo;But, of all the other arts, poetry in this age was carried to the
+      greatest perfection. The language, for some ages, had been improving, but
+      now it seemed entirely divested of its roughness and barbarity. Among the
+      poets of this period we may place John Philips, author of several poems,
+      but of none more admired than that humourous one, entitled, <i>The
+      Splendid Shilling</i>; he lived in obscurity, and died just above want.
+      William Congreve deserves also particular notice; his comedies, some of
+      which were but coolly received upon their first appearance, seemed to mend
+      upon repetition; and he is, at present, justly allowed the foremost in
+      that species of dramatic poesy. His wit is ever just and brilliant; his
+      sentiments new and lively; and his elegance equal to his regularity. Next
+      him Vanbrugh is placed, whose humour seems more natural, and characters
+      more new; but he owes too many obligations to the French, entirely to pass
+      for an original; and his total disregard to decency, in a great measure,
+      impairs his merit. Farquhar is still more lively, and, perhaps more
+      entertaining than either; his pieces still continue the favourite
+      performances of the stage, and bear frequent repetition without satiety;
+      but he often mistakes pertness for wit, and seldom strikes his characters
+      with proper force or originality. However, he died very young; and it is
+      remarkable, that he
+      continued to improve as he grew older; his last play, entitled <i>The
+      Beaux&rsquo; Strategem</i>, being the best of his productions. Addison, both
+      as a poet and prose writer, deserves the highest regard and imitation. His
+      <i>Campaign</i>, and <i>Letter to Lord Halifax from Italy</i>,
+      are masterpieces in the former, and his <i>Essays</i> published in
+      the <i> Spectator</i> are inimitable specimens of the latter.
+      Whatever he treated of was handled with elegance and precision; and that
+      virtue which was taught in his writings, was enforced by his example.
+      Steele was Addison&rsquo;s friend and admirer; his comedies are perfectly
+      polite, chaste, and genteel; nor were his other works contemptible; he
+      wrote on several subjects, and yet it is amazing, in the multiplicity of
+      his pursuits, how he found leisure for the discussion of any. Ever
+      persecuted by creditors, whom his profuseness drew upon him, or pursuing
+      impracticable schemes, suggested by ill-grounded ambition. Dean Swift was
+      the professed antagonist both of Addison and him. He perceived that there
+      was a spirit of romance mixed with all the works of the poets who preceded
+      him; or, in other words, that they had drawn nature on the most pleasing
+      side. There still therefore was a place left for him, who, careless of
+      censure, should describe it just as it was, with all its deformities; he
+      therefore owes much of his fame, not so much to the greatness of his
+      genius, as to the boldness of it. He was dry, sarcastic, and severe; and
+      suited his style exactly to the turn of his thought, being concise and
+      nervous. In this period also flourished many of subordinate fame. Prior
+      was the first who adopted the French elegant easy manner of telling a
+      story; but if what he has borrowed from that nation be taken from him,
+      scarce anything will be left upon which he can lay any claim to applause
+      in poetry. Rowe was only outdone by Shakespeare and Otway as a tragic
+      writer; he has fewer absurdities than either; and is, perhaps, as pathetic
+      as they; but his flights are not so bold, nor his characters so strongly
+      marked. Perhaps his coming later than the rest may have contributed to
+      lessen the esteem he deserves. Garth had success as a poet; and, for a
+      time, his fame was even greater than his desert. In his principal work,
+      <i>The Dispensary</i>, his versification is negligent; and his plot
+      is now become tedious; but whatever he may lose as a poet, it would be
+      improper to rob him of the merit he deserves for having written the prose
+      dedication, and preface, to the poem already mentioned; in which he
+      has shown the truest wit, with the most refined elegance. Parnell, though
+      he has written but one poem, namely, <i>The Hermit</i>, yet has
+      found a place among the English first rate poets. Gay, likewise, by his
+      <i>Fables</i> and <i>Pastorals</i>, has acquired an equal
+      reputation. But of all who have added to the stock of English Poetry,
+      Pope, perhaps, deserves the first place. On him, foreigners look as one of
+      the most successful writers of his time; his versification is the most
+      harmonious, and his correctness the most remarkable of all our poets. A
+      noted contemporary of his own calls the English the finest writers on
+      moral topics, and Pope the noblest moral writer of all the English. Mr.
+      Pope has somewhere named himself the last English Muse; and, indeed, since
+      his time, we have seen scarce any production that can justly lay claim to
+      immortality; he carried the language to its highest perfection; and those
+      who have attempted still farther to improve it, instead of ornament, have
+      only caught finery.&rsquo;
+    </p>
+
+<h3><a name="appe06"></a>APPENDIX F</h3>
+
+<p class="center">
+CRITICISMS FROM GOLDSMITH&rsquo;S &lsquo;BEAUTIES OF ENGLISH POESY.&rsquo;
+</p>
+    <p>
+      To <i>The Beauties of English Poesy</i>, 2 vols., 1767, Goldsmith
+      prefixed, in each case, &lsquo;short introductory criticisms.&rsquo; They are, as he
+      says, &lsquo;rather designed for boys than men&rsquo;; and aim only at being &lsquo;obvious
+      and sincere&rsquo;; but they carry his views on the subject somewhat farther
+      than the foregoing account from the <i>History of England</i>.
+    </p>
+
+<p class="center">
+THE RAPE OF THE LOCK.
+    </p>
+    <p>
+      This seems to be Mr. Pope&rsquo;s most finished production, and is, perhaps, the
+      most perfect in our language. It exhibits stronger powers of imagination,
+      more harmony of numbers, and a greater knowledge of the world, than any
+      other of this poet&rsquo;s works; and it is probable, if our country were called
+      upon to show a specimen of their genius to foreigners, this would be the
+      work here fixed upon.
+    </p>
+
+<p class="center">
+THE HERMIT.
+</p>
+    <p>
+      This poem is held in just esteem, the versification being chaste, and
+      tolerably harmonious, and the story told with perspicuity and conciseness.
+      It seems to have cost great labour, both to Mr. Pope and Parnell himself,
+      to bring it to this perfection.* It may not be amiss to observe that the
+      fable is taken from one of Dr. Henry More&rsquo;s Dialogues.
+    </p>
+
+<p class="footnote">
+*Parnell&rsquo;s <i>Poems</i>, 1770, xxiv.
+</p>
+
+<p class="center">
+IL PENSEROSO.
+    </p>
+    <p>
+      I have heard a very judicious critic say, that he had an higher idea of
+      Milton&rsquo;s style in poetry, from the two following poems [<i>Il Penseroso</i>
+      and <i> l&rsquo;Allegro</i>], than from his <i>Paradise Lost</i>. It
+      is certain the imagination shown in them is correct and strong. The
+      introduction to both in irregular measure is borrowed from the Italian,
+      and hurts an English ear.
+    </p>
+
+<p class="center">
+AN ELEGY, WRITTEN IN A COUNTRY CHURCH YARD.
+</p>
+    <p>
+      This is a very fine poem, but overloaded with epithet.&dagger; The heroic
+      measure with alternate rhyme is very properly adapted to the solemnity of
+      the subject, as it is the slowest movement that our language admits of.
+      The latter part of the poem is pathetic and interesting.
+    </p>
+
+<p class="footnote">
+&dagger;This is a
+      strange complaint to come from Goldsmith, whose own <i>Hermit</i>,
+      as was pointed out to the present Editor by the late Mr. Kegan Paul, is
+      certainly open to this impeachment.
+</p>
+
+<p class="center">
+LONDON. IN IMITATION OF THE THIRD SATIRE<br /> OF JUVENAL.
+    </p>
+    <p>
+      This poem of Mr. Johnson&rsquo;s is the best imitation of the original that has
+      appeared in our language, being possessed of all the force and satirical
+      resentment of Juvenal. Imitation gives us a much truer idea of the
+      ancients than even translation could do.
+    </p>
+
+<p class="center">
+THE SCHOOL-MISTRESS. IN IMITATION OF SPENSER.
+    </p>
+    <p>
+      This poem is one of those happinesses in which a poet excels himself, as
+      there is nothing in all Shenstone which in any way approaches it in merit;
+      and, though I dislike the imitations of
+      our old English poets in general, yet, on this minute subject, the
+      antiquity of the style produces a very ludicrous solemnity.
+    </p>
+
+<p class="center">
+COOPER&rsquo;S HILL.
+    </p>
+    <p>
+      This poem, by Denham, though it may have been exceeded by later attempts
+      in description, yet deserves the highest applause, as it far surpasses all
+      that went before it: the concluding part, though a little too much
+      crowded, is very masterly.
+    </p>
+
+<p class="center">
+ELOISA TO ABELARD.
+    </p>
+    <p>
+      The harmony of numbers in this poem is very fine. It is rather drawn out
+      to too tedious a length, although the passions vary with great judgement.
+      It may be considered as superior to anything in the epistolary way; and
+      the many translations which have been made of it into the modern
+      languages, are in some measure a proof of this.
+    </p>
+
+<p class="center">
+AN EPISTLE FROM MR. PHILIPS [Ambrose Philips] TO THE EARL OF DORSET.
+    </p>
+    <p>
+      The opening of this poem is incomparably fine. The latter part is tedious
+      and trifling.
+    </p>
+
+<p class="center">
+A LETTER FROM ITALY, TO THE RIGHT HONOURABLECHARLES LORD HALIFAX.<br /> <br /> In the Year MDCCI.
+    </p>
+    <p>
+      Few poems have done more honour to English genius than this. There is in
+      it a strain of political thinking that was, at that time, new in our
+      poetry. Had the harmony of this been equal to that of Pope&rsquo;s
+      versification, it would be incontestably the finest poem in our language;
+      but there is a dryness in the numbers which greatly lessens the pleasure
+      excited both by the poet&rsquo;s judgement and imagination.*
+    </p>
+
+<p class="footnote">
+* See introductory note to <i>The Traveller</i>, p. 162.
+</p>
+
+<p class="center">
+      ALEXANDER&rsquo;S FEAST; OR, THE POWER OF MUSIC.<br />
+      AN ODE, IN HONOUR OF ST. CECILIA&rsquo;S DAY.
+    </p>
+    <p>
+      This ode [by Mr. Dryden] has been more applauded, perhaps, than it has
+      been felt, however, it is a very fine one, and gives its beauties rather
+      at a third, or fourth, than at a first perusal.
+    </p>
+
+<p class="center">
+ODE FOR MUSIC ON ST. CECILIA&rsquo;S DAY.
+    </p>
+    <p>
+      This ode [by Mr. Pope] has by many been thought equal to the former. As it
+      is a repetition of Dryden&rsquo;s manner, it is so far inferior to him. The
+      whole hint of Orpheus, and many of the lines, have been taken from an
+      obscure Ode upon Music, published in Tate&rsquo;s Miscellanies.*
+    </p>
+
+<p class="footnote">
+*<i>A Pindaric Essay upon Musick</i>&mdash;says Gibbs&mdash;by
+      &lsquo;Mr. Wilson&rsquo;,&rsquo; which appears at p. 401 of Tate&rsquo;s Collection of 1685.
+</p>
+
+<p class="center">
+THE SHEPHERD&rsquo;S WEEK. IN SIX PASTORALS.
+    </p>
+    <p>
+      These are Mr. Gay&rsquo;s principal performances. They were originally intended,
+      I suppose, as a burlesque on those of [Ambrose] Philips; but, perhaps
+      without designing it, he has hit the true spirit of pastoral poetry. In
+      fact, he more resembles Theocritus than any other English pastoral writer
+      whatsoever. There runs through the whole a strain of rustic pleasantry
+      which should ever distinguish this species of composition; but how far the
+      antiquated expressions used here may contribute to the humour, I will not
+      determine; for my own part, I could wish the simplicity were preserved,
+      without recurring to such obsolete antiquity for the manner of expressing
+      it.
+    </p>
+
+<p class="center">
+MAC FLECKNOE.
+    </p>
+    <p>
+      The severity of this satire, and the excellence of its versification give
+      it a distinguished rank in this species of composition. At present, an
+      ordinary reader would scarce suppose that Shadwell, who is here meant by
+      Mac Flecknoe, was worth being chastised, and that Dryden&rsquo;s descending to
+      such game was like an eagle&rsquo;s stooping to catch flies.&dagger; The truth
+      however is, Shadwell, at one time, held divided reputation with this great
+      poet. Every
+      age produces its fashionable dunces, who, by following the transient
+      topic, or humour, of the day, supply talkative ignorance with materials
+      for conversation.
+    </p>
+
+<p class="footnote">
+      &dagger;&lsquo;Aquila non capit muscas&rsquo; (Apostolius).
+    </p>
+
+<p class="center">
+ON POETRY. A RHAPSODY.
+    </p>
+    <p>
+      Here follows one of the best versified poems in our language, and the most
+      masterly production of its author. The severity with which Walpole is here
+      treated, was in consequence of that minister having refused to provide for
+      Swift in England, when applied to for that purpose in the year 1725 (if I
+      remember right). The severity of a poet, however, gave Walpole very little
+      uneasiness. A man whose schemes, like this minister&rsquo;s, seldom extended
+      beyond the exigency of the year, but little regarded the contempt of
+      posterity.
+    </p>
+
+<p class="center">
+OF THE USE OF RICHES.
+    </p>
+    <p>
+      This poem, as Mr. Pope tells us himself, cost much attention and labour;
+      and, from the easiness that appears in it, one would be apt to think as
+      much.
+    </p>
+
+<p class="center">
+FROM THE DISPENSARY.
+    </p>
+    <p>
+      This sixth canto of the <i>Dispensary</i>, by Dr. Garth, has more
+      merit than the whole preceding part of the poem, and, as I am told, in the
+      first edition of this work it is more correct than as here exhibited; but
+      that edition I have not been able to find. The praises bestowed on this
+      poem are more than have been given to any other; but our approbation, at
+      present, is cooler, for it owed part of its fame to party.*
+    </p>
+
+<p class="footnote">
+* Cf. Dedication of <i>The Traveller</i>, ll. 34–45.
+</p>
+
+<p class="center">
+ ECLOGUE I.<br /> <br /> S<small>ELIM: OR, THE</small> S<small>HEPHERD&rsquo;S</small>
+      M<small>ORAL.</small>
+    </p>
+    <p>
+      The following eclogues,&dagger; written by Mr. Collins, are very pretty:
+      the images, it must be owned, are not very local; for the pastoral subject
+      could not well admit of it. The description
+      of Asiatic magnificence, and manners, is a subject as yet unattempted
+      amongst us, and I believe, capable of furnishing a great variety of
+      poetical imagery.
+    </p>
+
+<p class="footnote">
+      &dagger; i.e.&mdash;Selim, Hassan, Agib and Secander, and Abra. Goldsmith
+      admired Collins, whom he calls in the <i> Enquiry</i>, 1759, p. 143,
+      &lsquo;the neglected author of the Persian eclogues, which, however inaccurate,
+      excel any in our language.&rsquo; He borrowed freely from him in the <i>Threnodia
+      Augustalis</i>, q.v.
+    </p>
+
+<p class="center">THE SPLENDID SHILLING.<br /> <br /> B<small>Y</small> M<small>R.</small>
+      J. P<small>HILIPS.</small>
+    </p>
+    <p>
+      This is reckoned the best parody of Milton in our language: it has been an
+      hundred times imitated, without success. The truth is, the first thing in
+      this way must preclude all future attempts; for nothing is so easy as to
+      burlesque any man&rsquo;s manner, when we are once showed the way.
+    </p>
+
+<p class="center">
+A PIPE OF TOBACCO:<br /> <br /> I<small>N</small> I<small>MITATION OF</small>
+      S<small>IX</small> S<small>EVERAL</small> A<small>UTHORS.</small>
+    </p>
+    <p>
+      Mr. Hawkins Browne, the author of these, as I am told, had no good
+      original manner of his own, yet we see how well he succeeded when he turns
+      an imitator; for the following are rather imitations than ridiculous
+      parodies.
+    </p>
+
+<p class="center">
+A NIGHT-PIECE ON DEATH.
+    </p>
+    <p>
+      The great fault of this piece, written by Dr. Parnell, is that it is in
+      eight-syllable lines, very improper for the solemnity of the subject;
+      otherwise, the poem is natural, and the reflections just.
+    </p>
+
+<p class="center">
+A FAIRY TALE.<br /> <br />
+B<small>Y</small> D<small>R.</small> P<small>ARNELL.</small>
+    </p>
+    <p>
+      Never was the old manner of speaking more happily applied, or a tale
+      better told, than this.
+    </p>
+
+<p class="center">
+PALEMON AND LAVINIA.<br /> [From <i>The Seasons</i>.]
+    </p>
+    <p>
+      Mr. Thomson, though, in general, a verbose and affected poet, has told
+      this story with unusual simplicity: it is rather given here for being much
+      esteemed by the public, than by the editor.
+    </p>
+
+<p class="center">
+THE BASTARD.
+    </p>
+    <p>
+      Almost all things written from the heart, as this certainly was, have some
+      merit. The poet here describes sorrows and misfortunes which were by no
+      means imaginary; and, thus, there
+      runs a truth of thinking through this poem, without which it would be of
+      little value, as Savage is, in other respects, but an indifferent poet.
+    </p>
+
+<p class="center">
+THE POET AND HIS PATRON.
+    </p>
+    <p>
+      Mr. Mo[o]re was a poet that never had justice done him while living; there
+      are few of the moderns have a more correct taste, or a more pleasing
+      manner of expressing their thoughts. It was upon these fables [Nos. v, vi,
+      and xvi of the <i>Fables for the Ladies</i>] he chiefly founded his
+      reputation; yet they are, by no means, his best production.
+    </p>
+
+<p class="center">
+AN EPISTLE TO A LADY.
+    </p>
+    <p>
+      This little poem, by Mr. Nugent [afterwards Lord Clare] is very pleasing.
+      The easiness of the poetry, and the justice of the thoughts, constitute
+      its principal beauty.
+    </p>
+
+<p class="center">
+HANS CARVEL.
+    </p>
+    <p>
+      This bagatelle, for which, by the by, Mr. Prior has got his greatest
+      reputation, was a tale told in all the old Italian collections of jests,
+      and borrowed from thence by Fontaine. It had been translated once or twice
+      before into English, yet was never regarded till it fell into the hands of
+      Mr. Prior. A strong instance how everything is improved in the hands of a
+      man of genius.
+    </p>
+
+<p class="center">
+BAUCIS AND PHILEMON.
+    </p>
+    <p>
+      This poem [by Swift] is very fine; and though in the same strain with the
+      preceding [Prior&rsquo;s <i>Ladle</i>] is yet superior.
+    </p>
+
+<p class="center">
+TO THE EARL OF WARWICK, ON THE DEATH<br /> OF MR. ADDISON.
+    </p>
+    <p>
+      This elegy (by Mr. Ticknell) is one of the finest in our language; there
+      is so little new that can be said upon the death of a friend, after the
+      complaints of Ovid and the Latin Italians, in this way, that one is
+      surprised to see so much novelty in this to strike us, and so much
+      interest to affect.
+    </p>
+
+<p class="center">
+      COLIN AND LUCY.
+    </p>
+    <p>
+      Through all Tickell&rsquo;s works there is a strain of ballad-thinking, if I may
+      so express it; and, in this professed ballad, he seems to have surpassed
+      himself. It is, perhaps, the best in our language in this way.
+    </p>
+
+<p class="center">
+THE TEARS OF SCOTLAND.<br /> <br /> W<small>RITTEN IN THE</small> Y<small>EAR</small>
+      MDCCXLVI.
+    </p>
+    <p>
+      This ode, by Dr. Smollett, does rather more honour to the author&rsquo;s
+      feelings than his taste. The mechanical part, with regard to numbers and
+      language, is not so perfect as so short a work as this requires; but the
+      pathetic it contains, particularly in the last stanza but one, is
+      exquisitely fine.
+    </p>
+
+<p class="center">
+ON THE DEATH OF THE LORD PROTECTOR.
+    </p>
+    <p>
+      Our poetry was not quite harmonized in Waller&rsquo;s time; so that this, which
+      would be now looked upon as a slovenly sort of versification, was, with
+      respect to the times in which it was written, almost a prodigy of harmony.
+      A modern reader will chiefly be struck with the strength of thinking, and
+      the turn of the compliments bestowed upon the usurper. Everybody has heard
+      the answer our poet made Charles II; who asked him how his poem upon
+      Cromwell came to be finer than his panegyric upon himself. &lsquo;Your majesty,&rsquo;
+      replies Waller, &lsquo;knows, that poets always succeed best in fiction.&rsquo;
+    </p>
+
+<p class="center">
+THE STORY OF PHOEBUS AND DAPHNE APPLIED.
+    </p>
+    <p>
+      The French claim this [by Mr. Waller] as belonging to them. To whomsoever
+      it belongs the thought is finely turned.
+    </p>
+
+<p class="center">
+ NIGHT THOUGHTS.<br /> <br /> B<small>Y</small> D<small>R.</small> Y<small>OUNG.</small>
+    </p>
+    <p>
+      These seem to be the best of the collection; from whence only the two
+      first are taken. They are spoken of differently, either with exaggerated
+      applause or contempt, as the reader&rsquo;s disposition is either turned to
+      mirth or melancholy.
+    </p>
+
+<p class="center">
+      SATIRE I.
+    </p>
+    <p>
+      Young&rsquo;s Satires were in higher reputation when published, than they stand
+      in at present. He seems fonder of dazzling than pleasing; of raising our
+      admiration for his wit, than our dislike of the follies he ridicules.
+    </p>
+
+<p class="center">
+A PASTORAL BALLAD.
+    </p>
+    <p>
+      These ballads of Mr. Shenstone are chiefly commended for the natural
+      simplicity of the thoughts and the harmony of the versification. However,
+      they are not excellent in either.
+    </p>
+
+<p class="center">
+PHOEBE. A PASTORAL.
+    </p>
+    <p>
+      This, by Dr. Byrom, is a better effort than the preceding [a ballad by
+      Shenstone].
+    </p>
+
+<p class="center">
+A SONG.
+    </p>
+    <p>
+      This [&lsquo;Despairing beside a clear stream&rsquo;] by Mr. Rowe, is better than
+      anything of the kind in our language.
+    </p>
+
+<p class="center">
+AN ESSAY ON POETRY.
+    </p>
+    <p>
+      This work, by the Duke of Buckingham, is enrolled among our great English
+      productions. The precepts are sensible, the poetry not indifferent, but it
+      has been praised more than it deserves.
+    </p>
+
+<p class="center">
+CADENUS AND VANESSA.
+    </p>
+    <p>
+      This is thought one of Dr. Swift&rsquo;s correctest pieces; its chief merit,
+      indeed, is the elegant ease with which a story, but ill-conceived in
+      itself, is told.
+    </p>
+
+<p class="center">
+ALMA: OR, THE PROGRESS OF THE MIND.
+    </p>
+    <p>
+      What Prior meant by this poem I can&rsquo;t understand; by the Greek motto to it
+      one would think it was either to laugh at the subject or the reader. There
+      are some parts of it very fine; and let them save the badness of the rest.
+    </p>
+
+</div><!--end chapter-->
+
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+Project Gutenberg's Etext The Complete Poetical Works of Oliver Goldsmith
+Edited by Austin Dobson
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+Title:  The Complete Poetical Works of Oliver Goldsmith
+
+Author:  Oliver Goldsmith
+
+Editor: Austin Dobson
+
+November, 2002 [Etext #3545]
+
+
+Project Gutenberg's Etext The Complete Poetical Works of Oliver Goldsmith
+************This file should be named cpwog10.txt or cpwog10.zip*********
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+
+
+THE COMPLETE
+
+POETICAL WORKS
+OF
+OLIVER GOLDSMITH
+
+'EDITED WITH INTRODUCTION AND NOTES'
+
+BY
+
+AUSTIN DOBSON
+HON. LL.D. EDIN.
+
+
+
+
+PREFATORY NOTE
+
+THIS volume is a reprint, extended and revised, of the 'Selected Poems'
+of Goldsmith issued by the Clarendon Press in 1887. It is 'extended,'
+because it now contains the whole of Goldsmith's poetry: it is 'revised'
+because, besides the supplementary text, a good deal has been added in
+the way of annotation and illustration. In other words, the book has
+been substantially enlarged. Of the new editorial material, the bulk has
+been collected at odd times during the last twenty years; but fresh
+Goldsmith facts are growing rare. I hope I have acknowledged obligation
+wherever it has been incurred; I trust also, for the sake of those who
+come after me, that something of my own will be found to have been
+contributed to the literature of the subject.
+
+          AUSTIN DOBSON.
+
+
+CONTENTS
+Introduction
+Chronology of Goldsmith's Life and Poems
+
+POEMS
+The Traveller; or, A Prospect of Society
+The Deserted Village
+Prologue of Laberius
+On a Beautiful Youth struck Blind with Lightning
+The Gift.  To Iris, in Bow Street
+The Logicians Refuted
+A Sonnet
+Stanzas on the Taking of Quebec
+An Elegy on Mrs. Mary Blaize
+Description of an Author's Bedchamber
+On seeing Mrs. *** perform in the Character of ****
+On the Death of the Right Hon.***
+An Epigram.  Addressed to the Gentlemen reflected on
+     in 'The Rosciad', a Poem, by the Author
+To G. C. and R. L
+Translation of a South American Ode
+The Double Transformation.  A Tale
+A New Simile, in the Manner of Swift
+Edwin and Angelina
+Elegy on the Death of a Mad Dog
+Song ('When Lovely Woman,' &c.)
+Epilogue to 'The Good Natur'd Man'
+Epilogue to 'The Sister'
+Prologue to 'Zobeide'
+Threnodia Augustalis:  Sacred to the Memory of Her
+     Late Royal Highness the Princess Dowager
+     of Wales
+Song ('Let School-masters,' &c.)
+Epilogue to 'She Stoops to Conquer'
+Retaliation
+Song ('Ah, me!  when shall I marry me?')
+Translation ('Chaste are their instincts')
+The Haunch of Venison
+Epitaph on Thomas Parnell
+The Clown's Reply
+Epitaph on Edward Purdon
+Epilogue for Lee Lewes
+Epilogue written for 'She Stoops to Conquer' (1)
+Epilogue written for 'She Stoops to Conquer' (2)
+The Captivity.  An Oratorio
+Verses in Reply to an Invitation to Dinner
+Letter in Prose and Verse to Mrs. Bunbury
+Vida's Game of Chess
+
+NOTES
+
+Introduction to the Notes
+Editions of the Poems
+The Traveller
+The Deserted Village
+Prologue of Laberius
+On a Beautiful Youth struck Blind with Lightning
+The Gift
+The Logicians Refuted
+A Sonnet
+Stanzas on the Taking of Quebec
+An Elegy on Mrs. Mary Blaize
+Description of an Author's Bedchamber
+On seeing Mrs. *** perform in the Character of ****
+On the Death of the Right Hon.***
+An Epigram
+To G. C. and R. L.
+Translation of a South American Ode
+The Double Transformation
+A New Simile
+Edwin and Angelina
+Elegy on the Death of a Mad Dog
+Song (from 'The Vicar of Wakefield')
+Epilogue ('The Good Natur'd Man')
+Epilogue ('The Sister')
+Prologue ('Zobeide')
+Threnodia Augustalis
+Song (from 'She Stoops to Conquer')
+Epilogue ('She Stoops to Conquer')
+Retaliation
+Song intended for 'She Stoops to Conquer'
+Translation
+The Haunch of Venison
+Epitaph on Thomas Parnell
+The Clown's Reply
+Epitaph on Edward Purdon
+Epilogue for Lee Lewes's Benefit
+Epilogue ('She Stoops to Conquer') (1)
+Epilogue ('She Stoops to Conquer') (2)
+The Captivity
+Verses in Reply to an Invitation to Dinner
+Letter in Prose and Verse to Mrs. Bunbury
+Vida's Game of Chess
+
+APPENDIXES
+
+Portraits of Goldsmith
+Descriptions of Newell's Views of Lissoy, &c
+The Epithet 'Sentimental'
+Fragments of Translations, &c., by Goldsmith
+Goldsmith on Poetry under Anne and George the First
+Criticisms from Goldsmith's
+     'Beauties of English Poesy'
+
+
+
+LIST OF ILLUSTRATIONS
+
+OLIVER GOLDSMITH.  From Joseph Marchi's mezzotint of 1770
+     after the portrait by Sir Joshua Reynolds. . . . . .  Frontispiece.
+PANE OF GLASS with Goldsmith's autograph signature, dated
+     March, 1746, now at Trinity College, Dublin. . . . .  To face p. xi
+VIGNETTE TO THE TRAVELLER.  Drawn by Samuel Wale, and
+     engraved by Charles Grignion . . . . . . . . . . . .   To face p. 3
+HEADPIECE TO THE TRAVELLER.  Engraved on wood by Charlton
+     Nesbit for Bulmer's 'Poems of Goldsmith and
+     Parnell', 1795 . . . . . . . . . . . . . . . . . . .           p. 5
+THE TRAVELLER.  From a design by Richard Westall, R. A.,
+     engraved on wood by Thomas Bewick for Bulmer's
+     'Poems of Goldsmith and Parnell', 1795 . . . . . . .   To face p. 8
+VIGNETTE TO THE DESERTED VILLAGE, 1770.  Drawn and
+     engraved by Isaac Taylor . . . . . . . . . . . . . .  To face p. 21
+HEADPIECE TO THE DESERTED VILLAGE.  Engraved on wood
+     by Charlton Nesbit for Bulmer's 'Poems of
+     Goldsmith and Parnell', 1795 . . . . . . . . . . . .          p. 23
+THE WATER-CRESS GATHERER.  Drawn and engraved on wood
+     by John Bewick for Bulmer's 'Poems of Goldsmith and
+     Parnell', 1795 . . . . . . . . . . . . . . . . . . .  To face p. 27
+THE DEPARTURE.  Drawn by Robert Johnson, and engraved
+     on wood by Thomas Bewick for Bulmer's 'Poems of
+     Goldsmith and Parnell', 1795 . . . . . . . . . . . .  To face p. 35
+EDWIN AND ANGELINA.  From an original washed drawing
+     made by Thomas Stothard, R.A., for Aikin's
+     'Goldsmith's Poetical Works', 1805 . . . . . . . . .  To face p. 59
+PORTRAIT OF GOLDSMITH, after Sir Joshua Reynolds.  From
+     an etching by James Basire on the title-page
+     of 'Retaliation', 1774 . . . . . . . . . . . . . . .  To face p. 87
+SONG FROM THE CAPTIVITY.  Facsimile of Goldsmith's
+     writing and signature, from Prior's 'Life of
+     Oliver Goldsmith, M.B.', 1837, ii, frontispiece. . . To face p. 119
+GREEN ARBOUR COURT, OLD BAILEY.  From an engraving in
+     the 'European Magazine' for January, 1803. . . . . . To face p. 160
+KILKENNY WEST CHURCH.  From an aquatint by S. Alken of
+     a sketch by R. H. Newell ('Goldsmith's Poetical
+     Works', 1811). . . . . . . . . . . . . . . . . . . . To face p. 179
+HAWTHORN TREE.  From the same . . . . . . . . . . . . . . To face p. 180
+SOUTH VIEW FROM GOLDSMITH'S MOUNT.  From the same . . . . To face p. 183
+THE SCHOOL HOUSE.  From the same  . . . . . . . . . . . . To face p. 187
+PORTRAIT OF GOLDSMITH.  Drawn by Henry William Bunbury
+     and etched by James Bretherton.  From the
+     'Haunch of Venison', 1776. . . . . . . . . . . . . . To face p. 259
+PORTRAIT OF GOLDSMITH.  From a silhouette by Ozias
+     Humphry, R.A., in the National Portrait Gallery. . . To face p. 261
+LISSOY (OR LISHOY) MILL.  From an aquatint by S. Alken
+     of a sketch by R. H. Newell ('Goldsmith's
+     Poetical Works', 1811) . . . . . . . . . . . . . . . To face p. 262
+THE PARSONAGE.  From the same . . . . . . . . . . . . . . To face p. 264
+
+
+
+
+INTRODUCTION
+
+Two of the earlier, and, in some respects, more important 'Memoirs' of
+Oliver Goldsmith open with a quotation from one of his minor works, in
+which he refers to the generally uneventful life of the scholar. His own
+chequered career was a notable exception to this rule. He was born on
+the 10th of November, 1728, at Pallas, a village in the county of
+Longford in Ireland, his father, the Rev. Charles Goldsmith, being a
+clergyman of the Established Church. Oliver was the fifth of a family of
+five sons and three daughters. In 1730, his father, who had been
+assisting the rector of the neighbouring parish of Kilkenny West,
+succeeded to that living, and moved to Lissoy, a hamlet in Westmeath,
+lying a little to the right of the road from Ballymahon to Athlone.
+Educated first by a humble relative named Elizabeth Delap, the boy
+passed subsequently to the care of Thomas Byrne, the village
+schoolmaster, an old soldier who had fought Queen Anne's battles in
+Spain, and had retained from those experiences a wandering and unsettled
+spirit, which he is thought to have communicated to one at least of his
+pupils. After an attack of confluent small-pox, which scarred him for
+life, Oliver was transferred from the care of this not-uncongenial
+preceptor to a school at Elphin. From Elphin he passed to Athlone; from
+Athlone to Edgeworthstown, where he remained until he was thirteen or
+fourteen years of age. The accounts of these early days are
+contradictory. By his schoolfellows he seems to have been regarded as
+stupid and heavy,--'little better than a fool'; but they admitted that
+he was remarkably active and athletic, and that he was an adept in all
+boyish sports. At home, notwithstanding a variable disposition, and
+occasional fits of depression, he showed to greater advantage. He
+scribbled verses early; and sometimes startled those about him by
+unexpected 'swallow-flights' of repartee. One of these, an oft-quoted
+retort to a musical friend who had likened his awkward antics in a
+hornpipe to the dancing of Aesop,--
+
+     Heralds! proclaim aloud! all saying,
+     See 'Aesop' dancing, and his 'monkey' playing,--
+
+reads more like a happily-adapted recollection than the actual impromptu
+of a boy of nine. But another, in which, after a painful silence, he
+replied to the brutal enquiry of a ne'er-do-well relative as to when he
+meant to grow handsome, by saying that he would do so when the speaker
+grew good,--is characteristic of the easily-wounded spirit and
+'exquisite sensibility of contempt' with which he was to enter upon the
+battle of life.
+
+In June, 1744, after anticipating in his own person, the plot of his
+later play of 'She Stoops to Conquer' by mistaking the house of a
+gentleman at Ardagh for an inn, he was sent to Trinity College, Dublin.
+The special dress and semi-menial footing of a sizar or poor
+scholar--for his father, impoverished by the imprudent portioning of his
+eldest daughter, could not afford to make him a pensioner--were scarcely
+calculated to modify his personal peculiarities. Added to these, his
+tutor elect, Dr. Theaker Wilder, was a violent and vindictive man, with
+whom his ungainly and unhopeful pupil found little favour. Wilder had a
+passion for mathematics which was not shared by Goldsmith, who, indeed,
+spoke contemptuously enough of that science in after life. He could,
+however, he told Malone, 'turn an Ode of Horace into English better than
+any of them.' But his academic career was not a success. In May, 1747,
+the year in which his father died,--an event that further contracted his
+already slender means,--he became involved in a college riot, and was
+publicly admonished. From this disgrace he recovered to some extent in
+the following month by obtaining a trifling money exhibition, a triumph
+which he unluckily celebrated by a party at his rooms. Into these
+festivities, the heinousness of which was aggravated by the fact that
+they included guests of both sexes, the exasperated Wilder made
+irruption, and summarily terminated the proceedings by knocking down the
+host. The disgrace was too much for the poor lad. He forthwith sold his
+books and belongings, and ran away, vaguely bound for America. But after
+considerable privations, including the achievement of a destitution so
+complete that a handful of grey peas, given him by a girl at a wake,
+seemed a banquet, he turned his steps homeward, and, a reconciliation
+having been patched up with his tutor, he was received once more at
+college. In February, 1749, he took his degree, a low one, as B.A., and
+quitted the university, leaving behind him, for relics of that time, a
+scratched signature upon a window-pane, a 'folio' Scapula scored
+liberally with 'promises to pay,' and a reputation for much loitering at
+the college gates in the study of passing humanity. Another habit which
+his associates recalled was his writing of ballads when in want of
+funds. These he would sell at five shillings apiece; and would
+afterwards steal out in the twilight to hear them sung to the
+indiscriminate but applauding audience of the Dublin streets.
+
+What was to be done with a genius so unstable, so erratic?  Nothing,
+apparently, but to let him qualify for orders, and for this he is too
+young. Thereupon ensues a sort of 'Martin's summer' in his changing
+life,--a disengaged, delightful time when 'Master Noll' wanders
+irresponsibly from house to house, fishing and flute-playing, or, of
+winter evenings, taking the chair at the village inn. When at last the
+moment came for his presentation to the Bishop of Elphin, that prelate,
+sad to say, rejected him, perhaps because of his college reputation,
+perhaps because of actual incompetence, perhaps even, as tradition
+affirms, because he had the bad taste to appear before his examiner in
+flaming scarlet breeches. After this rebuff, tutoring was next tried.
+But he had no sooner saved some thirty pounds by teaching, than he threw
+up his engagement, bought a horse, and started once more for America, by
+way of Cork. In six weeks he had returned penniless, having substituted
+for his roadster a sorry jade, to which he gave the contemptuous name of
+Fiddleback. He had also the simplicity to wonder, on this occasion, that
+his mother was not rejoiced to see him again. His next ambition was to
+be a lawyer; and, to this end, a kindly Uncle Contarine equipped him
+with fifty pounds for preliminary studies. But on his way to London he
+was decoyed into gambling, lost every farthing, and came home once more
+in bitter self-abasement. Having now essayed both divinity and law, his
+next attempt was physic; and, in 1752, fitted out afresh by his
+long-suffering uncle, he started for, and succeeded in reaching,
+Edinburgh. Here more memories survive of his social qualities than of
+his studies; and two years later he left the Scottish capital for
+Leyden, rather, it may be conjectured, from a restless desire to see the
+world than really to exchange the lectures of Monro for the lectures of
+Albinus. At Newcastle (according to his own account) he had the good
+fortune to be locked up as a Jacobite, and thus escaped drowning, as the
+ship by which he was to have sailed to Bordeaux sank at the mouth of the
+Garonne. Shortly afterwards he arrived in Leyden. Gaubius and other
+Dutch professors figure sonorously in his future works; but whether he
+had much experimental knowledge of their instructions may be doubted.
+What seems undeniable is, that the old seduction of play stripped him of
+every shilling; so that, like Holberg before him, he set out
+deliberately to make the tour of Europe on foot. 'Haud inexpertus
+loquor,' he wrote in after days, when praising this mode of locomotion.
+He first visited Flanders. Thence he passed to France, Germany,
+Switzerland, and Italy, supporting himself mainly by his flute, and by
+occasional disputations at convents or universities. 'Sir,' said Boswell
+to Johnson, 'he 'disputed' his passage through Europe.' When on the 1st
+February, 1756, he landed at Dover, it was with empty pockets. But he
+had sent home to his brother in Ireland his first rough sketch for the
+poem of 'The Traveller'.
+
+He was now seven-and-twenty.  He had seen and suffered much, but he was
+to have further trials before drifting definitely into literature.
+Between Dover and London, it has been surmised, he made a tentative
+appearance as a strolling player. His next ascertained part was that of
+an apothecary's assistant on Fish Street Hill. From this, with the
+opportune aid of an Edinburgh friend, he proceeded--to use an
+eighteenth-century phrase--a poor physician in the Bankside, Southwark,
+where least of all, perhaps, was London's fabled pavement to be found.
+So little of it, in fact, fell to Goldsmith's share, that we speedily
+find him reduced to the rank of reader and corrector of the press to
+Samuel Richardson, printer, of Salisbury Court, author of 'Clarissa'.
+Later still he is acting as help or substitute in Dr. Milner's
+'classical academy' at Peckham. Here, at last, chance seemed to open to
+him the prospect of a literary life. He had already, says report,
+submitted a manuscript tragedy to Richardson's judgement; and something
+he said at Dr. Milner's table attracted the attention of an occasional
+visitor there, the bookseller Griffiths, who was also proprietor of the
+'Monthly Review'. He invited Dr. Milner's usher to try his hand at
+criticism; and finally, in April, 1757, Goldsmith was bound over for a
+year to that venerable lady whom George Primrose dubs 'the 'antiqua
+mater' of Grub Street'--in other words, he was engaged for bed, board,
+and a fixed salary to supply copy-of-all-work to his master's magazine.
+
+The arrangement thus concluded was not calculated to endure.  After some
+five months of labour from nine till two, and often later, it came
+suddenly to an end. No clear explanation of the breach is forthcoming,
+but mere incompatability of temper would probably supply a sufficient
+ground for disagreement. Goldsmith, it is said, complained that the
+bookseller and his wife treated him ill, and denied him ordinary
+comforts; added to which the lady, a harder taskmistress even than the
+'antiqua mater' above referred to, joined with her husband in 'editing'
+his articles, a course which, hard though it may seem, is not
+unprecedented. However this may be, either in September or October,
+1757, he was again upon the world, existing precariously from hand to
+mouth. 'By a very little practice as a physician, and very little
+reputation as a poet [a title which, as Prior suggests, possibly means
+no more than author], I make a shift to live.' So he wrote to his
+brother-in-law in December. What his literary occupations were cannot be
+definitely stated; but, if not prepared before, they probably included
+the translation of a remarkable work issued by Griffiths and others in
+the ensuing February. This was the 'Memoirs of a Protestant, condemned
+to the Galleys of France for his Religion', being the authentic record
+of the sufferings of one Jean Marteilhe of Bergerac, a book of which
+Michelet has said that it is 'written as if between earth and heaven.'
+Marteilhe, who died at Cuylenberg in 1777, was living in Holland in
+1758; and it may be that Goldsmith had seen or heard of him during his
+own stay in that country. The translation, however, did not bear
+Goldsmith's name, but that of James Willington, one of his old
+class-fellows at Trinity College. Nevertheless, Prior says distinctly
+that Griffiths (who should have known) declared it to be by Goldsmith.
+Moreover, the French original had been catalogued in Griffiths' magazine
+in the second month of Goldsmith's servitude, a circumstance which
+colourably supplies the reason for its subsequent rendering into
+English.
+
+The publication of Marteilhe's 'Memoirs' had no influence upon
+Goldsmith's fortunes, for, in a short time, he was again installed at
+Peckham, in place of Dr. Milner invalided, waiting hopefully for the
+fulfilment of a promise by his old master to procure him a medical
+appointment on a foreign station. It is probably that, with a view to
+provide the needful funds for this expatriation, he now began to sketch
+the little volume afterwards published under the title of 'An Enquiry
+into the Present State of Polite Learning in Europe', for towards the
+middle of the year we find him addressing long letters to his relatives
+in Ireland to enlist their aid in soliciting subscriptions for this
+book. At length the desired advancement was obtained,--a nomination as a
+physician and surgeon to one of the factories on the coast of
+Coromandel. But banishment to the East Indies was not to be his destiny.
+For some unexplained reason the project came to nothing; and then--like
+Roderick Random--he presented himself at Surgeons' Hall for the more
+modest office of a hospital mate. This was on the 21st of December,
+1758. The curt official record states that he was 'found not qualified.'
+What made matters worse, the necessity for a decent appearance before
+the examiners had involved him in new obligations to Griffiths, out of
+which arose fresh difficulties. To pay his landlady, whose husband was
+arrested for debt, he pawned the suit he had procured by Griffiths' aid;
+and he also raised money on some volumes which had been sent him for
+review. Thereupon ensued an angry and humiliating correspondence with
+the bookseller, as a result of which Griffiths, nevertheless, appears to
+have held his hand.
+
+By this time Goldsmith had moved into those historic but now
+non-existent lodgings in 12 Green Arbour Court, Old Bailey, which have
+been photographed for ever in Irving's 'Tales of a Traveller'. It was
+here that the foregoing incidents took place; and it was here also that,
+early in 1759, 'in a wretched dirty room, in which there was but one
+chair,' the Rev. Thomas Percy, afterwards Bishop of Dromore, found him
+composing (or more probably correcting the proofs of) 'The Enquiry'. 'At
+least spare invective 'till my book with Mr. Dodsley shall be
+publish'd,'--he had written not long before to the irate Griffiths--'and
+then perhaps you may see the bright side of a mind when my professions
+shall not appear the dictates of necessity but of choice.' 'The Enquiry'
+came out on the 2nd of April. It had no author's name, but it was an
+open secret that Goldsmith had written it; and to this day it remains to
+the critic one of the most interesting of his works. Obviously, in a
+duodecimo of some two hundred widely-printed pages, it was impossible to
+keep the high-sounding promise of its title; and at best its author's
+knowledge of the subject, notwithstanding his continental wanderings,
+can have been but that of an external spectator. Still in an age when
+critical utterance was more than ordinarily full-wigged and ponderous,
+it dared to be sprightly and epigrammatic. Some of its passages,
+besides, bear upon the writer's personal experiences, and serve to piece
+the imperfections of his biography. If it brought him no sudden wealth,
+it certainly raised his reputation with the book-selling world. A
+connexion already begun with Smollett's 'Critical Review' was drawn
+closer; and the shrewd Sosii of the Row began to see the importance of
+securing so vivacious and unconventional a pen. Towards the end of the
+year he was writing for Wilkie the collection of periodical essays
+entitled 'The Bee'; and contributing to the same publisher's 'Lady's
+Magazine', as well as to 'The Busy Body' of one Pottinger. In these,
+more than ever, he was finding his distinctive touch; and ratifying
+anew, with every fresh stroke of his pen, his bondage to authorship as a
+calling.
+
+He had still, however, to conquer the public.  'The Bee', although it
+contains one of his most characteristic essays ('A City Night-Piece'),
+and some of the most popular of his lighter verses ('The Elegy on Mrs.
+Mary Blaize'), never attained the circulation essential to healthy
+existence. It closed with its eighth number in November, 1759. In the
+following month two gentlemen called at Green Arbour Court to enlist the
+services of its author. One was Smollett, with a new serial, 'The
+British Magazine'; the other was Johnson's 'Jack Whirler,' bustling Mr.
+John Newbery from the 'Bible and Sun' in St. Paul's Churchyard, with a
+new daily newspaper, 'The Public Ledger'. For Smollett, Goldsmith wrote
+the 'Reverie at the Boar's Head Tavern' and the 'Adventures of a
+Strolling Player,' besides a number of minor papers. For Newbery, by a
+happy recollection of the 'Lettres Persanes' of Montesquieu, or some of
+his imitators, he struck almost at once into that charming epistolary
+series, brimful of fine observation, kindly satire, and various fancy,
+which was ultimately to become the English classic known as 'The Citizen
+of the World'. He continued to produce these letters periodically until
+the August of the following year, when they were announced for
+republication in 'two volumes of the usual 'Spectator' size.' In this
+form they appeared in May, 1762.
+
+But long before this date a change for the better had taken place in
+Goldsmith's life. Henceforth he was sure of work,--mere journey-work
+though much of it must have been;--and, had his nature been less
+improvident, of freedom from absolute want. The humble lodgings in the
+Old Bailey were discarded for new premises at No. 6 Wine Office Court,
+Fleet Street; and here, on the 31st of May, 1761, with Percy, came one
+whose name was often in the future to be associated with Goldsmith's,
+the great Dictator of London literary society, Samuel Johnson. Boswell,
+who made Johnson's acquaintance later, has not recorded the humours of
+that supper; but it marks the beginning of Goldsmith's friendship with
+the man who of all others (Reynolds excepted) loved him most and
+understood him best.
+
+During the remainder of 1761 he continued busily to ply his pen. Besides
+his contributions to 'The Ledger' and 'The British Magazine', he edited
+'The Lady's Magazine', inserting in it the 'Memoirs of Voltaire', drawn
+up some time earlier to accompany a translation of the 'Henriade' by his
+crony and compatriot Edward Purdon. Towards the beginning of 1762 he was
+hard at work on several compilations for Newbery, for whom he wrote or
+edited a 'History of Mecklenburgh', and a series of monthly volumes of
+an abridgement of 'Plutarch's Lives'. In October of the same year was
+published the 'Life of Richard Nash', apparently the outcome of special
+holiday-visits to the then fashionable watering-place of Bath, whence
+its fantastic old Master of the Ceremonies had only very lately made his
+final exit. It is a pleasantly gossiping, and not unedifying little
+book, which still holds a respectable place among its author's minor
+works. But a recently discovered entry in an old ledger shows that
+during the latter half of 1762 he must have planned, if he had not,
+indeed, already in part composed, a far more important effort, 'The
+Vicar of Wakefield'. For on the 28th of October in this year he sold to
+one Benjamin Collins, printer, of Salisbury, for 21 pounds, a third in a
+work with that title, further described as '2 vols. 12mo.' How this
+little circumstance, discovered by Mr. Charles Welsh when preparing his
+Life of John Newbery, is to be brought into agreement with the
+time-honoured story, related (with variations) by Boswell and others, to
+the effect that Johnson negotiated the sale of the manuscript for
+Goldsmith when the latter was arrested for rent by his incensed
+landlady--has not yet been satisfactorily suggested. Possibly the
+solution is a simple one, referable to some of those intricate
+arrangements favoured by 'the Trade' at a time when not one but half a
+score publishers' names figured in an imprint. At present, the fact that
+Collins bought a third share of the book from the author for twenty
+guineas, and the statement that Johnson transferred the entire
+manuscript to a bookseller for sixty pounds, seem irreconcilable. That
+'The Vicar of Wakefield' was nevertheless written, or was being written,
+in 1762, is demonstrable from internal evidence.
+
+About Christmas in the same year Goldsmith moved into lodgings at
+Islington, his landlady being one Mrs. Elizabeth Fleming, a friend of
+Newbery, to whose generalship this step seems attributable. From the
+curious accounts printed by Prior and Forster, it is clear that the
+publisher was Mrs. Fleming's paymaster, punctually deducting his
+disbursements from the account current between himself and Goldsmith, an
+arrangement which as plainly indicates the foresight of the one as it
+implies the improvidence of the other. Of the work which Goldsmith did
+for the businesslike and not unkindly little man, there is no very
+definite evidence; but various prefaces, introductions, and the like,
+belong to this time; and he undoubtedly was the author of the excellent
+'History of England in a Series of Letters addressed by a Nobleman to
+his Son', published anonymously in June, 1764, and long attributed, for
+the grace of its style, to Lyttelton, Chesterfield, Orrery, and other
+patrician pens. Meanwhile his range of acquaintance was growing larger.
+The establishment, at the beginning of 1764, of the famous association
+known afterwards as the 'Literary Club' brought him into intimate
+relations with Beauclerk, Reynolds, Langton, Burke, and others. Hogarth,
+too, is said to have visited him at Islington, and to have painted the
+portrait of Mrs. Fleming. Later in the same year, incited thereto by the
+success of Christopher Smart's 'Hannah', he wrote the Oratorio of 'The
+Captivity', now to be found in most editions of his poems, but never set
+to music. Then after the slow growth of months, was issued on the 19th
+December the elaboration of that fragmentary sketch which he had sent
+years before to his brother Henry from the Continent, the poem entitled
+'The Traveller; or, A Prospect of Society'.
+
+In the notes appended to 'The Traveller' in the present volume, its
+origin and progress are sufficiently explained. Its success was
+immediate and enduring. The beauty of the descriptive passages, the
+subtle simplicity of the language, the sweetness and finish of the
+versification, found ready admirers,--perhaps all the more because of
+the contrast they afforded to the rough and strenuous sounds with which
+Charles Churchill had lately filled the public ear. Johnson, who
+contributed a few lines at the close, proclaimed 'The Traveller' to be
+the best poem since the death of Pope; and it is certainly not easy to
+find its equal among the works of contemporary bards. It at once raised
+Goldsmith from the condition of a clever newspaper essayist, or--as men
+like Sir John Hawkins would have said--a mere 'bookseller's drudge,' to
+the foremost rank among the poets of the day. Another result of its
+success was the revival of some of his earlier work, which, however
+neglected by the author, had been freely appropriated by the discerning
+pirate. In June, 1765, Griffin and Newbery published a little volume of
+'Essays by Mr. Goldsmith', including some of the best of his
+contributions to 'The Bee', 'The Busy Body', 'The Public Ledger', and
+'The British Magazine', besides 'The Double Transformation' and 'The
+Logicians Refuted,' two pieces of verse in imitation of Prior and Swift,
+which have not been traced to an earlier source. To the same year
+belongs the first version of a poem which he himself regarded as his
+best work, and which still retains something of its former popularity.
+This was the ballad of 'Edwin and Angelina', otherwise known as 'The
+Hermit'. It originated in certain metrical discussions with Percy, then
+engaged upon his famous 'Reliques of English Poetry'; and in 1765,
+Goldsmith, who through his friend Nugent (afterwards Lord Clare) had
+made the acquaintance of the Earl of Northumberland, printed it
+privately for the amusement of the Countess. In a revised and amended
+form it was subsequently given to the world in 'The Vicar of Wakefield'.
+
+With the exception of an abortive attempt to resume his practice as a
+medical man,--an attempt which seems to have been frustrated by the
+preternatural strength of his prescriptions,--the next memorable thing
+in Goldsmith's life is the publication of 'The Vicar of Wakefield'
+itself. It made its appearance on the 27th of March, 1766. A second
+edition followed in May, a third in August. Why, having been sold (in
+part) to a Salisbury printer as far back as October, 1762, it had
+remained unprinted so long; and why, when published, it was published by
+Francis Newbery and not by John Newbery, Goldsmith's employer,--are
+questions at present unsolved. But the charm of this famous novel is as
+fresh as when it was first issued. Its inimitable types, its happy
+mingling of Christianity and character, its wholesome benevolence and
+its practical wisdom, are still unimpaired. We smile at the
+inconsistencies of the plot; but we are carried onward in spite of them,
+captivated by the grace, the kindliness, the gentle humour of the story.
+Yet it is a mistake to suppose that its success was instantaneous.
+Pirated it was, of course; but, according to expert investigations, the
+authorized edition brought so little gain to its first proprietors that
+the fourth issue of 1770 started with a loss. The fifth, published in
+April, 1774, was dated 1773; and had apparently been withheld because
+the previous edition, which consisted of no more than one thousand
+copies, was not exhausted. Five years elapsed before the sixth edition
+made its tardy appearance in 1779. These facts show that the writer's
+contemporaries were not his most eager readers. But he has long since
+appealed to the wider audience of posterity; and his fame is not
+confined to his native country, for he has been translated into most
+European languages. Dr. Primrose and his family are now veritable
+'citizens of the world.'
+
+A selection of 'Poems for Young Ladies', in the 'Moral' division of
+which he included his own 'Edwin and Angelina'; two volumes of 'Beauties
+of English Poesy', disfigured with strange heedlessness, by a couple of
+the most objectionable pieces of Prior; a translation of a French
+history of philosophy, and other occasional work, followed the
+publication of the 'Vicar'. But towards the middle of 1766, he was
+meditating a new experiment in that line in which Farquhar, Steele,
+Southerne, and others of his countrymen had succeeded before him. A
+fervent lover of the stage, he detested the vapid and colourless
+'genteel' comedy which had gradually gained ground in England; and he
+determined to follow up 'The Clandestine Marriage', then recently
+adapted by Colman and Garrick from Hogarth's 'Marriage A-la-Mode', with
+another effort of the same class, depending exclusively for its interest
+upon humour and character. Early in 1767 it was completed, and submitted
+to Garrick for Drury Lane. But Garrick perhaps too politic to traverse
+the popular taste, temporized; and eventually after many delays and
+disappointments, 'The Good Natur'd Man', as it was called, was produced
+at Covent Garden by Colman on the 29th of January, 1768. Its success was
+only partial; and in deference to the prevailing craze for the
+'genteel,' an admirable scene of low humour had to be omitted in the
+representation. But the piece, notwithstanding, brought the author 400
+pounds, to which the sale of the book, with the condemned passages
+restored, added another 100 pounds. Furthermore, Johnson, whose
+'Suspirius' in 'The Rambler' was, under the name of 'Croaker,' one of
+its most prominent personages, pronounced it to be the best comedy since
+Cibber's 'Provok'd Husband'.
+
+During the autumn of 1767, Goldsmith had again been living at Islington.
+On this occasion he had a room in Canonbury Tower, Queen Elizabeth's old
+hunting-lodge, and perhaps occupied the very chamber generally used by
+John Newbery, whose active life was, in this year, to close. When in
+London he had modest housing in the Temple. But the acquisition of 500
+pounds for 'The Good Natur'd Man' seemed to warrant a change of
+residence, and he accordingly expended four-fifths of that sum for the
+lease of three rooms on the second floor of No. 2 Brick Court, which he
+straightway proceeded to decorate sumptuously with mirrors, Wilton
+carpets, moreen curtains, and Pembroke tables. It was an unfortunate
+step; and he would have done well to remember the 'Nil te quaesiveris
+extra' with which his inflexible monitor, Johnson, had greeted his
+apologies for the shortcomings of some earlier lodgings. One of its
+natural results was to involve him in a new sequence of task-work, from
+which he never afterwards shook himself free. Hence, following hard upon
+a 'Roman History' which he had already engaged to write for Davies of
+Russell Street, came a more ambitious project for Griffin, 'A History of
+Animated Nature'; and after this again, another 'History of England' for
+Davies. The pay was not inadequate; for the first he was to have 250
+guineas, for the second 800 guineas, and for the last 500 pounds. But as
+employment for the author of a unique novel, an excellent comedy, and a
+deservedly successful poem, it was surely--in his own words--'to cut
+blocks with a razor.'
+
+And yet, apart from the anxieties of growing money troubles, his life
+could not have been wholly unhappy. There are records of pleasant
+occasional junketings--'shoe-maker's holidays' he called them--in the
+still countrified suburbs of Hampstead and Edgware; there was the
+gathering at the Turk's Head, with its literary magnates, for his
+severer hours; and for his more pliant moments, the genial
+'free-and-easy' or shilling whist-club of a less pretentious kind, where
+the student of mixed character might shine with something of the old
+supremacy of George Conway's inn at Ballymahon. And there must have been
+quieter and more chastened resting-places of memory, when, softening
+towards the home of his youth, with a sadness made more poignant by the
+death of his brother Henry in May, 1768, he planned and perfected his
+new poem of 'The Deserted Village'.
+
+In December, 1769, the recent appointment of his friend Reynolds as
+President of the Royal Academy brought him the honorary office of
+Professor of History to that institution; and to Reynolds 'The Deserted
+Village' was dedicated. It appeared on the 26th of May, 1770, with a
+success equal, if not superior, to that of 'The Traveller'. It ran
+through five editions in the year of its publication; and has ever since
+retained its reputation. If, as alleged, contemporary critics ranked it
+below its predecessor, the reason advanced by Washington Irving, that
+the poet had become his own rival, is doubtless correct; and there is
+always a prejudice in favour of the first success. This, however, is not
+an obstacle which need disturb the reader now; and he will probably
+decide that in grace and tenderness of description 'The Deserted
+Village' in no wise falls short of 'The Traveller'; and that its central
+idea, and its sympathy with humanity, give it a higher value as a work
+of art.
+
+After 'The Deserted Village' had appeared, Goldsmith made a short trip
+to Paris, in company with Mrs. and the two Miss Hornecks, the elder of
+whom, christened by the poet with the pretty pet-name of 'The Jessamy
+Bride,' is supposed to have inspired him with more than friendly
+feelings. Upon his return he had to fall again to the old
+'book-building' in order to recruit his exhausted finances. Since his
+last poem he had published a short 'Life of Parnell'; and Davies now
+engaged him on a 'Life of Bolingbroke', and an abridgement of the 'Roman
+History'. Thus, with visits to friends, among others to Lord Clare, for
+whom he wrote the delightful occasional verses called 'The Haunch of
+Venison', the months wore on until, in December, 1770, the print-shops
+began to be full of the well-known mezzotint which Marchi had engraved
+from his portrait by Sir Joshua.
+
+His chief publications in the next two years were the above-mentioned
+'History of England', 1771; 'Threnodia Augustalis', a poetical
+lament-to-order on the death of the Princess Dowager of Wales, 1772; and
+the abridgement of the 'Roman History', 1772. But in the former year he
+had completed a new comedy, 'She Stoops to Conquer; or, The Mistakes of
+a Night', which, after the usual vexatious negotiations, was brought out
+by Colman at Covent Garden on Monday, the 15th of March, 1773. The
+manager seems to have acted Goldsmith's own creation of 'Croaker' with
+regard to this piece, and even to the last moment predicted its failure.
+But it was a brilliant success. More skilful in construction than 'The
+Good Natur'd Man', more various in its contrasts of character, richer
+and stronger in humour and 'vis comica', 'She Stoops to Conquer' has
+continued to provide an inexhaustible fund of laughter to more than
+three generations of playgoers, and still bids fair to retain the
+character generally given to it, of being one of the three most popular
+comedies upon the English stage. When published, it was gratefully
+inscribed, in one of those admirable dedications of which its author
+above all men possessed the secret, to Johnson, who had befriended it
+from the first. 'I do not mean,' wrote Goldsmith, 'so much to compliment
+you as myself. It may do me some honour to inform the public, that I
+have lived many years in intimacy with you. It may serve the interests
+of mankind also to inform them, that the greatest wit may be found in a
+character, without impairing the most unaffected piety.'
+
+His gains from 'She Stoops to Conquer' were considerable; but by this
+time his affairs had reached a stage of complication which nothing short
+of a miracle could disentangle; and there is reason for supposing that
+his involved circumstances preyed upon his mind. During the few months
+of life that remained to him he published nothing, being doubtless
+sufficiently occupied by the undertakings to which he was already
+committed. The last of his poetical efforts was the poem entitled
+'Retaliation', a group of epitaph-epigrams prompted by some similar
+'jeux d'esprit' directed against himself by Garrick and other friends,
+and left incomplete at his death. In March, 1774, the combined effects
+of work and worry, added to a local disorder, brought on a nervous
+fever, which he unhappily aggravated by the use of a patent medicine
+called 'James's Powder.' He had often relied upon this before, but in
+the present instance it was unsuited to his complaint. On Monday, the
+4th of April, 1774, he died, in his forty-sixth year, and was buried on
+the 9th in the burying-ground of the Temple Church. Two years later a
+monument, with a medallion portrait by Nollekens, and a Latin
+inscription by Johnson, was erected to him in Westminster Abbey, at the
+expense of the Literary Club. But although the inscription contains more
+than one phrase of felicitous discrimination, notably the oft-quoted
+'affectuum potens, at lenis dominator', it may be doubted whether the
+simpler words used by his rugged old friend in a letter to Langton are
+not a fitter farewell to Oliver Goldsmith,--'Let not his frailties be
+remembered; he was a very great man.'
+
+In person Goldsmith was short and strongly built.  His complexion was
+rather fair, but he was deeply scarred with small-pox; and--if we may
+believe his own account--the vicissitudes and privations of his early
+life had not tended to diminish his initial disadvantages. 'You scarcely
+can conceive,' he writes to his brother in 1759, 'how much eight years
+of disappointment, anguish, and study, have worn me down.... Imagine to
+yourself a pale melancholy visage, with two great wrinkles between the
+eye-brows, with an eye disgustingly severe, and a big wig; and you may
+have a perfect picture of my present appearance,' i.e. at thirty years
+of age. 'I can neither laugh nor drink,' he goes on; 'have contracted an
+hesitating, disagreeable manner of speaking, and a visage that looks
+ill-nature itself; in short, I have thought myself into a settled
+melancholy, and an utter disgust of all that life brings with it.' It is
+obvious that this description is largely coloured by passing depression.
+'His features,' says one contemporary, 'were plain, but not
+repulsive,--certainly not so when lighted up by conversation.' Another
+witness--the 'Jessamy Bride'--declares that 'his benevolence was
+unquestionable, and his countenance bore every trace of it.' His true
+likeness would seem to lie midway between the grotesquely truthful
+sketch by Bunbury prefixed in 1776 to the 'Haunch of Venison', and the
+portrait idealized by personal regard, which Reynolds painted in 1770.
+In this latter he is shown wearing, in place of his customary wig, his
+own scant brown hair, and, on this occasion, masquerades in a furred
+robe, and falling collar. But even through the disguise of a studio
+'costume,' the finely-perceptive genius of Reynolds has managed to
+suggest much that is most appealing in his sitter's nature. Past
+suffering, present endurance, the craving to be understood, the mute
+deprecation of contempt, are all written legibly in this pathetic
+picture. It has been frequently copied, often very ineffectively, for so
+subtle is the art that the slightest deviation hopelessly distorts and
+vulgarizes what Reynolds has done supremely, once and for ever.
+
+Goldsmith's character presents but few real complexities.  What seems
+most to have impressed his contemporaries is the difference, emphasized
+by the happily-antithetic epigram of Garrick, between his written style
+and his conversation; and collaterally, between his eminence as a
+literary man and his personal insignificance. Much of this is easily
+intelligible. He had started in life with few temporal or physical
+advantages, and with a native susceptibility that intensified his
+defects. Until he became a middle-aged man, he led a life of which we do
+not even now know all the degradations; and these had left their mark
+upon his manners. With the publication of 'The Traveller', he became at
+once the associate of some of the best talent and intellect in
+England,--of fine gentlemen such as Beauclerk and Langton, of artists
+such as Reynolds and Garrick, of talkers such as Johnson and Burke.
+Morbidly self-conscious, nervously anxious to succeed, he was at once
+forced into a competition for which neither his antecedents nor his
+qualifications had prepared him. To this, coupled with the old habit of
+poverty, must be attributed his oft-cited passion for fine clothes,
+which surely arose less from vanity than from a mistaken attempt to
+extenuate what he felt to be his most obvious shortcomings. As a talker
+especially he was ill-fitted to shine. He was easily disconcerted by
+retort, and often discomfited in argument. To the end of his days he
+never lost his native brogue; and (as he himself tells us) he had that
+most fatal of defects to a narrator, a slow and hesitating manner. The
+perspicuity which makes the charm of his writings deserted him in
+conversation; and his best things were momentary flashes. But some of
+these were undoubtedly very happy. His telling Johnson that he would
+make the little fishes talk like whales; his affirmation of Burke that
+he wound into a subject like a serpent; and half-a-dozen other
+well-remembered examples--afford ample proof of this. Something of the
+uneasy jealousy he is said to have exhibited with regard to certain of
+his contemporaries may also be connected with the long probation of
+obscurity during which he had been a spectator of the good fortune of
+others, to whom he must have known himself superior. His improvidence
+seems to have been congenital, since it is to be traced 'even from his
+boyish days.' But though it cannot justly be ascribed to any reaction
+from want to sufficiency, it can still less be supposed to have been
+diminished by that change. If he was careless of money, it must also be
+remembered that he gave much of it away; and fortune lingers little with
+those whose ears are always open to a plausible tale of distress. Of his
+sensibility and genuine kindheartedness there is no doubt. And it is
+well to remember that most of the tales to his disadvantage come, not
+from his more distinguished companions, but from such admitted
+detractors as Hawkins and Boswell. It could be no mean individuality
+that acquired the esteem, and deserved the regret, of Johnson and
+Reynolds.
+
+In an edition of Goldsmith's poems, any extended examination of his
+remaining productions would be out of place. Moreover, the bulk of these
+is considerably reduced when all that may properly be classed as
+hack-work has been withdrawn. The histories of Greece, of Rome, and of
+England; the 'Animated Nature'; the lives of Nash, Voltaire, Parnell,
+and Bolingbroke, are merely compilations, only raised to the highest
+level in that line because they proceeded from a man whose gift of clear
+and easy exposition lent a charm to everything he touched. With the work
+which he did for himself, the case is different. Into 'The Citizen of
+the World', 'The Vicar of Wakefield', and his two comedies, he put all
+the best of his knowledge of human nature, his keen sympathy with his
+kind, his fine common-sense and his genial humour. The same qualities,
+tempered by a certain grace and tenderness, also enter into the best of
+his poems. Avoiding the epigram of Pope and the austere couplet of
+Johnson, he yet borrowed something from each, which he combined with a
+delicacy and an amenity that he had learned from neither. He himself, in
+all probability, would have rested his fame on his three chief metrical
+efforts, 'The Traveller', 'The Hermit', and 'The Deserted Village'. But,
+as is often the case, he is remembered even more favourably by some of
+those delightful familiar verses, unprinted during his lifetime, which
+he threw off with no other ambition than the desire to amuse his
+friends. 'Retaliation', 'The Haunch of Venison', the 'Letter in Prose
+and Verse to Mrs. Bunbury', all afford noteworthy exemplification of
+that playful touch and wayward fancy which constitute the chief
+attraction of this species of poetry. In his imitations of Swift and
+Prior, and his variations upon French suggestions, his personal note is
+scarcely so apparent; but the two Elegies and some of the minor pieces
+retain a deserved reputation. His ingenious prologues and epilogues also
+serve to illustrate the range and versatility of his talent. As a rule,
+the arrangement in the present edition is chronological; but it has not
+been thought necessary to depart from the practice which gives a
+time-honoured precedence to 'The Traveller' and 'The Deserted Village'.
+The true sequence of the poems, in their order of publication, is,
+however, exactly indicated in the table which follows this Introduction.
+
+
+
+
+
+CHRONOLOGY OF GOLDSMITH'S LIFE AND POEMS.
+
+------ 1728 ------
+November 10.      Born at Pallas, near Ballymahon, in the county of
+                  Longford, Ireland.
+
+
+------ 1730 ------
+                  Family remove to Lissoy, in the county of Westmeath.
+
+
+------ 1731 ------
+                  Under Elizabeth Delap.
+
+
+------ 1734 ------
+                  Under Mr. Thomas Byrne of the village school.
+
+
+------ 1736-44 ------
+                  At school at Elphin (Mr. Griffin's),
+                  Athlone (Mr. Campbell's),
+                  Edgeworthstown (Mr. Hughes's).
+
+
+------ 1744 ------
+June 11.          Admitted a sizar of Trinity College, Dublin,
+                 'annum agens 15.'
+
+
+------ 1747 ------
+                  Death of his father, the Rev. Charles Goldsmith.
+May.              Takes part in a college riot.
+June 15.          Obtains a Smythe exhibition.
+                  Runs away from college.
+
+
+------ 1749 ------
+February 27.      Takes his degree as Bachelor of Arts.
+
+
+------ 1751 ------
+                  Rejected for orders by the Bishop of Elphin.
+                  Tutor to Mr. Flinn.
+                  Sets out for America (via Cork), but returns.
+                  Letter to Mrs. Goldsmith(his mother).
+
+------ 1752 ------
+                  Starts as a law student, but loses his all at play.
+                  Goes to Edinburgh to become a medical student.
+
+------ 1753 ------
+January 13.       Admitted a member of the 'Medical Society' of Edinburgh.
+May 8.            Letter to his Uncle Contarine.
+September 26.     Letter to Robert Bryanton.
+                  Letter to his Uncle Contarine.
+
+
+------ 1754 ------
+                  Goes to Leyden.  Letter to his Uncle Contarine.
+
+
+------ 1755 ------
+February.         Leaves Leyden.
+                  Takes degree of Bachelor of Medicine at Louvain (?).
+                  Travels on foot in France, Germany,
+                  Switzerland, and Italy.
+                  Sketches 'The Traveller'.
+
+
+------ 1756 ------
+February 1.       Returns to Dover.
+                  Low comedian; usher (?); apothecary's journeyman;
+                  poor physician in Bankside, Southwark.
+
+
+------ 1757 ------
+                  Press corrector to Samuel Richardson, printer and
+                  novelist; assistant at Peckham Academy (Dr. Milner's).
+April.            Bound over to Griffiths the bookseller.
+                  Quarrels with Griffiths.
+December 27.      Letter to his brother-in-law, Daniel Hodson.
+
+
+------ 1758 ------
+February.         Publishes 'The Memoirs of a Protestant,
+                  condemned to the Galleys of France for his Religion'.
+                  Gives up literature and returns to Peckham.
+August.           Leaves Peckham.  Letters to Edward Mills, Bryanton,
+                  Mrs. Jane Lawder.
+                  Appointed surgeon and physician to a factory
+                  on the Coast of Coromandel.
+November (?).     Letter to Hodson.
+                  Moves into 12 Green Arbour Court, Old Bailey.
+                  Coromandel appointment comes to nothing.
+December 21.      Rejected at Surgeons' Hall as 'not qualified'
+                  for a hospital mate.
+
+
+------ 1759 ------
+February (?).     Letter to Henry Goldsmith.
+March.            Visited by Percy at 12 Green Arbour Court.
+April 2.         'Enquiry into the Present State of Polite Learning in
+                  Europe' published. 'Prologue of Laberius' ('Enquiry').
+October 6.       'The Bee' commenced.  'On a Beautiful Youth struck blind
+                  with Lightning' ('Bee').
+October 13.      'The Gift' ('Bee').
+    "   18.      'The Logicians Refuted' ('Busy Body').
+    "   20.      'A Sonnet' ('Bee').
+    "   22.      'Stanzas on the Taking of Quebec' ('Busy Body').
+October 27.      'Elegy on Mrs. Mary Blaize' ('Bee').
+November 24.     'The Bee' closed.
+
+
+------ 1760 ------
+January  1.      'The British Magazine' commenced.
+    "   12.      'The Public Ledger' commenced.
+    "   24.       First Chinese Letter published ('Citizen of the World').
+May 2.           'Description of an Author's Bedchamber' ('Chinese Letter'
+                  in 'Public Ledger').
+October 21.      'On seeing Mrs....perform,'etc.  ('Chinese Letter' in
+                 'Public Ledger').
+                  Editing 'Lady's Magazine'.  Compiling Prefaces.
+                  Moves into 6 Wine Office Court, Fleet Street.
+
+
+------ 1761 ------
+March 4.         'On the Death of the Right Hon....('Chinese Letter' in
+                 'Public Ledger').
+April 4-14.      'An Epigram'; to G. C. and R. L. ('Chinese Letter
+                  in 'Public Ledger').
+May 13.          'Translation of a South American Ode.' ('Chinese
+                  Letter' in 'Public Ledger')
+August 14.        Last Chinese Letter published ('Citizen of the World').
+                 'Memoirs of M. de Voltaire' published in
+                 'Lady's Magazine'.
+
+
+------ 1762 ------
+February 23.      Pamphlet on Cock Lane Ghost published.
+    "    26.     'History of Mecklenburgh' published.
+May 1.           'Citizen of the World' published.
+May 1 to Nov. 1. 'Plutarch's Lives', vol. i to vii, published.
+                  At Bath and Tunbridge.
+October 14.      'Life of Richard Nash' published.
+    "   28.       Sells third share of 'Vicar of Wakefield'
+                  to B. Collins, printer, Salisbury.
+                  At Mrs. Fleming's at Islington.
+
+
+------ 1763 ------
+March 31.         Agrees with James Dodsley to write a
+                 'Chronological History of the Lives of Eminent
+                  Persons of Great Britain and Ireland'. (Never done.)
+
+
+------ 1764 ------
+                 'The Club,' afterwards the Literary Club, founded.
+                  Moves into lodgings on the
+                  library staircase of the Temple.
+June 26.          'History of England, in a series of Letters
+                  from a Nobleman to his Son' published.
+October 31.       Oratorio of 'The Captivity' sold to James Dodsley.
+December 19.     'The Traveller' published.
+
+------ 1765 ------
+June 4.          'Essays by Mr. Goldsmith' published.
+                 'The Double Transformation,'
+                 'A New Simile' ('Essays').
+                 'Edwin and Angelina' ('The Hermit')
+                  printed privately for the amusement
+                  of the Countess of Northumberland.
+                  Resumes practice as a physician.
+
+
+------ 1766 ------
+March 27.        'Vicar of Wakefield' published.
+                 'Elegy on a Mad Dog';
+                 'Olivia's Song' ('Vicar of Wakefield').
+May 31.          'Vicar of Wakefield', 2nd edition.
+June.             Translation of Formey's 'Concise History of
+                  Philosophy and Philosophers' published.
+August 29.       'Vicar of Wakefield', 3rd edition.
+December 15.     'Poems for Young Ladies' published.
+
+
+------ 1766 ------
+December 28.     'English Grammar' written.
+
+
+------ 1767 ------
+April.           'Beauties of English Poesy' published.
+July 19.          Living in Garden Court, Temple.
+ "   25.          Letter to the 'St. James's Chronicle'.
+December 22.      Death of John Newbery.
+
+
+------ 1768 ------
+February 5.       Publishes 'The Good Natur'd Man', a Comedy,
+                  produced at Covent Garden, January 29.
+                 'Epilogue to 'The Good Natur'd Man'.'
+                  Moves to 2 Brick Court, Middle Temple.
+May.              Death of Henry Goldsmith.
+                  Living at Edgware.
+
+
+------ 1769 ------
+February 18.     'Epilogue to Mrs. Lenox's 'Sister'.'
+    "    29.      Agreement for 'a new Natural History
+                  of Animals' ('Animated Nature').
+May 18.          'Roman History' published
+June 13.          Agreement for 'History of England'.
+December.         Appointed Professor of History to the Royal Academy.
+
+
+------ 1770 ------
+January.           Letter to Maurice Goldsmith.
+April 24-May 26.   Portrait by Reynolds exhibited.
+May 26.           'The Deserted Village' published.
+July 13.          'Life of Thomas Parnell' published.
+July.              On the Continent with the Hornecks.
+                   Letters to Reynolds.
+September 15.      Agreement for abridgement of 'Roman History'.
+December 1.        Marchi's print from Reynold's portrait published.
+December 19.      'Life of Bolingbroke' published.
+                  'Vicar of Wakefield', 4th edition.
+
+------ 1771 ------
+                  'Haunch of Venison' written. (?)
+August 6.         'History of England' published.
+December 11.      'Prologue to Cradock's 'Zobeide'.'
+
+------ 1772 ------
+February 20.      'Threnodia Augustalis' published.
+                   Watson's Engraving of 'Resignation' published.
+December.          Abridgement of 'Roman History' published.
+
+------ 1773 ------
+March 26.         Publishes 'She Stoops to Conquer; or,
+                  The Mistakes of a Night', a Comedy,
+                  produced at Covent Garden, March 15.
+                  'Song in 'She Stoops to Conquer','
+                  'Epilogue to 'She Stoops to Conquer'.'
+
+
+------ 1773 ------
+March 24.         Kenrick's libel in the 'London Packet'.
+  "   31.         Letter in the 'Daily Advertiser'.
+May 8.            'The Grumbler' produced.
+                  Projects a 'Dictionary of Arts and Sciences'.
+
+
+------ 1774 ------
+March 25.         Illness.
+April 4.          Death.
+  "   9.         'Buried 9th April, Oliver Goldsmith, MB,
+                  late of Brick-court, Middle Temple'
+                  (Register of Burials, Temple Church).
+April 19.        'Retaliation' published.
+April.           'Vicar of Wakefield', 5th edition (dated 1773).
+June.             Song ('Ah me, when shall I marry me?') published.
+June 28.          Letters of Administration granted.
+June.            'An History of the Earth and Animated Nature'
+                  published.
+                 'Translation from Addison.'  ('History', etc., 1774.)
+
+
+------ 1776 ------
+                 'The Haunch of Venison' published.
+                 'Epitaph on Thomas Parnell,' and
+                 'Two Songs from 'The Captivity' ('Haunch of Venison').
+                  Monument with medallion by Nollekens erected in the
+                  south transept of Westminster Abbey.
+
+------ 1777 ------
+                 'Poems and Plays' published.
+                 'The Clown's Reply,'
+                 'Epitaph on Edward Purdon' ('Poems', etc., 1777).
+
+------ 1779 ------
+                 'Vicar of Wakefield', 6th edition.
+
+------ 1780 ------
+                 'Poetical and Dramatic Works',
+                  Evans's edition, published.
+                 'Epilogue for Lee Lewes' ('Poetical, etc., Works', 1780).
+
+------ 1801 ------
+                 'Miscellaneous Works', Percy's edition, published.
+                 'Epilogues (unspoken) to 'She Stoops to Conquer''
+                 ('Misc. Works', 1801).
+
+------ 1820 ------
+                 'Miscellaneous Works', 'trade' edition, published.
+                  An Oratorio' ('The Captivity').  ('Misc. Works', 1820.)
+
+------ 1837 ------
+                 'Miscellaneous Works', Prior's edition, published.
+                 'Verses in Reply to an Invitation to Dinner';
+                 'Letter in Prose and Verse to Mrs. Bunbury'
+                  ('Misc. Works', 1837).
+                  Tablet erected in the Temple Church.
+
+------ 1854 ------
+                 'Goldsmith's Works', Cunningham's edition, published.
+                 'Translation of Vida's 'Game of Chess''
+                  ('Works', 1854, vol. iv).
+
+------ 1864 ------
+January 5.        J. H. Foley's statue placed in front of
+                  Dublin University.
+
+
+
+
+
+
+DESCRIPTIVE POEMS
+
+THE TRAVELLER
+OR
+A PROSPECT OF SOCIETY
+
+DEDICATION
+TO THE REV. HENRY GOLDSMITH
+
+DEAR SIR,
+
+I am sensible that the friendship between us can acquire no new force
+from the ceremonies of a Dedication; and perhaps it demands an excuse
+thus to prefix your name to my attempts, which you decline giving with
+your own. But as a part of this Poem was formerly written to you from
+Switzerland, the whole can now, with propriety, be only inscribed to
+you. It will also throw a light upon many parts of it, when the reader
+understands, that it is addressed to a man, who, despising Fame and
+Fortune, has retired early to Happiness and Obscurity, with an income of
+forty pounds a year.
+
+I now perceive, my dear brother, the wisdom of your humble choice.  You
+have entered upon a sacred office, where the harvest is great, and the
+labourers are but few; while you have left the field of Ambition, where
+the labourers are many, and the harvest not worth carrying away. But of
+all kinds of ambition, what from the refinement of the times, from
+different systems of criticism, and from the divisions of party, that
+which pursues poetical fame is the wildest.
+
+Poetry makes a principal amusement among unpolished nations; but in a
+country verging to the extremes of refinement, Painting and Music come
+in for a share. As these offer the feeble mind a less laborious
+entertainment, they at first rival Poetry, and at length supplant her;
+they engross all that favour once shown to her, and though but younger
+sisters, seize upon the elder's birthright.
+
+Yet, however this art may be neglected by the powerful, it is still in
+greater danger from the mistaken efforts of the learned to improve it.
+What criticisms have we not heard of late in favour of blank verse, and
+Pindaric odes, choruses, anapaests and iambics, alliterative care and
+happy negligence! Every absurdity has now a champion to defend it; and
+as he is generally much in the wrong, so he has always much to say; for
+error is ever talkative.
+
+But there is an enemy to this art still more dangerous, I mean Party.
+Party entirely distorts the judgment, and destroys the taste. When the
+mind is once infected with this disease, it can only find pleasure in
+what contributes to increase the distemper. Like the tiger, that seldom
+desists from pursuing man after having once preyed upon human flesh, the
+reader, who has once gratified his appetite with calumny, makes, ever
+after, the most agreeable feast upon murdered reputation. Such readers
+generally admire some half-witted thing, who wants to be thought a bold
+man, having lost the character of a wise one. Him they dignify with the
+name of poet; his tawdry lampoons are called satires, his turbulence is
+said to be force, and his frenzy fire.
+
+What reception a Poem may find, which has neither abuse, party, nor
+blank verse to support it, I cannot tell, nor am I solicitous to know.
+My aims are right. Without espousing the cause of any party, I have
+attempted to moderate the rage of all. I have endeavoured to show, that
+there may be equal happiness in states, that are differently governed
+from our own; that every state has a particular principle of happiness,
+and that this principle in each may be carried to a mischievous excess.
+There are few can judge, better than yourself, how far these positions
+are illustrated in this Poem.
+
+          I am, dear Sir,
+     Your most affectionate Brother,
+            OLIVER GOLDSMITH.
+
+
+
+
+THE TRAVELLER
+OR
+A PROSPECT OF SOCIETY
+
+REMOTE, unfriended, melancholy, slow,
+Or by the lazy Scheldt, or wandering Po;
+Or onward, where the rude Carinthian boor
+Against the houseless stranger shuts the door;
+Or where Campania's plain forsaken lies,                     5
+A weary waste expanding to the skies:
+Where'er I roam, whatever realms to see,
+My heart untravell'd fondly turns to thee;
+Still to my brother turns with ceaseless pain,
+And drags at each remove a lengthening chain.               10
+
+Eternal blessings crown my earliest friend,
+And round his dwelling guardian saints attend:
+Bless'd be that spot, where cheerful guests retire
+To pause from toil, and trim their ev'ning fire;
+Bless'd that abode, where want and pain repair,             15
+And every stranger finds a ready chair;
+Bless'd be those feasts with simple plenty crown'd,
+Where all the ruddy family around
+Laugh at the jests or pranks that never fail,
+Or sigh with pity at some mournful tale,                    20
+Or press the bashful stranger to his food,
+And learn the luxury of doing good.
+
+But me, not destin'd such delights to share,
+My prime of life in wand'ring spent and care,
+Impell'd, with steps unceasing, to pursue                   25
+Some fleeting good, that mocks me with the view;
+That, like the circle bounding earth and skies,
+Allures from far, yet, as I follow, flies;
+My fortune leads to traverse realms alone,
+And find no spot of all the world my own.                   30
+
+E'en now, where Alpine solitudes ascend,
+I sit me down a pensive hour to spend;
+And, plac'd on high above the storm's career,
+Look downward where a hundred realms appear;
+Lakes, forests, cities, plains, extending wide,             35
+The pomp of kings, the shepherd's humbler pride.
+
+When thus Creation's charms around combine,
+Amidst the store, should thankless pride repine?
+Say, should the philosophic mind disdain
+That good, which makes each humbler bosom vain?
+Let school-taught pride dissemble all it can,               41
+These little things are great to little man;
+And wiser he, whose sympathetic mind
+Exults in all the good of all mankind.
+Ye glitt'ring towns, with wealth and splendour crown'd,
+Ye fields, where summer spreads profusion round,            46
+Ye lakes, whose vessels catch the busy gale,
+Ye bending swains, that dress the flow'ry vale,
+For me your tributary stores combine;
+Creation's heir, the world, the world is mine!              50
+
+As some lone miser visiting his store,
+Bends at his treasure, counts, re-counts it o'er;
+Hoards after hoards his rising raptures fill,
+Yet still he sighs, for hoards are wanting still:
+Thus to my breast alternate passions rise,                  55
+Pleas'd with each good that heaven to man supplies:
+Yet oft a sigh prevails, and sorrows fall,
+To see the hoard of human bliss so small;
+And oft I wish, amidst the scene, to find
+Some spot to real happiness consign'd,                      60
+Where my worn soul, each wand'ring hope at rest,
+May gather bliss to see my fellows bless'd.
+
+But where to find that happiest spot below,
+Who can direct, when all pretend to know?
+The shudd'ring tenant of the frigid zone                    65
+Boldly proclaims that happiest spot his own,
+Extols the treasures of his stormy seas,
+And his long nights of revelry and ease;
+The naked negro, panting at the line,
+Boasts of his golden sands and palmy wine,                  70
+Basks in the glare, or stems the tepid wave,
+And thanks his gods for all the good they gave.
+Such is the patriot's boast, where'er we roam,
+His first, best country ever is, at home.
+And yet, perhaps, if countries we compare,                  75
+And estimate the blessings which they share,
+Though patriots flatter, still shall wisdom find
+An equal portion dealt to all mankind,
+As different good, by Art or Nature given,
+To different nations makes their blessings even.            80
+
+Nature, a mother kind alike to all,
+Still grants her bliss at Labour's earnest call;
+With food as well the peasant is supplied
+On Idra's cliffs as Arno's shelvy side;
+And though the rocky-crested summits frown,                 85
+These rocks, by custom, turn to beds of down.
+From Art more various are the blessings sent;
+Wealth commerce, honour, liberty, content.
+Yet these each other's power so strong contest,
+That either seems destructive of the rest.                  90
+Where wealth and freedom reign, contentment fails,
+And honour sinks where commerce long prevails.
+Hence every state to one lov'd blessing prone,
+Conforms and models life to that alone.
+Each to the favourite happiness attends,                    95
+And spurns the plan that aims at other ends;
+Till, carried to excess in each domain,
+This favourite good begets peculiar pain.
+
+But let us try these truths with closer eyes,
+And trace them through the prospect as it lies:            100
+Here for a while my proper cares resign'd,
+Here let me sit in sorrow for mankind,
+Like yon neglected shrub at random cast,
+That shades the steep, and sighs at every blast.
+
+Far to the right where Apennine ascends,                   105
+Bright as the summer, Italy extends;
+Its uplands sloping deck the mountain's side,
+Woods over woods in gay theatric pride;
+While oft some temple's mould'ring tops between
+With venerable grandeur mark the scene                     110
+
+Could Nature's bounty satisfy the breast,
+The sons of Italy were surely blest.
+Whatever fruits in different climes were found,
+That proudly rise, or humbly court the ground;
+Whatever blooms in torrid tracts appear,                   115
+Whose bright succession decks the varied year;
+Whatever sweets salute the northern sky
+With vernal lives that blossom but to die;
+These here disporting own the kindred soil,
+Nor ask luxuriance from the planter's toil;                120
+While sea-born gales their gelid wings expand
+To winnow fragrance round the smiling land.
+
+But small the bliss that sense alone bestows,
+And sensual bliss is all the nation knows.
+In florid beauty groves and fields appear,                 125
+Man seems the only growth that dwindles here.
+Contrasted faults through all his manner reign;
+Though poor, luxurious; though submissive, vain;
+Though grave, yet trifling; zealous, yet untrue;
+And e'en in penance planning sins anew.                    130
+All evils here contaminate the mind,
+That opulence departed leaves behind;
+For wealth was theirs, not far remov'd the date,
+When commerce proudly flourish'd through the state;
+At her command the palace learn'd to rise,                 135
+Again the long-fall'n column sought the skies;
+The canvas glow'd beyond e'en Nature warm,
+The pregnant quarry teem'd with human form;
+Till, more unsteady than the southern gale,
+Commerce on other shores display'd her sail;               140
+While nought remain'd of all that riches gave,
+But towns unmann'd, and lords without a slave;
+And late the nation found, with fruitless skill,
+Its former strength was but plethoric ill.
+
+Yet still the loss of wealth is here supplied              145
+By arts, the splendid wrecks of former pride;
+From these the feeble heart and long-fall'n mind
+An easy compensation seem to find.
+Here may be seen, in bloodless pomp array'd,
+The paste-board triumph and the cavalcade;                 150
+Processions form'd for piety and love,
+A mistress or a saint in every grove.
+By sports like these are all their cares beguil'd,
+The sports of children satisfy the child;
+Each nobler aim, repress'd by long control,                155
+Now sinks at last, or feebly mans the soul;
+While low delights, succeeding fast behind,
+In happier meanness occupy the mind:
+As in those domes, where Caesars once bore sway,
+Defac'd by time and tottering in decay,                    160
+There in the ruin, heedless of the dead,
+The shelter-seeking peasant builds his shed,
+And, wond'ring man could want the larger pile,
+Exults, and owns his cottage with a smile.
+
+My soul, turn from them; turn we to survey                 165
+Where rougher climes a nobler race display,
+Where the bleak Swiss their stormy mansions tread,
+And force a churlish soil for scanty bread;
+No product here the barren hills afford,
+But man and steel, the soldier and his sword;              170
+No vernal blooms their torpid rocks array,
+But winter ling'ring chills the lap of May;
+No Zephyr fondly sues the mountain's breast,
+But meteors glare, and stormy glooms invest.
+
+Yet still, e'en here, content can spread a charm,          175
+Redress the clime, and all its rage disarm.
+Though poor the peasant's hut, his feasts though small,
+He sees his little lot the lot of all;
+Sees no contiguous palace rear its head
+To shame the meanness of his humble shed;                  180
+No costly lord the sumptuous banquet deal
+To make him loathe his vegetable meal;
+But calm, and bred in ignorance and toil,
+Each wish contracting, fits him to the soil.
+Cheerful at morn he wakes from short repose,               185
+Breasts the keen air, and carols as he goes;
+With patient angle trolls the finny deep,
+Or drives his vent'rous plough-share to the steep;
+Or seeks the den where snow-tracks mark the way,
+And drags the struggling savage into day.                  190
+At night returning, every labour sped,
+He sits him down the monarch of a shed;
+Smiles by his cheerful fire, and round surveys
+His children's looks, that brighten at the blaze;
+While his lov'd partner, boastful of her hoard,            195
+Displays her cleanly platter on the board:
+And haply too some pilgrim, thither led,
+With many a tale repays the nightly bed.
+
+Thus every good his native wilds impart,
+Imprints the patriot passion on his heart,                 200
+And e'en those ills, that round his mansion rise,
+Enhance the bliss his scanty fund supplies.
+Dear is that shed to which his soul conforms,
+And dear that hill which lifts him to the storms;
+And as a child, when scaring sounds molest,                205
+Clings close and closer to the mother's breast,
+So the loud torrent, and the whirlwind's roar,
+But bind him to his native mountains more.
+
+Such are the charms to barren states assign'd;
+Their wants but few, their wishes all confin'd.            210
+Yet let them only share the praises due,
+If few their wants, their pleasures are but few;
+For every want that stimulates the breast,
+Becomes a source of pleasure when redrest.
+Whence from such lands each pleasing science flies,
+That first excites desire, and then supplies;              216
+Unknown to them, when sensual pleasures cloy,
+To fill the languid pause with finer joy;
+Unknown those powers that raise the soul to flame,
+Catch every nerve, and vibrate through the frame.
+Their level life is but a smould'ring fire,                221
+Unquench'd by want, unfann'd by strong desire;
+Unfit for raptures, or, if raptures cheer
+On some high festival of once a year,
+In wild excess the vulgar breast takes fire,               225
+Till, buried in debauch, the bliss expire.
+
+But not their joys alone thus coarsely flow:
+Their morals, like their pleasures, are but low;
+For, as refinement stops, from sire to son
+Unalter'd, unimprov'd the manners run;                     230
+And love's and friendship's finely pointed dart
+Fall blunted from each indurated heart.
+Some sterner virtues o'er the mountain's breast
+May sit, like falcons cow'ring on the nest;
+But all the gentler morals, such as play                   235
+Through life's more cultur'd walks, and charm the way,
+These far dispers'd, on timorous pinions fly,
+To sport and flutter in a kinder sky.
+
+To kinder skies, where gentler manners reign,
+I turn; and France displays her bright domain.             240
+Gay sprightly land of mirth and social ease,
+Pleas'd with thyself, whom all the world can please,
+How often have I led thy sportive choir,
+With tuneless pipe, beside the murmuring Loire!
+Where shading elms along the margin grew,                  245
+And freshen'd from the wave the Zephyr flew;
+And haply, though my harsh touch falt'ring still,
+But mock'd all tune, and marr'd the dancer's skill;
+Yet would the village praise my wondrous power,
+And dance, forgetful of the noon-tide hour.                250
+Alike all ages.  Dames of ancient days
+Have led their children through the mirthful maze,
+And the gay grandsire, skill'd in gestic lore,
+Has frisk'd beneath the burthen of threescore.
+
+So bless'd a life these thoughtless realms display,
+Thus idly busy rolls their world away:                     256
+Theirs are those arts that mind to mind endear,
+For honour forms the social temper here:
+Honour, that praise which real merit gains,
+Or e'en imaginary worth obtains,                           260
+Here passes current; paid from hand to hand,
+It shifts in splendid traffic round the land:
+From courts, to camps, to cottages it strays,
+And all are taught an avarice of praise;                   264
+They please, are pleas'd, they give to get esteem,
+Till, seeming bless'd, they grow to what they seem.
+
+But while this softer art their bliss supplies,
+It gives their follies also room to rise;
+For praise too dearly lov'd, or warmly sought,
+Enfeebles all internal strength of thought;                270
+And the weak soul, within itself unblest,
+Leans for all pleasure on another's breast.
+Hence ostentation here, with tawdry art,
+Pants for the vulgar praise which fools impart;
+Here vanity assumes her pert grimace,                      275
+And trims her robes of frieze with copper lace;
+Here beggar pride defrauds her daily cheer,
+To boast one splendid banquet once a year;
+The mind still turns where shifting fashion draws,
+Nor weighs the solid worth of self-applause.               280
+
+To men of other minds my fancy flies,
+Embosom'd in the deep where Holland lies.
+Methinks her patient sons before me stand,
+Where the broad ocean leans against the land,
+And, sedulous to stop the coming tide,                     285
+Lift the tall rampire's artificial pride.
+Onward, methinks, and diligently slow,
+The firm-connected bulwark seems to grow;
+Spreads its long arms amidst the wat'ry roar,
+Scoops out an empire, and usurps the shore;                290
+While the pent ocean rising o'er the pile,
+Sees an amphibious world beneath him smile;
+The slow canal, the yellow-blossom'd vale,
+The willow-tufted bank, the gliding sail,
+The crowded mart, the cultivated plain,                    295
+A new creation rescu'd from his reign.
+
+Thus, while around the wave-subjected soil
+Impels the native to repeated toil,
+Industrious habits in each bosom reign,
+And industry begets a love of gain.                        300
+Hence all the good from opulence that springs,
+With all those ills superfluous treasure brings,
+Are here displayed.  Their much-lov'd wealth imparts
+Convenience, plenty, elegance, and arts;
+But view them closer, craft and fraud appear,              305
+E'en liberty itself is barter'd here.
+At gold's superior charms all freedom flies,
+The needy sell it, and the rich man buys;
+A land of tyrants, and a den of slaves,
+Here wretches seek dishonourable graves,                   310
+And calmly bent, to servitude conform,
+Dull as their lakes that slumber in the storm.
+
+Heavens!  how unlike their Belgic sires of old!
+Rough, poor, content, ungovernably bold;
+War in each breast, and freedom on each brow;              315
+How much unlike the sons of Britain now!
+
+Fir'd at the sound, my genius spreads her wing,
+And flies where Britain courts the western spring;
+Where lawns extend that scorn Arcadian pride,
+And brighter streams than fam'd Hydaspes glide.
+There all around the gentlest breezes stray,               321
+There gentle music melts on ev'ry spray;
+Creation's mildest charms are there combin'd,
+Extremes are only in the master's mind!
+Stern o'er each bosom reason holds her state,              325
+With daring aims irregularly great;
+Pride in their port, defiance in their eye,
+I see the lords of human kind pass by,
+Intent on high designs, a thoughtful band,
+By forms unfashion'd, fresh from Nature's hand;
+Fierce in their native hardiness of soul,                  331
+True to imagin'd right, above control,
+While e'en the peasant boasts these rights to scan,
+And learns to venerate himself as man.
+
+Thine, Freedom, thine the blessings pictur'd here,
+Thine are those charms that dazzle and endear;             336
+Too bless'd, indeed, were such without alloy,
+But foster'd e'en by Freedom, ills annoy:
+That independence Britons prize too high,
+Keeps man from man, and breaks the social tie;
+The self-dependent lordlings stand alone,                  341
+All claims that bind and sweeten life unknown;
+Here by the bonds of nature feebly held,
+Minds combat minds, repelling and repell'd.
+Ferments arise, imprison'd factions roar,                  345
+Repress'd ambition struggles round her shore,
+Till over-wrought, the general system feels
+Its motions stop, or frenzy fire the wheels.
+
+Nor this the worst.  As nature's ties decay,
+As duty, love, and honour fail to sway,                    350
+Fictitious bonds, the bonds of wealth and law,
+Still gather strength, and force unwilling awe.
+Hence all obedience bows to these alone,
+And talent sinks, and merit weeps unknown;
+Time may come, when stripp'd of all her charms,
+The land of scholars, and the nurse of arms,               356
+Where noble stems transmit the patriot flame,
+Where kings have toil'd, and poets wrote for fame,
+One sink of level avarice shall lie,
+And scholars, soldiers, kings, unhonour'd die.             360
+
+Yet think not, thus when Freedom's ills I state,
+I mean to flatter kings, or court the great;
+Ye powers of truth, that bid my soul aspire,
+Far from my bosom drive the low desire;
+And thou, fair Freedom, taught alike to feel               365
+The rabble's rage, and tyrant's angry steel;
+Thou transitory flower, alike undone
+By proud contempt, or favour's fostering sun,
+Still may thy blooms the changeful clime endure,
+I only would repress them to secure:                       370
+For just experience tells, in every soil,
+That those who think must govern those that toil;
+And all that freedom's highest aims can reach,
+Is but to lay proportion'd loads on each.
+Hence, should one order disproportion'd grow,              375
+Its double weight must ruin all below.
+
+O then how blind to all that truth requires,
+Who think it freedom when a part aspires!
+Calm is my soul, nor apt to rise in arms,
+Except when fast-approaching danger warms:                 380
+But when contending chiefs blockade the throne,
+Contracting regal power to stretch their own;
+When I behold a factious band agree
+To call it freedom when themselves are free;
+Each wanton judge new penal statutes draw,                 385
+Laws grind the poor, and rich men rule the law;
+The wealth of climes, where savage nations roam,
+Pillag'd from slaves to purchase slaves at home;
+Fear, pity, justice, indignation start,
+Tear off reserve, and bare my swelling heart;              390
+Till half a patriot, half a coward grown,
+I fly from petty tyrants to the throne.
+
+Yes, brother, curse with me that baleful hour,
+When first ambition struck at regal power;
+And thus polluting honour in its source,                   395
+Gave wealth to sway the mind with double force.
+Have we not seen, round Britain's peopled shore,
+Her useful sons exchang'd for useless ore?
+Seen all her triumphs but destruction haste,
+Like flaring tapers bright'ning as they waste;             400
+Seen opulence, her grandeur to maintain,
+Lead stern depopulation in her train,
+And over fields where scatter'd hamlets rose,
+In barren solitary pomp repose?
+Have we not seen, at pleasure's lordly call,               405
+The smiling long-frequented village fall?
+Beheld the duteous son, the sire decay'd,
+The modest matron, and the blushing maid,
+Forc'd from their homes, a melancholy train,
+To traverse climes beyond the western main;                410
+Where wild Oswego spreads her swamps around,
+And Niagara stuns with thund'ring sound?
+
+E'en now, perhaps as there some pilgrim strays
+Through tangled forests, and through dangerous ways;
+Where beasts with man divided empire claim,                415
+And the brown Indian marks with murd'rous aim;
+There, while above the giddy tempest flies,
+And all around distressful yells arise,
+The pensive exile, bending with his woe,
+To stop too fearful, and too faint to go,                  420
+Casts a long look where England's glories shine,
+And bids his bosom sympathise with mine.
+
+Vain, very vain, my weary search to find
+That bliss which only centres in the mind:
+Why have I stray'd from pleasure and repose,               425
+To seek a good each government bestows?
+In every government, though terrors reign,
+Though tyrant kings, or tyrant laws restrain,
+How small, of all that human hearts endure,
+That part which laws or kings can cause or cure.
+Still to ourselves in every place consign'd,               431
+Our own felicity we make or find:
+With secret course, which no loud storms annoy,
+Glides the smooth current of domestic joy.
+The lifted axe, the agonising wheel,                       435
+Luke's iron crown, and Damiens' bed of steel,
+To men remote from power but rarely known,
+Leave reason, faith, and conscience all our own.
+
+
+
+
+
+
+
+
+THE DESERTED VILLAGE
+
+DEDICATION
+
+TO SIR JOSHUA REYNOLDS
+
+DEAR SIR,
+
+I can have no expectations in an address of this kind, either to add to
+your reputation, or to establish my own. You can gain nothing from my
+admiration, as I am ignorant of that art in which you are said to excel;
+and I may lose much by the severity of your judgment, as few have a
+juster taste in poetry than you. Setting interest therefore aside, to
+which I never paid much attention, I must be indulged at present in
+following my affections. The only dedication I ever made was to my
+brother, because I loved him better than most other men. He is since
+dead. Permit me to inscribe this Poem to you.
+
+How far you may be pleased with the versification and mere mechanical
+parts of this attempt, I don't pretend to enquire; but I know you will
+object (and indeed several of our best and wisest friends concur in the
+opinion) that the depopulation it deplores is no where to be seen, and
+the disorders it laments are only to be found in the poet's own
+imagination. To this I can scarce make any other answer than that I
+sincerely believe what I have written; that I have taken all possible
+pains, in my country excursions, for these four or five years past, to
+be certain of what I allege; and that all my views and enquiries have
+led me to believe those miseries real, which I here attempt to display.
+But this is not the place to enter into an enquiry, whether the country
+be depopulating or not; the discussion would take up much room, and I
+should prove myself, at best, an indifferent politician, to tire the
+reader with a long preface, when I want his unfatigued attention to a
+long poem.
+
+In regretting the depopulation of the country, I inveigh against the
+increase of our luxuries; and here also I expect the shout of modern
+politicians against me. For twenty or thirty years past, it has been the
+fashion to consider luxury as one of the greatest national advantages;
+and all the wisdom of antiquity in that particular, as erroneous. Still
+however, I must remain a professed ancient on that head, and continue to
+think those luxuries prejudicial to states, by which so many vices are
+introduced, and so many kingdoms have been undone. Indeed so much has
+been poured out of late on the other side of the question, that, merely
+for the sake of novelty and variety, one would sometimes wish to be in
+the right.
+
+           I am, Dear Sir,
+     Your sincere friend, and ardent admirer,
+           OLIVER GOLDSMITH.
+
+
+
+
+THE DESERTED VILLAGE
+
+SWEET AUBURN! loveliest village of the plain,
+Where health and plenty cheer'd the labouring swain,
+Where smiling spring its earliest visit paid,
+And parting summer's lingering blooms delay'd:
+Dear lovely bowers of innocence and ease,                        5
+Seats of my youth, when every sport could please,
+How often have I loiter'd o'er thy green,
+Where humble happiness endear'd each scene;
+How often have I paus'd on every charm,
+The shelter'd cot, the cultivated farm,                          10
+The never-failing brook, the busy mill,
+The decent church that topp'd the neighbouring hill,
+The hawthorn bush, with seats beneath the shade,
+For talking age and whisp'ring lovers made;
+How often have I bless'd the coming day,                         15
+When toil remitting lent its turn to play,
+And all the village train, from labour free,
+Led up their sports beneath the spreading tree;
+While many a pastime circled in the shade,
+The young contending as the old survey'd;                        20
+And many a gambol frolick'd o'er the ground,
+And sleights of art and feats of strength went round;
+And still as each repeated pleasure tir'd,
+Succeeding sports the mirthful band inspir'd;
+The dancing pair that simply sought renown,                      25
+By holding out to tire each other down;
+The swain mistrustless of his smutted face,
+While secret laughter titter'd round the place;
+The bashful virgin's side-long looks of love,                    29
+The matron's glance that would those looks reprove:
+These were thy charms, sweet village; sports like these,
+With sweet succession, taught e'en toil to please;
+These round thy bowers their cheerful influence shed,
+These were thy charms--But all these charms are fled.
+
+Sweet smiling village, loveliest of the lawn,                    35
+Thy sports are fled, and all thy charms withdrawn;
+Amidst thy bowers the tyrant's hand is seen,
+And desolation saddens all thy green:
+One only master grasps the whole domain,
+And half a tillage stints thy smiling plain:                     40
+No more thy glassy brook reflects the day,
+But chok'd with sedges, works its weedy way.
+Along thy glades, a solitary guest,
+The hollow-sounding bittern guards its nest;
+Amidst thy desert walks the lapwing flies,                       45
+And tires their echoes with unvaried cries.
+Sunk are thy bowers in shapeless ruin all,
+And the long grass o'ertops the mould'ring wall;
+And trembling, shrinking from the spoiler's hand,
+Far, far away, thy children leave the land.                      50
+
+Ill fares the land, to hast'ning ills a prey,
+Where wealth accumulates, and men decay:
+Princes and lords may flourish, or may fade;
+A breath can make them, as a breath has made;
+But a bold peasantry, their country's pride,
+When once destroy'd, can never be supplied.
+
+A time there was, ere England's griefs began,
+When every rood of ground maintain'd its man;
+For him light labour spread her wholesome store,
+Just gave what life requir'd, but gave no more:                  60
+His best companions, innocence and health;
+And his best riches, ignorance of wealth.
+
+But times are alter'd; trade's unfeeling train
+Usurp the land and dispossess the swain;
+Along the lawn, where scatter'd hamlets rose,                    65
+Unwieldy wealth, and cumbrous pomp repose;
+And every want to opulence allied,
+And every pang that folly pays to pride.
+Those gentle hours that plenty bade to bloom,
+Those calm desires that ask'd but little room,                   70
+Those healthful sports that grac'd the peaceful scene,
+Liv'd in each look, and brighten'd all the green;
+These, far departing, seek a kinder shore,
+And rural mirth and manners are no more.
+
+Sweet AUBURN!  parent of the blissful hour,                      75
+Thy glades forlorn confess the tyrant's power.
+Here as I take my solitary rounds,
+Amidst thy tangling walks, and ruin'd grounds,
+And, many a year elaps'd, return to view
+Where once the cottage stood, the hawthorn grew,
+Remembrance wakes with all her busy train,                       81
+Swells at my breast, and turns the past to pain.
+
+In all my wand'rings round this world of care,
+In all my griefs--and GOD has given my share--
+I still had hopes my latest hours to crown,                      85
+Amidst these humble bowers to lay me down;
+To husband out life's taper at the close,
+And keep the flame from wasting by repose.
+I still had hopes, for pride attends us still,
+Amidst the swains to show my book-learn'd skill,                 90
+Around my fire an evening group to draw,
+And tell of all I felt, and all I saw;
+And, as a hare, whom hounds and horns pursue,
+Pants to the place from whence at first she flew,
+I still had hopes, my long vexations pass'd,                     95
+Here to return--and die at home at last.
+
+O blest retirement, friend to life's decline,
+Retreats from care, that never must be mine,
+How happy he who crowns in shades like these,
+A youth of labour with an age of ease;                           100
+Who quits a world where strong temptations try
+And, since 'tis hard to combat, learns to fly!
+For him no wretches, born to work and weep,
+Explore the mine, or tempt the dangerous deep;
+No surly porter stands in guilty state                           105
+To spurn imploring famine from the gate;
+But on he moves to meet his latter end,
+Angels around befriending Virtue's friend;
+Bends to the grave with unperceiv'd decay,
+While Resignation gently slopes the way;                         110
+And, all his prospects bright'ning to the last,
+His Heaven commences ere the world be pass'd!
+
+Sweet was the sound, when oft at evening's close
+Up yonder hill the village murmur rose;
+There, as I pass'd with careless steps and slow,                 115
+The mingling notes came soften'd from below;
+The swain responsive as the milk-maid sung,
+The sober herd that low'd to meet their young;
+The noisy geese that gabbled o'er the pool,
+The playful children just let loose from school;                 120
+The watchdog's voice that bay'd the whisp'ring wind,
+And the loud laugh that spoke the vacant mind;
+These all in sweet confusion sought the shade,
+And fill'd each pause the nightingale had made.
+But now the sounds of population fail,                           125
+No cheerful murmurs fluctuate in the gale,
+No busy steps the grass-grown foot-way tread,
+For all the bloomy flush of life is fled.
+All but yon widow'd, solitary thing
+That feebly bends beside the plashy spring;                      130
+She, wretched matron, forc'd in age, for bread,
+To strip the brook with mantling cresses spread,
+To pick her wintry faggot from the thorn,
+To seek her nightly shed, and weep till morn;
+She only left of all the harmless train,                         135
+The sad historian of the pensive plain.
+
+Near yonder copse, where once the garden smil'd,
+And still where many a garden flower grows wild;
+There, where a few torn shrubs the place disclose,
+The village preacher's modest mansion rose.                      140
+A man he was to all the country dear,
+And passing rich with forty pounds a year;
+Remote from towns he ran his godly race,
+Nor e'er had chang'd, nor wished to change his place;
+Unpractis'd he to fawn, or seek for power,                       145
+By doctrines fashion'd to the varying hour;
+Far other aims his heart had learned to prize,
+More skill'd to raise the wretched than to rise.
+His house was known to all the vagrant train,
+He chid their wand'rings, but reliev'd their pain;
+The long-remember'd beggar was his guest,                        151
+Whose beard descending swept his aged breast;
+The ruin'd spendthrift, now no longer proud,
+Claim'd kindred there, and had his claims allow'd;
+The broken soldier, kindly bade to stay,                         155
+Sat by his fire, and talk'd the night away;
+Wept o'er his wounds, or tales of sorrow done,
+Shoulder'd his crutch, and show'd how fields were won.
+Pleas'd with his guests, the good man learn'd to glow,
+And quite forgot their vices in their woe;                       160
+Careless their merits, or their faults to scan,
+His pity gave ere charity began.
+
+Thus to relieve the wretched was his pride,
+And e'en his failings lean'd to Virtue's side;
+But in his duty prompt at every call,                            165
+He watch'd and wept, he pray'd and felt, for all.
+And, as a bird each fond endearment tries
+To tempt its new-fledg'd offspring to the skies,
+He tried each art, reprov'd each dull delay,
+Allur'd to brighter worlds, and led the way.                     170
+
+Beside the bed where parting life was laid,
+And sorrow, guilt, and pain, by turns dismay'd,
+The reverend champion stood.  At his control,
+Despair and anguish fled the struggling soul;
+Comfort came down the trembling wretch to raise,
+And his last falt'ring accents whisper'd praise.                 176
+
+At church, with meek and unaffected grace,
+His looks adorn'd the venerable place;
+Truth from his lips prevail'd with double sway,
+And fools, who came to scoff, remain'd to pray.                  180
+The service pass'd, around the pious man,
+With steady zeal, each honest rustic ran;
+Even children follow'd with endearing wile,
+And pluck'd his gown, to share the good man's smile.
+His ready smile a parent's warmth express'd,                     185
+Their welfare pleas'd him, and their cares distress'd;
+To them his heart, his love, his griefs were given,
+But all his serious thoughts had rest in Heaven.
+As some tall cliff, that lifts its awful form,                   189
+Swells from the vale, and midway leaves the storm,
+Though round its breast the rolling clouds are spread,
+Eternal sunshine settles on its head.
+
+Beside yon straggling fence that skirts the way,
+With blossom'd furze unprofitably gay,
+There, in his noisy mansion, skill'd to rule,                    195
+The village master taught his little school;
+A man severe he was, and stern to view;
+I knew him well, and every truant knew;
+Well had the boding tremblers learn'd to trace
+The day's disasters in his morning face;                         200
+Full well they laugh'd, with counterfeited glee,
+At all his jokes, for many a joke had he;
+Full well the busy whisper, circling round,
+Convey'd the dismal tidings when he frown'd;
+Yet he was kind; or if severe in aught,                          205
+The love he bore to learning was in fault;
+The village all declar'd how much he knew;
+'Twas certain he could write, and cypher too;
+Lands he could measure, terms and tides presage,
+And e'en the story ran that he could gauge.                      210
+In arguing too, the parson own'd his skill,
+For e'en though vanquish'd, he could argue still;
+While words of learned length and thund'ring sound
+Amazed the gazing rustics rang'd around,
+And still they gaz'd, and still the wonder grew,                 215
+That one small head could carry all he knew.
+
+But past is all his fame.  The very spot
+Where many a time he triumph'd, is forgot.
+Near yonder thorn, that lifts its head on high,                  219
+Where once the sign-post caught the passing eye,
+Low lies that house where nut-brown draughts inspir'd,
+Where grey-beard mirth and smiling toil retir'd,
+Where village statesmen talk'd with looks profound,
+And news much older than their ale went round.
+Imagination fondly stoops to trace                               225
+The parlour splendours of that festive place;
+The white-wash'd wall, the nicely sanded floor,
+The varnish'd clock that click'd behind the door;
+The chest contriv'd a double debt to pay,
+A bed by night, a chest of drawers by day;                       230
+The pictures plac'd for ornament and use,
+The twelve good rules, the royal game of goose;
+The hearth, except when winter chill'd the day,
+With aspen boughs, and flowers, and fennel gay;
+While broken tea-cups, wisely kept for show,                     135
+Rang'd o'er the chimney, glisten'd in a row.
+
+Vain, transitory splendours!  Could not all
+Reprieve the tottering mansion from its fall!
+Obscure it sinks, nor shall it more impart
+An hour's importance to the poor man's heart;                    240
+Thither no more the peasant shall repair
+To sweet oblivion of his daily care;
+No more the farmer's news, the barber's tale,
+No more the wood-man's ballad shall prevail;
+No more the smith his dusky brown shall clear,                   245
+Relax his pond'rous strength, and lean to hear;
+The host himself no longer shall be found
+Careful to see the mantling bliss go round;
+Nor the coy maid, half willing to be press'd,
+Shall kiss the cup to pass it to the rest.                       250
+
+Yes!  let the rich deride, the proud disdain,
+These simple blessings of the lowly train;
+To me more dear, congenial to my heart,
+One native charm, than all the gloss of art;
+Spontaneous joys, where Nature has its play,                     255
+The soul adopts, and owns their first-born sway;
+Lightly they frolic o'er the vacant mind,
+Unenvied, unmolested, unconfin'd:
+But the long pomp, the midnight masquerade,
+With all the freaks of wanton wealth array'd,                    260
+In these, ere triflers half their wish obtain,
+The toiling pleasure sickens into pain;
+And, e'en while fashion's brightest arts decoy,
+The heart distrusting asks, if this be joy.
+
+Ye friends to truth, ye statesmen, who survey
+The rich man's joys increase, the poor's decay,                  266
+'Tis yours to judge, how wide the limits stand
+Between a splendid and a happy land.
+Proud swells the tide with loads of freighted ore,
+And shouting Folly hails them from her shore;                    270
+Hoards, e'en beyond the miser's wish abound,
+And rich men flock from all the world around.
+Yet count our gains.  This wealth is but a name
+That leaves our useful products still the same.
+Nor so the loss.  The man of wealth and pride                    275
+Takes up a space that many poor supplied;
+Space for his lake, his park's extended bounds,
+Space for his horses, equipage, and hounds;
+The robe that wraps his limbs in silken sloth
+Has robb'd the neighbouring fields of half their growth,
+His seat, where solitary sports are seen,                        281
+Indignant spurns the cottage from the green;
+Around the world each needful product flies,
+For all the luxuries the world supplies:
+While thus the land adorn'd for pleasure, all                    285
+In barren splendour feebly waits the fall.
+
+As some fair female unadorn'd and plain,
+Secure to please while youth confirms her reign,
+Slights every borrow'd charm that dress supplies,
+Nor shares with art the triumph of her eyes:                     290
+But when those charms are pass'd, for charms are frail,
+When time advances, and when lovers fail,
+She then shines forth, solicitous to bless,
+In all the glaring impotence of dress.
+Thus fares the land, by luxury betray'd,                         295
+In nature's simplest charms at first array'd;
+But verging to decline, its splendours rise,
+Its vistas strike, its palaces surprise;
+While scourg'd by famine from the smiling land,
+The mournful peasant leads his humble band;                      300
+And while he sinks, without one arm to save,
+The country blooms--a garden, and a grave.
+
+Where then, ah!  where, shall poverty reside,
+To 'scape the pressure of continuous pride?
+If to some common's fenceless limits stray'd,                    305
+He drives his flock to pick the scanty blade,
+Those fenceless fields the sons of wealth divide,
+And e'en the bare-worn common is denied.
+
+If to the city sped--What waits him there?
+To see profusion that he must not share/                         310
+To see ten thousand baneful arts combin'd
+To pamper luxury, and thin mankind;
+To see those joys the sons of pleasure know
+Extorted from his fellow creature's woe.
+Here, while the courtier glitters in brocade,                    315
+There the pale artist plies the sickly trade;
+Here, while the proud their long-drawn pomps display,
+There the black gibbet glooms beside the way.
+The dome where Pleasure holds her midnight reign
+Here, richly deck'd, admits the gorgeous train;                  320
+Tumultuous grandeur crowds the blazing square,
+The rattling chariots clash, the torches glare.
+Sure scenes like these no troubles e'er annoy!
+Sure these denote one universal joy!
+Are these thy serious thoughts?--Ah, turn thine eyes
+Where the poor houseless shiv'ring female lies.                  326
+She once, perhaps, in village plenty bless'd,
+Has wept at tales of innocence distress'd;
+Her modest looks the cottage might adorn,
+Sweet as the primrose peeps beneath the thorn;                   330
+Now lost to all; her friends, her virtue fled,
+Near her betrayer's door she lays her head,
+And, pinch'd with cold, and shrinking from the shower,
+With heavy heart deplores that luckless hour,
+When idly first, ambitious of the town,                          335
+She left her wheel and robes of country brown.
+
+Do thine, sweet AUBURN, thine, the loveliest train,
+Do thy fair tribes participate her pain?
+E'en now, perhaps by cold and hunger led,
+At proud men's doors they ask a little bread!                    340
+
+Ah, no.  To distant climes, a dreary scene,
+Where half the convex world intrudes between,
+Through torrid tracts with fainting steps they go,
+Where wild Altama murmurs to their woe.
+Far different there from all that charm'd before,                345
+The various terrors of that horrid shore;
+Those blazing suns that dart a downward ray,
+And fiercely shed intolerable day;
+Those matted woods where birds forget to sing,
+But silent bats in drowsy clusters cling;                        350
+Those pois'nous fields with rank luxuriance crown'd,
+Where the dark scorpion gathers death around;
+Where at each step the stranger fears to wake
+The rattling terrors of the vengeful snake;
+Where crouching tigers wait their hapless prey,                  355
+And savage men more murd'rous still than they;
+While oft in whirls the mad tornado flies,
+Mingling the ravag'd landscape with the skies.
+Far different these from every former scene,
+The cooling brook, the grassy-vested green,                      360
+The breezy covert of the warbling grove,
+That only shelter'd thefts of harmless love.
+
+Good heaven!  what sorrows gloom'd that parting day,
+That call'd them from their native walks away;
+When the poor exiles, every pleasure pass'd,                     365
+Hung round their bowers, and fondly look'd their last,
+And took a long farewell, and wish'd in vain
+For seats like these beyond the western main;
+And shudd'ring still to face the distant deep,
+Return'd and wept, and still return'd to weep.                   370
+The good old sire, the first prepar'd to go
+To new-found worlds, and wept for others' woe;
+But for himself, in conscious virtue brave,
+He only wish'd for worlds beyond the grave.
+His lovely daughter, lovlier in her tears,                       375
+The fond companion of his helpless years,
+Silent went next, neglectful of her charms,
+And left a lover's for a father's arms.
+With louder plaints the mother spoke her woes,
+And bless'd the cot where every pleasure rose                    380
+And kiss'd her thoughtless babes with many a tear,
+And clasp'd them close, in sorrow doubly dear;
+Whilst her fond husband strove to lend relief
+In all the silent manliness of grief.
+
+O Luxury!  thou curs'd by Heaven's decree,                       385
+How ill exchang'd are things like these for thee!
+How do thy potions, with insidious joy
+Diffuse their pleasures only to destroy!
+Kingdoms, by thee, to sickly greatness grown,
+Boast of a florid vigour not their own;                          390
+At every draught more large and large they grow,
+A bloated mass of rank unwieldy woe;
+Till sapp'd their strength, and every part unsound,
+Down, down they sink, and spread a ruin round.
+
+E'en now the devastation is begun,                               395
+And half the business of destruction done;
+E'en now, methinks, as pond'ring here I stand,
+I see the rural virtues leave the land:
+Down where yon anchoring vessel spreads the sail,
+That idly waiting flaps with ev'ry gale,                         500
+Downward they move, a melancholy band,
+Pass from the shore, and darken all the strand.
+Contented toil, and hospitable care,
+And kind connubial tenderness, are there;
+And piety, with wishes plac'd above,                             405
+And steady loyalty, and faithful love.
+And thou, sweet Poetry, thou loveliest maid,
+Still first to fly where sensual joys invade;
+Unfit in these degenerate times of shame,
+To catch the heart, or strike for honest fame;                   410
+Dear charming nymph, neglected and decried,
+My shame in crowds, my solitary pride;
+Thou source of all my bliss, and all my woe,
+That found'st me poor at first, and keep'st me so;
+Thou guide by which the nobler arts excel,                       415
+Thou nurse of every virtue, fare thee well!
+Farewell, and Oh!  where'er thy voice be tried,
+On Torno's cliffs, or Pambamarca's side,
+Whether where equinoctial fervours glow,
+Or winter wraps the polar world in snow,                         420
+Still let thy voice, prevailing over time,
+Redress the rigours of th' inclement clime;
+Aid slighted truth; with thy persuasive strain
+Teach erring man to spurn the rage of gain;
+Teach him, that states of native strength possess'd,
+Though very poor, may still be very bless'd;                     426
+That trade's proud empire hastes to swift decay,
+As ocean sweeps the labour'd mole away;
+While self-dependent power can time defy,
+As rocks resist the billows and the sky.                         430
+
+
+
+
+
+
+
+LYRICAL AND MISCELLANEOUS PIECES
+
+
+PART OF A PROLOGUE WRITTEN AND SPOKEN BY THE POET LABERIUS
+A ROMAN KNIGHT, WHOM CAESAR FORCED UPON THE STAGE
+
+PRESERVED BY MACROBIUS.
+
+WHAT!  no way left to shun th' inglorious stage,
+And save from infamy my sinking age!
+Scarce half alive, oppress'd with many a year,
+What in the name of dotage drives me here?
+A time there was, when glory was my guide,                       5
+Nor force nor fraud could turn my steps aside;
+Unaw'd by pow'r, and unappall'd by fear,
+With honest thrift I held my honour dear;
+But this vile hour disperses all my store,
+And all my hoard of honour is no more.                           10
+For ah!  too partial to my life's decline,
+Caesar persuades, submission must be mine;
+Him I obey, whom heaven itself obeys,
+Hopeless of pleasing, yet inclin'd to please.
+Here then at once, I welcome every shame,                        15
+And cancel at threescore a life of fame;
+No more my titles shall my children tell,
+The old buffoon will fit my name as well;
+This day beyond its term my fate extends,
+For life is ended when our honour ends.                          20
+
+
+
+
+
+ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING
+
+('Imitated from the Spanish'.)
+
+SURE 'twas by Providence design'd,
+Rather in pity, than in hate,
+That he should be, like Cupid, blind,
+To save him from Narcissus' fate.
+
+
+
+
+
+THE GIFT
+
+TO IRIS, IN BOW STREET, CONVENT GARDEN
+
+SAY, cruel IRIS, pretty rake,
+Dear mercenary beauty,
+What annual offering shall I make,
+Expressive of my duty?
+
+My heart, a victim to thine eyes,                                5
+Should I at once deliver,
+Say, would the angry fair one prize
+The gift, who slights the giver?
+
+A bill, a jewel, watch, or toy,
+My rivals give--and let 'em;                                     10
+If gems, or gold, impart a joy,
+I'll give them--when I get 'em.
+
+I'll give--but not the full-blown rose,
+Or rose-bud more in fashion;
+Such short-liv'd offerings but disclose                          15
+A transitory passion.
+
+I'll give thee something yet unpaid,
+Not less sincere, than civil:
+I'll give thee--Ah!  too charming maid,
+I'll give thee--To the devil.                                    20
+
+
+
+
+
+THE LOGICIANS REFUTED
+
+IN IMITATION OF DEAN SWIFT
+
+LOGICIANS have but ill defin'd
+As rational, the human kind;
+Reason, they say, belongs to man,
+But let them prove it if they can.
+Wise Aristotle and Smiglecius,                                   5
+By ratiocinations specious,
+Have strove to prove with great precision,
+With definition and division,
+'Homo est ratione praeditum',--
+But for my soul I cannot credit 'em;                             10
+And must in spite of them maintain,
+That man and all his ways are vain;
+And that this boasted lord of nature
+Is both a weak and erring creature;
+That instinct is a surer guide                                   15
+Than reason-boasting mortals' pride;
+And that brute beasts are far before 'em,
+'Deus est anima brutorum'.
+Who ever knew an honest brute
+At law his neighbour prosecute,                                  20
+Bring action for assault and battery,
+Or friend beguile with lies and flattery?
+O'er plains they ramble unconfin'd,
+No politics disturb their mind;
+They eat their meals, and take their sport,                      25
+Nor know who's in or out at court;
+They never to the levee go
+To treat as dearest friend, a foe;
+They never importune his grace,
+Nor ever cringe to men in place;                                 30
+Nor undertake a dirty job,
+Nor draw the quill to write for B--b.
+Fraught with invective they ne'er go
+To folks at Pater-Noster-Row;
+No judges, fiddlers, dancing-masters,                            35
+No pick-pockets, or poetasters,
+Are known to honest quadrupeds;
+No single brute his fellow leads.
+Brutes never meet in bloody fray,
+Nor cut each others' throats, for pay.                           40
+Of beasts, it is confess'd, the ape
+Comes nearest us in human shape;
+Like man he imitates each fashion,
+And malice is his ruling passion;
+But both in malice and grimaces                                  45
+A courtier any ape surpasses.
+Behold him humbly cringing wait
+Upon a minister of state;
+View him soon after to inferiors,
+Aping the conduct of superiors;                                  50
+He promises with equal air,
+And to perform takes equal care.
+He in his turn finds imitators;
+At court, the porters, lacqueys, waiters,
+Their master's manners still contract,                           55
+And footmen, lords and dukes can act.
+Thus at the court both great an small
+Behave alike--for all ape all.
+
+
+
+
+A SONNET
+
+WEEPING, murmuring, complaining,
+Lost to every gay delight;
+MYRA, too sincere for feigning,
+Fears th' approaching bridal night.
+
+Yet, why impair thy bright perfection?                           5
+Or dim thy beauty with a tear?
+Had MYRA followed my direction,
+She long had wanted cause of fear.
+
+
+
+
+STANZAS ON THE TAKING OF QUEBEC, AND DEATH OF
+GENERAL WOLFE
+
+AMIDST the clamour of exulting joys,
+Which triumph forces from the patriot heart,
+Grief dares to mingle her soul-piercing voice,
+And quells the raptures which from pleasures start.
+
+O WOLFE!  to thee a streaming flood of woe,                      5
+Sighing we pay, and think e'en conquest dear;
+QUEBEC in vain shall teach our breast to glow,
+Whilst thy sad fate extorts the heart-wrung tear.
+
+Alive the foe thy dreadful vigour fled,
+And saw thee fall with joy-pronouncing eyes:                     10
+Yet they shall know thou conquerest, though dead--
+Since from thy tomb a thousand heroes rise!
+
+
+
+
+AN ELEGY ON THAT GLORY OF HER SEX,
+MRS. MARY BLAIZE
+
+GOOD people all, with one accord,
+Lament for Madam BLAIZE,
+Who never wanted a good word--
+'From those who spoke her praise'.
+
+The needy seldom pass'd her door,                                5
+And always found her kind;
+She freely lent to all the poor,--
+'Who left a pledge behind'.
+
+She strove the neighbourhood to please,
+With manners wond'rous winning,                                  10
+And never follow'd wicked ways,--
+'Unless when she was sinning'.
+
+At church, in silks and satins new,
+With hoop of monstrous size,
+She never slumber'd in her pew,--                                15
+'But when she shut her eyes'.
+
+Her love was sought, I do aver,
+By twenty beaux and more;
+The king himself has follow'd her,--
+'When she has walk'd before'.                                    20
+
+But now her wealth and finery fled,
+Her hangers-on cut short all;
+The doctors found, when she was dead,--
+'Her last disorder mortal'.
+
+Let us lament, in sorrow sore,                                   25
+For Kent-street well may say,
+That had she liv'd a twelve-month more,--
+'She had not died to-day'.
+
+
+
+
+DESCRIPTION OF AN AUTHOR'S BEDCHAMBER
+
+WHERE the Red Lion flaring o'er the way,
+Invites each passing stranger that can pay;
+Where Calvert's butt, and Parsons' black champagne,
+Regale the drabs and bloods of Drury-lane;
+There in a lonely room, from bailiffs snug,                      5
+The Muse found Scroggen stretch'd beneath a rug;
+A window, patch'd with paper, lent a ray,
+That dimly show'd the state in which he lay;
+The sanded floor that grits beneath the tread;
+The humid wall with paltry pictures spread:                      10
+The royal game of goose was there in view,
+And the twelve rules the royal martyr drew;
+The seasons, fram'd with listing, found a place,
+And brave prince William show'd his lamp-black face:
+The morn was cold, he views with keen desire                     15
+The rusty grate unconscious of a fire;
+With beer and milk arrears the frieze was scor'd,
+And five crack'd teacups dress'd the chimney board;
+A nightcap deck'd his brows instead of bay,
+A cap by night--a stocking all the day!                          20
+
+
+
+
+
+ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****
+
+FOR you, bright fair, the nine address their lays,
+And tune my feeble voice to sing thy praise.
+The heartfelt power of every charm divine,
+Who can withstand their all-commanding shine?
+See how she moves along with every grace,                        5
+While soul-brought tears steal down each shining face.
+She speaks!  'tis rapture all, and nameless bliss,
+Ye gods!  what transport e'er compared to this.
+As when in Paphian groves the Queen of Love
+With fond complaint addressed the listening Jove,                10
+'Twas joy, and endless blisses all around,
+And rocks forgot their hardness at the sound.
+Then first, at last even Jove was taken in,
+And felt her charms, without disguise, within.
+
+
+
+
+
+OF THE DEATH OF THE RIGHT HON. ***
+
+YE Muses, pour the pitying tear
+For Pollio snatch'd away;
+O!  had he liv'd another year!--
+'He had not died to-day'.
+
+O!  were he born to bless mankind,                               5
+In virtuous times of yore,
+Heroes themselves had fallen behind!--
+'Whene'er he went before'.
+
+How sad the groves and plains appear,
+And sympathetic sheep;                                           10
+Even pitying hills would drop a tear!--
+'If hills could learn to weep'.
+
+His bounty in exalted strain
+Each bard might well display;
+Since none implor'd relief in vain!--                            15
+'That went reliev'd away'.
+
+And hark!  I hear the tuneful throng
+His obsequies forbid,
+He still shall live, shall live as long!--
+'As ever dead man did'.                                          20
+
+
+
+
+
+AN EPIGRAM
+ADDRESSED TO THE GENTLEMEN REFLECTED ON IN THE ROSCIAD,
+A POEM, BY THE AUTHOR
+
+    Worried with debts and past all hopes of bail,
+    His pen he prostitutes t' avoid a gaol.
+         ROSCOM.
+
+
+LET not the 'hungry' Bavius' angry stroke
+Awake resentment, or your rage provoke;
+But pitying his distress, let virtue shine,
+And giving each your bounty, 'let him dine';
+For thus retain'd, as learned counsel can,                       5
+Each case, however bad, he'll new japan;
+And by a quick transition, plainly show
+'Twas no defect of yours, but 'pocket low',
+That caused his 'putrid kennel' to o'erflow.
+
+
+
+
+TO G. C. AND R. L.
+
+'TWAS you, or I, or he, or all together,
+'Twas one, both, three of them, they know not whether;
+This, I believe, between us great or small,
+You, I, he, wrote it not--'twas Churchill's all.
+
+
+
+
+
+TRANSLATION OF A SOUTH AMERICAN ODE
+
+IN all my Enna's beauties blest,
+Amidst profusion still I pine;
+For though she gives me up her breast,
+Its panting tenant is not mine.
+
+
+
+
+
+THE DOUBLE TRANSFORMATION
+
+A TALE
+
+SECLUDED from domestic strife,
+Jack Book-worm led a college life;
+A fellowship at twenty-five
+Made him the happiest man alive;
+He drank his glass and crack'd his joke,                         5
+And freshmen wonder'd as he spoke.
+
+Such pleasures, unalloy'd with care,
+Could any accident impair?
+Could Cupid's shaft at length transfix
+Our swain, arriv'd at thirty-six?                                10
+O had the archer ne'er come down
+To ravage in a country town!
+Or Flavia been content to stop
+At triumphs in a Fleet-street shop.
+O had her eyes forgot to blaze!                                  15
+Or Jack had wanted eyes to gaze.
+O! -- But let exclamation cease,
+Her presence banish'd all his peace.
+So with decorum all things carried;                              19
+Miss frown'd, and blush'd, and then was -- married.
+
+Need we expose to vulgar sight
+The raptures of the bridal night?
+Need we intrude on hallow'd ground,
+Or draw the curtains clos'd around?
+Let it suffice, that each had charms;                            25
+He clasp'd a goddess in his arms;
+And though she felt his usage rough,
+Yet in a man 'twas well enough.
+
+The honey-moon like lightning flew,
+The second brought its transports too.                           30
+A third, a fourth, were not amiss,
+The fifth was friendship mix'd with bliss:
+But when a twelvemonth pass'd away,
+Jack found his goddess made of clay;
+Found half the charms that deck'd her face                       35
+Arose from powder, shreds, or lace;
+But still the worst remain'd behind,
+That very face had robb'd her mind.
+
+Skill'd in no other arts was she
+But dressing, patching, repartee;                                40
+And, just as humour rose or fell,
+By turns a slattern or a belle;
+'Tis true she dress'd with modern grace,
+Half naked at a ball or race;
+But when at home, at board or bed,                               45
+Five greasy nightcaps wrapp'd her head.
+Could so much beauty condescend
+To be a dull domestic friend?
+Could any curtain-lectures bring
+To decency so fine a thing?                                      50
+In short, by night, 'twas fits or fretting;
+By day, 'twas gadding or coquetting.
+Fond to be seen, she kept a bevy
+Of powder'd coxcombs at her levy;
+The 'squire and captain took their stations,                     55
+And twenty other near relations;
+Jack suck'd his pipe, and often broke
+A sigh in suffocating smoke;
+While all their hours were pass'd between
+Insulting repartee or spleen.                                    60
+
+Thus as her faults each day were known,
+He thinks her features coarser grown;
+He fancies every vice she shows,
+Or thins her lip, or points her nose:
+Whenever rage or envy rise,                                      65
+How wide her mouth, how wild her eyes!
+He knows not how, but so it is,
+Her face is grown a knowing phiz;
+And, though her fops are wond'rous civil,
+He thinks her ugly as the devil.                                 70
+
+Now, to perplex the ravell'd noose,
+As each a different way pursues,
+While sullen or loquacious strife,
+Promis'd to hold them on for life,
+That dire disease, whose ruthless power                          75
+Withers the beauty's transient flower:
+Lo!  the small-pox, whose horrid glare
+Levell'd its terrors at the fair;
+And, rifling ev'ry youthful grace,
+Left but the remnant of a face.                                  80
+
+The glass, grown hateful to her sight,
+Reflected now a perfect fright:
+Each former art she vainly tries
+To bring back lustre to her eyes.
+In vain she tries her paste and creams,                          85
+To smooth her skin, or hide its seams;
+Her country beaux and city cousins,
+Lovers no more, flew off by dozens:
+The 'squire himself was seen to yield,
+And e'en the captain quit the field.                             90
+
+Poor Madam, now condemn'd to hack
+The rest of life with anxious Jack,
+Perceiving others fairly flown,
+Attempted pleasing him alone.
+Jack soon was dazzl'd to behold                                  95
+Her present face surpass the old;
+With modesty her cheeks are dy'd,
+Humility displaces pride;
+For tawdry finery is seen
+A person ever neatly clean:                                      100
+No more presuming on her sway,
+She learns good-nature every day;
+Serenely gay, and strict in duty,
+Jack finds his wife a perfect beauty.
+
+
+
+
+
+A NEW SIMILE
+
+IN THE MANNER OF SWIFT
+
+LONG had I sought in vain to find
+A likeness for the scribbling kind;
+The modern scribbling kind, who write
+In wit, and sense, and nature's spite:
+Till reading, I forget what day on,                              5
+A chapter out of Tooke's Pantheon,
+I think I met with something there,
+To suit my purpose to a hair;
+But let us not proceed too furious,
+First please to turn to god Mercurius;                           10
+You'll find him pictur'd at full length
+In book the second, page the tenth:
+The stress of all my proofs on him I lay,
+And now proceed we to our simile.
+
+Imprimis, pray observe his hat,                                  15
+Wings upon either side--mark that.
+Well!  what is it from thence we gather?
+Why these denote a brain of feather.
+A brain of feather!  very right,
+With wit that's flighty, learning light;                         20
+Such as to modern bard's decreed:
+A just comparison,--proceed.
+
+In the next place, his feet peruse,
+Wings grow again from both his shoes;
+Design'd, no doubt, their part to bear,                          25
+And waft his godship through the air;
+And here my simile unites,
+For in a modern poet's flights,
+I'm sure it may be justly said,
+His feet are useful as his head.                                 30
+
+Lastly, vouchsafe t'observe his hand,
+Filled with a snake-encircl'd wand;
+By classic authors term'd caduceus,
+And highly fam'd for several uses.
+To wit--most wond'rously endu'd,                                 35
+No poppy water half so good;
+For let folks only get a touch,
+Its soporific virtue's such,
+Though ne'er so much awake before,
+That quickly they begin to snore.                                40
+Add too, what certain writers tell,
+With this he drives men's souls to hell.
+
+Now to apply, begin we then;
+His wand's a modern author's pen;
+The serpents round about it twin'd                               45
+Denote him of the reptile kind;
+Denote the rage with which he writes,
+His frothy slaver, venom'd bites;
+An equal semblance still to keep,
+Alike too both conduce to sleep.                                 50
+This diff'rence only, as the god
+Drove souls to Tart'rus with his rod,
+With his goosequill the scribbling elf,
+Instead of others, damns himself.
+
+And here my simile almost tript,                                 55
+Yet grant a word by way of postscript.
+Moreover, Merc'ry had a failing:
+Well!  what of that?  out with it--stealing;
+In which all modern bards agree,
+Being each as great a thief as he:                               60
+But ev'n this deity's existence
+Shall lend my simile assistance.
+Our modern bards!  why what a pox
+Are they but senseless stones and blocks?
+
+
+
+
+
+EDWIN AND ANGELA
+
+A BALLAD
+
+'TURN, 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,                             5
+With fainting steps and slow;
+Where wilds immeasurably spread,
+Seem length'ning as I go.'
+
+'Forbear, my son,' the hermit cries,
+'To tempt the dangerous gloom;                                   10
+For yonder faithless phantom flies
+To lure thee to thy doom.
+
+'Here to the houseless child of want
+My door is open still;
+And though my portion is but scant,                              15
+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.                                          20
+
+'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                             25
+A guiltless feast I bring;
+A scrip with herbs and fruits supplied,
+And water from the spring.
+
+'Then, pilgrim, turn, thy cares forgo;
+All earth-born cares are wrong:                                  30
+Man wants but little here below,
+Nor wants that little long.'
+
+Soft as the dew from heav'n descends,
+His gentle accents fell:
+The modest stranger lowly bends,                                 35
+And follows to the cell.
+
+Far in a wilderness obscure
+The lonely mansion lay;
+A refuge to the neighbouring poor
+And strangers led astray.                                        40
+
+No stores beneath its humble thatch
+Requir'd a master's care;
+The wicket, opening with a latch,
+Receiv'd the harmless pair.
+
+And now, when busy crowds retire                                 45
+To take their evening rest,
+The hermit trimm'd his little fire,
+And cheer'd his pensive guest:
+
+And spread his vegetable store,
+And gaily press'd, and smil'd;                                   50
+And, skill'd in legendary lore,
+The lingering hours beguil'd.
+
+Around in sympathetic mirth
+Its tricks the kitten tries;
+The cricket chirrups in the hearth;                              55
+The crackling faggot 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.                                         60
+
+His rising cares the hermit spied,
+With answ'ring care oppress'd;
+'And whence, unhappy youth,' he cried,
+'The sorrows of thy breast?
+
+'From better habitations spurn'd,                                65
+Reluctant dost thou rove;
+Or grieve for friendship unreturn'd,
+Or unregarded love?
+
+'Alas!  the joys that fortune brings
+Are trifling, and decay;                                         70
+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,                             75
+But leaves the wretch to weep?
+
+'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.                                       80
+
+'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.
+
+Surpris'd, he sees new beauties rise,                            85
+Swift mantling to the view;
+Like colours o'er the morning skies,
+As bright, as transient too.
+
+The bashful look, the rising breast,
+Alternate spread alarms:                                         90
+The lovely stranger stands confess'd
+A maid in all her charms.
+
+'And, ah!  forgive a stranger rude,
+A wretch forlorn,' she cried;
+'Whose feet unhallow'd thus intrude                              95
+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.                                            100
+
+'My father liv'd 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                                  105
+Unnumber'd suitors came;
+Who prais'd me for imputed charms,
+And felt or feign'd a flame.
+
+Each hour a mercenary crowd
+With richest proffers strove:                                    110
+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,                                115
+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.                                          120
+
+'The blossom opening to the day,
+The dews of heaven refin'd,
+Could nought of purity display,
+To emulate his mind.
+
+'The dew, the blossom on the tree,                               125
+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:                                            130
+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,                                   135
+In secret, where he died.
+
+'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.                                     140
+
+'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,                           145
+And clasp'd her to his breast:
+The wondering fair one turn'd to chide,
+'Twas Edwin's self that prest.
+
+'Turn, Angelina, ever dear,
+My charmer, turn to see                                          150
+Thy own, thy long-lost Edwin here,
+Restor'd to love and thee.
+
+'Thus let me hold thee to my heart,
+And ev'ry care resign;
+And shall we never, never part,                                  155
+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.'                                    160
+
+
+
+
+
+
+ELEGY ON THE DEATH OF A MAD DOG
+
+Good people all, of every sort,
+Give ear unto my song;
+And if you find it wond'rous short,
+It cannot hold you long.
+
+In Islington there was a man,                                    5
+Of whom the world might say,
+That still a godly race he ran,
+Whene'er he went to pray.
+
+A kind and gentle heart he had,
+To comfort friends and foes;                                     10
+The naked every day he clad,
+When he put on his clothes.
+
+And in that town a dog was found,
+As many dogs there be,
+Both mongrel, puppy, whelp, and hound,                           15
+And curs of low degree.
+
+This dog and man at first were friends;
+But when a pique began,
+The dog, to gain some private ends,
+Went mad and bit the man.                                        20
+
+Around from all the neighbouring streets
+The wond'ring neighbours ran,
+And swore the dog had lost his wits,
+To bite so good a man.
+
+The wound it seem'd both sore and sad                            25
+To every Christian eye;
+And while they swore the dog was mad,
+They swore the man would die.
+
+But soon a wonder came to light,
+That show'd the rogues they lied:                                30
+The man recover'd of the bite,
+The dog it was that died.
+
+
+
+
+
+SONG
+FROM 'THE VICAR OF WAKEFIELD'
+
+WHEN lovely woman stoops to folly,
+And finds too late that men betray,
+What charm can soothe her melancholy,
+What art can wash her guilt away?
+
+The only art her guilt to cover,                                 5
+To hide her shame from every eye,
+To give repentance to her lover,
+And wring his bosom, is -- to die.
+
+
+
+
+
+EPILOGUE TO 'THE GOOD NATUR'D MAN'
+
+As puffing quacks some caitiff wretch procure
+To swear the pill, or drop, has wrought a cure;
+Thus on the stage, our play-wrights still depend
+For Epilogues and Prologues on some friend,
+Who knows each art of coaxing up the town,                       5
+And make full many a bitter pill go down.
+Conscious of this, our bard has gone about,
+And teas'd each rhyming friend to help him out.
+'An Epilogue -- things can't go on without it;
+It could not fail, would you but set about it.'                  10
+'Young man,' cries one -- a bard laid up in clover --
+'Alas, young man, my writing days are over;
+Let boys play tricks, and kick the straw; not I:
+Your brother Doctor there, perhaps, may try.'
+'What I? dear Sir,' the Doctor interposes                        15
+'What plant my thistle, Sir, among his roses!
+No, no; I've other contests to maintain;
+To-night I head our troops at Warwick Lane:
+Go, ask your manager.'  'Who, me?  Your pardon;
+Those things are not our forte at Covent Garden.'                20
+Our Author's friends, thus plac'd at happy distance,
+Give him good words indeed, but no assistance.
+As some unhappy wight, at some new play,
+At the Pit door stands elbowing a way,
+While oft, with many a smile, and many a shrug,                  25
+He eyes the centre, where his friends sit snug;
+His simp'ring friends, with pleasure in their eyes,
+Sink as he sinks, and as he rises rise;
+He nods, they nod; he cringes, they grimace;
+But not a soul will budge to give him place.                     30
+Since then, unhelp'd, our bard must now conform
+'To 'bide the pelting of this pitiless storm' --
+Blame where you must, be candid where you can;
+And be each critic the 'Good Natur'd Man'.
+
+
+
+
+
+EPILOGUE TO 'THE SISTER'
+
+WHAT! five long acts -- and all to make us wiser!
+Our authoress sure has wanted an adviser.
+Had she consulted 'me', she should have made
+Her moral play a speaking masquerade;
+Warm'd up each bustling scene, and in her rage                   5
+Have emptied all the green-room on the stage.
+My life on't, this had kept her play from sinking;
+Have pleas'd our eyes, and sav'd the pain of thinking.
+Well!  since she thus has shown her want of skill,
+What if I give a masquerade? -- I will.                          10
+But how?  ay, there's the rub!  ('pausing') -- I've got my cue:
+The world's a masquerade!  the maskers, you, you, you.
+            ('To Boxes, Pit, and Gallery'.)
+____, what a group the motley scene discloses!
+False wits, false wives, false virgins, and false spouses!
+Statesmen with bridles on; and, close beside 'em,                15
+Patriots, in party-coloured suits, that ride 'em.
+There Hebes, turn'd of fifty, try once more
+To raise a flame in Cupids of threescore.
+These in their turn, with appetites as keen,
+Deserting fifty, fasten on fifteen,                              20
+Miss, not yet full fifteen, with fire uncommon,
+Flings down her sampler, and takes up the woman:
+The little urchin smiles, and spreads her lure,
+And tries to kill, ere she's got power to cure.
+Thus 'tis with all -- their chief and constant care              25
+Is to seem everything but what they are.
+Yon broad, bold, angry spark, I fix my eye on,
+Who seems to have robb'd his vizor from the lion;
+Who frowns, and talks, and swears, with round parade,
+Looking as who should say, D__ __! who's afraid?                 30
+                    ('Mimicking')
+
+Strip but his vizor off, and sure I am
+You'll find his lionship a very lamb.
+Yon politician, famous in debate,
+Perhaps, to vulgar eyes, bestrides the state;
+Yet, when he deigns his real shape t' assume,                    35
+He turns old woman, and bestrides a broom.
+Yon patriot, too, who presses on your sight,
+And seems to every gazer all in white,
+If with a bribe his candour you attack,
+He bows, turns round, and whip -- the man's a black!             40
+Yon critic, too -- but whither do I run?
+If I proceed, our bard will be undone!
+Well then a truce, since she requests it too:
+Do you spare her, and I'll for once spare you.
+
+
+
+
+PROLOGUE TO 'ZOBEIDE'
+
+IN these bold times, when Learning's sons explore
+The distant climate and the savage shore;
+When wise Astronomers to India steer,
+And quit for Venus, many a brighter here;
+While Botanists, all cold to smiles and dimpling,                5
+Forsake the fair, and patiently -- go simpling;
+When every bosom swells with wond'rous scenes,
+Priests, cannibals, and hoity-toity queens:
+Our bard into the general spirit enters,
+And fits his little frigate for adventures:                      10
+With Scythian stores, and trinkets deeply laden,
+He this way steers his course, in hopes of trading --
+Yet ere he lands he 'as ordered me before,
+To make an observation on the shore.
+Where are we driven?  our reck'ning sure is lost!                15
+This seems a barren and a dangerous coast.
+____ what a sultry climate am I under!
+Yon ill foreboding cloud seems big with thunder.
+                    ('Upper Gallery'.)
+There Mangroves spread, and larger than I've seen 'em --
+                    ('Pit'.)
+Here trees of stately size -- and turtles in 'em --
+                    ('Balconies'.)                               20
+Here ill-condition'd oranges abound --
+                    ('Stage'.)
+And apples ('takes up one and tastes it'),
+        bitter apples strew the ground.
+The place is uninhabited, I fear!
+I heard a hissing -- there are serpents here!
+O there the natives are -- a dreadful race!                      25
+The men have tails, the women paint the face!
+No doubt they're all barbarians. -- Yes, 'tis so,
+I'll try to make palaver with them though;
+                     ('Making signs'.)
+'Tis best, however, keeping at a distance.
+Good Savages, our Captain craves assistance;                     30
+Our ship's well stor'd; -- in yonder creek we've laid her;
+His honour is no mercenary trader;
+This is his first adventure; lend him aid,
+Or you may chance to spoil a thriving trade.
+His goods, he hopes are prime, and brought from far,             35
+Equally fit for gallantry and war.
+What!  no reply to promises so ample?
+I'd best step back -- and order up a sample.
+
+
+
+
+THRENODIA AUGUSTALIS:
+
+SACRED TO THE MEMORY OF HER LATE ROYAL HIGHNESS
+THE PRINCESS DOWAGER OF WALES.
+
+OVERTURE -- A SOLEMN DIRGE.  AIR -- TRIO.
+
+ARISE, ye sons of worth, arise,
+And waken every note of woe;
+When truth and virtue reach the skies,
+'Tis ours to weep the want below!
+
+CHORUS.
+When truth and virtue, etc.                                      5
+
+MAN SPEAKER.
+The praise attending pomp and power,
+The incense given to kings,
+Are but the trappings of an hour --
+Mere transitory things!
+The base bestow them:  but the good agree                        10
+To spurn the venal gifts as flattery.
+But when to pomp and power are join'd
+An equal dignity of mind --
+When titles are the smallest claim --
+When wealth and rank and noble blood,                            15
+But aid the power of doing good --
+Then all their trophies last; and flattery turns to fame.
+
+Bless'd spirit thou, whose fame, just born to bloom
+Shall spread and flourish from the tomb,
+How hast thou left mankind for heaven!                           20
+Even now reproach and faction mourn.
+And, wondering how their rage was borne,
+Request to be forgiven.
+Alas!  they never had thy hate:
+Unmov'd in conscious rectitude,                                  25
+Thy towering mind self-centred stood,
+Nor wanted man's opinion to be great.
+In vain, to charm thy ravish'd sight,
+A thousand gifts would fortune send;
+In vain, to drive thee from the right,                           30
+A thousand sorrows urg'd thy end:
+Like some well-fashion'd arch thy patience stood,
+And purchas'd strength from its increasing load.
+Pain met thee like a friend that set thee free;
+Affliction still is virtue's opportunity!                        35
+Virtue, on herself relying,
+Ev'ry passion hush'd to rest,
+Loses ev'ry pain of dying
+In the hopes of being blest.
+Ev'ry added pang she suffers                                     40
+Some increasing good bestows,
+Ev'ry shock that malice offers
+Only rocks her to repose.
+
+SONG.  BY A MAN -- AFFETTUOSO.
+Virtue, on herself relying,
+Ev'ry passion hush'd to rest,                                    45
+Loses ev'ry pain of dying
+In the hopes of being blest.
+
+Ev'ry added pang she suffers
+Some increasing good bestows,
+Ev'ry shock that malice offers,                                  50
+Only rocks her to repose.
+
+WOMAN SPEAKER.
+Yet, ah!  what terrors frowned upon her fate --
+Death, with its formidable band,
+Fever and pain and pale consumptive care,
+Determin'd took their stand:                                     55
+Nor did the cruel ravagers design
+To finish all their efforts at a blow;
+But, mischievously slow,
+They robb'd the relic and defac'd the shrine.
+With unavailing grief,                                           60
+Despairing of relief,
+Her weeping children round
+Beheld each hour
+Death's growing power,
+And trembled as he frown'd.                                      65
+
+As helpless friends who view from shore
+The labouring ship, and hear the tempest roar,
+While winds and waves their wishes cross --
+They stood, while hope and comfort fail,
+Not to assist, but to bewail                                     70
+The inevitable loss.
+Relentless tyrant, at thy call
+How do the good, the virtuous fall!
+Truth, beauty, worth, and all that most engage,
+But wake thy vengeance and provoke thy rage.                     75
+
+SONG.  BY A MAN. -- BASSO. -- STACCATO. -- SPIRITOSO.
+When vice my dart and scythe supply,
+How great a king of terrors I!
+If folly, fraud, your hearts engage,
+Tremble, ye mortals, at my rage!
+Fall, round me fall, ye little things,                           80
+Ye statesmen, warriors, poets, kings;
+If virtue fail her counsel sage,
+Tremble, ye mortals, at my rage!
+
+MAN SPEAKER.
+Yet let that wisdom, urged by her example,
+Teach us to estimate what all must suffer;                       85
+Let us prize death as the best gift of nature --
+As a safe inn, where weary travellers,
+When they have journeyed through a world of cares,
+May put off life and be at rest for ever.
+Groans, weeping friends, indeed, and gloomy sables,
+May oft distract us with their sad solemnity:                    91
+The preparation is the executioner.
+Death, when unmasked, shows me a friendly face,
+And is a terror only at a distance;
+For as the line of life conducts me on                           95
+To Death's great court, the prospect seems more fair.
+'Tis Nature's kind retreat, that's always open
+To take us in when we have drained the cup
+Of life, or worn our days to wretchedness.
+In that secure, serene retreat,                                  100
+Where all the humble, all the great,
+Promiscuously recline;
+Where wildly huddled to the eye,
+The beggar's pouch and prince's purple lie,
+May every bliss be thine.                                        105
+And ah!  bless'd spirit, wheresoe'er thy flight,
+Through rolling worlds, or fields of liquid light,
+May cherubs welcome their expected guest;
+May saints with songs receive thee to their rest;
+May peace that claimed while here thy warmest love,
+May blissful endless peace be thine above!                       111
+
+SONG.  BY A WOMAN. -- AMOROSO.
+Lovely, lasting Peace below,
+Comforter of every woe,
+Heav'nly born, and bred on high,
+To crown the favourites of the sky --                            115
+Lovely, lasting Peace, appear;
+This world itself, if thou art here,
+Is once again with Eden blest,
+And man contains it in his breast.
+
+WOMAN SPEAKER.
+Our vows are heard!  Long, long to mortal eyes,
+Her soul was fitting to its kindred skies:                       121
+Celestial-like her bounty fell,
+Where modest want and patient sorrow dwell;
+Want pass'd for merit at her door,
+Unseen the modest were supplied,                                 125
+Her constant pity fed the poor --
+Then only poor, indeed, the day she died.
+And oh!  for this!  while sculpture decks thy shrine,
+And art exhausts profusion round,
+The tribute of a tear be mine,                                   130
+A simple song, a sigh profound.
+There Faith shall come, a pilgrim gray,
+To bless the tomb that wraps thy clay;
+And calm Religion shall repair
+To dwell a weeping hermit there.                                 135
+Truth, Fortitude, and Friendship shall agree
+To blend their virtues while they think of thee.
+
+AIR.  CHORUS. -- POMPOSO.
+Let us, let all the world agree,
+To profit by resembling thee.
+
+
+
+PART II
+
+OVERTURE -- PASTORALE
+
+MAN SPEAKER.
+FAST by that shore where Thames' translucent stream
+Reflects new glories on his breast,
+Where, splendid as the youthful poet's dream,
+He forms a scene beyond Elysium blest --
+Where sculptur'd elegance and native grace
+Unite to stamp the beauties of the place,                        5
+While sweetly blending still are seen
+The wavy lawn, the sloping green --
+While novelty, with cautious cunning,
+Through ev'ry maze of fancy running,
+From China borrows aid to deck the scene --                      10
+There, sorrowing by the river's glassy bed,
+Forlorn, a rural bard complain'd,
+All whom Augusta's bounty fed,
+All whom her clemency sustain'd;
+The good old sire, unconscious of decay,                         15
+The modest matron, clad in homespun gray,
+The military boy, the orphan'd maid,
+The shatter'd veteran, now first dismay'd;
+These sadly join beside the murmuring deep,
+And, as they view                                                20
+The towers of Kew,
+Call on their mistress -- now no more -- and weep.
+
+CHORUS. -- AFFETTUOSO. -- LARGO.
+Ye shady walks, ye waving greens,
+Ye nodding towers, ye fairy scenes --
+Let all your echoes now deplore                                  25
+That she who form'd your beauties is no more.
+
+MAN SPEAKER.
+First of the train the patient rustic came,
+Whose callous hand had form'd the scene,
+Bending at once with sorrow and with age,
+With many a tear and many a sigh between;                        30
+'And where,' he cried, 'shall now my babes have bread,
+Or how shall age support its feeble fire?
+No lord will take me now, my vigour fled,
+Nor can my strength perform what they require;                   34
+Each grudging master keeps the labourer bare --
+A sleek and idle race is all their care.
+My noble mistress thought not so:
+Her bounty, like the morning dew,
+Unseen, though constant, used to flow;
+And as my strength decay'd, her bounty grew.'                    40
+
+WOMAN SPEAKER.
+In decent dress, and coarsely clean,
+The pious matron next was seen --
+Clasp'd in her hand a godly book was borne,
+By use and daily meditation worn;
+That decent dress, this holy guide,                              45
+Augusta's care had well supplied.
+'And ah!' she cries, all woe-begone,
+'What now remains for me?
+Oh!  where shall weeping want repair,
+To  ask for charity?                                             50
+Too late in life for me to ask,
+And shame prevents the deed,
+And tardy, tardy are the times
+To succour, should I need.
+But all my wants, before I spoke,                                55
+Were to my Mistress known;
+She still reliev'd, nor sought my praise,
+Contented with her own.
+But ev'ry day her name I'll bless,
+My morning prayer, my evening song,                              60
+I'll praise her while my life shall last,
+A life that cannot last me long.'
+
+SONG.  BY A WOMAN.
+Each day, each hour, her name I'll bless --
+My morning and my evening song;
+And when in death my vows shall cease,                           65
+My children shall the note prolong.
+
+MAN SPEAKER.
+The hardy veteran after struck the sight,
+Scarr'd, mangled, maim'd in every part,
+Lopp'd of his limbs in many a gallant fight,
+In nought entire -- except his heart.                            70
+Mute for a while, and sullenly distress'd,
+At last the impetuous sorrow fir'd his breast.
+'Wild is the whirlwind rolling
+O'er Afric's sandy plain,
+And wild the tempest howling                                     75
+Along the billow'd main:
+But every danger felt before --
+The raging deep, the whirlwind's roar --
+Less dreadful struck me with dismay,
+Than what I feel this fatal day.                                 80
+Oh, let me fly a land that spurns the brave,
+Oswego's dreary shores shall be my grave;
+I'll seek that less inhospitable coast,
+And lay my body where my limbs were lost.'
+                                                                 85
+SONG.  BY A MAN. -- BASSO.  SPIRITOSO.
+Old Edward's sons, unknown to yield,
+Shall crowd from Crecy's laurell'd field,
+To do thy memory right;
+For thine and Britain's wrongs they feel,
+Again they snatch the gleamy steel,
+And wish the avenging fight.                                     90
+
+WOMAN SPEAKER.
+In innocence and youth complaining,
+Next appear'd a lovely maid,
+Affliction o'er each feature reigning,
+Kindly came in beauty's aid;
+Every grace that grief dispenses,                                95
+Every glance that warms the soul,
+In sweet succession charmed the senses,
+While pity harmonized the whole.
+'The garland of beauty' -- 'tis thus she would say --            99
+'No more shall my crook or my temples adorn,
+I'll not wear a garland -- Augusta's away,
+I'll not wear a garland until she return;
+But alas!  that return I never shall see,
+The echoes of Thames shall my sorrows proclaim,                  104
+There promised a lover to come -- but, O me!
+'Twas death, -- 'twas the death of my mistress that came.
+But ever, for ever, her image shall last,
+I'll strip all the spring of its earliest bloom;
+On her grave shall the cowslip and primrose be cast,             109
+And the new-blossomed thorn shall whiten her tomb.'
+
+SONG.  BY A WOMAN. -- PASTORALE.
+With garlands of beauty the queen of the May
+No more will her crook or her temples adorn;
+For who'd wear a garland when she is away,
+When she is remov'd, and shall never return.
+                                                                 115
+On the grave of Augusta these garlands be plac'd,
+We'll rifle the spring of its earliest bloom,
+And there shall the cowslip and primrose be cast,
+And the new-blossom'd thorn shall whiten her tomb.
+
+CHORUS. -- ALTRO MODO.
+On the grave of Augusta this garland be plac'd,
+We'll rifle the spring of its earliest bloom,                    120
+And there shall the cowslip and primrose be cast,
+And the tears of her country shall water her tomb.
+
+
+
+
+SONG
+
+FROM 'SHE STOOPS TO CONQUER'
+
+LET school-masters puzzle their brain,
+With grammar, and nonsense, and learning;
+Good liquor, I stoutly maintain,
+Gives 'genus' a better discerning.
+Let them brag of their heathenish gods,                          5
+Their Lethes, their Styxes, and Stygians:
+Their Quis, and their Quaes, and their Quods,
+They're all but a parcel of Pigeons.
+          Toroddle, toroddle, toroll.
+
+When Methodist preachers come down
+A-preaching that drinking is sinful,                             10
+I'll wager the rascals a crown
+They always preach best with a skinful.
+But when you come down with your pence,
+For a slice of their scurvy religion,
+I'll leave it to all men of sense,                               15
+But you, my good friend, are the pigeon.
+          Toroddle, toroddle, toroll.
+
+Then come, put the jorum about,
+And let us be merry and clever;
+Our hearts and our liquors are stout;
+Here's the Three Jolly Pigeons for ever.                         20
+Let some cry up woodcock or hare,
+Your bustards, your ducks, and your widgeons;
+But of all the birds in the air,
+Here's a health to the Three Jolly Pigeons.
+          Toroddle, toroddle, toroll.
+
+
+
+
+EPILOGUE TO 'SHE STOOPS TO CONQUER'
+
+WELL, having stoop'd to conquer with success,
+And gain'd a husband without aid from dress,
+Still, as a Bar-maid, I could wish it too,
+As I have conquer'd him, to conquer you:
+And let me say, for all your resolution,                         5
+That pretty Bar-maids have done execution.
+Our life is all a play, compos'd to please,
+'We have our exits and our entrances.'
+The First Act shows the simple country maid,
+Harmless and young, of ev'ry thing afraid;                       10
+Blushes when hir'd, and, with unmeaning action,
+'I hopes as how to give you satisfaction.'
+Her Second Act displays a livelier scene --
+Th' unblushing Bar-maid of a country inn,
+Who whisks about the house, at market caters,                    15
+Talks loud, coquets the guests, and scolds the waiters.
+Next the scene shifts to town, and there she soars,
+The chop-house toast of ogling connoisseurs.
+On 'Squires and Cits she there displays her arts,
+And on the gridiron broils her lovers' hearts:                   20
+And as she smiles, her triumphs to complete,
+Even Common-Councilmen forget to eat.
+The Fourth Act shows her wedded to the 'Squire,
+And Madam now begins to hold it higher;
+Pretends to taste, at Operas cries 'caro',                       25
+And quits her 'Nancy Dawson', for 'Che faro',
+Doats upon dancing, and in all her pride,
+Swims round the room, the Heinel of Cheapside;
+Ogles and leers with artificial skill,
+'Till having lost in age the power to kill,                      30
+She sits all night at cards, and ogles at spadille.
+Such, through our lives, the eventful history --
+The Fifth and Last Act still remains for me.
+The Bar-maid now for your protection prays.
+Turns Female Barrister, and pleads for Bayes.                    35
+
+
+
+
+
+RETALIATION
+
+A POEM
+
+OF old, when Scarron his companions invited,
+Each guest brought his dish, and the feast was united;
+If our landlord supplies us with beef, and with fish,
+Let each guest bring himself, and he brings the best dish:
+Our Dean shall be venison, just fresh from the plains;           5
+Our Burke shall be tongue, with a garnish of brains;
+Our Will shall be wild-fowl, of excellent flavour,
+And Dick with his pepper shall heighten their savour:
+Our Cumberland's sweet-bread its place shall obtain,
+And Douglas is pudding, substantial and plain:                   10
+Our Garrick's a salad; for in him we see
+Oil, vinegar, sugar, and saltness agree:
+To make out the dinner, full certain I am,
+That Ridge is anchovy, and Reynolds is lamb;
+That Hickey's a capon, and by the same rule,                     15
+Magnanimous Goldsmith a gooseberry fool.
+At a dinner so various, at such a repast,
+Who'd not be a glutton, and stick to the last?
+Here, waiter!  more wine, let me sit while I'm able,
+Till all my companions sink under the table;                     20
+Then, with chaos and blunders encircling my head,
+Let me ponder, and tell what I think of the dead.
+
+Here lies the good Dean, re-united to earth,
+Who mix'd reason with pleasure, and wisdom with mirth:
+If he had any faults, he has left us in doubt,                   25
+At least, in six weeks, I could not find 'em out;
+Yet some have declar'd, and it can't be denied 'em,
+That sly-boots was cursedly cunning to hide 'em.
+
+Here lies our good Edmund, whose genius was such,
+We scarcely can praise it, or blame it too much;                 30
+Who, born for the Universe, narrow'd his mind,
+And to party gave up what was meant for mankind.
+Though fraught with all learning, yet straining his throat
+To persuade Tommy Townshend to lend him a vote;
+Who, too deep for his hearers, still went on refining,           35
+And thought of convincing, while they thought of dining;
+Though equal to all things, for all things unfit,
+Too nice for a statesman, too proud for a wit:
+For a patriot, too cool; for a drudge, disobedient;
+And too fond of the 'right' to pursue the 'expedient'.           40
+In short, 'twas his fate, unemploy'd, or in place, Sir,
+To eat mutton cold, and cut blocks with a razor.
+
+Here lies honest William, whose heart was a mint,
+While the owner ne'er knew half the good that was in't;
+The pupil of impulse, it forc'd him along,                       45
+His conduct still right, with his argument wrong;
+Still aiming at honour, yet fearing to roam,
+The coachman was tipsy, the chariot drove home;
+Would you ask for his merits?  alas!  he had none;
+What was good was spontaneous, his faults were his own.          50
+
+Here lies honest Richard, whose fate I must sigh at;
+Alas, that such frolic should now be so quiet!
+What spirits were his!  what wit and what whim!
+Now breaking a jest, and now breaking a limb;
+Now wrangling and grumbling to keep up the ball,                 55
+Now teasing and vexing, yet laughing at all!
+In short, so provoking a devil was Dick,
+That we wish'd him full ten times a day at Old Nick;
+But, missing his mirth and agreeable vein,
+As often we wish'd to have Dick back again.                      60
+
+Here Cumberland lies, having acted his parts,
+The Terence of England, the mender of hearts;
+A flattering painter, who made it his care
+To draw men as they ought to be, not as they are.
+His gallants are all faultless, his women divine,                65
+And comedy wonders at being so fine;
+Like a tragedy queen he has dizen'd her out,
+Or rather like tragedy giving a rout.
+His fools have their follies so lost in a crowd
+Of virtues and feelings, that folly grows proud;                 70
+And coxcombs, alike in their failings alone,
+Adopting his portraits, are pleas'd with their own.
+Say, where has our poet this malady caught?
+Or, wherefore his characters thus without fault?
+Say, was it that vainly directing his view                       75
+To find out men's virtues, and finding them few,
+Quite sick of pursuing each troublesome elf,
+He grew lazy at last, and drew from himself?
+
+Here Douglas retires, from his toils to relax,
+The scourge of impostors, the terror of quacks:                  80
+Come, all ye quack bards, and ye quacking divines,
+Come, and dance on the spot where your tyrant reclines:
+When Satire and Censure encircl'd his throne,
+I fear'd for your safety, I fear'd for my own;
+But now he is gone, and we want a detector,                      85
+Our Dodds shall be pious, our Kenricks shall lecture;
+Macpherson write bombast, and call it a style,
+Our Townshend make speeches, and I shall compile;
+New Lauders and Bowers the Tweed shall cross over,
+No countryman living their tricks to discover;                   90
+Detection her taper shall quench to a spark,
+And Scotchman meet Scotchman, and cheat in the dark.
+
+Here lies David Garrick, describe me, who can,
+An abridgment of all that was pleasant in man;
+As an actor, confess'd without rival to shine:                   95
+As a wit, if not first, in the very first line:
+Yet, with talents like these, and an excellent heart,
+The man had his failings, a dupe to his art.
+Like an ill-judging beauty, his colours he spread,
+And beplaster'd with rouge his own natural red.                  100
+On the stage he was natural, simple, affecting;
+'Twas only that when he was off he was acting.
+With no reason on earth to go out of his way,
+He turn'd and he varied full ten times a day.
+Though secure of our hearts, yet confoundedly sick               105
+If they were not his own by finessing and trick,
+He cast off his friends, as a huntsman his pack,
+For he knew when he pleas'd he could whistle them back.
+Of praise a mere glutton, he swallow'd what came,
+And the puff of a dunce he mistook it for fame;                  110
+Till his relish grown callous, almost to disease,
+Who pepper'd the highest was surest to please.
+But let us be candid, and speak out our mind,
+If dunces applauded, he paid them in kind.
+Ye Kenricks, ye Kellys, and Woodfalls so grave,                  115
+What a commerce was yours, while you got and you gave!
+How did Grub-street re-echo the shouts you rais'd,
+While he was be-Roscius'd, and you were be-prais'd!
+But peace to his spirit, wherever it flies,
+To act as an angel, and mix with the skies:                      120
+Those poets, who owe their best fame to his skill,
+Shall still be his flatterers, go where he will.
+Old Shakespeare, receive him, with praise and with love,
+And Beaumonts and Bens be his Kellys above.
+
+Here Hickey reclines, a most blunt, pleasant creature,
+And slander itself must allow him good nature:                   126
+He cherish'd his friend, and he relish'd a bumper;
+Yet one fault he had, and that one was a thumper.
+Perhaps you may ask if the man was a miser!
+I answer, no, no, for he always was wiser:                       130
+Too courteous, perhaps, or obligingly flat?
+His very worst foe can't accuse him of that:
+Perhaps he confided in men as they go,
+And so was too foolishly honest!  Ah no!                         134
+Then what was his failing?  come, tell it, and burn ye!
+He was, could he help it? -- a special attorney.
+
+Here Reynolds is laid, and, to tell you my mind,
+He has not left a better or wiser behind:
+His pencil was striking, resistless, and grand;
+His manners were gentle, complying, and bland;                   140
+Still born to improve us in every part,
+His pencil our faces, his manners our heart:
+To coxcombs averse, yet most civilly steering,
+When they judg'd without skill he was still hard of hearing:
+When they talk'd of their Raphaels, Correggios, and stuff,       145
+He shifted his trumpet, and only took snuff.
+
+
+
+
+
+POSTSCRIPT
+
+After the Fourth Edition of this Poem was printed, the Publisher
+received an Epitaph on Mr. Whitefoord, from a friend of the late Doctor
+Goldsmith, inclosed in a letter, of which the following is an
+abstract:--
+
+'I have in my possession a sheet of paper, containing near forty lines
+in the Doctor's own hand-writing: there are many scattered, broken
+verses, on Sir Jos. Reynolds, Counsellor Ridge, Mr. Beauclerk, and Mr.
+Whitefoord. The Epitaph on the last-mentioned gentleman is the only one
+that is finished, and therefore I have copied it, that you may add it to
+the next edition. It is a striking proof of Doctor Goldsmith's
+good-nature. I saw this sheet of paper in the Doctor's room, five or six
+days before he died; and, as I had got all the other Epitaphs, I asked
+him if I might take it. "In truth you may, my Boy," (replied he,) "for
+it will be of no use to me where I am going."'
+
+HERE Whitefoord reclines, and deny it who can,
+Though he 'merrily' liv'd, he is now a 'grave' man;
+Rare compound of oddity, frolic, and fun!
+Who relish'd a joke, and rejoic'd in a pun;                      150
+Whose temper was generous, open, sincere;
+A stranger to flatt'ry, a stranger to fear;
+Who scatter'd around wit and humour at will;
+Whose daily 'bons mots' half a column might fill;
+A Scotchman, from pride and from prejudice free;                 155
+A scholar, yet surely no pedant was he.
+
+What pity, alas!  that so lib'ral a mind
+Should so long be to news-paper essays confin'd;
+Who perhaps to the summit of science could soar,
+Yet content 'if the table he set on a roar';                     160
+Whose talents to fill any station were fit,
+Yet happy if Woodfall confess'd him a wit.
+
+Ye news-paper witlings!  ye pert scribbling folks
+Who copied his squibs, and re-echoed his jokes;
+Ye tame imitators, ye servile herd, come,                        165
+Still follow your master, and visit his tomb:
+To deck it, bring with you festoons of the vine,
+And copious libations bestow on his shrine:
+Then strew all around it (you can do no less)
+'Cross-readings, Ship-news', and 'Mistakes of the Press'.
+
+Merry Whitefoord, farewell!  for 'thy' sake I admit              171
+That a Scot may have humour, I had almost said wit:
+This debt to thy mem'ry I cannot refuse,
+'Thou best humour'd man with the worst humour'd muse.'
+
+
+
+
+SONG
+
+INTENDED TO HAVE BEEN SUNG IN 'SHE STOOPS
+TO CONQUER'
+
+AH me!  when shall I marry me?
+Lovers are plenty; but fail to relieve me:
+He, fond youth, that could carry me,
+Offers to love, but means to deceive me.
+
+But I will rally, and combat the ruiner:                         5
+Not a look, not a smile shall my passion discover:
+She that gives all to the false one pursuing her,
+Makes but a penitent, loses a lover.
+
+
+
+
+TRANSLATION
+
+CHASTE are their instincts, faithful is their fire,
+No foreign beauty tempts to false desire;
+The snow-white vesture, and the glittering crown,
+The simple plumage, or the glossy down
+Prompt not their loves:-- the patriot bird pursues               5
+His well acquainted tints, and kindred hues.
+Hence through their tribes no mix'd polluted flame,
+No monster-breed to mark the groves with shame;
+But the chaste blackbird, to its partner true,
+Thinks black alone is beauty's favourite hue.                    10
+The nightingale, with mutual passion blest,
+Sings to its mate, and nightly charms the nest;
+While the dark owl to court its partner flies,
+And owns its offspring in their yellow eyes.
+
+
+
+
+
+THE HAUNCH OF VENISON
+
+A POETICAL EPISTLE TO LORD CLARE
+
+THANKS, my Lord, for your venison, for finer or fatter
+Never rang'd in a forest, or smok'd in a platter;
+The haunch was a picture for painters to study,
+The fat was so white, and the lean was so ruddy.
+Though my stomach was sharp, I could scarce help regretting      5
+To spoil such a delicate picture by eating;
+I had thoughts, in my chambers, to place it in view,
+To be shown to my friends as a piece of 'virtu';
+As in some Irish houses, where things are so so,
+One gammon of bacon hangs up for a show:                         10
+But for eating a rasher of what they take pride in,
+They'd as soon think of eating the pan it is fried in.
+But hold -- let me pause -- Don't I hear you pronounce
+This tale of the bacon a damnable bounce?
+Well, suppose it a bounce -- sure a poet may try,                15
+By a bounce now and then, to get courage to fly.
+
+But, my Lord, it's no bounce:  I protest in my turn,
+It's a truth -- and your Lordship may ask Mr. Byrne.
+To go on with my tale -- as I gaz'd on the haunch,
+I thought of a friend that was trusty and staunch;               20
+So I cut it, and sent it to Reynolds undress'd,
+To paint it, or eat it, just as he lik'd best.
+Of the neck and the breast I had next to dispose;
+'Twas a neck and a breast -- that might rival M--r--'s:
+But in parting with these I was puzzled again,                   25
+With the how, and the who, and the where, and the when.
+There's H--d, and C--y, and H--rth, and H--ff,
+I think they love venison -- I know they love beef;
+There's my countryman H--gg--ns--  Oh!  let him alone,
+For making a blunder, or picking a bone.                         30
+But hang it -- to poets who seldom can eat,
+Your very good mutton's a very good treat;
+Such dainties to them, their health it might hurt,
+It's like sending them ruffles, when wanting a shirt.
+While thus I debated, in reverie centred,                        35
+An acquaintance, a friend as he call'd himself, enter'd;
+An under-bred, fine-spoken fellow was he,
+And he smil'd as he look'd at the venison and me.
+'What have we got here? -- Why, this is good eating!
+Your own, I suppose -- or is it in waiting?'                     40
+'Why, whose should it be?' cried I with a flounce,
+'I get these things often;' -- but that was a bounce:
+'Some lords, my acquaintance, that settle the nation,
+Are pleas'd to be kind -- but I hate ostentation.'
+
+'If that be the case, then,' cried he, very gay,                 45
+'I'm glad I have taken this house in my way.
+To-morrow you take a poor dinner with me;
+No words -- I insist on't -- precisely at three:
+We'll have Johnson, and Burke; all the wits will be there;
+My acquaintance is slight, or I'd ask my Lord Clare.             50
+And now that I think on't, as I am a sinner!
+We wanted this venison to make out the dinner.
+What say you -- a pasty?  it shall, and it must,
+And my wife, little Kitty, is famous for crust.
+Here, porter! -- this venison with me to Mile-end;               55
+No stirring -- I beg -- my dear friend -- my dear friend!
+Thus snatching his hat, he brush'd off like the wind,
+And the porter and eatables follow'd behind.
+
+Left alone to reflect, having emptied my shelf,
+'And nobody with me at sea but myself';                          60
+Though I could not help thinking my gentleman hasty,
+Yet Johnson, and Burke, and a good venison pasty,
+Were things that I never dislik'd in my life,
+Though clogg'd with a coxcomb, and Kitty his wife.
+So next day, in due splendour to make my approach,               65
+I drove to his door in my own hackney coach.
+
+When come to the place where we all were to dine,
+(A chair-lumber'd closet just twelve feet by nine:)
+My friend bade me welcome, but struck me quite dumb,
+With tidings that Johnson and Burke would not come;              70
+'For I knew it,' he cried, 'both eternally fail,
+The one with his speeches, and t'other with Thrale;
+But no matter, I'll warrant we'll make up the party
+With two full as clever, and ten times as hearty.
+The one is a Scotchman, the other a Jew,                         75
+They['re] both of them merry and authors like you;
+The one writes the 'Snarler', the other the 'Scourge';
+Some think he writes 'Cinna' -- he own to 'Panurge'.'
+While thus he describ'd them by trade, and by name,
+They enter'd and dinner was serv'd as they came.                 80
+
+At the top a fried liver and bacon were seen,
+At the bottom was tripe in a swinging tureen;
+At the sides there was spinach and pudding made hot;
+In the middle a place where the pasty -- was not.
+Now, my Lord as for tripe, it's my utter aversion,               85
+And your bacon I hate like a Turk or a Persian;
+So there I sat stuck, like a horse in a pound,
+While the bacon and liver went merrily round.
+But what vex'd me most was that d--'d Scottish rogue,
+With his long-winded speeches, his smiles and his brogue;        90
+And, 'Madam,' quoth he, 'may this bit be my poison,
+A prettier dinner I never set eyes on;
+Pray a slice of your liver, though may I be curs'd,
+But I've eat of your tripe till I'm ready to burst.;
+'The tripe,' quoth the Jew, with his chocolate cheek,            95
+'I could dine on this tripe seven days in the week:
+I like these here dinners so pretty and small;
+But your friend there, the Doctor, eats nothing at all.'
+'O--Oh!' quoth my friend, 'he'll come on in a trice,
+He's keeping a corner for something that's nice:                 100
+There's a pasty' -- 'A pasty!' repeated the Jew,
+'I don't care if I keep a corner for't too.'
+'What the de'il, mon, a pasty!' re-echoed the Scot,
+'Though splitting, I'll still keep a corner for thot.'
+'We'll all keep a corner,' the lady cried out;                   105
+'We'll all keep a corner,' was echoed about.
+While thus we resolv'd, and the pasty delay'd,
+With look that quite petrified, enter'd the maid;
+A visage so sad, and so pale with affright,
+Wak'd Priam in drawing his curtains by night.                    110
+But we quickly found out, for who could mistake her?
+That she came with some terrible news from the baker:
+And so it fell out, for that negligent sloven
+Had shut out the pasty on shutting his oven
+Sad Philomel thus -- but let similes drop --                     115
+And now that I think on't, the story may stop.
+To be plain, my good Lord, it's but labour misplac'd
+To send such good verses to one of your taste;
+You've got an odd something -- a kind of discerning --
+A relish -- a taste -- sicken'd over by learning;                120
+At least, it's your temper, as very well known,
+That you think very slightly of all that's your own:
+So, perhaps, in your habits of thinking amiss,
+You may make a mistake, and think slightly of this.
+
+
+
+
+
+
+EPITAPH ON THOMAS PARNELL
+
+THIS tomb, inscrib'd to gentle Parnell's name,
+May speak our gratitude, but not his fame.
+What heart but feels his sweetly-moral lay,
+That leads to truth through pleasure's flowery way!
+Celestial themes confess'd his tuneful aid;                      5
+And Heaven, that lent him genius, was repaid.
+Needless to him the tribute we bestow --
+The transitory breath of fame below:
+More lasting rapture from his works shall rise,
+While Converts thank their poet in the skies.                    10
+
+
+
+
+
+THE CLOWN'S REPLY
+
+JOHN TROTT was desired by two witty peers
+To tell them the reason why asses had ears?
+'An't please you,' quoth John, 'I'm not given to letters,
+Nor dare I pretend to know more than my betters;
+Howe'er, from this time I shall ne'er see your graces,           5
+As I hope to be saved!  without thinking on asses.'
+
+
+
+
+
+EPITAPH ON EDWARD PURDON
+
+HERE lies poor Ned Purdon, from misery freed,
+Who long was a bookseller's hack;
+He led such a damnable life in this world, --
+I don't think he'll wish to come back.
+
+
+
+
+
+EPILOGUE FOR MR. LEE LEWES
+
+HOLD!  Prompter, hold!  a word before your nonsense;
+I'd speak a word or two, to ease my conscience.
+My pride forbids it ever should be said,
+My heels eclips'd the honours of my head;
+That I found humour in a piebald vest,                           5
+Or ever thought that jumping was a jest.
+          ('Takes off his mask.')
+Whence, and what art thou, visionary birth?
+Nature disowns, and reason scorns thy mirth,
+In thy black aspect every passion sleeps,
+The joy that dimples, and the woe that weeps.                    10
+How has thou fill'd the scene with all thy brood,
+Of fools pursuing, and of fools pursu'd!
+Whose ins and outs no ray of sense discloses,
+Whose only plot it is to break our noses;
+Whilst from below the trap-door Demons rise,                     15
+And from above the dangling deities;
+And shall I mix in this unhallow'd crew?
+May rosined lightning blast me, if I do!
+No -- I will act, I'll vindicate the stage:
+Shakespeare himself shall feel my tragic rage.                   20
+Off!  off!  vile trappings!  a new passion reigns!
+The madd'ning monarch revels in my veins.
+Oh!  for a Richard's voice to catch the theme:
+'Give me another horse!  bind up my wounds!
+        -- soft -- 'twas but a dream.'
+Aye, 'twas but a dream, for now there's no retreating:           25
+If I cease Harlequin, I cease from eating.
+'Twas thus that Aesop's stag, a creature blameless,
+Yet something vain, like one that shall be nameless,
+Once on the margin of a fountain stood,
+And cavill'd at his image in the flood.                          30
+'The deuce confound,' he cries, 'these drumstick shanks,
+They never have my gratitude nor thanks;
+They're perfectly disgraceful!  strike me dead!
+But for a head, yes, yes, I have a head.
+How piercing is that eye!  how sleek that brow!                  35
+My horns!  I'm told horns are the fashion now.'
+Whilst thus he spoke, astonish'd, to his view,
+Near, and more near, the hounds and huntsmen drew.
+'Hoicks!  hark forward!' came thund'ring from behind,
+He bounds aloft, outstrips the fleeting wind:                    40
+He quits the woods, and tries the beaten ways;
+He starts, he pants, he takes the circling maze.
+At length his silly head, so priz'd before,
+Is taught his former folly to deplore;
+Whilst his strong limbs conspire to set him free,                45
+And at one bound he saves himself, -- like me.
+          ('Taking a hump through the stage door'.)
+
+
+
+
+
+EPILOGUE
+
+INTENDED TO HAVE BEEN SPOKEN FOR 'SHE STOOPS
+TO CONQUER'
+
+'Enter' MRS. BULKLEY,
+'who curtsies very low as beginning to speak.
+Then enter' MISS CATLEY,
+'who stands full before her, and curtsies to the audience'.
+
+MRS. BULKELEY.
+HOLD, Ma'am, your pardon.  What's your business here?
+
+MISS CATLEY.
+The Epilogue.
+
+MRS. BULKLEY.	
+The Epilogue?
+
+MISS CATLEY.
+Yes, the Epilogue, my dear.
+
+MRS. BULKLEY.
+Sure you mistake, Ma'am.  The Epilogue, 'I' bring it.
+
+MISS CATLEY.
+Excuse me, Ma'am.  The Author bid 'me' sing it.
+
+'Recitative'.
+Ye beaux and belles, that form this splendid ring,               5
+Suspend your conversation while I sing.
+
+MRS. BULKLEY.
+Why, sure the girl's beside herself:  an Epilogue of singing,
+A hopeful end indeed to such a blest beginning.
+Besides, a singer in a comic set! --
+Excuse me, Ma'am, I know the etiquette.                          10
+
+MISS CATLEY.
+What if we leave it to the House?
+
+MRS. BULKLEY.
+The House! -- Agreed.
+
+MISS CATLEY>
+Agreed.
+
+MRS. BULKLEY.
+And she, whose party's largest, shall proceed.
+And first I hope, you'll readily agree
+I've all the critics and the wits for me.
+They, I am sure, will answer my commands:                        15
+Ye candid-judging few, hold up your hands.
+What!  no return?  I find too late, I fear,
+That modern judges seldom enter here.
+
+MISS CATLEY.
+I'm for a different set. -- Old men, whose trade is
+Still to gallant and dangle with the ladies; --                  20
+
+'Recitative'.
+Who mump their passion, and who, grimly smiling,
+Still thus address the fair with voice beguiling:--
+
+'Air -- Cotillon'.
+Turn, my fairest, turn, if ever
+Strephon caught thy ravish'd eye;
+Pity take on your swain so clever,                               25
+Who without your aid must die.
+Yes, I shall die, hu, hu, hu, hu!
+Yes, I must die, ho, ho, ho, ho!  ('Da capo'.)
+
+MRS. BULKLEY.
+Let all the old pay homage to your merit;
+Give me the young, the gay, the men of spirit.                   30
+Ye travell'd tribe, ye macaroni train,
+Of French friseurs, and nosegays, justly vain,
+Who take a trip to Paris once a year
+To dress, and look like awkward Frenchmen here,
+Lend me your hands. -- Oh!  fatal news to tell:                  35
+Their hands are only lent to the Heinel.
+
+MISS CATLEY.
+Ay, take your travellers, travellers indeed!
+Give me my bonny Scot, that travels from the Tweed.
+Where are the chiels?  Ah!  Ah, I well discern
+The smiling looks of each bewitching bairn.                      40
+
+'Air -- A bonny young lad is my Jockey'.
+I'll sing to amuse you by night and by day,
+And be unco merry when you are but gay;
+When you with your bagpipes are ready to play,
+My voice shall be ready to carol away
+With Sandy, and Sawney, and Jockey                               45
+With Sawney, and Jarvie, and Jockey.
+
+MRS. BULKLEY.
+Ye gamesters, who, so eager in pursuit,
+Make but of all your fortune one 'va toute';
+Ye jockey tribe, whose stock of words are few,
+'I hold the odds. -- Done, done, with you, with you;'            50
+Ye barristers, so fluent with grimace,
+'My Lord, -- your Lordship misconceives the case;'
+Doctors, who cough and answer every misfortuner,
+'I wish I'd been called in a little sooner:'
+Assist my cause with hands and voices hearty;                    55
+Come, end the contest here, and aid my party.
+
+MISS CATLEY.
+'Air -- Ballinamony'.
+Ye brave Irish lads, hark away to the crack,
+Assist me, I pray, in this woful attack;
+For sure I don't wrong you, you seldom are slack,
+When the ladies are calling, to blush and hang back;             60
+For you're always polite and attentive,
+Still to amuse us inventive,
+And death is your only preventive:
+Your hands and your voices for me.
+
+MRS. BULKLEY.
+Well, Madam, what if, after all this sparring,                   65
+We both agree, like friends, to end our jarring?
+
+MISS CATLEY.
+And that our friendship may remain unbroken,
+What if we leave the Epilogue unspoken?
+
+MRS. BULKLEY.
+Agreed.
+
+MISS CATLEY.
+Agreed.
+
+MRS. BULKLEY.
+And now with late repentance,
+Un-epilogued the Poet waits his sentence.                        70
+Condemn the stubborn fool who can't submit
+To thrive by flattery, though he starves by wit.
+          ('Exeunt'.)
+
+
+
+
+
+EPILOGUE
+
+INTENDED TO HAVE BEEN SPOKEN FOR 'SHE STOOPS
+TO CONQUER'
+
+THERE is a place, so Ariosto sings,
+A treasury for lost and missing things;
+Lost human wits have places assign'd them,
+And they, who lose their senses, there may find them.
+But where's this place, this storehouse of the age?              5
+The Moon, says he:-- but 'I' affirm the Stage:
+At least in many things, I think, I see
+His lunar, and our mimic world agree.
+Both shine at night, for, but at Foote's alone,
+We scarce exhibit till the sun goes down.                        10
+Both prone to change, no settled limits fix,
+And sure the folks of both are lunatics.
+But in this parallel my best pretence is,
+That mortals visit both to find their senses.
+To this strange spot, Rakes, Macaronies, Cits                    15
+Come thronging to collect their scatter'd wits.
+The gay coquette, who ogles all the day,
+Comes here at night, and goes a prude away.
+Hither the affected city dame advancing,
+Who sighs for operas, and dotes on dancing,                      20
+Taught by our art her ridicule to pause on,
+Quits the 'Ballet', and calls for 'Nancy Dawson'.
+The Gamester too, whose wit's all high or low,
+Oft risks his fortune on one desperate throw,
+Comes here to saunter, having made his bets,                     25
+Finds his lost senses out, and pay his debts.
+The Mohawk too -- with angry phrases stored,
+As 'D-- --, Sir,' and 'Sir, I wear a sword';
+Here lesson'd for a while, and hence retreating,
+Goes out, affronts his man, and takes a beating.                 30
+Here come the sons of scandal and of news,
+But find no sense -- for they had none to lose.
+Of all the tribe here wanting an adviser
+Our Author's the least likely to grow wiser;
+Has he not seen how you your favour place,                       35
+On sentimental Queens and Lords in lace?
+Without a star, a coronet or garter,
+How can the piece expect or hope for quarter?
+No high-life scenes, no sentiment:-- the creature
+Still stoops among the low to copy nature.                       50
+Yes, he's far gone:-- and yet some pity fix,
+The English laws forbid to punish lunatics.
+
+
+
+
+
+THE CAPTIVITY
+
+AN
+
+ORATORIO
+
+
+
+THE PERSONS.
+
+FIRST ISRAELITISH PROPHET.
+SECOND ISRAELITISH PROPHET.
+ISRAELITISH WOMAN.
+FIRST CHALDEAN PRIEST.
+SECOND CHALDEAN PRIEST.
+CHALDEAN WOMAN.
+CHORUS OF YOUTHS AND VIRGINS.
+
+SCENE - The Banks of the River Euphrates, near Babylon.
+
+
+THE CAPTIVITY
+
+ACT I -- SCENE I.
+
+'Israelites sitting on the Banks of the Euphrates'.
+
+FIRST PROPHET.
+RECITATIVE.
+YE captive tribes, that hourly work and weep
+Where flows Euphrates murmuring to the deep,
+Suspend awhile the task, the tear suspend,
+And turn to God, your Father and your Friend.
+Insulted, chain'd, and all the world a foe,                      5
+Our God alone is all we boast below.
+
+FIRST PROPHET.
+AIR.
+Our God is all we boast below,
+To him we turn our eyes;
+And every added weight of woe
+Shall make our homage rise.                                      10
+
+SECOND PROPHET.
+And though no temple richly drest,
+Nor sacrifice is here;
+We'll make his temple in our breast,
+And offer up a tear.
+          ['The first stanza repeated by the Chorus.
+
+SECOND PROPHET.
+RECITATIVE.
+That strain once more; it bids remembrance rise,
+And brings my long-lost country to mine eyes.                    16
+Ye fields of Sharon, dress'd in flow'ry pride,
+Ye plains where Jordan rolls its glassy tide,
+Ye hills of Lebanon, with cedars crown'd,
+Ye Gilead groves, that fling perfumes around,                    20
+These hills how sweet!  Those plains how wond'rous fair,
+But sweeter still, when Heaven was with us there!
+
+AIR.
+O Memory, thou fond deceiver,
+Still importunate and vain;
+To former joys recurring ever,                                   25
+And turning all the past to pain;
+
+Hence intruder, most distressing,
+Seek the happy and the free:
+The wretch who wants each other blessing,
+Ever wants a friend in thee.                                     30
+
+FIRST PROPHET.
+RECITATIVE.
+Yet, why complain?  What, though by bonds confin'd,
+Should bonds repress the vigour of the mind?
+Have we not cause for triumph when we see
+Ourselves alone from idol-worship free?
+Are not this very morn those feasts begun?                       35
+Where prostrate error hails the rising sun?
+Do not our tyrant lords this day ordain
+For superstitious rites and mirth profane?
+
+And should we mourn?  Should coward virtue fly,
+When impious folly rears her front on high?                      40
+No; rather let us triumph still the more,
+And as our fortune sinks, our wishes soar.
+
+AIR.
+The triumphs that on vice attend
+Shall ever in confusion end;
+The good man suffers but to gain,                                45
+And every virtue springs from pain:
+
+As aromatic plants bestow
+No spicy fragrance while they grow;
+But crush'd, or trodden to the ground,
+Diffuse their balmy sweets around.                               50
+
+SECOND PROPHET.
+RECITATIVE.
+But hush, my sons, our tyrant lords are near;
+The sounds of barb'rous pleasure strike mine ear;
+Triumphant music floats along the vale;
+Near, nearer still, it gathers on the gale;
+The growing sound their swift approach declares; --
+Desist, my sons, nor mix the strain with theirs.                 56
+
+'Enter' CHALDEAN PRIESTS 'attended'.
+
+FIRST PRIEST.
+AIR.
+Come on, my companions, the triumph display;
+Let rapture the minutes employ;
+The sun calls us out on this festival day,
+And our monarch partakes in the joy.                             60
+
+SECOND PRIEST.
+Like the sun, our great monarch all rapture supplies,
+Both similar blessings bestow;
+The sun with his splendour illumines the skies,
+And our monarch enlivens below.
+
+A CHALDEAN WOMAN.
+AIR.
+Haste, ye sprightly sons of pleasure;                            65
+Love presents the fairest treasure,
+Leave all other joys for me.
+
+A CHALDEAN ATTENDANT.
+Or rather, Love's delights despising,
+Haste to raptures ever rising
+Wine shall bless the brave and free.                             70
+
+FIRST PRIEST.
+Wind and beauty thus inviting,
+Each to different joys exciting,
+Whither shall my choice incline?
+
+SECOND PRIEST.
+I'll waste no longer thought in choosing;
+But, neither this nor that refusing,                             75
+I'll make them both together mine.
+
+RECITATIVE.
+But whence, when joy should brighten o'er the land,
+This sullen gloom in Judah's captive band?
+Ye sons of Judah, why the lute unstrung?
+Or why those harps on yonder willows hung?                       80
+Come, take the lyre, and pour the strain along,
+The day demands it; sing us Sion's song.
+Dismiss your griefs, and join our warbling choir,
+For who like you can wake the sleeping lyre?
+
+SECOND PROPHET.
+Bow'd down with chains, the scorn of all mankind,
+To want, to toil, and every ill consign'd,                       86
+Is this a time to bid us raise the strain,
+Or mix in rites that Heaven regards with pain?
+No, never!  May this hand forget each art
+That speeds the power of music to the heart,                     90
+Ere I forget the land that gave me birth,
+Or join with sounds profane its sacred mirth!
+
+FIRST PRIEST.
+Insulting slaves!  If gentler methods fail,
+The whips and angry tortures shall prevail.
+          ['Exeunt Chaldeans'
+
+FIRST PROPHET.
+Why, let them come, one good remains to cheer;
+We fear the Lord, and know no other fear.                        96
+
+CHORUS.
+Can whips or tortures hurt the mind
+On God's supporting breast reclin'd?
+Stand fast, and let our tyrants see
+That fortitude is victory.
+          ['Exeunt'.
+
+
+ACT II.
+
+'Scene as before'.
+
+CHORUS OF ISRAELITES.
+O PEACE of mind, angelic guest!
+Thou soft companion of the breast!
+Dispense thy balmy store.
+Wing all our thoughts to reach the skies,
+Till earth, receding from our eyes,                              5
+Shall vanish as we soar.
+
+FIRST PRIEST.
+RECITATIVE.
+No more!  Too long has justice been delay'd,
+The king's commands must fully be obey'd;
+Compliance with his will your peace secures,
+Praise but our gods, and every good is yours.                    10
+But if, rebellious to his high command,
+You spurn the favours offer'd from his hand,
+Think, timely think, what terrors are behind;
+Reflect, nor tempt to rage the royal mind.
+
+SECOND PRIEST.
+AIR.
+Fierce is the whirlwind howling                                  15
+O'er Afric's sandy plain,
+And fierce the tempest rolling
+Along the furrow'd main:
+But storms that fly,
+To rend the sky,                                                 20
+Every ill presaging,
+Less dreadful show
+To worlds below
+Than angry monarch's raging.
+
+ISRAELITISH WOMAN.
+RECITATIVE.
+Ah, me! What angry terrors round us grow;                        25
+How shrinks my soul to meet the threaten'd blow!
+Ye prophets, skill'd in Heaven's eternal truth,
+Forgive my sex's fears, forgive my youth!
+If, shrinking thus, when frowning power appears,
+I wish for life, and yield me to my fears.                       30
+Let us one hour, one little hour obey;
+To-morrow's tears may wash our stains away.
+
+AIR.
+To the last moment of his breath
+On hope the wretch relies;
+And e'en the pang preceding death                                35
+Bids expectation rise.
+
+Hope, like the gleaming taper's light,
+Adorns and cheers our way;
+And still, as darker grows the night,
+Emits a brighter ray.                                            40
+
+SECOND PRIEST.
+RECITATIVE.
+Why this delay? At length for joy prepare;
+I read your looks, and see compliance there.
+Come on, and bid the warbling rapture rise,
+Our monarch's fame the noblest theme supplies.
+Begin, ye captive bands, and strike the lyre,                    45
+The time, the theme, the place, and all conspire.
+
+CHALDEAN WOMAN.
+AIR.
+See the ruddy morning smiling,
+Hear the grove to bliss beguiling;
+Zephyrs through the woodland playing,
+Streams along the valley straying.                               50
+
+FIRST PRIEST.
+While these a constant revel keep,
+Shall Reason only teach to weep?
+Hence, intruder! We'll pursue
+Nature, a better guide than you.
+
+SECOND PRIEST.
+Every moment, as it flows,                                       55
+Some peculiar pleasure owes;
+Then let us, providently wise,
+Seize the debtor as it flies.
+
+Think not to-morrow can repay
+The pleasures that we lose to-day;                               60
+To-morrow's most unbounded store
+Can but pay its proper score.
+
+FIRST PRIEST.
+RECITATIVE.
+But hush!  See, foremost of the captive choir,
+The master-prophet grasps his full-ton'd lyre.
+Mark where he sits, with executing art,                          65
+Feels for each tone, and speeds it to the heart;
+See how prophetic rapture fills his form,
+Awful as clouds that nurse the growing storm;
+And now his voice, accordant to the string,
+Prepares our monarch's victories to sing.                        70
+
+FIRST PROPHET.
+AIR.
+From north, from south, from east, from west,
+Conspiring nations come;
+Tremble thou vice-polluted breast;
+Blasphemers, all be dumb.
+
+The tempest gathers all around,                                  75
+On Babylon it lies;
+Down with her! down -- down to the ground;
+She sinks, she groans, she dies.
+
+SECOND PROPHET.
+Down with her, Lord, to lick the dust,
+Ere yonder setting sun;                                          80
+Serve her as she hath served the just!
+'Tis fixed -- it shall be done.
+
+FIRST PRIEST.
+RECITATIVE.
+No more! When slaves thus insolent presume,
+The king himself shall judge, and fix their doom.
+Unthinking wretches! have not you, and all,                      85
+Beheld our power in Zedekiah's fall?
+To yonder gloomy dungeon turn your eyes;
+See where dethron'd your captive monarch lies,
+Depriv'd of sight and rankling in his chain;                     89
+See where he mourns his friends and children slain.
+Yet know, ye slaves, that still remain behind
+More ponderous chains, and dungeons more confin'd.
+
+CHORUS OF ALL.
+Arise, all potent ruler, rise,
+And vindicate thy people's cause;
+Till every tongue in every land                                  95
+Shall offer up unfeign'd applause.
+          ['Exeunt'.
+
+
+ACT III.
+
+'Scene as before'.
+
+FIRST PRIEST.
+RECITATIVE.
+YES, my companions, Heaven's decrees are past,
+And our fix'd empire shall for ever last;
+In vain the madd'ning prophet threatens woe,
+In vain rebellion aims her secret blow;
+Still shall our fame and growing power be spread,
+And still our vengeance crush the traitor's head.                6
+
+AIR.
+Coeval with man
+Our empire began,
+And never shall fail
+Till ruin shakes all;                                            10
+When ruin shakes all,
+Then shall Babylon fall.
+
+FIRST PROPHET.
+RECITATIVE.
+'Tis thus that pride triumphant rears the head,
+A little while, and all their power is fled;
+But ha! what means yon sadly plaintive train,                    15
+That this way slowly bend along the plain?
+And now, methinks, to yonder bank they bear
+A palled corse, and rest the body there.
+Alas! too well mine eyes indignant trace
+The last remains of Judah's royal race:                          20
+Our monarch falls, and now our fears are o'er,
+Unhappy Zedekiah is no more!
+
+AIR.
+Ye wretches who, by fortune's hate,
+In want and sorrow groan;
+Come ponder his severer fate,                                    25
+And learn to bless your own.
+
+You vain, whom youth and pleasure guide,
+Awhile the bliss suspend;
+Like yours, his life began in pride,
+Like his, your lives shall end.                                  30
+
+SECOND PROPHET.
+RECITATIVE.
+Behold his wretched corse with sorrow worn,
+His squalid limbs with pond'rous fetters torn;
+Those eyeless orbs that shock with ghastly glare,
+Those ill-becoming rags -- that matted hair!
+And shall not Heaven for this its terrors show,                  35
+Grasp the red bolt, and lay the guilty low?
+How long, how long, Almighty God of all,
+Shall wrath vindictive threaten ere it fall!
+
+ISRAELITISH WOMAN.
+AIR.
+As panting flies the hunted hind,
+Where brooks refreshing stray;                                   40
+And rivers through the valley wind,
+That stop the hunter's way:
+
+Thus we, O Lord, alike distrest,
+For streams of mercy long;
+Those streams which cheer the sore opprest,
+And overwhelm the strong.                                        46
+
+FIRST PROPHET.
+RECITATIVE.
+But, whence that shout?  Good heavens! amazement all!
+See yonder tower just nodding to the fall:
+See where an army covers all the ground,
+Saps the strong wall, and pours destruction round;
+The ruin smokes, destruction pours along;                        51
+How low the great, how feeble are the strong!
+The foe prevails, the lofty walls recline --
+O God of hosts, the victory is thine!
+
+CHORUS OF ISRAELITES.
+Down with them, Lord, to lick the dust;                          55
+Thy vengeance be begun:
+Serve them as they have serv'd the just,
+And let thy will be done.
+
+FIRST PRIEST.
+RECITATIVE.
+All, all is lost.  The Syrian army fails,
+Cyrus, the conqueror of the world, prevails,                     60
+The ruin smokes, the torrent pours along;
+How low the proud, how feeble are the strong!
+Save us, O Lord! to thee, though late, we pray,
+And give repentance but an hour's delay.
+
+FIRST AND SECOND PRIEST.
+AIR.
+Thrice happy, who in happy hour                                  65
+To Heaven their praise bestow,
+And own his all-consuming power
+Before they feel the blow!
+
+FIRST PROPHET.
+RECITATIVE.
+Now, now's our time! ye wretches bold and blind,
+Brave but to God, and cowards to mankind,                        70
+Too late you seek that power unsought before,
+Your wealth, your pride, your kingdom, are no more.
+
+AIR.
+O Lucifer, thou son of morn,
+Alike of Heaven and man the foe;
+Heaven, men, and all,                                            75
+Now press thy fall,
+And sink thee lowest of the low.
+
+FIRST PROPHET.
+O Babylon, how art thou fallen!
+Thy fall more dreadful from delay!
+Thy streets forlorn                                              80
+To wilds shall turn,
+Where toads shall pant, and vultures prey.
+
+SECOND PROPHET.
+RECITATIVE.
+Such be her fate.  But listen! from afar
+The clarion's note proclaims the finish'd war!
+Cyrus, our great restorer, is at hand,                           85
+And this way leads his formidable band.
+Give, give your songs of Sion to the wind,
+And hail the benefactor of mankind:
+He comes pursuant to divine decree,
+To chain the strong, and set the captive free.                   90
+
+CHORUS OF YOUTHS.
+Rise to transports past expressing,
+Sweeter from remember'd woes;
+Cyrus comes, our wrongs redressing,
+Comes to give the world repose.
+
+CHORUS OF VIRGINS.
+Cyrus comes, the world redressing,                               95
+Love and pleasure in his train;
+Comes to heighten every blessing,
+Comes to soften every pain.
+
+SEMI-CHORUS.
+Hail to him with mercy reigning,
+Skilled in every peaceful art;                                   100
+Who from bonds our limbs unchaining,
+Only binds the willing heart.
+
+THE LAST CHORUS.
+But chief to Thee, our God, defender, friend,
+Let praise be given to all eternity;
+O Thou, without beginning, without end,                          105
+Let us, and all, begin and end, in Thee!
+
+
+
+
+
+VERSES IN REPLY TO AN INVITATION TO DINNER AT DR. BAKER'S.
+
+'This 'is' a poem!  This 'is' a copy of verses!'
+
+YOUR mandate I got,
+You may all go to pot;
+Had your senses been right,
+You'd have sent before night;
+As I hope to be saved,                                           5
+I put off being shaved;
+For I could not make bold,
+While the matter was cold,
+To meddle in suds,
+Or to put on my duds;                                            10
+So tell Horneck and Nesbitt,
+And Baker and his bit,
+And Kauffmann beside,
+And the Jessamy Bride,
+With the rest of the crew,                                       15
+The Reynoldses two,
+Little Comedy's face,
+And the Captain in lace,
+(By-the-bye you may tell him,
+I have something to sell him;                                    20
+Of use I insist,
+When he comes to enlist.
+Your worships must know
+That a few days ago,
+An order went out,                                               25
+For the foot guards so stout
+To wear tails in high taste,
+Twelve inches at least:
+Now I've got him a scale
+To measure each tail,                                            30
+To lengthen a short tail,
+And a long one to curtail.) --
+Yet how can I when vext,
+Thus stray from my text?
+Tell each other to rue                                           35
+Your Devonshire crew,
+For sending so late
+To one of my state.
+But 'tis Reynolds's way
+From wisdom to stray,                                            50
+And Angelica's whim
+To be frolick like him,
+But, alas! Your good worships, how could they be wiser,
+When both have been spoil'd in to-day's 'Advertiser'?
+          OLIVER GOLDSMITH.
+
+
+
+
+
+LETTER IN PROSE AND VERSE TO MRS. BUNBURY
+
+MADAM,
+
+I read your letter with all that allowance which critical candour could
+require, but after all find so much to object to, and so much to raise
+my indignation, that I cannot help giving it a serious answer.
+
+I am not so ignorant, Madam, as not to see there are many sarcasms
+contained in it, and solecisms also. (Solecism is a word that comes from
+the town of Soleis in Attica, among the Greeks, built by Solon, and
+applied as we use the word Kidderminster for curtains, from a town also
+of that name; -- but this is learning you have no taste for!) -- I say,
+Madam, there are sarcasms in it, and solecisms also. But not to seem an
+ill-natured critic, I'll take leave to quote your own words, and give
+you my remarks upon them as they occur. You begin as follows:--
+
+'I hope, my good Doctor, you soon will be here,
+And your spring-velvet coat very smart will appear,
+To open our ball the first day of the year.'
+
+Pray, Madam, where did you ever find the epithet 'good,' applied to the
+title of Doctor? Had you called me 'learned Doctor,' or 'grave Doctor,'
+or 'noble Doctor,' it might be allowable, because they belong to the
+profession. But, not to cavil at trifles, you talk of my 'spring-velvet
+coat,' and advise me to wear it the first day in the year, -- that is,
+in the middle of winter! -- a spring-velvet in the middle of winter!!!
+That would be a solecism indeed! and yet, to increase the inconsistence,
+in another part of your letter you call me a beau. Now, on one side or
+other, you must be wrong. If I am a beau, I can never think of wearing a
+spring-velvet in winter: and if I am not a beau, why then, that explains
+itself. But let me go on to your two next strange lines:--
+
+'And bring with you a wig, that is modish and gay,
+To dance with the girls that are makers of hay.'
+
+The absurdity of making hay at Christmas, you yourself seem sensible of:
+you say your sister will laugh; and so indeed she well may! The Latins
+have an expression for a contemptuous sort of laughter, 'Naso contemnere
+adunco'; that is, to laugh with a crooked nose. She may laugh at you in
+the manner of the ancients if she thinks fit. But now I come to the most
+extraordinary of all extraordinary propositions, which is, to take your
+and your sister's advice in playing at loo. The presumption of the offer
+raises my indignation beyond the bounds of prose; it inspires me at once
+with verse and resentment. I take advice! and from whom? You shall hear.
+
+First let me suppose, what may shortly be true,
+The company set, and the word to be, Loo;
+All smirking, and pleasant, and big with adventure,
+And ogling the stake which is fix'd in the centre.
+Round and round go the cards, while I inwardly damn              5
+At never once finding a visit from Pam.
+I lay down my stake, apparently cool,
+While the harpies about me all pocket the pool.
+I fret in my gizzard, yet, cautious and sly,
+I wish all my friends may be bolder than I:                      10
+Yet still they sit snug, not a creature will aim
+By losing their money to venture at fame.
+'Tis in vain that at niggardly caution I scold,
+'Tis in vain that I flatter the brave and the bold:
+All play their own way, and they think me an ass, --             15
+'What does Mrs. Bunbury?'  'I, Sir?  I pass.'
+'Pray what does Miss Horneck? Take courage, come do,' --
+'Who, I?  let me see, Sir, why I must pass too.'
+Mr. Bunbury frets, and I fret like the devil,
+To see them so cowardly, lucky, and civil.                       20
+Yet still I sit snug, and continue to sigh on,
+Till made by my losses as bold as a lion,
+I venture at all, -- while my avarice regards
+The whole pool as my own -- 'Come, give me five cards.'
+'Well done!' cry the ladies; 'Ah, Doctor, that's good!           25
+The pool's very rich -- ah! the Doctor is loo'd!'
+Thus foil'd in my courage, on all sides perplex'd,
+I ask for advice from the lady that's next:
+'Pray, Ma'am, be so good as to give your advice;
+Don't you think the best way is to venture for 't twice?'        30
+'I advise,' cries the lady, 'to try it, I own. --
+Ah! the Doctor is loo'd!  Come, Doctor, put down.'
+Thus, playing, and playing, I still grow more eager,
+And so bold, and so bold, I'm at last a bold beggar.
+Now, ladies, I ask, if law-matters you're skill'd in,            35
+Whether crimes such as yours should not come before Fielding?
+For giving advice that is not worth a straw,
+May well be call'd picking of pockets in law;
+And picking of pockets, with which I now charge ye,
+Is, by quinto Elizabeth, Death without Clergy.                   40
+What justice, when both to the Old Bailey brought!
+By the gods, I'll enjoy it; though 'tis but in thought!
+Both are plac'd at the bar, with all proper decorum,
+With bunches of fennel, and nosegays before 'em;
+Both cover their faces with mobs and all that;                   45
+But the judge bids them, angrily, take off their hat.
+When uncover'd, a buzz of enquiry runs round, --
+'Pray what are their crimes?' -- 'They've been pilfering found.'
+'But, pray, whom have they pilfer'd?' -- 'A Doctor, I hear.'
+'What, yon solemn-faced, odd-looking man that stands near!'      50
+'The same.' -- 'What a pity! how does it surprise one!
+Two handsomer culprits I never set eyes on!'
+Then their friends all come round me with cringing and leering,
+To melt me to pity, and soften my swearing.
+First Sir Charles advances with phrases well strung,             55
+'Consider, dear Doctor, the girls are but young.'
+'The younger the worse,' I return him again,
+'It shows that their habits are all dyed in grain.'
+'But then they're so handsome, one's bosom it grieves.'
+'What signifies 'handsome', when people are thieves?'            60
+'But where is your justice? their cases are hard.'
+'What signifies 'justice'?  I want the 'reward'.
+
+There's the parish of Edmonton offers forty pounds; there's the
+parish of St. Leonard, Shoreditch, offers forty pounds; there's
+the parish of Tyburn, from the Hog-in-the-Pound to St. Giles's
+watchhouse, offers forty pounds, -- I shall have all that if I
+convict them!' --
+
+'But consider their case, -- it may yet be your own!
+And see how they kneel!  Is your heart made of stone?'
+This moves:-- so at last I agree to relent,                      65
+For ten pounds in hand, and ten pounds to be spent.
+
+I challenge you all to answer this:  I tell you, you cannot. It
+cuts deep; -- but now for the rest of the letter: and next --
+but I want room -- so I believe I shall battle the rest out at
+Barton some day next week.
+
+          I don't value you all!
+                O. G.
+
+
+
+
+
+
+VIDA'S GAME OF CHESS
+
+TRANSLATED
+
+ARMIES of box that sportively engage
+And mimic real battles in their rage,
+Pleased I recount; how, smit with glory's charms,
+Two mighty Monarchs met in adverse arms,
+Sable and white; assist me to explore,                           5
+Ye Serian Nymphs, what ne'er was sung before.
+No path appears: yet resolute I stray
+Where youth undaunted bids me force my way.
+O'er rocks and cliffs while I the task pursue,
+Guide me, ye Nymphs, with your unerring clue.                    10
+For you the rise of this diversion know,
+You first were pleased in Italy to show
+This studious sport; from Scacchis was its name,
+The pleasing record of your Sister's fame.
+
+When Jove through Ethiopia's parch'd extent                      15
+To grace the nuptials of old Ocean went,
+Each god was there; and mirth and joy around
+To shores remote diffused their happy sound.
+Then when their hunger and their thirst no more
+Claim'd their attention, and the feast was o'er;                 20
+Ocean with pastime to divert the thought,
+Commands a painted table to be brought.
+Sixty-four spaces fill the chequer'd square;
+Eight in each rank eight equal limits share.
+Alike their form, but different are their dyes,                  25
+They fade alternate, and alternate rise,
+White after black; such various stains as those
+The shelving backs of tortoises disclose.
+Then to the gods that mute and wondering sate,
+You see (says he) the field prepared for fate.                   30
+Here will the little armies please your sight,
+With adverse colours hurrying to the fight:
+On which so oft, with silent sweet surprise,
+The Nymphs and Nereids used to feast their eyes,
+And all the neighbours of the hoary deep,                        35
+When calm the sea, and winds were lull'd asleep
+But see, the mimic heroes tread the board;
+He said, and straightway from an urn he pour'd
+The sculptured box, that neatly seem'd to ape
+The graceful figure of a human shape:--                          40
+Equal the strength and number of each foe,
+Sixteen appear'd like jet, sixteen like snow.
+As their shape varies various is the name,
+Different their posts, nor is their strength the same.
+There might you see two Kings with equal pride                   45
+Gird on their arms, their Consorts by their side;
+Here the Foot-warriors glowing after fame,
+There prancing Knights and dexterous Archers came
+And Elephants, that on their backs sustain
+Vast towers of war, and fill and shake the plain.                50
+
+And now both hosts, preparing for the storm
+Of adverse battle, their encampments form.
+In the fourth space, and on the farthest line,
+Directly opposite the Monarchs shine;
+The swarthy on white ground, on sable stands                     55
+The silver King; and then they send commands.
+Nearest to these the Queens exert their might;
+One the left side, and t'other guards the right:
+Where each, by her respective armour known.
+Chooses the colour that is like her own.                         60
+Then the young Archers, two that snowy-white
+Bend the tough yew, and two as black as night;
+(Greece call'd them Mars's favourites heretofore,
+From their delight in war, and thirst of gore).
+These on each side the Monarch and his Queen                     65
+Surround obedient; next to these are seen
+The crested Knights in golden armour gay;
+Their steeds by turns curvet, or snort or neigh.
+In either army on each distant wing
+Two mighty Elephants their castles bring,                        70
+Bulwarks immense! and then at last combine
+Eight of the Foot to form the second line,
+The vanguard to the King and Queen; from far
+Prepared to open all the fate of war.
+So moved the boxen hosts, each double-lined,                     75
+Their different colours floating in the wind:
+As if an army of the Gauls should go,
+With their white standards, o'er the Alpine snow
+To meet in rigid fight on scorching sands
+The sun-burnt Moors and Memnon's swarthy bands.                  80
+
+Then Father Ocean thus; you see them here,
+Celestial powers, what troops, what camps appear.
+Learn now the sev'ral orders of the fray,
+For e'en these arms their stated laws obey.
+To lead the fight, the Kings from all their bands
+Choose whom they please to bear their great commands.            86
+Should a black hero first to battle go,
+Instant a white one guards against the blow;
+But only one at once can charge or shun the foe.
+Their gen'ral purpose on one scheme is bent,                     90
+So to besiege the King within the tent,
+That there remains no place by subtle flight
+From danger free; and that decides the fight.
+Meanwhile, howe'er, the sooner to destroy
+Th' imperial Prince, remorseless they employ                     95
+Their swords in blood; and whosoever dare
+Oppose their vengeance, in the ruin share.
+Fate thins their camp; the parti-coloured field
+Widens apace, as they o'ercome or yield,
+But the proud victor takes the captive's post;                   100
+There fronts the fury of th' avenging host
+One single shock: and (should he ward the blow),
+May then retire at pleasure from the foe.
+The Foot alone (so their harsh laws ordain)
+When they proceed can ne'er return again.                        105
+
+But neither all rush on alike to prove
+The terror of their arms: The Foot must move
+Directly on, and but a single square;
+Yet may these heroes, when they first prepare
+To mix in combat on the bloody mead,                             110
+Double their sally, and two steps proceed;
+But when they wound, their swords they subtly guide
+With aim oblique, and slanting pierce his side.
+But the great Indian beasts, whose backs sustain
+Vast turrets arm'd, when on the redd'ning plain                  115
+They join in all the terror of the fight,
+Forward or backward, to the left or right,
+Run furious, and impatient of confine
+Scour through the field, and threat the farthest line.
+Yet must they ne'er obliquely aim their blows;
+That only manner is allow'd to those                             121
+Whom Mars has favour'd most, who bend the stubborn bows.
+These glancing sidewards in a straight career,
+Yet each confin'd to their respective sphere,
+Or white or black, can send th' unerring dart                    125
+Wing'd with swift death to pierce through ev'ry part.
+The fiery steed, regardless of the reins,
+Comes prancing on; but sullenly disdains
+The path direct, and boldly wheeling round,
+Leaps o'er a double space at ev'ry bound:                        130
+And shifts from white or black to diff'rent colour'd ground.
+But the fierce Queen, whom dangers ne'er dismay,
+The strength and terror of the bloody day,
+In a straight line spreads her destruction wide,
+To left or right, before, behind, aside.                         135
+Yet may she never with a circling course
+Sweep to the battle like the fretful Horse;
+But unconfin'd may at her pleasure stray,
+If neither friend nor foe block up the way;
+For to o'erleap a warrior, 'tis decreed                          140
+Those only dare who curb the snorting steed.
+With greater caution and majestic state
+The warlike Monarchs in the scene of fate
+Direct their motions, since for these appear
+Zealous each hope, and anxious ev'ry fear.                       145
+While the King's safe, with resolution stern
+They clasp their arms; but should a sudden turn
+Make him a captive, instantly they yield,
+Resolved to share his fortune in the field.
+He moves on slow; with reverence profound                        150
+His faithful troops encompass him around,
+And oft, to break some instant fatal scheme,
+Rush to their fates, their sov'reign to redeem;
+While he, unanxious where to wound the foe,
+Need only shift and guard against a blow.                        155
+But none, however, can presume t' appear
+Within his reach, but must his vengeance fear;
+For he on ev'ry side his terror throws;
+But when he changes from his first repose,
+Moves but one step, most awfully sedate,                         160
+Or idly roving, or intent on fate.
+These are the sev'ral and establish'd laws:
+Now see how each maintains his bloody cause.
+
+Here paused the god, but (since whene'er they wage
+War here on earth the gods themselves engage                     165
+In mutual battle as they hate or love,
+And the most stubborn war is oft above),
+Almighty Jove commands the circling train
+Of gods from fav'ring either to abstain,
+And let the fight be silently survey'd;                          170
+And added solemn threats if disobey'd.
+Then call'd he Phoebus from among the Powers
+And subtle Hermes, whom in softer hours
+Fair Maia bore: youth wanton'd in their face;
+Both in life's bloom, both shone with equal grace.
+Hermes as yet had never wing'd his feet;                         176
+As yet Apollo in his radiant seat
+Had never driv'n his chariot through the air,
+Known by his bow alone and golden hair.
+These Jove commission'd to attempt the fray,                     180
+And rule the sportive military day;
+Bid them agree which party each maintains,
+And promised a reward that's worth their pains.
+The greater took their seats; on either hand
+Respectful the less gods in order stand,                         185
+But careful not to interrupt their play,
+By hinting when t' advance or run away.
+
+Then they examine, who shall first proceed
+To try their courage, and their army lead.
+Chance gave it for the White, that he should go                  190
+First with a brave defiance to the foe.
+Awhile he ponder'd which of all his train
+Should bear his first commission o'er the plain;
+And then determined to begin the scene
+With him that stood before to guard the Queen.                   195
+He took a double step: with instant care
+Does the black Monarch in his turn prepare
+The adverse champion, and with stern command
+Bid him repel the charge with equal hand.
+There front to front, the midst of all the field,                200
+With furious threats their shining arms they wield;
+Yet vain the conflict, neither can prevail
+While in one path each other they assail.
+On ev'ry side to their assistance fly
+Their fellow soldiers, and with strong supply                    205
+Crowd to the battle, but no bloody stain
+Tinctures their armour; sportive in the plain
+Mars plays awhile, and in excursion slight
+Harmless they sally forth, or wait the fight.
+
+But now the swarthy Foot, that first appear'd                    210
+To front the foe, his pond'rous jav'lin rear'd
+Leftward aslant, and a pale warrior slays,
+Spurns him aside, and boldly takes his place.
+Unhappy youth, his danger not to spy!
+Instant he fell, and triumph'd but to die.                       215
+At this the sable King with prudent care
+Removed his station from the middle square,
+And slow retiring to the farthest ground,
+There safely lurk'd, with troops entrench'd around.
+Then from each quarter to the war advance                        220
+The furious Knights, and poise the trembling lance:
+By turns they rush, by turns the victors yield,
+Heaps of dead Foot choke up the crimson'd field:
+They fall unable to retreat; around
+The clang of arms and iron hoofs resound.                        225
+
+But while young Phoebus pleased himself to view
+His furious Knight destroy the vulgar crew,
+Sly Hermes long'd t' attempt with secret aim
+Some noble act of more exalted fame.
+For this, he inoffensive pass'd along                            230
+Through ranks of Foot, and midst the trembling throng
+Sent his left Horse, that free without confine
+Rov'd o'er the plain, upon some great design
+Against the King himself.  At length he stood,
+And having fix'd his station as he would,                        235
+Threaten'd at once with instant fate the King
+And th' Indian beast that guarded the right wing.
+Apollo sigh'd, and hast'ning to relieve
+The straiten'd Monarch, griev'd that he must leave
+His martial Elephant expos'd to fate,                            240
+And view'd with pitying eyes his dang'rous state.
+First in his thoughts however was his care
+To save his King, whom to the neighbouring square
+On the right hand, he snatch'd with trembling flight;
+At this with fury springs the sable Knight,                      245
+Drew his keen sword, and rising to the blow,
+Sent the great Indian brute to shades below.
+O fatal loss! for none except the Queen
+Spreads such a terror through the bloody scene.
+Yet shall you ne'er unpunish'd boast your prize,
+The Delian god with stern resentment cries;                      251
+And wedg'd him round with Foot, and pour'd in fresh supplies.
+Thus close besieg'd trembling he cast his eye
+Around the plain, but saw no shelter nigh,
+No way for flight; for here the Queen oppos'd,                   255
+The Foot in phalanx there the passage clos'd:
+At length he fell; yet not unpleas'd with fate,
+Since victim to a Queen's vindictive hate.
+With grief and fury burns the whiten'd host,
+One of their Tow'rs thus immaturely lost.                        260
+As when a bull has in contention stern
+Lost his right horn, with double vengeance burn
+His thoughts for war, with blood he's cover'd o'er,
+And the woods echo to his dismal roar,
+So look'd the flaxen host, when angry fate                       265
+O'erturn'd the Indian bulwark of their state.
+Fired at this great success, with double rage
+Apollo hurries on his troops t' engage,
+For blood and havoc wild; and, while he leads
+His troops thus careless, loses both his steeds:                 270
+For if some adverse warriors were o'erthrown,
+He little thought what dangers threat his own.
+But slyer Hermes with observant eyes
+March'd slowly cautious, and at distance spies
+What moves must next succeed, what dangers next arise.           275
+Often would he, the stately Queen to snare,
+The slender Foot to front her arms prepare,
+And to conceal his scheme he sighs and feigns
+Such a wrong step would frustrate all his pains.
+Just then an Archer, from the right-hand view,                   280
+At the pale Queen his arrow boldly drew,
+Unseen by Phoebus, who, with studious thought,
+From the left side a vulgar hero brought.
+But tender Venus, with a pitying eye,
+Viewing the sad destruction that was nigh,                       285
+Wink'd upon Phoebus (for the Goddess sat
+By chance directly opposite); at that
+Roused in an instant, young Apollo threw
+His eyes around the field his troops to view:
+Perceiv'd the danger, and with sudden fright                     290
+Withdrew the Foot that he had sent to fight,
+And sav'd his trembling Queen by seasonable flight.
+But Maia's son with shouts fill'd all the coast:
+The Queen, he cried, the important Queen is lost.
+Phoebus, howe'er, resolving to maintain                          295
+What he had done, bespoke the heavenly train.
+What mighty harm, in sportive mimic flight,
+Is it to set a little blunder right,
+When no preliminary rule debarr'd?
+If you henceforward, Mercury, would guard                        300
+Against such practice, let us make the law:
+And whosoe'er shall first to battle draw,
+Or white, or black, remorseless let him go
+At all events, and dare the angry foe.
+ He said, and this opinion pleased around:                       305
+Jove turn'd aside, and on his daughter frown'd,
+Unmark'd by Hermes, who, with strange surprise,
+Fretted and foam'd, and roll'd his ferret eyes,
+And but with great reluctance could refrain
+From dashing at a blow all off the plain.                        310
+Then he resolved to interweave deceits, --
+To carry on the war by tricks and cheats.
+Instant he call'd an Archer from the throng,
+And bid him like the courser wheel along:
+Bounding he springs, and threats the pallid Queen.
+The fraud, however, was by Phoebus seen;                         316
+He smiled, and, turning to the Gods, he said:
+Though, Hermes, you are perfect in your trade,
+And you can trick and cheat to great surprise,
+These little sleights no more shall blind my eyes;
+Correct them if you please, the more you thus disguise.          321
+The circle laugh'd aloud; and Maia's son
+(As if it had but by mistake been done)
+Recall'd his Archer, and with motion due,
+Bid him advance, the combat to renew.                            325
+But Phoebus watch'd him with a jealous eye,
+Fearing some trick was ever lurking nigh,
+For he would oft, with sudden sly design,
+Send forth at once two combatants to join
+His warring troops, against the law of arms,                     330
+Unless the wary foe was ever in alarms.
+
+Now the white Archer with his utmost force
+Bent the tough bow against the sable Horse,
+And drove him from the Queen, where he had stood
+Hoping to glut his vengeance with her blood.                     335
+Then the right Elephant with martial pride
+Roved here and there, and spread his terrors wide:
+Glittering in arms from far a courser came,
+Threaten'd at once the King and Royal Dame;
+Thought himself safe when he the post had seized,
+And with the future spoils his fancy pleased.                    341
+Fired at the danger a young Archer came,
+Rush'd on the foe, and levell'd sure his aim;
+(And though a Pawn his sword in vengeance draws,
+Gladly he'd lose his life in glory's cause).                     345
+The whistling arrow to his bowels flew,
+And the sharp steel his blood profusely drew;
+He drops the reins, he totters to the ground,
+And his life issued murm'ring through the wound.
+Pierced by the Foot, this Archer bit the plain;
+The Foot himself was by another slain;                           351
+And with inflamed revenge, the battle burns again.
+Towers, Archers, Knights, meet on the crimson ground,
+And the field echoes to the martial sound.
+Their thoughts are heated, and their courage fired,
+Thick they rush on with double zeal inspired;                    356
+Generals and Foot, with different colour'd mien,
+Confusedly warring in the camps are seen, --
+Valour and fortune meet in one promiscuous scene.
+Now these victorious, lord it o'er the field;                    360
+Now the foe rallies, the triumphant yield:
+Just as the tide of battle ebbs or flows.
+As when the conflict more tempestuous grows
+Between the winds, with strong and boisterous sweep
+They plough th' Ionian or Atlantic deep!                         365
+By turns prevail the mutual blustering roar,
+And the big waves alternate lash the shore.
+But in the midst of all the battle raged
+The snowy Queen, with troops at once engaged;
+She fell'd an Archer as she sought the plain, --                 370
+As she retired an Elephant was slain:
+To right and left her fatal spears she sent,
+Burst through the ranks, and triumph'd as she went;
+Through arms and blood she seeks a glorious fate,
+Pierces the farthest lines, and nobly great                      375
+Leads on her army with a gallant show,
+Breaks the battalions, and cuts through the foe.
+At length the sable King his fears betray'd,
+And begg'd his military consort's aid:
+With cheerful speed she flew to his relief,                      380
+And met in equal arms the female chief.
+
+Who first, great Queen, and who at last did bleed?
+How many Whites lay gasping on the mead?
+Half dead, and floating in a bloody tide,
+Foot, Knights, and Archer lie on every side.                     385
+Who can recount the slaughter of the day?
+How many leaders threw their lives away?
+The chequer'd plain is fill'd with dying box,
+Havoc ensues, and with tumultuous shocks
+The different colour'd ranks in blood engage,                    390
+And Foot and Horse promiscuously rage.
+With nobler courage and superior might
+The dreadful Amazons sustain the fight,
+Resolved alike to mix in glorious strife,
+Till to imperious fate they yield their life.                    395
+
+Meanwhile each Monarch, in a neighbouring cell,
+Confined the warriors that in battle fell,
+There watch'd the captives with a jealous eye,
+Lest, slipping out again, to arms they fly.
+But Thracian Mars, in stedfast friendship join'd                 400
+To Hermes, as near Phoebus he reclined,
+Observed each chance, how all their motions bend,
+Resolved if possible to serve his friend.
+He a Foot-soldier and a Knight purloin'd
+Out from the prison that the dead confined;                      405
+And slyly push'd 'em forward on the plain;
+Th' enliven'd combatants their arms regain,
+Mix in the bloody scene, and boldly war again.
+
+So the foul hag, in screaming wild alarms
+O'er a dead carcase muttering her charms,                        410
+(And with her frequent and tremendous yell
+Forcing great Hecate from out of hell)
+Shoots in the corpse a new fictitious soul;
+With instant glare the supple eyeballs roll,
+Again it moves and speaks, and life informs the whole.           415
+
+Vulcan alone discern'd the subtle cheat;
+And wisely scorning such a base deceit,
+Call'd out to Phoebus.  Grief and rage assail
+Phoebus by turns; detected Mars turns pale.
+Then awful Jove with sullen eye reproved                         420
+Mars, and the captives order'd to be moved
+To their dark caves; bid each fictitious spear
+Be straight recall'd, and all be as they were.
+
+And now both Monarchs with redoubled rage
+Led on their Queens, the mutual war to wage.                     425
+O'er all the field their thirsty spears they send,
+Then front to front their Monarchs they defend.
+But lo! the female White rush'd in unseen,
+And slew with fatal haste the swarthy Queen;
+Yet soon, alas! resign'd her royal spoils,                       430
+Snatch'd by a shaft from her successful toils.
+Struck at the sight, both hosts in wild surprise
+Pour'd forth their tears, and fill'd the air with cries;
+They wept and sigh'd, as pass'd the fun'ral train,
+As if both armies had at once been slain.                        435
+
+And now each troop surrounds its mourning chief,
+To guard his person, or assuage his grief.
+One is their common fear; one stormy blast
+Has equally made havoc as it pass'd.
+Not all, however, of their youth are slain;                      440
+Some champions yet the vig'rous war maintain.
+Three Foot, an Archer, and a stately Tower,
+For Phoebus still exert their utmost power.
+Just the same number Mercury can boast,
+Except the Tower, who lately in his post                         445
+Unarm'd inglorious fell, in peace profound,
+Pierced by an Archer with a distant wound;
+But his right Horse retain'd its mettled pride, --
+The rest were swept away by war's strong tide.
+
+But fretful Hermes, with despairing moan,                        450
+Griev'd that so many champions were o'erthrown,
+Yet reassumes the fight; and summons round
+The little straggling army that he found, --
+All that had 'scaped from fierce Apollo's rage, --
+Resolved with greater caution to engage                          455
+In future strife, by subtle wiles (if fate
+Should give him leave) to save his sinking state.
+The sable troops advance with prudence slow,
+Bent on all hazards to distress the foe.
+More cheerful Phoebus, with unequal pace,                        460
+Rallies his arms to lessen his disgrace.
+But what strange havoc everywhere has been!
+A straggling champion here and there is seen;
+And many are the tents, yet few are left within.
+
+Th' afflicted Kings bewail their consorts dead,                  465
+And loathe the thoughts of a deserted bed;
+And though each monarch studies to improve
+The tender mem'ry of his former love,
+Their state requires a second nuptial tie.
+Hence the pale ruler with a love-sick eye                        470
+Surveys th' attendants of his former wife,
+And offers one of them a royal life.
+These, when their martial mistress had been slain,
+Weak and despairing tried their arms in vain;
+Willing, howe'er, amidst the Black to go,                        475
+They thirst for speedy vengeance on the foe.
+Then he resolves to see who merits best,
+By strength and courage, the imperial vest;
+Points out the foe, bids each with bold design
+Pierce through the ranks, and reach the deepest line:
+For none must hope with monarchs to repose                       481
+But who can first, through thick surrounding foes,
+Through arms and wiles, with hazardous essay,
+Safe to the farthest quarters force their way.
+Fired at the thought, with sudden, joyful pace                   485
+They hurry on; but first of all the race
+Runs the third right-hand warrior for the prize, --
+The glitt'ring crown already charms her eyes.
+Her dear associates cheerfully give o'er
+The nuptial chase; and swift she flies before,                   490
+And Glory lent her wings, and the reward in store.
+Nor would the sable King her hopes prevent,
+For he himself was on a Queen intent,
+Alternate, therefore, through the field they go.
+Hermes led on, but by a step too slow,                           495
+His fourth left Pawn: and now th' advent'rous White
+Had march'd through all, and gain'd the wish'd for site.
+Then the pleased King gives orders to prepare
+The crown, the sceptre, and the royal chair,
+And owns her for his Queen: around exult                         500
+The snowy troops, and o'er the Black insult.
+
+Hermes burst into tears, -- with fretful roar
+Fill'd the wide air, and his gay vesture tore.
+The swarthy Foot had only to advance
+One single step; but oh! malignant chance!                       505
+A towered Elephant, with fatal aim,
+Stood ready to destroy her when she came:
+He keeps a watchful eye upon the whole,
+Threatens her entrance, and protects the goal.
+Meanwhile the royal new-created bride,                           510
+Pleased with her pomp, spread death and terror wide;
+Like lightning through the sable troops she flies,
+Clashes her arms, and seems to threat the skies.
+The sable troops are sunk in wild affright,                      514
+And wish th' earth op'ning snatch'd 'em from her sight.
+In burst the Queen, with vast impetuous swing:
+The trembling foes come swarming round the King,
+Where in the midst he stood, and form a valiant ring.
+So the poor cows, straggling o'er pasture land,
+When they perceive the prowling wolf at hand,                    520
+Crowd close together in a circle full,
+And beg the succour of the lordly bull;
+They clash their horns, they low with dreadful sound,
+And the remotest groves re-echo round.
+
+But the bold Queen, victorious, from behind                      525
+Pierces the foe; yet chiefly she design'd
+Against the King himself some fatal aim,
+And full of war to his pavilion came.
+Now here she rush'd, now there; and had she been
+But duly prudent, she had slipp'd between,                       530
+With course oblique, into the fourth white square,
+And the long toil of war had ended there,
+The King had fallen, and all his sable state;
+And vanquish'd Hermes cursed his partial fate.
+For thence with ease the championess might go,                   535
+Murder the King, and none could ward the blow.
+
+With silence, Hermes, and with panting heart,
+Perceived the danger, but with subtle art,
+(Lest he should see the place) spurs on the foe,                 539
+Confounds his thoughts, and blames his being slow.
+For shame! move on; would you for ever stay?
+What sloth is this, what strange perverse delay? --
+How could you e'er my little pausing blame? --
+What! you would wait till night shall end the game?
+Phoebus, thus nettled, with imprudence slew                      545
+A vulgar Pawn, but lost his nobler view.
+Young Hermes leap'd, with sudden joy elate;
+And then, to save the monarch from his fate,
+Led on his martial Knight, who stepp'd between,
+Pleased that his charge was to oppose the Queen --
+Then, pondering how the Indian beast to slay,                    551
+That stopp'd the Foot from making farther way, --
+From being made a Queen; with slanting aim
+An archer struck him; down the monster came,
+And dying shook the earth: while Phoebus tries                   555
+Without success the monarch to surprise.
+The Foot, then uncontroll'd with instant pride,
+Seized the last spot, and moved a royal bride.
+And now with equal strength both war again,
+And bring their second wives upon the plain;                     560
+Then, though with equal views each hop'd and fear'd,
+Yet, as if every doubt had disappear'd,
+As if he had the palm, young Hermes flies
+Into excess of joy; with deep disguise,                          564
+Extols his own Black troops, with frequent spite
+And with invective taunts disdains the White.
+Whom Phoebus thus reproved with quick return --
+As yet we cannot the decision learn
+Of this dispute, and do you triumph now?
+Then your big words and vauntings I'll allow,                    570
+When you the battle shall completely gain;
+At present I shall make your boasting vain.
+He said, and forward led the daring Queen;
+Instant the fury of the bloody scene
+Rises tumultuous, swift the warriors fly                         575
+From either side to conquer or to die.
+They front the storm of war: around 'em Fear,
+Terror, and Death, perpetually appear.
+All meet in arms, and man to man oppose,
+Each from their camp attempts to drive their foes;
+Each tries by turns to force the hostile lines;                  581
+Chance and impatience blast their best designs.
+The sable Queen spread terror as she went
+Through the mid ranks: with more reserved intent
+The adverse dame declined the open fray,                         585
+And to the King in private stole away:
+Then took the royal guard, and bursting in,
+With fatal menace close besieged the King.
+Alarm'd at this, the swarthy Queen, in haste,
+From all her havoc and destructive waste                         590
+Broke off, and her contempt of death to show,
+Leap'd in between the Monarch and the foe,
+To save the King and state from this impending blow.
+But Phoebus met a worse misfortune here:
+For Hermes now led forward, void of fear,                        595
+His furious Horse into the open plain,
+That onward chafed, and pranced, and pawed amain.
+Nor ceased from his attempts until he stood
+On the long-wished-for spot, from whence he could
+Slay King or Queen.  O'erwhelm'd with sudden fears,
+Apollo saw, and could not keep from tears.                       601
+Now all seem'd ready to be overthrown;
+His strength was wither'd, ev'ry hope was flown.
+Hermes, exulting at this great surprise,
+Shouted for joy, and fill'd the air with cries;                  605
+Instant he sent the Queen to shades below,
+And of her spoils made a triumphant show.
+But in return, and in his mid career,
+Fell his brave Knight, beneath the Monarch's spear.
+
+Phoebus, however, did not yet despair,                           610
+But still fought on with courage and with care.
+He had but two poor common men to show,
+And Mars's favourite with his iv'ry bow.
+The thoughts of ruin made 'em dare their best
+To save their King, so fatally distress'd.                       615
+But the sad hour required not such an aid;
+And Hermes breathed revenge where'er he stray'd.
+Fierce comes the sable Queen with fatal threat,
+Surrounds the Monarch in his royal seat;
+Rushed here and there, nor rested till she slew
+The last remainder of the whiten'd crew.                         621
+Sole stood the King, the midst of all the plain,
+Weak and defenceless, his companions slain.
+As when the ruddy morn ascending high
+Has chased the twinkling stars from all the sky,
+Your star, fair Venus, still retains its light,                  626
+And, loveliest, goes the latest out of sight.
+No safety's left, no gleams of hope remain;
+Yet did he not as vanquish'd quit the plain,
+But tried to shut himself between the foe, --                    630
+Unhurt through swords and spears he hoped to go,
+Until no room was left to shun the fatal blow.
+For if none threaten'd his immediate fate,
+And his next move must ruin all his state,
+All their past toil and labour is in vain,                       635
+Vain all the bloody carnage of the plain, --
+Neither would triumph then, the laurel neither gain.
+Therefore through each void space and desert tent,
+By different moves his various course he bent:
+The Black King watch'd him with observant eye,                   640
+Follow'd him close, but left him room to fly.
+Then when he saw him take the farthest line,
+He sent the Queen his motions to confine,
+And guard the second rank, that he could go
+No farther now than to that distant row.                         645
+The sable monarch then with cheerful mien
+Approach'd, but always with one space between.
+But as the King stood o'er against him there,
+Helpless, forlorn, and sunk in his despair,
+The martial Queen her lucky moment knew,
+Seized on the farthest seat with fatal view,
+Nor left th' unhappy King a place to flee unto.
+At length in vengeance her keen sword she draws,
+Slew him, and ended thus the bloody cause:
+And all the gods around approved it with applause.
+
+The victor could not from his insults keep,                      656
+But laugh'd and sneer'd to see Apollo weep.
+Jove call'd him near, and gave him in his hand
+The powerful, happy, and mysterious wand
+By which the Shades are call'd to purer day,                     660
+When penal fire has purged their sins away;
+By which the guilty are condemn'd to dwell
+In the dark mansions of the deepest hell;
+By which he gives us sleep, or sleep denies,
+And closes at the last the dying eyes.                           665
+Soon after this, the heavenly victor brought
+The game on earth, and first th' Italians taught.
+
+For (as they say) fair Scacchis he espied
+Feeding her cygnets in the silver tide,
+(Sacchis, the loveliest Seriad of the place)                     670
+And as she stray'd, took her to his embrace.
+Then, to reward her for her virtue lost,
+Gave her the men and chequer'd board, emboss'd
+With gold and silver curiously inlay'd;
+And taught her how the game was to be play'd.                    675
+Ev'n now 'tis honour'd with her happy name;
+And Rome and all the world admire the game.
+All which the Seriads told me heretofore,
+When my boy-notes amused the Serian shore.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+NOTES.
+
+INTRODUCTION
+
+P. ix, l. 6.  -----
+        "He was born...at Pallas."  This is the usual
+        account. But it was maintained by the family of the poet's
+        mother, and has been contended (by Dr. Michael F. Cox in a
+        Lecture on 'The Country and Kindred of Oliver Goldsmith,'
+        published in vol. 1, pt. 2, of the 'Journal' of the 'National
+        Literary Society of Ireland.' 1900) that his real birth-place
+        was the residence of Mrs. Goldsmith's parents, Smith-Hill House,
+        Elphin, Roscommon, to which she was in the habit of paying
+        frequent visits. Meanwhile, in 1897, a window was placed to
+        Goldsmith's memory in Forgney Church, Longford,--the church of
+        which, at the time of his birth, his father was curate.
+
+P. x, l. 33.  -----
+        "his academic career was not a success."  'Oliver
+        Goldsmith is recorded on two occasions as being remarkably
+        diligent at Morning Lecture; again, as cautioned for bad
+        answering at Morning and Greek Lectures; and finally, as put
+        down into the next class for neglect of his studies' (Dr.
+        Stubbs's 'History of the University of Dublin', 1889, p. 201 n.)
+
+P. xi, l. 21.  -----
+        "a scratched signature upon a window-pane."  This,
+        which is now at Trinity College, Dublin, is here reproduced in
+        facsimile. When the garrets of No. 35, Parliament Square, were
+        pulled down in 1837, it was cut out of the window by the last
+        occupant of the rooms, who broke it in the process. (Dr. J. F.
+        Waller in Cassell's 'Works' of Goldsmith, [1864-5], pp. xiii-xiv
+        n.)
+
+P. xiii, l. 23.  -----
+        "a poor physician".  Where he obtained his
+        diploma is not known. It was certainly not at Padua
+        ('Athenaeum', July 21, 1894). At Leyden and Louvain Prior made
+        inquiries but, in each case, without success. The annals of the
+        University of Louvain were, however, destroyed in the
+        revolutionary wars. (Prior, 'Life', 1837, i, pp. 171, 178).
+
+P. xv, l. 7.  -----
+        "declared it to be by Goldsmith".  Goldsmith's
+        authorship of this version has now been placed beyond a doubt by
+        the publication in facsimile of his signed receipt to Edward
+        Dilly for a third share of 'my translation,' such third share
+        amounting to 6 pounds 13s. 4d. The receipt, which belongs to Mr.
+        J. W. Ford of Enfield Old Park, is dated 'January 11th, 1758.'
+        ('Memoirs of a Protestant', etc., Dent's edition, 1895, i, pp.
+        xii-xviii.)
+
+P. xvi, l. 9.  -----
+        12, "Green Arbour Court, Old Bailey".  This was a
+        tiny square occupying a site now absorbed by the Holborn Viaduct
+        and Railway Station. No. 12, where Goldsmith lived, was later
+        occupied by Messrs. Smith, Elder & Co. as a printing office. An
+        engraving of the Court forms the frontispiece to the 'European
+        Magazine' for January, 1803.
+
+P. xvii, l. 29.  -----
+        "or some of his imitators".  The proximate
+        cause of the 'Citizen of the World', as the present writer has
+        suggested elsewhere, 'may' have been Horace Walpole's 'Letter
+        from XoHo [Soho?], a Chinese Philosopher at London, to his
+        friend Lien Chi, at Peking'. This was noticed as 'in
+        Montesquieu's manner' in the May issue of the 'Monthly Review'
+        for 1757, to which Goldsmith was a contributor ('Eighteenth
+        Century Vignettes', first series, second edition, 1897, pp.
+        108-9).
+
+P. xix, l. 23.  -----
+        "demonstrable from internal evidence".
+        e.g.--The references to the musical glasses (ch. ix), which were
+        the rage in 1761-2; and to the 'Auditor' (ch. xix) established
+        by Arthur Murphy in June of the latter year. The sale of the
+        'Vicar' is discussed at length in chapter vii of the editor's
+        'Life of Oliver Goldsmith' ('Great Writers' series), 1888, pp.
+        110-21.
+
+P. xxii, l. 13.  -----
+        "started with a loss".  This, which to some
+        critics has seemed unintelliglble, rests upon the following:
+        'The first three editions,...resulted in a loss, and the fourth,
+        which was not issued until eight [four?] years after the first,
+        started with a balance against it of 2 pounds 16s. 6d., and it
+        was not until that fourth edition had been sold that the balance
+        came out on the right side' ('A Bookseller of the Last Century'
+        [John Newbery] by Charles Welsh, 1885, p. 61). The writer based
+        his statement upon Collins's 'Publishing book, account of books
+        printed and shares therein, No. 3, 1770 to 1785.'
+
+P. xxvii, l. 7.  -----
+        "James's Powder".  This was a famous patent
+        panacea, invented by Johnson's Lichfield townsman, Dr. Robert
+        James of the 'Medicinal Dictionary'. It was sold by John
+        Newbery, and had an extraordinary vogue. The King dosed Princess
+        Elizabeth with it; Fielding, Gray, and Cowper all swore by it,
+        and Horace Walpole, who wished to try it upon Mme. du Deffand
+        'in extremis', said he should use it if the house were on fire.
+        William Hawes, the Strand apothecary who attended Goldsmith,
+        wrote an interesting 'Account of the late Dr. Goldsmith's
+        Illness, so far as relates to the Exhibition of Dr. James's
+        Powders, etc.', 1774, which he dedicated to Reynolds and Burke.
+        To Hawes once belonged the poet's worn old wooden writing-desk,
+        now in the South Kensington Museum, where are also his favourite
+        chair and cane. Another desk-chair, which had descended from his
+        friend, Edmund Bott, was recently for sale at Sotheby's (July,
+        1906).
+
+
+
+
+
+EDITIONS OF THE POEMS.
+
+No collected edition of Goldsmith's poetical works appeared until after
+his death. But, in 1775, W. Griffin, who had published the 'Essays' of
+ten years earlier, issued a volume entitled 'The Miscellaneous Works of
+Oliver Goldsmith, M.B., containing all his Essays and Poems'. The
+'poems' however were confined to 'The Traveller,' 'The Deserted
+Village,' 'Edwin and Angelina,' 'The Double Transformation,' 'A New
+Simile,' and 'Retaliation,'--an obviously imperfect harvesting. In the
+following year G. Kearsly printed an eighth edition of 'Retaliation',
+with which he included 'The Hermit' ('Edwin and Angelina'), 'The Gift,'
+'Madam Blaize,' and the epilogues to 'The Sister' and 'She stoops to
+Conquer'*; while to an edition of 'The Haunch of Venison', also put
+forth in 1776, he added the 'Epitaph on Parnell' and two songs from the
+oratorio of 'The Captivity'. The next collection appeared in a volume of
+'Poems and Plays' published at Dublin in 1777, where it was preceded by
+a 'Life,' written by W. Glover, one of Goldsmith's 'Irish clients.'
+Then, in 1780, came vol. i of T. Evans's 'Poetical and Dramatic Works
+etc., now first collected', also having a 'Memoir,' and certainly fuller
+than anything which had gone before. Next followed the long-deferred
+'Miscellaneous Works, etc.', of 1801, in four volumes, vol. ii of which
+comprised the plays and poems. Prefixed to this edition is the important
+biographical sketch, compiled under the direction of Bishop Percy, and
+usually described as the 'Percy Memoir', by which title it is referred
+to in the ensuing notes. The next memorable edition was that edited for
+the Aldine Series in 1831, by the Rev. John Mitford. Prior and Wright's
+edition in vol. iv of the 'Miscellaneous Works, etc.', of 1837, comes
+after this; then Bolton Corney's excellent 'Poetical Works' of 1845; and
+vol. i of Peter Cunningham's 'Works, etc.' of 1854. There are other
+issues of the poems, the latest of which is to be found in vol. ii
+(1885) of the complete 'Works', in five volumes, edited for Messrs.
+George Bell and Sons by J. W. M. Gibbs.
+
+[footnote] *Some copies of this are dated 1777, and contain 'The Haunch
+of Venison' and a few minor pieces.
+
+Most of the foregoing editions have been consulted for the following
+notes; but chiefly those of Mitford, Prior, Bolton Corney, and
+Cunningham. Many of the illustrations and explanations now supplied will
+not, however, be found in any of the sources indicated. When an
+elucidatory or parallel passage is cited, an attempt has been made, as
+far as possible, to give the credit of it to the first discoverer. Thus,
+some of the illustrations in Cunningham's notes are here transferred to
+Prior, some of Prior's to Mitford, and so forth. As regards the notes
+themselves, care has been taken to make them full enough to obviate the
+necessity, except in rare instances, of further investigation. It is the
+editor's experience that references to external authorities are, as a
+general rule, sign-posts to routes which are seldom travelled*.
+
+[footnote] *In this connexion may be recalled the dictum of Hume quoted
+by Dr. Birkbeck Hill:--'Every book should be as complete as possible
+within itself, and should never refer for anything material to other
+books' ('History of England', 1802, ii. 101).
+
+
+
+
+
+THE TRAVELLER.
+
+It was on those continental wanderings which occupied Goldsmith between
+February, 1755 and February, 1756 that he conceived his first idea of
+this, the earliest of his poems to which he prefixed his name; and he
+probably had in mind Addison's 'Letter from Italy to Lord Halifax', a
+work in which he found 'a strain of political thinking that was, at that
+time [1701]. new in our poetry.' ('Beauties of English Poesy', 1767, i.
+III). From the dedicatory letter to his brother--which says expressly,
+'as a part of this Poem was formerly written to you from Switzerland,
+the whole can now, with propriety, be only inscribed to you'--it is
+plain that some portion of it must have been actually composed abroad.
+It was not, however, actually published until the 19th of December,
+1764, and the title-page bore the date of 1765*. The publisher was John
+Newbery, of St. Paul's Churchyard, and the price of the book, a quarto
+of 30 pages, was 1s. 6d. A second, third and fourth edition quickly
+followed, and a ninth, from which it is here reprinted, was issued in
+1774, the year of the author's death. Between the first and the sixth
+edition of 1770 there were numerous alterations, the more important of
+which are indicated in the ensuing notes.
+
+[footnote] *This is the generally recognized first edition.  But the
+late Mr. Frederick Locker Lampson, the poet and collector, possessed a
+quarto copy, dated 1764, which had no author's name, and in which the
+dedication ran as follows:--'This poem is inscribed to the Rev. Henry
+Goldsmith, M.A. By his most affectionate Brother Oliver Goldsmith.' It
+was, in all probability, unique, though it is alleged that there are
+octavo copies which present similar characteristics. It has now gone to
+America with the Rowfant Library.
+
+In 1902 an interesting discovery was made by Mr. Bertram Dobell, to whom
+the public are indebted for so many important literary 'finds.' In a
+parcel of pamphlets he came upon a number of loose printed leaves
+entitled 'A Prospect of Society'. They obviously belonged to 'The
+Traveller'; but seemed to be its 'formless unarranged material,' and
+contained many variations from the text of the first edition. Mr.
+Dobell's impression was that 'the author's manuscript, written on loose
+leaves, had fallen into confusion, and was then printed without any
+attempt at re-arrangement.' This was near the mark; but the complete
+solution of the riddle was furnished by Mr. Quiller Couch in an article
+in the 'Daily News' for March 31, 1902, since recast in his charming
+volume 'From a Cornish Window', 1906, pp. 86-92. He showed conclusively
+that 'The Prospect' was 'merely an early draft of 'The Traveller'
+printed backwards in fairly regular sections.' What had manifestly
+happened was this. Goldsmith, turning over each page as written, had
+laid it on the top of the preceding page of MS. and forgotten to
+rearrange them when done. Thus the series of pages were reversed; and,
+so reversed, were set up in type by a matter-of-fact compositor. Mr.
+Dobell at once accepted this happy explanation; which--as Mr. Quiller
+Couch points out--has the advantage of being a 'blunder just so natural
+to Goldsmith as to be almost postulable.' One or two of the variations
+of Mr. Dobell's 'find'--variations, it should be added, antecedent to
+the first edition--are noted in their places.
+
+The didactic purpose of 'The Traveller' is defined in the concluding
+paragraph of the 'Dedication'; and, like many of the thoughts which it
+contains, had been anticipated in a passage of 'The Citizen of the
+World', 1762, i. 185:--'Every mind seems capable of entertaining a
+certain quantity of happiness, which no institutions can encrease, no
+circumstances alter, and entirely independent on fortune.' But the best
+short description of the poem is Macaulay's:--'In the 'Traveller' the
+execution, though deserving of much praise, is far inferior to the
+design. No philosophical poem, ancient or modern, has a plan so noble,
+and at the same time so simple. An English wanderer, seated on a crag
+among the Alps, near the point where three great countries meet, looks
+down on the boundless prospect, reviews his long pilgrimage, recalls the
+varieties of scenery, of climate, of government, of religion, of
+national character, which he has observed, and comes to the conclusion,
+just or unjust, that our happiness depends little on political
+institutions, and much on the temper and regulation of our own minds.'
+('Encyclop. Britannica', Goldsmith, February, 1856.)
+
+The only definite record of payment for 'The Traveller' is 'Copy of the
+Traveller, a Poem, 21l,' in Newbery's MSS.; but as the same sum occurs
+in Memoranda of much later date than 1764, it is possible that the
+success of the book may have prompted some supplementary fee.
+
+'A Prospect', i.e. 'a view.'  'I went to Putney, and other places on the
+Thames, to take 'prospects' in crayon, to carry into France, where I
+thought to have them engraved' (Evelyn, 'Diary', 20th June, 1649). And
+Reynolds uses the word of Claude in his Fourth Discourse:--'His pictures
+are a composition of the various draughts which he had previously made
+from various beautiful scenes and prospects' ('Works', by Malone, 1798,
+i. 105). The word is common on old prints, e.g. 'An Exact Prospect of
+the Magnificent Stone Bridge at Westminster', etc., 1751.
+
+'Dedication'.  The Rev. Henry Goldsmith, says the Percy 'Memoir', 1801,
+p. 3, 'had distinguished himself both at school and at college, but he
+unfortunately married at the early age of nineteen; which confined him
+to a Curacy, and prevented his rising to preferment in the church.'
+
+l. 14.  -----
+        "with an income of forty pounds a year".  Cf. 'The Deserted
+        Village', ll.141-2:--
+
+        A man he was, to all the country dear,
+        And passing rich with 'forty pounds a year'.
+
+        Cf. also Parson Adams in ch. iii of 'Joseph Andrews', who has
+        twenty-three; and Mr. Rivers, in the 'Spiritual Quixote',
+        1772:--'I do not choose to go into orders to be a curate all my
+        life-time, and work for about fifteen-pence a day, or
+        twenty-five pounds a year' (bk. vi, ch. xvii). Dr. Primrose's
+        stipend is thirty-five in the first instance, fifteen in the
+        second ('Vicar of Wakefield', chapters ii and iii). But
+        Professor Hales ('Longer English Poems', 1885, p. 351) supplies
+        an exact parallel in the case of Churchill, who, he says, when
+        a curate at Rainham, 'prayed and starved on 'forty pounds a
+        year'.' The latter words are Churchill's own, and sound like a
+        quotation; but he was dead long before 'The Deserted Village'
+        appeared in 1770. There is an interesting paper in the
+        'Gentleman's Magazine' for November, 1763, on the miseries and
+        hardships of the 'inferior clergy.'
+
+l. 20.  -----
+        But of all kinds of ambition", etc.  In the first edition of
+        1765, p. ii, this passage was as follows:--'But of all kinds of
+        ambition, as things are now circumstanced, perhaps that which
+        pursues poetical fame, is the wildest. What from the encreased
+        refinement of the times, from the diversity of judgments
+        produced by opposing systems of criticism, and from the more
+        prevalent divisions of opinion influenced by party, the
+        strongest and happiest efforts can expect to please but in a
+        very narrow circle. Though the poet were as sure of his aim as
+        the imperial archer of antiquity, who boasted that he never
+        missed the heart; yet would many of his shafts now fly at
+        random, for the heart is too often in the wrong place.' In the
+        second edition it was curtailed; in the sixth it took its final
+        form.
+
+l. 29.  -----
+        "they engross all that favour once shown to her".  First
+        version--'They engross all favour to themselves.'
+
+l. 30.  -----
+        "the elder's birthright".  Cunningham here aptly compares
+        Dryden's epistle 'To Sir Godfrey Kneller', II. 89-92:--
+
+        Our arts are sisters, though not twins in birth;
+        For hymns were sung in Eden's happy earth:
+        But oh, the painter muse, though last in place,
+        Has seized the blessing first, like Jacob's race.
+
+l. 42.  -----
+        "Party"=faction.  Cf. lines 31-2 on Edmund Burke in
+        'Retaliation':--
+
+        Who, born for the Universe, narrow'd his mind,
+        And to 'party' gave up what was meant for mankind.
+
+l. 50.  -----
+        "Such readers generally admire", etc.  'I suppose this paragraph
+        to be directed against Paul Whitehead, or Churchill,' writes
+        Mitford. It was clearly aimed at Churchill, since Prior ('Life',
+        1837, ii. 54) quotes a portion of a contemporary article in the
+        'St. James's Chronicle' for February 7-9, 1765, attributed to
+        Bonnell Thornton, which leaves little room for doubt upon the
+        question. 'The latter part of this paragraph,' says the writer,
+        referring to the passage now annotated, 'we cannot help
+        considering as a reflection on the memory of the late Mr.
+        Churchill, whose talents as a poet were so greatly and so
+        deservedly admired, that during his short reign, his merit in
+        great measure eclipsed that of others; and we think it no mean
+        acknowledgment of the excellencies of this poem ['The
+        Traveller'] to say that, like the stars, they appear the more
+        brilliant now that the sun of our poetry is gone down.'
+        Churchill died on the 4th of November, 1764, some weeks before
+        the publication of 'The Traveller'. His powers, it may be, were
+        misdirected and misapplied; but his rough vigour and his manly
+        verse deserved a better fate at Goldsmith's hands.
+
+l. 53.  -----
+        "tawdry" was added in the sixth edition of 1770.
+
+l. 56.  -----
+        "blank verse".  Cf. 'The Present State of Polite
+        Learning', 1759, p. 150--'From a desire in the critic of
+        grafting the spirit of ancient languages upon the English, has
+        proceeded of late several disagreeable instances of pedantry.
+        Among the number, I think we may reckon 'blank verse'. Nothing
+        but the greatest sublimity of subject can render such a measure
+        pleasing; however, we now see it used on the most trivial
+        occasions'--by which last remark Goldsmith probably, as
+        Cunningham thinks, intended to refer to the efforts of Akenside,
+        Dyer, and Armstrong. His views upon blank verse were shared by
+        Johnson and Gray. At the date of the present dedication, the
+        latest offender in this way had been Goldsmith's old colleague
+        on 'The Monthly Review', Dr. James Grainger, author of 'The
+        Sugar Cane', which was published in June, 1764. (Cf. also 'The
+        Bee' for 24th November, 1759, 'An account of the Augustan Age of
+        England.')
+
+l. 62.  -----
+        "and that this principle", etc.  In the first edition
+        this read--'and that this principle in each state, and in our
+        own in particular, may be carried to a mischievous excess.'
+
+l. 1.  -----
+        "Remote, unfriended, melancholy, slow".  Mitford (Aldine
+        edition, 1831, p. 7) compares the following lines from Ovid:--
+
+        Solus, inops, exspes, leto poenaeque relictus.
+                  'Metamorphoses', xiv. 217.
+        Exsul, inops erres, alienaque limina lustres, etc.
+                  'Ibis'. 113.
+
+        "slow".  A well-known passage from Boswell must here be
+        reproduced:--'Chamier once asked him [Goldsmith], what he meant
+        by 'slow', the last word in the first line of 'The Traveller',
+
+          Remote, unfriended, melancholy, slow.
+
+        Did he mean tardiness of locomotion?  Goldsmith, who would say
+        something without consideration, answered "yes." I [Johnson] was
+        sitting by, and said, "No, Sir, you do not mean tardiness of
+        locomotion; you mean, that sluggishness of mind which comes upon
+        a man in solitude." Chamier believed then that I had written the
+        line as much as if he had seen me write it.' [Birkbeck Hill's
+        'Boswell', 1887, iii. 252-3.) It is quite possible, however,
+        that Goldsmith meant no more than he said.
+
+l. 3.  -----
+        "the rude Carinthian boor".  'Carinthia,' says Cunningham, 'was
+        visited by Goldsmith in 1755, and still (1853) retains its
+        character for inhospitality.'
+
+l. 5. -----
+        "Campania".  'Intended,' says Bolton Corney, 'to denote
+        'La campagna di Roma'. The portion of it which extends from Rome
+        to Terracina is scarcely habitable.'
+
+l. 10. -----
+        "a lengthening chain".  Prior compares Letter iii of 'The
+        Citizen of the World', 1762, i. 5:--'The farther I travel I feel
+        the pain of separation with stronger force, those ties that bind
+        me to my native country, and you, are still unbroken. By every
+        remove, I only drag a greater length of chain.' But, as Mitford
+        points out, Cibber has a similar thought in his 'Comical
+        Lovers', 1707, Act v:--'When I am with Florimel, it [my heart]
+        is still your prisoner, 'it only draws a longer chain after
+        it'.' And earlier still in Dryden's 'All for Love', 1678, Act
+        ii, Sc. 1:--
+
+        My life on't, he still drags a chain along,
+        That needs must clog his flight.
+
+l. 17.  -----
+        "with simple plenty crown'd".  In the first edition this read
+        'where mirth and peace abound.'
+
+l. 22.  -----
+        "the luxury of doing good".  Prior compares Garth's 'Claremont',
+        1715, where he speaks of the Druids:--
+
+        Hard was their Lodging, homely was their Food,
+        For all their 'Luxury was doing Good'.
+
+l. 24. -----
+        "my prime of life".  He was seven-and-twenty when he
+        landed at Dover in February, 1756.
+
+l. 27.  -----
+        "That, like the circle bounding", etc.  Cf. 'Vicar of
+        Wakefield', 1766, ii. 160-1 (ch. x):--'Death, the only friend of
+        the wretched, for a little while mocks the weary traveller with
+        the view, and like his horizon, still flies before him.'
+        [Prior.]
+
+l. 30.  -----
+        "And find no spot of all the world my own".  Prior
+        compares his namesake's lines 'In the Beginning of [Jacques]
+        Robbe's Geography', 1700:--
+
+        My destin'd Miles I shall have gone,
+        By THAMES or MAESE, by PO or RHONE,
+        And found no Foot of Earth my own.
+
+l. 33.  -----
+        "above the storm's career".  Cf. 1. 190 of 'The Deserted
+        Village'.
+
+l. 38.  -----
+        "should thankless pride repine?"  First edition,
+        ''twere thankless to repine.'
+
+l. 39.  -----
+        "Say, should the philosophic mind", etc.  First edition:--
+
+        'Twere affectation all, and school-taught pride,
+        To spurn the splendid things by heaven supply'd
+
+l. 58.  -----
+        "hoard".  'Sum' in the first edition.
+
+l. 66.  -----
+        "Boldly proclaims that happiest spot his own".  In the first
+        version this was--
+
+        Boldly asserts that country for his own.
+
+l. 75.  -----
+        "And yet, perhaps", etc.  In the first edition, for this and the
+        following five lines appeared these eight:--
+
+        And yet, perhaps, if states with states we scan,
+        Or estimate their bliss on Reason's plan,
+        Though patriots flatter, and though fools contend,
+        We still shall find uncertainty suspend;
+        Find that each good, by Art or Nature given,
+        To these or those, but makes the balance even:
+        Find that the bliss of all is much the same,
+        And patriotic boasting reason's shame!
+
+l. 84.  -----
+        "On Idra's cliffs".  Bolton Corney conjectures that
+        Goldsmith meant 'Idria, a town in Carniola, noted for its
+        mines.' 'Goldsmith in his "History of Animated Nature" makes
+        mention of the mines, and spells the name in the same way as
+        here.' (Mr. J. H. Lobban's 'Select Poems of Goldsmith', 1900, p.
+        87). Lines 84-5, it may be added, are not in the first edition.
+
+l. 85.  -----
+        "And though the rocky-crested summits frown".  In the
+        first edition:--
+        And though rough rocks or gloomy summits frown.
+
+ll. 91-2 -----
+        are not in the first editions.
+
+l. 98.  -----
+        "peculiar", i.e. 'proper,' 'appropriate.'
+
+l. 122.  -----
+        "winnow", i.e. 'waft,' 'disperse.'  John Evelyn refers to these
+        'sea-born gales' in the 'Dedication' of his 'Fumifugium',
+        1661:--'Those who take notice of the scent of the orange-flowers
+        from the rivage of Genoa, and St. Pietro dell' Arena; the
+        blossomes of the rosemary from the Coasts of Spain, many leagues
+        off at sea; or the manifest, and odoriferous wafts which flow
+        from Fontenay and Vaugirard, even to Paris in the season of
+        roses, with the contrary effect of those less pleasing smells
+        from other accidents, will easily consent to what I suggest
+        [i.e. the planting of sweet-smelling trees].' ('Miscellaneous
+        Writings', 1825, p. 208.)
+
+l. 139.  -----
+        "Till, more unsteady', etc.  In the first edition:--
+
+        But, more unsteady than the southern gale,
+        Soon Commerce turn'd on other shores her sail.
+
+        There is a certain resemblance between this passage and one of
+        the later paradoxes of Smollett's Lismahago;--'He affirmed, the
+        nature of commerce was such, that it could not be fixed or
+        perpetuated, but, having flowed to a certain height, would
+        immediately begin to ebb, and so continue till the channels
+        should be left almost dry; but there was no instance of the
+        tide's rising a second time to any considerable influx in the
+        same nation' ('Humphry Clinker', 1771, ii. 192. Letter of Mr.
+        Bramble to Dr. Lewis).
+
+ll. 141-2 -----
+        are not in the first edition.
+
+l. 144.  -----
+        "Its former strength was but plethoric ill".  Cf.  'The
+        Citizen of the World', 1762, i. 98:--'In short, the state
+        resembled one of those bodies bloated with disease, whose bulk
+        is only a symptom of its wretchedness.' [Mitford.]
+
+l. 145.  -----
+        "Yet still the loss", etc.  In the first edition:--
+
+        Yet, though to fortune lost, here still abide
+        Some splendid arts, the wrecks of former pride.
+
+l. 150.  -----
+        "The paste-board triumph and the cavalcade".  'Happy
+        Country [he is speaking of Italy], where the pastoral age begins
+        to revive! Where the wits even of Rome are united into a rural
+        groupe of nymphs and swains, under the appellation of modern
+        Arcadians [i.e. the Bolognese Academy of the 'Arcadi']. Where in
+        the midst of porticos, processions, and cavalcades, abbes turn'd
+        into shepherds, and shepherdesses without sheep, indulge their
+        innocent 'divertimenti'.' ('Present State of Polite Learning',
+        1759, pp. 50-1.) Some of the 'paste-board triumphs' may be
+        studied in the plates of Jacques Callot.
+
+l. 153.  -----
+        "By sports like these", etc.  A pretty and well-known
+        story is told with regard to this couplet. Calling once on
+        Goldsmith, Reynolds, having vainly tried to attract attention,
+        entered unannounced. 'His friend was at his desk, but with hand
+        uplifted, and a look directed to another part of the room; where
+        a little dog sat with difficulty on his haunches, looking
+        imploringly at his teacher, whose rebuke for toppling over he
+        had evidently just received. Reynolds advanced, and looked past
+        Goldsmith's shoulder at the writing on his desk. It seemed to be
+        some portions of a poem; and looking more closely, he was able
+        to read a couplet which had been that instant written. The ink
+        of the second line was wet:--
+
+        By sports like these are all their cares beguil'd;
+        The sports of children satisfy the child.
+        (Forster's 'Life', 1871, i. pp. 347-8).
+
+l. 154.  -----
+        "The sports of children".  This line, in the first edition, was
+        followed by:--
+
+        At sports like these, while foreign arms advance,
+        In passive ease they leave the world to chance.
+
+l. 155.  -----
+        "Each nobler aim", etc.  The first edition reads:--
+
+        When struggling Virtue sinks by long controul,
+        She leaves at last, or feebly mans the soul.
+
+        This was changed in the second, third, fourth, and fifth
+        editions to:--
+
+        When noble aims have suffer'd long controul,
+        They sink at last, or feebly man the soul.
+
+l. 169.  -----
+        "No product here", etc.  The Swiss mercenaries, here referred
+        to, were long famous in European warfare.
+
+        They parted with a thousand kisses,
+        And fight e'er since for pay, like Swisses.
+                  Gay's 'Aye and No, a Fable'.
+
+l. 185.  -----
+        This fine use of 'breasts'--as Cunningham points out--is given
+        by Johnson as an example in his Dictionary.
+
+l. 187.  -----
+        "With patient angle, trolls the finny deep".  'Troll,' i.e. as
+        for pike. Goldsmith uses 'finny prey' in 'The Citizen of the
+        World', 1762, ii. 99:--'The best manner to draw up the 'finny
+        prey'.' Cf. also 'warbling grove,' 'Deserted Village', l. 361,
+        as a parallel to 'finny deep.'
+
+l. 190.  -----
+        "the struggling savage", i.e. wolf or bear.  Mitford
+        compares the following:--'He is a beast of prey, and the laws
+        should make use of as many stratagems and as much force to drive
+        the 'reluctant savage' into the toils, as the Indians when they
+        hunt the hyena or the rhinoceros.' ('Citizen of the World',
+        1762, i. 112.) See also Pope's 'Iliad', Bk. xvii:--
+
+        But if the 'savage' turns his glaring eye,
+        They howl aloof, and round the forest fly.
+
+ll. 201-2 -----
+        are not in the first edition.
+
+l. 213.  -----
+        "For every want", etc.  Mitford quotes a parallel
+        passage in 'Animated Nature', 1774, ii. 123:--
+
+        'Every want thus becomes a means of pleasure, in the redressing.'
+
+l. 228.  -----
+        "Their morals, like their pleasures, are but low".
+        Probably Goldsmith only uses 'low' here in its primitive sense,
+        and not in that which, in his own day, gave so much umbrage to
+        so many eighteenth-century students of humanity in the rough.
+        Cf. Fielding, 'Tom Jones', 1749, iii. 6:--'Some of the Author's
+        Friends cry'd--"Look'e, Gentlemen, the Man is a Villain; but it
+        is Nature for all that." And all the young Critics of the Age,
+        the Clerks, Apprentices, etc., called it 'Low' and fell a
+        Groaning.' See also 'Tom Jones', iv. 94, and 226-30. 'There's
+        nothing comes out but the 'most lowest' stuff in nature'--says
+        Lady Blarney in ch. xi of the 'Vicar', whose author is eloquent
+        on this topic in 'The Present State of Polite Learning', 1759,
+        pp. 154-6, and in 'She Stoops to Conquer, 1773 (Act i); while
+        Graves ('Spiritual Quixote', 1772, bk. i, ch. vi) gives the
+        fashion the scientific appellation of 'tapino-phoby,' which he
+        defines as 'a dread of everything that is 'low', either in
+        writing or in conversation.' To Goldsmith, if we may trust
+        George Colman's 'Prologue' to Miss Lee's 'Chapter of Accidents',
+        1780, belongs the credit of exorcising this particular form of
+        depreciation:--
+
+        When Fielding, Humour's fav'rite child, appear'd,
+        'Low' was the word--a word each author fear'd!
+        Till chas'd at length, by pleasantry's bright ray,
+        Nature and mirth resum'd their legal sway;
+        And Goldsmith's genius bask'd in open day.
+
+        According to Borrow's 'Lavengro', ch. xli, Lord Chesterfield
+        considered that the speeches of Homer's heroes were frequently
+        'exceedingly low.'
+
+l. 243.  -----
+        "How often", etc.  This and the lines which immediately
+        follow are autobiographical. Cf. George Primrose's story in 'The
+        Vicar of Wakefield', 1766, ii. 24-5 (ch. i):--'I passed among
+        the harmless peasants of Flanders, and among such of the French
+        as were poor enough to be very merry; for I ever found them
+        sprightly in proportion to their wants. Whenever I approached a
+        peasant's house towards night-fall, I played one of my most
+        merry tunes, and that procured me not only a lodging, but
+        subsistence for the next day.'
+
+l. 253.  -----
+        "gestic lore", i.e. traditional gestures or motions.
+        Scott uses the word 'gestic' in 'Peveril of the Peak', ch. xxx,
+        where King Charles the Second witnesses the dancing of
+        Fenella:--'He bore time to her motions with the movement of his
+        foot--applauded with head and with hand--and seemed, like
+        herself, carried away by the enthusiasm of the 'gestic' art.'
+        [Hales.]
+
+l. 256.  -----
+        "Thus idly busy rolls their world away".  Pope has 'Life's
+        'idle business'' ('Unfortunate Lady', l. 81), and--
+
+        The 'busy, idle' blockheads of the ball.
+                  Donne's 'Satires', iv. l. 203.
+
+l. 264.  -----
+        "And all are taught an avarice of praise".  Professor Hales
+        ('Longer English Poems') compares Horace of the Greeks:--
+
+        Praeter laudem, nullius avaris.
+                  'Ars Poetica', l. 324.
+
+l. 275.  -----
+        "copper lace".  'St Martin's lace,' for which, in Strype's day,
+        Blowbladder St. was famous. Cf. the actress's 'copper tail' in
+        'Citizen of the World', 1762, ii. 60.
+
+l. 281.  -----
+        "To men of other minds", etc.  Prior compares with the
+        description that follows a passage in vol. i. p. 276 of
+        'Animated Nature', 1774:--'But we need scarce mention these,
+        when we find that the whole kingdom of Holland seems to be a
+        conquest upon the sea, and in a manner rescued from its bosom.
+        The surface of the earth, in this country, is below the level of
+        the bed of the sea; and I remember, upon approaching the coast,
+        to have looked down upon it from the sea, as into a valley.'
+
+l. 284.  -----
+        "Where the broad ocean leans against the land".  Cf.
+        Dryden in 'Annus Mirabilis', 1666, st. clxiv. l. 654:--
+
+        And view the ocean leaning on the sky.
+
+l. 286.  -----
+        "the tall rampire's", i.e. rampart's (Old French, 'rempart,
+        rempar'). Cf. 'Timon of Athens', Act v. Sc. 4:--
+        'Our rampir'd gates.'
+
+l. 299.  -----
+        "bosom reign" in the first edition was 'breast obtain.'
+
+l. 306.  -----
+        "Even liberty itself is barter'd here".  'Slavery,' says
+        Mitford, 'was permitted in Holland; children were sold by their
+        parents for a certain number of years.'
+
+l. 309.  -----
+        "A land of tyrants, and a den of slaves".  Goldsmith uses this
+        very line as prose in Letter xxxiv of
+        'The Citizen of the World', 1762, i. 147.
+
+l. 310.  -----
+        "dishonourable graves".  'Julius Caesar', Act i. Sc. 2.
+
+l. 313.  -----
+        "Heavens!  how unlike", etc.  Prior compares a passage from a
+        manuscript 'Introduction to the History of the Seven Years'
+        War':--'How unlike the brave peasants their ancestors, who
+        spread terror into either India, and always declared themselves
+        the allies of those who drew the sword in defence of freedom*.'
+
+        [footnote] *J. W. M. Gibbs ('Works', v. 9) discovered that parts
+        of this 'History', hitherto supposed to have been written in
+        1761, were published in the 'Literary Magazine', 1757-8.
+
+l. 320.  -----
+        "famed Hydaspes", i.e. the 'fabulosus Hydaspes' of
+        Horace, Bk. i. Ode xxii, and the 'Medus Hydaspes' of Virgil,
+        'Georg', iv. 211, of which so many stores were told. It is now
+        known as the Jhilum, one of the five rivers which give the
+        Punjaub its name.
+
+l. 327.  -----
+        "Pride in their port", etc.  In the first edition these
+        two lines were inverted.
+
+l. 343.  -----
+        "Here by the bonds of nature feebly held".  In the
+        first edition--
+
+        See, though by circling deeps together held.
+
+l. 349.  -----
+        "Nature's ties" was 'social bonds' in the first edition.
+
+l. 358.  -----
+        "Where kings have toil'd, and poets wrote for fame".  In the
+        first edition this line read:--
+
+        And monarchs toil, and poets pant for fame.
+
+l. 361.  -----
+        "Yet think not', etc.  'In the things I have hitherto
+        written I have neither allured the vanity of the great by
+        flattery, nor satisfied the malignity of the vulgar by scandal,
+        but I have endeavoured to get an honest reputation by liberal
+        pursuits.'
+        (Preface to 'English History'.)  [Mitford.]
+
+l. 363.  -----
+        "Ye powers of truth", etc.  The first version has:--
+
+        Perish the wish; for, inly satisfy'd,
+        Above their pomps I hold my ragged pride.
+
+        Mr. Forster thinks ('Life', 1871, i. 375) that Goldsmith altered
+        this (i.e. 'ragged pride') because, like the omitted 'Haud
+        inexpertus loquor' of the 'Enquiry', it involved an undignified
+        admission.
+
+ll. 365-80 -----
+        are not in the first edition.
+
+l. 382.  -----
+        "Contracting regal power to stretch their own".  'It is
+        the interest of the great, therefore, to diminish kingly power
+        as much as possible; because whatever they take from it is
+        naturally restored to themselves; and all they have to do in a
+        state, is to undermine the single tyrant, by which they resume
+        their primaeval authority.' ('Vicar of Wakefield', 1766, i. 202,
+        ch. xix.)
+
+l. 383.  -----
+        "When I behold", etc.  Prior compares a passage in
+        Letter xlix of 'The Citizen of the World', 1762, i. 218, where
+        the Roman senators are spoken of as still flattering the people
+        'with a shew of freedom, while themselves only were free.'
+
+l. 386.  -----
+        "Laws grind the poor, and rich men rule the law".
+        Prior notes a corresponding utterance in 'The Vicar of
+        Wakefield', 1766, i. 206, ch. xix:--'What they may then expect,
+        may be seen by turning our eyes to Holland, Genoa, or Venice,
+        where the laws govern the poor, and the rich govern the law.'
+
+l. 392.  -----
+        "I fly from petty tyrants to the throne".  Cf. Dr.
+        Primrose, 'ut supra', p. 201:--'The generality of mankind also
+        are of my way of thinking, and have unanimously created one
+        king, whose election at once diminishes the number of tyrants,
+        and puts tyranny at the greatest distance from the greatest
+        number of people.' Cf. also Churchill, 'The Farewell', ll. 363-4
+        and 369-70:--
+
+        Let not a Mob of Tyrants seize the helm,
+        Nor titled upstarts league to rob the realm...
+        Let us, some comfort in our griefs to bring,
+        Be slaves to one, and be that one a King.
+
+ll. 393-4. -----
+        Goldsmith's first thought was--
+
+        Yes, my lov'd brother, cursed be that hour
+        When first ambition toil'd for foreign power,--
+
+        an entirely different couplet to that in the text, and certainly
+        more logical. (Dobell's 'Prospect of Society', 1902, pp. xi, 2,
+        and Notes, v, vi). Mr. Dobell plausibly suggests that this Tory
+        substitution is due to Johnson.
+
+l. 397.  -----
+        "Have we not seen", etc.  These lines contain the first
+        idea of the subsequent poem of 'The Deserted Village' ('q.v.').
+
+l. 411.  -----
+        "Where wild Oswego spreads her swamps around".  The
+        Oswego is a river which runs between Lakes Oneida and Ontario.
+        In the 'Threnodia Augustalis', 1772, Goldsmith writes:--
+
+        Oswego's dreary shores shall be my grave.
+
+        The 'desarts of Oswego' were familiar to the eighteenth-century
+        reader in connexion with General Braddock's ill-fated expedition
+        of 1755, an account of which Goldsmith had just given in 'An
+        History of England, in a Series of Letters from a Nobleman to
+        his Son', 1764, ii. 202-4.
+
+l. 416.  -----
+        "marks with murderous aim".  In the first edition
+        'takes a deadly aim.'
+
+l. 419.  -----
+        "pensive exile".  This, in the version mentioned in the
+        next note, was 'famish'd exile.'
+
+l. 420.  -----
+        "To stop too fearful, and too faint to go".  This line,
+        upon Boswell's authority, is claimed for Johnson (Birkbeck
+        Hill's 'Boswell', 1887, ii. 6). Goldsmith's original ran:--
+
+        And faintly fainter, fainter seems to go.
+
+        (Dobell's 'Prospect of Society', 1902, p. 3).
+
+l. 429.  -----
+        "How small, of all," etc.  Johnson wrote these
+        concluding ten lines with the exception of the penultimate
+        couplet. They and line 420 were all--he told Boswell--of which
+        he could be sure (Birkbeck Hill's 'Boswell, ut supra'). Like
+        Goldsmith, he sometimes worked his prose ideas into his verse.
+        The first couplet is apparently a reminiscence of a passage in
+        his own 'Rasselas', 1759, ii. 112, where the astronomer speaks
+        of 'the task of a king...who has the care only of a few
+        millions, to whom he cannot do much good or harm.' (Grant's
+        'Johnson', 1887, p. 89.) 'I would not give half a guinea to live
+        under one form of government rather than another,' he told that
+        'vile Whig,' Sir Adam Fergusson, in 1772. 'It is of no moment to
+        the happiness of an individual' (Birkbeck Hill's 'Boswell',
+        1887, ii. 170).
+
+l. 435.  -----
+        "The lifted axe".  Mitford here recalls Blackmore's
+
+        Some the sharp axe, and some the painful wheel.
+
+        The 'lifted axe' he also traces to Young and Blackmore, with
+        both of whom Goldsmith seems to have been familiar; but it is
+        surely not necessary to assume that he borrowed from either in
+        this instance.
+
+l. 436.  -----
+        "Luke's iron crown".  George and Luke Dosa, or Doscha,
+        headed a rebellion in Hungary in 1513. The former was proclaimed
+        king by the peasants; and, in consequence suffered, among other
+        things, the torture of the red-hot iron crown. Such a punishment
+        took place at Bordeaux when Montaigne was seventeen (Morley's
+        Florio's 'Montaigne', 1886, p. xvi). Much ink has been shed over
+        Goldsmith's lapse of 'Luke' for George. In the book which he
+        cited as his authority, the family name of the brothers was
+        given as Zeck,--hence Bolton Corney, in his edition of the
+        'Poetical Works', 1845, p. 36, corrected the line to--
+
+'Zeck's' iron crown, etc.,
+
+        an alteration which has been adopted by other editors.  (See
+        also Forster's 'Life', 1871, i. 370.)
+        "Damien's bed of steel".  Robert-Francois Damiens, 1714-57.
+        Goldsmith writes 'Damien's.' In the 'Gentlemen's Magazine' for
+        1757, vol. xxvii. pp. 87 and 151, where there is an account of
+        this poor half-witted wretch's torture and execution for
+        attempting to assassinate Louis XV, the name is thus spelled, as
+        also in other contemporary records and caricatures. The
+        following passage explains the 'bed of steel':--'Being conducted
+        to the Conciergerie, an 'iron bed', which likewise served for a
+        chair, was prepared for him, and to this he was fastened with
+        chains. The torture was again applied, and a physician ordered
+        to attend to see what degree of pain he could support,' etc.
+        (Smollett's 'History of England', 1823, bk. iii, ch. 7, � xxv.)
+        Goldsmith's own explanation--according to Tom Davies, the
+        bookseller--was that he meant the rack. But Davies may have
+        misunderstood him, or Goldsmith himself may have forgotten the
+        facts. (See Forster's 'Life', 1871, i. 370.) At pp. 57-78 of the
+        'Monthly Review' for July, 1757 (upon which Goldsmith was at
+        this date employed), is a summary, 'from our correspondent at
+        Paris,' of the official record of the Damiens' Trial, 4 vols. 12
+        mo.; and his deed and tragedy make a graphic chapter in the
+        remarkable 'Strange Adventures of Captain Dangerous', by George
+        Augustus Sala, 1863, iii. pp. 154-180.
+
+l. 438.  -----
+        In the first edition of 'The Traveller' there are only
+        416 lines.
+
+
+
+
+
+THE DESERTED VILLAGE.
+
+After having been for some time announced as in preparation, 'The
+Deserted Village' made its first appearance on May 26, 1770*. It was
+received with great enthusiasm. In June a second, third, and fourth
+edition followed, and in August a fifth was published. The text here
+given is that of the fourth edition, which was considerably revised.
+Johnson, we are told, thought 'The Deserted Village' inferior to 'The
+Traveller': but 'time,' to use Mr. Forster's words, 'has not confirmed
+'that' judgment.' Its germ is perhaps to be found in ll. 397-402 of the
+earlier poem. Much research has been expended in the endeavour to
+identify the scene with Lissoy, the home of the poet's youth (see
+'Introduction', p. ix); but the result has only been partially
+successful. The truth seems that Goldsmith, living in England, recalled
+in a poem that was English in its conception many of the memories and
+accessories of his early life in Ireland, without intending or even
+caring to draw an exact picture. Hence, as Lord Macaulay has observed,
+in a much criticized and characteristic passage, 'it is made up of
+incongruous parts. The village in its happy days is a true English
+village. The village in its decay is an Irish village. The felicity and
+the misery which Goldsmith has brought close together belong to two
+different countries, and to two different stages in the progress of
+society. He had assuredly never seen in his native island such a rural
+paradise, such a seat of plenty, content, and tranquillity, as his
+"Auburn." He had assuredly never seen in England all the inhabitants of
+such a paradise turned out of their homes in one day and forced to
+emigrate in a body to America. The hamlet he had probably seen in Kent;
+the ejectment he had probably seen in Munster; but, by joining the two,
+he has produced something which never was and never will be seen in any
+part of the world.' ('Encyclop. Britannica', 1856.) It is obvious also
+that in some of his theories--the depopulation of the kingdom, for
+example--Goldsmith was mistaken. But it was not for its didactic
+qualities then, nor is it for them now, that 'The Deserted Village'
+delighted and delights. It maintains its popularity by its charming
+'genre'-pictures, its sweet and tender passages, its simplicity, its
+sympathetic hold upon the enduring in human nature. To test it solely
+with a view to establish its topographical accuracy, or to insist too
+much upon the value of its ethical teaching, is to mistake its real
+mission as a work of art.
+
+[footnote] *In the American 'Bookman' for February, 1901, pp. 563-7, Mr.
+Luther S. Livingston gives an account (with facsimile title-pages) of
+three 'octavo' (or rather duodecimo) editions all dated 1770; and
+ostensibly printed for 'W. Griffin, at Garrick's Head, in
+Catherine-street, Strand.' He rightly describes their existence as 'a
+bibliographical puzzle.' They afford no important variations; are not
+mentioned by the early editors; and are certainly not in the form in
+which the poem was first advertised and reviewed, as this was a quarto.
+But they are naturally of interest to the collector; and the late
+Colonel Francis Grant, a good Goldsmith scholar, described one of them
+in the 'Athenaeum' for June 20, 1896 (No. 3582).
+
+
+"Dedication", l. 6.  -----
+        "I am ignorant of that art in which you are
+        said to excel". This modest confession did not prevent Goldsmith
+        from making fun of the contemporary connoisseur. See the letter
+        from the young virtuoso in 'The Citizen of the World', 1762, i.
+        145, announcing that a famous 'torse' has been discovered to be
+        not 'a Cleopatra bathing' but 'a Hercules spinning'; and Charles
+        Primrose's experiences at Paris ('Vicar of Wakefield', 1766, ii.
+        27-8).
+
+l. 14.  -----
+        "He is since dead".  Henry Goldsmith died in May, 1768,
+        at the age of forty-five, being then curate of Kilkenny West.
+        (See note, p. 164.)
+
+l. 33.  -----
+        "a long poem".  'I might dwell upon such thoughts...were
+        I not afraid of making this preface too tedious; especially
+        since I shall want all the patience of the reader, for having
+        enlarged it with the following verses.' (Tickell's Preface to
+        Addison's 'Works', at end.)
+
+l. 35.  -----
+        "the increase of our luxuries".  The evil of luxury was
+        a 'common topick' with Goldsmith. (Birkbeck Hill's 'Boswell',
+        1887, ii. 217-8.) Smollett also, speaking with the voice of
+        Lismahago, and continuing the quotation on p. 169, was of the
+        opinion that 'the sudden affluence occasioned by trade, forced
+        open all the sluices of luxury, and overflowed the land with
+        every species of profligacy and corruption.' ('Humphry Clinker',
+        1771, ii. 192.--Letter of Mr. Bramble to Dr. Lewis.)
+
+l. 1.  -----
+        "'Sweet' AUBURN".  Forster, 'Life', 1871, ii. 206, says
+        that Goldsmith obtained this name from Bennet Langton. There is
+        an Aldbourn or Auburn in Wiltshire, not far from Marlborough,
+        which Prior thinks may have furnished the suggestion.
+
+l. 6.  -----
+        "Seats of my youth".  This alone would imply that
+        Goldsmith had in mind the environment of his Irish home.
+
+l. 12.  -----
+        "The decent church that topp'd the neighbouring hill".
+        This corresponds with the church of Kilkenny West as seen from
+        the house at Lissoy.
+
+l. 13.  -----
+        "The hawthorn bush".  The Rev. Annesley Strean, Henry
+        Goldsmith's successor at Kilkenny West, well remembered the
+        hawthorn bush in front of the village ale-house. It had
+        originally three trunks; but when he wrote in 1807 only one
+        remained, 'the other two having been cut, from time to time, by
+        persons carrying pieces of it away to be made into toys, etc.,
+        in honour of the bard, and of the celebrity of his poem.'
+        ('Essay on Light Reading', by the Rev. Edward Mangin, M.A.,
+        1808, 142-3.) Its remains were enclosed by a Captain Hogan
+        previously to 1819; but nevertheless when Prior visited the
+        place in 1830, nothing was apparent but 'a very tender shoot
+        [which] had again forced its way to the surface.' (Prior,
+        'Life', 1837, ii. 264.) An engraving of the tree by S. Alken,
+        from a sketch made in 1806-9, is to be found at p. 41 of
+        Goldsmith's 'Poetical Works', R. H. Newell's edition, 1811, and
+        is reproduced in the present volume.
+
+l. 15.  -----
+        "How often have I bless'd the coming day".  Prior,
+        'Life', 1837, ii. 261, finds in this an allusion 'to the Sundays
+        or numerous holidays, usually kept in Roman Catholic countries.'
+
+l. 37.  -----
+        "Amidst thy bowers the tyrant's hand is seen".  Strean's
+        explanation (Mangin, 'ut supra', pp. 140-1) of this is as
+        follows:--'The poem of 'The Deserted Village', took its origin
+        from the circumstance of general Robert Napper [Napier or
+        Naper], (the grandfather of the gentleman who now [1807] lives
+        in the house, within half a mile of Lissoy, and built by the
+        general) having purchased an extensive tract of the country
+        surrounding Lissoy, or 'Auburn'; in consequence of which many
+        families, here called 'cottiers', were removed, to make room for
+        the intended improvements of what was now to become the wide
+        domain of a rich man, warm with the idea of changing the face of
+        his new acquisition; and were forced, "with fainting steps," to
+        go in search of "torrid tracts" and "distant climes."'
+
+        Prior ('Life', 1837, i. 40-3) points out that Goldsmith was not
+        the first to give poetical expression to the wrongs of the
+        dispossessed Irish peasantry; and he quotes a long extract from
+        the 'Works' (1741) of a Westmeath poet, Lawrence Whyte, which
+        contains such passages as these:--
+
+        Their native soil were forced to quit,
+        So Irish landlords thought it fit;
+        Who without ceremony or rout,
+        For their improvements turn'd them out...
+        How many villages they razed,
+        How many parishes laid waste...
+        Whole colonies, to shun the fate
+        Of being oppress'd at such a rate,
+        By tyrants who still raise their rent,
+        Sail'd to the Western Continent.
+
+
+l. 44.  -----
+        "The hollow-sounding bittern guards its nest".  'Of all
+        those sounds,' says Goldsmith, speaking of the cries of
+        waterfowl, 'there is none so dismally hollow as the booming of
+        the bittern.' ...'I remember in the place where I was a boy with
+        what terror this bird's note affected the whole village; they
+        considered it as the presage of some sad event; and generally
+        found or made one to succeed it.' ('Animated Nature', 1774, vi.
+        1-2, 4.)
+
+        Bewick, who may be trusted to speak of a bird which he has drawn
+        with such exquisite fidelity, refers ('Water Birds', 1847, p.
+        49) to 'the hollow booming noise which the bittern makes during
+        the night, in the breeding season, from its swampy retreats.'
+        Cf. also that close observer Crabbe ('The Borough', Letter xxii,
+        ll. 197-8):--
+
+        And the loud bittern, from the bull-rush home,
+        Gave from the salt-ditch side the bellowing boom.
+
+l. 53.  -----
+        "Princes and lords may flourish, or may fade;
+        A breath can make them, as a breath has made".
+
+        Mitford compares 'Confessio Amantis', fol. 152:--
+
+        A kynge may make a lorde a knave,
+        And of a knave a lord also;
+
+        and Professor Hales recalls Burns's later line in the 'Cotter's
+        Saturday Night', 1785:--
+
+        Princes and lords are but the breath of kings.
+
+        But Prior finds the exact equivalent of the second line in the
+        verses of an old French poet, De. Caux, upon an hour-glass:--
+
+        C'est un verre qui luit,
+        Qu'un souffle peut detruire, et qu'un souffle a produit.
+
+l. 57.  -----
+        "A time there was, ere England's griefs began".  Here
+        wherever the locality of Auburn, the author had clearly England
+        in mind. A caustic commentator has observed that the 'time'
+        indicated must have been a long while ago.
+
+l. 67.  -----
+        "opulence".  In the first edition the word is 'luxury.'
+
+l. 79.  -----
+        "And, many a year elapsed, return to view".  'It is
+        strongly contended at Lishoy, that "the Poet," as he is usually
+        called there, after his pedestrian tour upon the Continent of
+        Europe, returned to and resided in the village some time.... It
+        is moreover believed, that the havock which had been made in his
+        absence among those favourite scenes of his youth, affected his
+        mind so deeply, that he actually composed great part of the
+        Deserted Village 'at' Lishoy.' ('Poetical Works, with Remarks',
+        etc., by the Rev. R. H. Newell, 1811, p. 74.)
+
+        Notwithstanding the above, there is no evidence that Goldsmith
+        ever returned to his native island. In a letter to his
+        brother-in-law, Daniel Hodson, written in 1758, he spoke of
+        hoping to do so 'in five or six years.' ('Percy Memoir', 1801,
+        i. 49). But in another letter, written towards the close of his
+        life, it is still a thing to come. 'I am again,' he says, 'just
+        setting out for Bath, and I honestly say I had much rather it
+        had been for Ireland with my nephew, but that pleasure I hope to
+        have before I die.' (Letter to Daniel Hodson, no date, in
+        possession of the late Frederick Locker Lampson.)
+
+l. 80.  -----
+        "Where once the cottage stood, the hawthorn grew".  Here
+        followed, in the first edition:--
+
+        Here, as with doubtful, pensive steps I range,
+        Trace every scene, and wonder at the change,
+        Remembrance, etc.
+
+l. 84.  "In all my griefs--and God has given my share".  Prior
+        notes a slight similarity here to a line of Collins:--
+
+        Ye mute companions of my toils, that bear,
+        'In all my griefs', a more than equal share!
+                  'Hassan; or, The Camel Driver'.
+
+        In 'The Present State of Polite Learning', 1759, p. 143,
+        Goldsmith refers feelingly to 'the neglected author of the
+        Persian eclogues, which, however inaccurate, excel any in our
+        language.' He included four of them in 'The Beauties of English
+        Poesy', 1767, i. pp. 239-53.
+
+l. 87.  -----
+        "To husband out", etc.  In the first edition this ran:--
+
+        My anxious day to husband near the close,
+        And keep life's flame from wasting by repose.
+
+l. 96.  -----
+        "Here to return--and die at home at last".  Forster
+        compares a passage in 'The Citizen of the World', 1762, ii.
+        153:--'There is something so seducing in that spot in which we
+        first had existence, that nothing but it can please; whatever
+        vicissitudes we experience in life, however we toil, or
+        wheresoever we wander, our fatigued wishes still recur to home
+        for tranquillity, we long to die in that spot which gave us
+        birth, and in that pleasing expectation opiate every calamity.'
+        The poet Waller too--he adds--wished to die 'like the stag where
+        he was roused.' ('Life', 1871, ii. 202.)
+
+l. 99.  -----
+        "How happy he".  'How blest is he' in the first edition.
+
+l. 102.  -----
+        "And, since 'tis hard to combat, learns to fly".
+        Mitford compares 'The Bee' for October 13, 1759, p. 56:--'By
+        struggling with misfortunes, we are sure to receive some wounds
+        in the conflict. The only method to come off victorious, is by
+        running away.'
+
+l. 105.  -----
+        "surly porter".  Mr. J. M. Lobban compares the 'Citizen
+        of the World', 1762, i. 123:--'I never see a nobleman's door
+        half opened that some surly porter or footman does not stand
+        full in the breach.' ('Select Poems of Goldsmith', 1900, p. 98.)
+
+l. 109.  -----
+        "Bends".  'Sinks' in the first edition. "unperceived
+        decay". Cf. Johnson, 'Vanity of Human Wishes', 1749, l. 292:--
+        An age that melts with unperceiv'd decay,
+        And glides in modest innocence away;
+
+        and 'Irene', Act ii, Sc. 7:--
+
+        And varied life steal unperceiv'd away.
+
+l. 110.  -----
+        "While Resignation", etc.  In 1771 Sir Joshua exhibited
+        a picture of 'An Old Man,' studied from the beggar who was his
+        model for Ugolino. When it was engraved by Thomas Watson in
+        1772, he called it 'Resignation,' and inscribed the print to
+        Goldsmith in the following words:--'This attempt to express a
+        Character in 'The Deserted Village', is dedicated to Dr.
+        Goldsmith, by his sincere Friend and admirer, JOSHUA REYNOLDS.'
+
+l. 114.  -----
+        "Up yonder hill".  It has been suggested that Goldsmith
+        was here thinking of the little hill of Knockaruadh (Red Hill)
+        in front of Lissoy parsonage, of which there is a sketch in
+        Newell's 'Poetical Works', 1811. When Newell wrote, it was
+        already known as 'Goldsmith's mount'; and the poet himself
+        refers to it in a letter to his brother-in-law Hodson, dated
+        Dec. 27, 1757:--'I had rather be placed on the little mount
+        before Lishoy gate, and there take in, to me, the most pleasing
+        horizon in nature.' ('Percy Memoir', 1801, p. 43.)
+
+l. 124.  -----
+        "And fill'd each pause the nightingale had made".  In
+        'Animated Nature', 1774, v. 328, Goldsmith says:--'The
+        nightingale's pausing song would be the proper epithet for this
+        bird's music.' [Mitford.]
+
+l. 126.  -----
+        "No cheerful murmurs fluctuate in the gale".  (Cf.
+        Goldsmith's Essay on 'Metaphors' ('British
+        Magazine'):--'Armstrong has used the word 'fluctuate' with
+        admirable efficacy, in his philosophical poem entitled 'The Art
+        of Preserving Health'.
+
+        Oh!  when the growling winds contend, and all
+        The sounding forest 'fluctuates' in the storm,
+        To sink in warm repose, and hear the din
+        Howl o'er the steady battlements.
+
+l. 136.  -----
+        "The sad historian of the pensive plain".  Strean (see
+        note to l. 13) identified the old watercress gatherer as a
+        certain Catherine Giraghty (or Geraghty). Her children (he said)
+        were still living in the neighbourhood of Lissoy in 1807.
+        (Mangin's 'Essay on Light Reading', 1808, p. 142.)
+
+l. 140.  -----
+        "The village preacher's modest mansion rose".  'The
+        Rev. Charles Goldsmith is allowed by all that knew him, to have
+        been faithfully represented by his son in the character of the
+        Village Preacher.' So writes his daughter, Catharine Hodson
+        ('Percy Memoir', 1801, p. 3). Others, relying perhaps upon the
+        'forty pounds a year' of the Dedication to 'The Traveller', make
+        the poet's brother Henry the original; others, again, incline to
+        kindly Uncle Contarine ('vide Introduction'). But as Prior
+        justly says ('Life', 1837, ii. 249), 'the fact perhaps is that
+        he fixed upon no one individual, but borrowing like all good
+        poets and painters a little from each, drew the character by
+        their combination.'
+
+l. 142.  -----
+        "with forty pounds a year".  Cf. Dedication to 'The
+        Traveller', p. 3, l. 14.
+
+l. 145.  -----
+        "Unpractis'd".  'Unskilful' in the first edition.
+
+l. 148.  -----
+        "More skilled".  'More bent' in the first edition.
+
+l. 151.  -----
+        "The long remember'd beggar".  'The same persons,' says
+        Prior, commenting upon this passage, 'are seen for a series of
+        years to traverse the same tract of country at certain
+        intervals, intrude into every house which is not defended by the
+        usual outworks of wealth, a gate and a porter's lodge, exact
+        their portion of the food of the family, and even find an
+        occasional resting-place for the night, or from severe weather,
+        in the chimney-corner of respectable farmers.' ('Life', 1837,
+        ii. 269.) Cf. Scott on the Scottish mendicants in the
+        'Advertisement' to 'The Antiquary', 1816, and Leland's 'Hist. of
+        Ireland', 1773, i. 35.
+
+l. 155.  -----
+        "The broken soldier".  The disbanded soldier let loose
+        upon the country at the conclusion of the 'Seven Years' War' was
+        a familiar figure at this period. Bewick, in his 'Memoir'
+        ('Memorial Edition'), 1887, pp. 44-5, describes some of these
+        ancient campaigners with their battered old uniforms and their
+        endless stories of Minden and Quebec; and a picture of two of
+        them by T. S. Good of Berwick belonged to the late Mr. Locker
+        Lampson. Edie Ochiltree ('Antiquary')--it may be remembered--had
+        fought at Fontenoy.
+
+l. 170.  -----
+        "Allur'd to brighter worlds".  Cf. Tickell on
+        Addison--'Saints who taught and led the way to Heaven.'
+
+l. 180.  -----
+        "And fools, who came to scoff, remained to pray".
+        Prior compares the opening lines of Dryden's 'Britannia
+        Rediviva':--
+
+        Our vows are heard betimes, and heaven takes care
+        To grant, before we can conclude the prayer;
+        Preventing angels met it half the way,
+        And sent us back to praise, who came to pray.
+
+l. 189.  -----
+        "As some tall cliff", etc.  Lucan, Statius, and
+        Claudian have been supposed to have helped Goldsmith to this
+        fine and deservedly popular simile. But, considering his obvious
+        familiarity with French literature, and the rarity of his
+        'obligations to the ancients,' it is not unlikely that, as
+        suggested by a writer in the 'Academy' for Oct. 30, 1886, his
+        source of suggestion is to be found in the following passage of
+        an Ode addressed by Chapelain (1595-1674) to Richelieu:--
+
+        Dans un paisible mouvement
+        Tu t'eleves au firmament,
+        Et laisses contre toi murmurer cette terre;
+        Ainsi le haut Olympe, a son pied sablonneux,
+        Laisse fumer la foudre et gronder le tonnerre,
+        Et garde son sommet tranquille et lumineux.
+
+        Or another French model--indicated by Mr. Forster ('Life', 1871,
+        ii. 115-16) by the late Lord Lytton--may have been these lines
+        from a poem by the Abbe de Chaulieu (1639-1720):--
+
+        Au milieu cependant de ces peines cruelles
+        De notre triste hiver, compagnes trop fideles,
+        Je suis tranquille et gai.  Quel bien plus precieux
+        Puis-je esperer jamais de la bonte des dieux!
+        Tel qu'un rocher dont la tete,
+        Egalant le Mont Athos,
+        Voit a ses pieds la tempete
+        Troubler le calme des flots,
+        La mer autour bruit et gronde;
+        Malgre ses emotions,
+        Sur son front eleve regne une paix profonde,
+        Que tant d'agitations
+        Et que ses fureurs de l'onde
+        Respectent a l'egal du nid des alcyons.
+
+        On the other hand, Goldsmith may have gone no further than
+        Young's 'Complaint: Night the Second', 1742, p. 42, where, as
+        Mitford points out, occur these lines:--
+
+        As some tall Tow'r, or lofty Mountain's Brow,
+        Detains the Sun, Illustrious from its Height,
+        While rising Vapours, and descending Shades,
+        With Damps, and Darkness drown the Spatious Vale:
+        Undampt by Doubt, Undarken'd by Despair,
+        'Philander', thus, augustly rears his Head.
+
+        Prior also ('Life', 1837, ii. 252) prints a passage from
+        'Animated Nature', 1774, i. 145, derived from Ulloa, which
+        perhaps served as the raw material of the simile.
+
+l. 201.  -----
+        "Full well they laugh'd", etc.  Steele, in 'Spectator',
+        No. 49 (for April 26, 1711) has a somewhat similar
+        thought:--'"Eubulus" has so great an Authority in his little
+        Diurnal Audience, that when he shakes his Head at any Piece of
+        publick News, they all of them appear dejected; and, on the
+        contrary, go home to their Dinners with a good Stomach and
+        chearful Aspect, when "Eubulus" seems to intimate that Things go
+        well.'
+
+l. 205.  -----
+        "Yet he was kind", etc.  For the rhyme of 'fault' and
+        'aught' in this couplet Prior cites the precedent of Pope:--
+
+        Before his sacred name flies ev'ry fault,
+        And each exalted stanza teems with thought!
+        ('Essay on Criticism', l. 422).
+
+        He might also have cited Waller, who elides the 'l':--
+
+        Were we but less indulgent to our fau'ts,
+        And patience had to cultivate our thoughts.
+
+        Goldsmith uses a like rhyme in 'Edwin and Angelina',
+        Stanza xxxv:--
+
+        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.
+
+        Cf. also 'Retaliation', ll. 73-4.  Perhaps--as indeed Prior
+        suggests--he pronounced 'fault' in this fashion.
+
+
+l. 216.  -----
+        "That one small head could carry all he knew".  Some of
+        the traits of this portrait are said to be borrowed from
+        Goldsmith's own master at Lissoy:--'He was instructed in
+        reading, writing, and arithmetic'--says his sister Catherine,
+        Mrs. Hodson--'by a schoolmaster in his father's village, who had
+        been a quartermaster in the army in Queen Anne's wars, in that
+        detachment which was sent to Spain: having travelled over a
+        considerable part of Europe and being of a very romantic turn,
+        he used to entertain Oliver with his adventures; and the
+        impressions these made on his scholar were believed by the
+        family to have given him that wandering and unsettled turn which
+        so much appeared in his future life.' ('Percy Memoir', 1801, pp.
+        3-4.) The name of this worthy, according to Strean, was Burn
+        (Byrne). (Mangin's 'Essay on Light Reading', 1808, p. 142.)
+
+l. 219.  -----
+        "Near yonder thorn".  See note to l. 13.
+
+l. 229.  -----
+        "The chest contriv'd a double debt to pay".  Cf. the
+        'Description of an Author's Bedchamber', p. 48, l. ult. :--
+
+        A cap by night--a stocking all the day!
+
+l. 232.  "The twelve good rules".  'A constant one' (i.e.
+        picture) 'in every house was "King Charles' Twelve Good Rules."'
+        (Bewick's 'Memoir', 'Memorial Edition,' 1887, p. 262.) This old
+        broadside, surmounted by a rude woodcut of the King's execution,
+        is still prized by collectors. The rules, as 'found in the study
+        of King Charles the First, of Blessed Memory,' are as
+        follow:--
+        '1. Urge no healths;
+         2. Profane no divine ordinances;
+         3. Touch no state matters;
+         4. Reveal no secrets;
+         5. Pick no quarrels;
+         6. Make no comparisons;
+         7. Maintain no ill opinions;
+         8. Keep no bad company;
+         9. Encourage no vice;
+        10. Make no long meals;
+        11. Repeat no grievances;
+        12. Lay no Wagers.
+
+        Prior, 'Misc. Works', 1837, iv. 63, points out that Crabbe also
+        makes the 'Twelve Good Rules' conspicuous in the 'Parish
+        Register' (ll. 51-2):--
+
+        There is King Charles, and all his Golden Rules,
+        Who proved Misfortune's was the best of schools.
+
+        Her late Majesty, Queen Victoria, kept a copy of these rules in
+        the servants' hall at Windsor Castle.
+
+        "the royal game of goose".  The 'Royal and Entertaining Game of
+        the Goose' is described at length in Strutt's 'Sports and
+        Pastimes', bk. iv, ch. 2 (xxv). It may be briefly defined as a
+        game of compartments with different titles through which the
+        player progresses according to the numbers he throws with the
+        dice. At every fourth or fifth compartment is depicted a goose,
+        and if the player's cast falls upon one of these, he moves
+        forward double the number of his throw.
+
+l. 235.  -----
+        "While broken tea-cups".  Cf. the 'Description of an
+        Author's Bedchamber', p. 48, l. 18:--
+
+        And five crack'd teacups dress'd the chimney board.
+
+        Mr. Hogan, who repaired or rebuilt the ale-house at Lissoy, did
+        not forget, besides restoring the 'Royal Game of Goose' and the
+        'Twelve Good Rules,' to add the broken teacups, 'which for
+        better security in the frail tenure of an Irish publican, or the
+        doubtful decorum of his guests, were embedded in the mortar.'
+        (Prior, 'Life', 1837, ii. 265.)
+
+l. 250.  -----
+        "Shall kiss the cup.".  Cf. Scott's 'Lochinvar':--
+
+        The bride kissed the goblet:  the knight took it up,
+        He quaff'd off the wine and he threw down the cup.
+
+        Cf. also 'The History of Miss Stanton' ('British Magazine',
+        July, 1760).--'The earthen mug went round. 'Miss touched the
+        cup', the stranger pledged the parson.' etc.
+
+l. 268.  -----
+        "Between a splendid and a happy land".  Prior compares
+        'The Citizen of the World', 1762, i. 98:--'Too much commerce may
+        injure a nation as well as too little; and...there is a wide
+        difference between a conquering and a flourishing empire.'
+
+l. 310.  -----
+        "To see profusion that he must not share".  Cf.
+        'Animated Nature', iv. p. 43:--'He only guards those luxuries he
+        is not fated to share.' [Mitford.]
+
+l. 313.  -----
+        "To see those joys".  Up to the third edition the words
+        were 'each joy'.
+
+l. 318.  -----
+        "There the black gibbet glooms beside the way".  The
+        gallows, under the savage penal laws of the eighteenth century,
+        by which horse-stealing, forgery, shop-lifting, and even the
+        cutting of a hop-bind in a plantation were punishable with
+        death, was a common object in the landscape. Cf. 'Vicar of
+        Wakefield', 1706, ii. 122:--'Our possessions are paled up with
+        new edicts every day, and hung round with gibbets to scare every
+        invader'; and 'Citizen of the World', 1762, ii. 63-7. Johnson,
+        who wrote eloquently on capital punishment in 'The Rambler' for
+        April 20, 1751, No. 114, also refers to the ceaseless executions
+        in his 'London', 1738, ll. 238-43:--
+
+        Scarce can our fields, such crowds at Tyburn die,
+        With hemp the gallows and the fleet supply.
+        Propose your schemes, ye senatorian band,
+        Whose ways and means support the sinking land:
+        Lest ropes be wanting in the tempting spring,
+        To rig another convoy for the king.
+
+l. 326.  -----
+        "Where the poor houseless shivering female lies".
+        Mitford compares Letter cxiv of 'The Citizen of the World',
+        1762, ii. 211:--'These 'poor shivering females' have once seen
+        happier days, and been flattered into beauty. They have been
+        prostituted to the gay luxurious villain, and are now turned out
+        to meet the severity of winter. Perhaps now lying at the doors
+        of their betrayers, they sue to wretches whose hearts are
+        insensible, or debauchees who may curse, but will not relieve
+        them.' The same passage occurs in 'The Bee', 1759, p. 126 ('A
+        City Night-Piece').
+
+l. 332.  -----
+        "Near her betrayer's door", etc.  Cf. the foregoing
+        quotation.
+
+l. 344.  -----
+        "wild Altama", i.e. the Alatamaha, a river in Georgia,
+        North America. Goldsmith may have been familiar with this name
+        in connexion with his friend Oglethorpe's expedition of 1733.
+
+l. 355.  -----
+        "crouching tigers", a poetical licence, as there are no
+        tigers in the locality named. But Mr. J. H. Lobban calls
+        attention to a passage from 'Animated Nature' [1774, iii. 244],
+        in which Goldsmith seems to defend himself:--'There is an animal
+        of America, which is usually called the Red Tiger, but Mr.
+        Buffon calls it the Cougar, which, no doubt, is very different
+        from the tiger of the east. Some, however, have thought proper
+        to rank both together, and I will take leave to follow their
+        example.'
+
+l. 371.  -----
+        "The good old sire".  Cf. 'Threnodia Augustalis', ll.
+        16-17:--
+
+        The good old sire, unconscious of decay,
+        The modest matron, clad in homespun gray
+
+l. 378.  -----
+        "a father's".  'Her father's' in the first edition.
+
+l. 384.  -----
+        "silent".  'Decent' in the first edition.
+
+l. 418.  -----
+        "On Torno's cliffs, or Pambamarca's side".  'Torno' =
+        Tornea, a river which falls into the Gulf of Bothnia; Pambamarca
+        is a mountain near Quito, South America. 'The author'--says
+        Bolton Corney--'bears in memory the operations of the French
+        philosophers in the arctic and equatorial regions, as described
+        in the celebrated narratives of M. Maupertuis and Don Antonio de
+        Ulloa.'
+
+        ll. 427-30.  "That trade's proud empire", etc.  These last four
+        lines are attributed to Johnson on Boswell's authority:--'Dr.
+        Johnson...favoured me by marking the lines which he furnished to
+        Goldsmith's 'Deserted Village', which are only the 'last four'.'
+        (Birkbeck Hill's 'Boswell', 1887, ii. 7.)
+
+
+
+
+
+
+
+PROLOGUE OF LABERIUS.
+
+This translation, or rather imitation, was first published at pp. 176-7
+of 'An Enquiry into the Present State of Polite Learning in Europe',
+1759 (Chap. xii, 'Of the Stage'), where it is prefaced as
+follows:--'MACROBIUS has preserved a prologue, spoken and written by the
+poet [Decimus] Laberius, a Roman knight, whom Caesar forced upon the
+stage, written with great elegance and spirit, which shews what opinion
+the Romans in general entertained of the profession of an actor.' In the
+second edition of 1774 the prologue was omitted. The original lines, one
+of which Goldsmith quotes, are to found in the 'Saturnalia' of
+Macrobius, lib. ii, cap. vii ('Opera', London, 1694). He seems to have
+confined himself to imitating the first fifteen:--
+
+    Necessitas, cujus cursus transversi impetum
+    Voluerunt multi effugere, pauci potuerunt,
+    Quo me detrusit paene extremis sensibus?
+    Quem nulla ambitio, nulla umquam largitio,
+    Nullus timor, vis nulla, nulla auctoritas
+    Movere potuit in juventa de statu;
+    Ecce in senecta ut facile labefecit loco
+    Viri Excellentis mente clemente edita
+    Submissa placide blandiloquens oratio!
+    Etenim ipsi di negare cui nihil potuerunt,
+    Hominem me denegare quis posset pati?
+    Ergo bis tricenis annis actis sine tota
+    Eques Romanus Lare egressus meo
+    Domum revertar mimus.  nimirum hoc die
+    Uno plus vixi mihi quam vivendum fuit.
+
+Rollin gives a French translation of this prologue in his 'Traite des
+Etudes'. It is quoted by Bolton Corney in his 'Poetical Works of Oliver
+Goldsmith', 1845, pp. 203-4. In his Aldine edition of 1831, p. 114,
+Mitford completed Goldsmith's version as follows:--
+
+    Too lavish still in good, or evil hour,
+    To show to man the empire of thy power,
+    If fortune, at thy wild impetuous sway,
+    The blossoms of my fame must drop away,
+    Then was the time the obedient plant to strain
+    When life was warm in every vigorous vein,
+    To mould young nature to thy plastic skill,
+    And bend my pliant boyhood to thy will.
+    So might I hope applauding crowds to hear,
+    Catch the quick smile, and HIS attentive ear.
+    But ah!  for what has thou reserv'd my age?
+    Say, how can I expect the approving stage;
+    Fled is the bloom of youth -- the manly air --
+    The vigorous mind that spurn'd at toil and care;
+    Gone is the voice, whose clear and silver tone
+    The enraptur'd theatre would love to own.
+    As clasping ivy chokes the encumber'd tree,
+    So age with foul embrace has ruined me.
+    Thou, and the tomb, Laberius, art the same,
+    Empty within, what hast thou but a name?
+
+Macrobius, it may be remembered, was the author, with a quotation from
+whom Johnson, after a long silence, electrified the company upon his
+first arrival at Pembroke College, thus giving (says Boswell) 'the first
+impression of that more extensive reading in which he had indulged
+himself' (Birkbeck Hill's 'Boswell', 1887, i. 59). If the study of
+Macrobius is to be regarded as a test of 'more extensive reading' that
+praise must therefore be accorded to Goldsmith, who cites him in his
+first book.
+
+
+
+
+
+ON A BEAUTIFUL YOUTH STRUCK BLIND WITH LIGHTNING.
+
+This quatrain, the original of which does not appear to have been
+traced, was first published in 'The Bee' for Saturday, the 6th of
+October, 1759, p. 8. It is there succeeded by the following Latin
+epigram, 'in the same spirit':--
+
+        LUMINE Acon dextro capta est Leonida sinistro
+        Et poterat forma vincere uterque Deos.
+        Parve puer lumen quod habes concede puellae
+        Sic tu caecus amor sic erit illa Venus.
+
+There are several variations of this in the 'Gentleman's Magazine' for
+1745, pp. 104, 159, 213, 327, one of which is said to be 'By a monk of
+Winchester,' with a reference to 'Cambden's 'Remains', p. 413.' None of
+these corresponds exactly with Goldsmith's text; and the lady's name is
+uniformly given as 'Leonilla.' A writer in the 'Quarterly Review', vol.
+171, p. 296, prints the 'original' thus --
+
+        Lumine Acon dextro, capta est Leonilla sinistro,
+        Et potis est forma vincere uterque Deos.
+        Blande puer, lumen quod habes concede sorori;
+        Sic tu caecus Amor, sic erit illa Venus;
+
+and says 'it was written by Girolamo Amalteo, and will be found in any
+of the editions of the 'Trium Fratrum Amaltheorum Carmina', under the
+title of 'De gemellis, fratre et sorore, luscis.' According to Byron on
+Bowles ('Works', 1836, vi. p. 390), the persons referred to are the
+Princess of Eboli, mistress of Philip II of Spain, and Maugiron, minion
+of Henry III of France, who had each of them lost an eye. But for this
+the reviewer above quoted had found no authority.
+
+
+
+
+
+THE GIFT.
+
+This little trifle, in which a French levity is wedded to the language
+of Prior, was first printed in 'The Bee', for Saturday, the 13th of
+October, 1759. Its original, which is as follows, is to be found where
+Goldsmith found it, namely in Part iii of the 'Menagiana', (ed. 1729,
+iii, 397), and not far from the ditty of 'le fameux la Galisse'. (See
+'An Elegy on Mrs. Mary Blaize', 'infra', p. 198):--
+
+
+
+
+ETRENE A IRIS.
+
+        Pour temoigner de ma flame,
+        Iris, du meilleur de mon ame
+        Je vous donne a ce nouvel an
+        Non pas dentelle ni ruban,
+        Non pas essence, ni pommade,
+        Quelques boites de marmelade,
+        Un manchon, des gans, un bouquet,
+        Non pas heures, ni chapelet.
+        Quoi donc?  Attendez, je vous donne
+        O fille plus belle que bonne...
+        Je vous donne:  Ah!  le puis-je dire?
+        Oui, c'est trop souffrir le martyre,
+        Il est tems de s'emanciper,
+        Patience va m'echaper,
+        Fussiez-vous cent fois plus aimable,
+        Belle Iris, je vous donne...au Diable.
+
+In Bolton Corney's edition of Goldsmith's 'Poetical Works', 1845, p. 77,
+note, these lines are attributed to Bernard de la Monnoye (1641-1728),
+who is said to have included them in a collection of 'Etrennes en vers',
+published in 1715.
+
+l. 20.  -----
+        "I'll give thee".  See an anecdote 'a propos' of this
+        anticlimax in Trevelyan's 'Life and Letters of Lord Macaulay',
+        ed. 1889, p. 600:--'There was much laughing about Mrs. Beecher
+        Stowe [then (16th March, 1853) expected in England], and what we
+        were to give her. I referred the ladies to Goldsmith's poems for
+        what I should give. Nobody but Hannah understood me; but some of
+        them have since been thumbing Goldsmith to make out the riddle.'
+
+
+
+
+
+THE LOGICIANS REFUTED.
+
+These lines, which have often, and even of late years, been included
+among Swift's works, were first printed as Goldsmith's by T. Evans at
+vol. i. pp. 115-17 of 'The Poetical and Dramatic Works of Oliver
+Goldsmith, M. B., 1780. They originally appeared in 'The Busy Body' for
+Thursday, October the 18th, 1759 (No. v), having this notification above
+the title: 'The following Poem written by Dr. SWIFT, is communicated to
+the Public by the BUSY BODY, to whom it was presented by a Nobleman of
+distinguished Learning and Taste.' In No. ii they had already been
+advertised as forthcoming. The sub-title, 'In imitation of Dean Swift,'
+seems to have been added by Evans. The text here followed is that of the
+first issue.
+
+l. 5.  -----
+        "Wise Aristotle and Smiglecius".  Cf. 'The Life of
+        Parnell', 1770, p. 3:--'His imagination might have been too warm
+        to relish the cold logic of Burgersdicius, or the dreary
+        subtleties of 'Smiglesius'; but it is certain that as a
+        classical scholar, few could equal him.' Martin Smiglesius or
+        Smigletius, a Polish Jesuit, theologian and logician, who died
+        in 1618, appears to have been a special 'bete noire' to
+        Goldsmith; and the reference to him here would support the
+        ascription of the poem to Goldsmith's pen, were it not that
+        Swift seems also to have cherished a like antipathy:--'He told
+        me that he had made many efforts, upon his entering the College
+        [i.e. Trinity College, Dublin], to read some of the old
+        treatises on logic writ by 'Smeglesius', Keckermannus,
+        Burgersdicius, etc., and that he never had patience to go
+        through three pages of any of them, he was so disgusted at the
+        stupidity of the work.' (Sheridan's 'Life of Swift', 2nd ed.,
+        1787, p. 4.)
+
+l. 16.  -----
+        "Than reason-boasting mortal's pride".  So in 'The Busy
+        Body'. Some editors--Mitford, for example--print the line:--
+
+        Than reason,--boasting mortals' pride.
+
+l. 18.  -----
+        "Deus est anima brutorum".  Cf. Addison in 'Spectator',
+        No. 121 (July 19, 1711): 'A modern Philosopher, quoted by
+        Monsieur 'Bale' in his Learned Dissertation on the Souls of
+        Brutes delivers the same Opinion [i.e.--That Instinct is the
+        immediate direction of Providence], tho' in a bolder form of
+        words where he says 'Deus est Anima Brutorum', God himself is
+        the Soul of Brutes.' There is much in 'Monsieur Bayle' on this
+        theme. Probably Addison had in mind the following passage of the
+        'Dict. Hist. et Critique' (3rd ed., 1720, 2481b.) which Bayle
+        cites from M. Bernard:--'Il me semble d'avoir lu quelque part
+        cette These, 'Deus est anima brutorum': l'expression est un peu
+        dure; mais elle peut recevoir un fort bon sens.'
+
+l. 32.  -----
+        "B-b"=Bob, i.e. Sir Robert Walpole, the Prime Minister,
+        for whom many venal 'quills were drawn' 'circa' 1715-42. Cf.
+        Pope's 'Epilogue to the Satires', 1738, Dialogue i, ll. 27-32:--
+
+        Go see Sir ROBERT--
+             P. See Sir ROBERT!--hum--
+        And never laugh--for all my life to come?
+        Seen him I have, but in his happier hour
+        Of Social Pleasure, ill-exchang'd for Pow'r;
+        Seen him, uncumber'd with the Venal tribe,
+        Smile without Art, and win without a Bribe.
+
+l. 46.  -----
+        "A courtier any ape surpasses".  Cf. Gay's 'Fables,
+        passim'. Indeed there is more of Gay than Swift in this and the
+        lines that follow. Gay's life was wasted in fruitless
+        expectations of court patronage, and his disappointment often
+        betrays itself in his writings.
+
+l. 56.  -----
+        "And footmen, lords and dukes can act".  Cf. 'Gil Blas',
+        1715-35, liv. iii, chap. iv:--'Il falloit voir comme nous nous
+        portions des santes a tous moments, en nous donnant les uns aux
+        autres les surnoms de nos maitres. Le valet de don Antonio
+        appeloit Gamboa celui de don Fernand, et le valet de don Fernand
+        appeloit Centelles celui de don Antonio. Ils me nommoient de
+        meme Silva; et nous nous enivrions peu a peu sous ces noms
+        empruntes, tout aussi bien que les seigneurs qui les portoient
+        veritablement.' But Steele had already touched this subject in
+        'Spectator', No. 88, for June 11, 1711, 'On the Misbehaviour of
+        Servants,' a paper supposed to have afforded the hint for
+        Townley's farce of 'High Life below Stairs', which, about a
+        fortnight after 'The Logicians Refuted' appeared, was played for
+        the first time at Drury Lane, not much to the gratification of
+        the gentlemen's gentlemen in the upper gallery. Goldsmith
+        himself wrote 'A Word or two on the late Farce, called 'High
+        Life below Stairs',' in 'The Bee' for November 3, 1759, pp.
+        154-7.
+
+
+
+
+
+A SONNET.
+
+This little piece first appears in 'The Bee' for October 20,
+1759 (No. iii). It is there called 'A Sonnet,' a title which is
+only accurate in so far as it is 'a little song.' Bolton Corney
+affirms that it is imitated from the French of Saint-Pavin (i.e.
+Denis Sanguin de Saint-Pavin, d. 1670), whose works were edited
+in 1759, the year in which Goldsmith published the collection of
+essays and verses in which it is to be found. The text here
+followed is that of the 'new edition' of 'The Bee', published by
+W. Lane, Leadenhall Street, no date, p. 94. Neither by its
+motive nor its literary merits--it should be added--did the
+original call urgently for translation; and the poem is here
+included solely because, being Goldsmith's, it cannot be omitted
+from his complete works.
+
+l. 5.  -----
+        This and the following line in the first version run:--
+        Yet, why this killing soft dejection?
+        Why dim thy beauty with a tear?
+
+
+
+
+
+STANZAS ON THE TAKING OF QUEBEC.
+
+Quebec was taken on the 13th September, 1759.  Wolfe was wounded pretty
+early in the action, while leading the advance of the Louisbourg
+grenadiers. 'A shot shattered his wrist. He wrapped his handkerchief
+about it and kept on. Another shot struck him, and he still advanced,
+when a third lodged in his breast. He staggered, and sat on the ground.
+Lieutenant Brown, of the grenadiers, one Henderson, a volunteer in the
+same company, and a private soldier, aided by an officer of artillery
+who ran to join them, carried him in their arms to the rear. He begged
+them to lay him down. They did so, and asked if he would have a surgeon.
+"There's no need," he answered; "it's all over with me." A moment after,
+one of them cried out, "They run; see how they run!" "Who run?" Wolfe
+demanded, like a man roused from sleep. "The enemy, sir. They give way
+everywhere!" "Go, one of you, to Colonel Burton," returned the dying
+man; "tell him to march Webb's regiment down to Charles River, to cut
+off their retreat from the bridge." Then, turning on his side, he
+murmured, "Now, God be praised, I will die in peace!" and in a few
+moments his gallant soul had fled.' (Parkman's 'Montcalm and Wolfe',
+1885, ii. 296-7.) In his 'History of England in a Series of Letters',
+1764, ii. 241, Goldsmith says of this event:--'Perhaps the loss of such
+a man was greater to the nation than the conquering of all Canada was
+advantageous; but it is the misfortune of humanity, that we can never
+know true greatness till the moment when we are going to lose it*.' The
+present stanzas were first published in 'The Busy Body' (No. vii) for
+Tuesday, the 22nd October, 1759, a week after the news of Wolfe's death
+had reached this country (Tuesday the 16th). According to Prior ('Life',
+1837, i. 6), Goldsmith claimed to be related to Wolfe by the father's
+side, the maiden name of the General's mother being Henrietta Goldsmith.
+It may be noted that Benjamin West's popular rendering of Wolfe's death
+(1771)--a rendering which Nelson never passed in a print shop without
+being stopped by it--was said to be based upon the descriptions of an
+eye-witness. It was engraved by Woollett and Ryland in 1776. A key to
+the names of those appearing in the picture was published in the 'Army
+and Navy Gazette' of January 20, 1893.
+
+*[footnote]  He repeats this sentiment, in different words, in the later
+'History of England' of 1771, iv. 400.
+
+
+
+
+
+AN ELEGY ON MRS. MARY BLAIZE.
+
+The publication in February, 1751, of Gray's 'Elegy Wrote in a Country
+Church Yard' had set a fashion in poetry which long continued.
+Goldsmith, who considered that work 'a very fine poem, but overloaded
+with epithet' ('Beauties of English Poesy', 1767, i. 53), and once
+proposed to amend it 'by leaving out an idle word in every line' [!]
+(Cradock's 'Memoirs', 1826, i. 230), resented these endless imitations,
+and his antipathy to them frequently reveals itself. Only a few months
+before the appearance of Mrs. Blaize in 'The Bee' for October 27, 1759,
+he had written in the 'Critical Review', vii. 263, when noticing
+Langhorne's 'Death of Adonis', as follows:--'It is not thus that many of
+our moderns have composed what they call elegies; they seem scarcely to
+have known its real character. If an hero or a poet happens to die with
+us, the whole band of elegiac poets raise the dismal chorus, adorn his
+herse with all the paltry escutcheons of flattery, rise into bombast,
+paint him at the head of his thundering legions, or reining Pegasus in
+his most rapid career; they are sure to strew cypress enough upon the
+bier, dress up all the muses in mourning, and look themselves every whit
+as dismal and sorrowful as an undertaker's shop.' He returned to the
+subject in a 'Chinese Letter' of March 4, 1761, in the 'Public Ledger'
+(afterwards Letter ciii of 'The Citizen of the World', 1762, ii. 162-5),
+which contains the lines 'On the Death of the Right Honourable ***; and
+again, in 'The Vicar of Wakefield', 1766, i. 174, 'a propos' of the
+'Elegy on the Death of a Mad Dog', he makes Dr. Primrose say, 'I have
+wept so much at all sorts of elegies of late, that without an enlivening
+glass I am sure this will overcome me.'
+
+The model for 'An Elegy on Mrs. Mary Blaize' is to be found in the old
+French popular song of Monsieur de la Palisse or Palice, about fifty
+verses of which are printed in Larousse's 'Grand Dictionnaire Universel
+du XIXme Siecle', x. p. 179. It is there stated to have originated in
+some dozen stanzas suggested to la Monnoye ('v. supra', p. 193) by the
+extreme artlessness of a military quatrain dating from the battle of
+Pavia, and the death upon that occasion of the famous French captain,
+Jacques de Chabannes, seigneur de la Palice:--
+
+        Monsieur d'La Palice est mort,
+        Mort devant Pavie;
+        Un quart d'heure avant sa mort,
+        'Il etait encore en vie'.
+
+The remaining verses, i.e. in addition to those of la Monnoye, are the
+contributions of successive generations. Goldsmith probably had in mind
+the version in Part iii of the 'Menagiana', (ed. 1729, iii, 384-391)
+where apparently by a typographical error, the hero is called 'le fameux
+la Galisse, homme imaginaire.' The verses he imitated most closely are
+reproduced below. It may be added that this poem supplied one of its
+last inspirations to the pencil of Randolph Caldecott, who published it
+as a picture-book in October, 1885. (See also 'An Elegy on the Death of
+a Mad Dog', p. 212.)
+
+l. 8.  -----
+        "Who left a pledge behind".  Caldecott cleverly converted
+        this line into the keynote of the poem, by making the heroine a
+        pawnbroker.
+
+l. 20.  -----
+        "When she has walk'd before".  Cf. the French:--
+
+        On dit que dans ses amours
+        Il fut caresse des belles,
+        Qui le suivirent toujours,
+        'Tant qu'il marcha devant elles'.
+
+l. 24.  -----
+        "Her last disorder mortal".  Cf. the French:--
+
+        Il fut par un triste sort
+        Blesse d'une main cruelle.
+        On croit, puis qu'il en est mort,
+        'Que la plaie etoit mortelle'.
+
+l. 26.  -----
+        "Kent Street", Southwark, 'chiefly inhabited,' said
+        Strype, 'by Broom Men and Mumpers'; and Evelyn tells us ('Diary'
+        5th December, 1683) that he assisted at the marriage, to her
+        fifth husband, of a Mrs. Castle, who was 'the daughter of one
+        Burton, a broom-man...in Kent Street' who had become not only
+        rich, but Sheriff of Surrey. It was a poor neighbourhood
+        corresponding to the present 'old Kent-road, from Kent to
+        Southwark and old London Bridge' (Cunningham's London*).
+        Goldsmith himself refers to it in 'The Bee' for October 20,
+        1759, being the number immediately preceding that in which
+        'Madam Blaize' first appeared:--'You then, O ye beggars of my
+        acquaintance, whether in rags or lace; whether in 'Kent-street'
+        or the Mall; whether at the Smyrna or St. Giles's, might I
+        advise as a friend, never seem in want of the favour which you
+        solicit' (p. 72). Three years earlier he had practised as 'a
+        physician, in a humble way' in Bankside, Southwark, and was
+        probably well acquainted with the humours of Kent Street.
+
+        *[footnote] In contemporary maps Kent (now Tabard) Street is
+        shown extending between the present New Kent Road and Blackman
+        Street.
+
+
+
+
+
+DESCRIPTION OF AN AUTHOR'S BEDCHAMBER.
+
+In a letter written to the Rev. Henry Goldsmith in 1759 ('Percy Memoir',
+1801, pp. 53-9), Goldsmith thus refers to the first form of these
+verses:--'Your last letter, I repeat it, was too short; you should have
+given me your opinion of the design of the heroicomical poem which I
+sent you: you remember I intended to introduce the hero of the poem, as
+lying in a paltry alehouse. You may take the following specimen of the
+manner, which I flatter myself is quite original. The room in which he
+lies, may be described somewhat this way:--
+
+        The window, patch'd with paper, lent a ray,
+        That feebly shew'd the state in which he lay.
+        The sanded floor, that grits beneath the tread:
+        The humid wall with paltry pictures spread;
+        The game of goose was there expos'd to view
+        And the twelve rules the royal martyr drew:
+        The seasons, fram'd with listing, found a place,
+        And Prussia's monarch shew'd his lamp-black face
+        The morn was cold; he views with keen desire,
+        A rusty grate unconscious of a fire.
+        An unpaid reck'ning on the frieze was scor'd,
+        And five crack'd tea-cups dress'd the chimney board.
+
+And now imagine after his soliloquy, the landlord to make his
+appearance, in order to dun him for the reckoning:--
+
+        Not with that face, so servile and so gay,
+        That welcomes every stranger that can pay,
+        With sulky eye he smoak'd the patient man,
+        Then pull'd his breeches tight, and thus began, etc.
+
+All this is taken, you see, from nature.  It is a good remark of
+Montaign[e]'s, that the wisest men often have friends, with whom they do
+not care how much they play the fool. Take my present follies as
+instances of regard. Poetry is a much easier, and more agreeable species
+of composition than prose, and could a man live by it, it were no
+unpleasant employment to be a poet.'
+
+In Letter xxix of 'The Citizen of the World', 1762, i. 119-22, which
+first appeared in 'The Public Ledger' for May 2, 1760, they have a
+different setting. They are read at a club of authors by a 'poet, in
+shabby finery,' who asserts that he has composed them the day before.
+After some preliminary difficulties, arising from the fact that the laws
+of the club do not permit any author to inflict his own works upon the
+assembly without a money payment, he introduces them as follows:--
+
+'Gentlemen, says he, the present piece is not one of your common epic
+poems, which come from the press like paper kites in summer; there are
+none of your Turnuses or Dido's in it; it is an heroical description of
+nature. I only beg you'll endeavour to make your souls unison* with
+mine, and hear with the same enthusiasm with which I have written. The
+poem begins with the description of an author's bedchamber: the picture
+was sketched in my own apartment; for you must know, gentlemen, that I
+am myself the heroe. Then putting himself into the attitude of an
+orator, with all the emphasis of voice and action, he proceeded.
+
+Where the Red Lion, etc.'
+The verses then follow as they are printed in this volume; but
+he is unable to induce his audience to submit to a further sample. In a
+slightly different form, some of them were afterwards worked into 'The
+Deserted Village', 1770. (See ll. 227-36.)
+
+*[footnote]  i.e. accord, conform.
+
+l. 3.  -----
+       "Where Calvert's butt, and Parsons' black champagne".  The
+       Calverts and Humphrey Parsons were noted brewers of 'entire butt
+       beer' or porter, also known familiarly as 'British Burgundy' and
+       'black Champagne.' Calvert's 'Best Butt Beer' figures on the
+       sign in Hogarth's 'Beer Street', 1751.
+
+l. 10.  -----
+        "The humid wall with paltry pictures spread".  Bewick gives the
+        names of some of these popular, if paltry, decorations:--'In
+        cottages everywhere were to be seen the "Sailor's Farewell" and
+        his "Happy Return," "Youthful Sports," and the "Feats of
+        Manhood," "The Bold Archers Shooting at a Mark," "The Four
+        Seasons," etc.' ('Memoir', 'Memorial Edition,' 1887, p. 263.)
+
+l. 11.  -----
+        "The royal game of goose was there in view".  (See note, p. 188,
+        l. 232)
+
+l. 12.  -----
+        "And the twelve rules the royal martyr drew".  (See note, p.
+        187, l. 232.)
+
+l. 13.  -----
+        "The Seasons, fram'd with listing".  See note to l. 10 above, as
+        to 'The Seasons.' Listing, ribbon, braid, or tape is still used
+        as a primitive 'encadrement'. In a letter dated August 15, 1758,
+        to his cousin, Mrs. Lawder (Jane Contarine), Goldsmith again
+        refers to this device. Speaking of some 'maxims of frugality'
+        with which he intends to adorn his room, he adds--'my landlady's
+        daughter shall frame them with the parings of my black
+        waistcoat.' (Prior, 'Life', 1837, i. 271.)
+
+l. 14.  -----
+        "And brave Prince William".  William Augustus, Duke of
+        Cumberland, 1721-65. The 'lamp-black face' would seem to imply
+        that the portrait was a silhouette. In the letter quoted on p.
+        200 it is 'Prussia's monarch' (i.e. Frederick the Great).
+
+l. 17.  -----
+        "With beer and milk arrears".  See the lines relative to the
+        landlord in Goldsmith's above-quoted letter to his brother. In
+        another letter of August 14, 1758, to Robert Bryanton, he
+        describes himself as 'in a garret writing for bread, and
+        expecting to be dunned for a milk score.' Hogarth's 'Distrest
+        Poet', 1736, it will be remembered, has already realized this
+        expectation.
+
+l. 20.  -----
+        "A cap by night--a stocking all the day".  'With this last
+        line,' says 'The Citizen of the World', 1762, i. 121, 'he [the
+        author] seemed so much elated, that he was unable to proceed:
+        "There gentlemen, cries he, there is a description for you;
+        Rab[e]lais's bed-chamber is but a fool to it:
+
+        'A cap by night--a stocking all the day!'
+
+        There is sound and sense, and truth, and nature in the trifling
+        compass of ten little syllables."' (Letter xxix.) Cf. also 'The
+        Deserted Village', l. 230:--
+
+        A bed by night, a chest of drawers by day.
+
+        If Goldsmith's lines did not belong to 1759, one might suppose
+        he had in mind the later 'Pauvre Diable' of his favourite
+        Voltaire. (See also APPENDIX B.)
+
+
+
+
+
+ON SEEING MRS. ** PERFORM IN THE CHARACTER OF ****.
+
+These verses, intended for a specimen of the newspaper Muse, are
+from Letter lxxxii of 'The Citizen of the World', 1762, ii. 87,
+first printed in 'The Public Ledger', October 21, 1760.
+
+
+
+
+ON THE DEATH OF THE RIGHT HON. ***
+
+From Letter ciii of 'The Citizen of the World', 1762, ii. 164,
+first printed in 'The Public Ledger', March 4, 1761. The verses
+are given as a 'specimen of a poem on the decease of a great
+man.' Goldsmith had already used the trick of the final line of
+the quatrain in 'An Elegy on Mrs. Mary Blaize', ante, p. 198.
+
+
+
+
+AN EPIGRAM.
+
+From Letter cx of 'The Citizen of the World', 1762, ii. 193,
+first printed in 'The Public Ledger', April 14, 1761. It had,
+however, already been printed in the 'Ledger', ten days before.
+Goldsmith's animosity to Churchill (cf. note to l. 41 of the
+dedication to 'The Traveller') was notorious; but this is one of
+his doubtful pieces.
+
+l. 3.  -----
+        "virtue".  'Charity' ('Author's note').
+
+l. 4.  -----
+        "bounty".  'Settled at One Shilling--the Price of the Poem'
+        ('Author's note').
+
+
+TO G. C. AND R. L.
+
+        From the same letter as the preceding.  George Colman and Robert
+        Lloyd of the 'St. James's Magazine' were supposed to have helped
+        Churchill in 'The Rosciad', the 'it' of the epigram.
+
+
+
+
+TRANSLATION OF A SOUTH AMERICAN ODE.
+
+From Letter cxiii of 'The Citizen of the World', 1762, ii. 209,
+first printed in 'The Public Ledger', May 13, 1761.
+
+
+
+
+THE DOUBLE TRANSFORMATION.
+
+'The Double Transformation' first appeared in 'Essays:  By Mr.
+Goldsmith", 1765, where it figures as Essay xxvi, occupying pp.
+229-33. It was revised for the second edition of 1766, becoming
+Essay xxviii, pp. 241-45. This is the text here followed. The
+poem is an obvious imitation of what its author calls ('Letters
+from a Nobleman to his Son', 1764, ii. 140) that 'French elegant
+easy manner of telling a story,' which Prior had caught from La
+Fontaine. But the inherent simplicity of Goldsmith's style is
+curiously evidenced by the absence of those illustrations and
+ingenious allusions which are Prior's chief characteristic. And
+although Goldsmith included 'The Ladle' and 'Hans Carvel' in his
+'Beauties of English Poesy', 1767, he refrained wisely from
+copying the licence of his model.
+
+l. 2.  -----
+        "Jack Book-worm led a college life".
+        The version of 1765 reads 'liv'd' for 'led.'
+
+l. 6.  -----
+        "And freshmen wonder'd as he spoke".
+        The earlier version adds here--
+
+        Without politeness aim'd at breeding,
+        And laugh'd at pedantry and reading.
+
+l. 18.  -----
+        "Her presence banish'd all his peace".
+
+        Here in the first version the paragraph closes,
+        and a fresh one is commenced as follows:--
+
+        Our alter'd Parson now began
+        To be a perfect ladies' man;
+        Made sonnets, lisp'd his sermons o'er,
+        And told the tales he told before,
+        Of bailiffs pump'd, and proctors bit,
+        At college how he shew'd his wit;
+        And, as the fair one still approv'd,
+        He fell in love--or thought he lov'd.
+        So with decorum, etc.
+
+        The fifth line was probably a reminiscence of the college riot
+        in which Goldsmith was involved in May, 1747, and for his part
+        in which he was publicly admonished. (See 'Introduction', p. xi,
+        l. 3.)
+
+l. 27.  -----
+        "usage".  This word, perhaps by a printer's error, is
+        'visage' in the first version
+
+l. 39.  -----
+        "Skill'd in no other arts was she".  Cf. Prior:--
+
+        For in all Visits who but She,
+        To Argue, or to Repartee.
+
+l. 46.  -----
+        "Five greasy nightcaps wrapp'd her head".  Cf.
+        'Spectator', No. 494--'At length the Head of the
+        Colledge came out to him, from an inner Room, with half
+        a Dozen Night-Caps upon his Head.' See also Goldsmith's
+        essay on the Coronation ('Essays', 1766, p. 238), where
+        Mr. Grogan speaks of his wife as habitually 'mobbed up
+        in flannel night caps, and trembling at a breath of
+        air.'
+
+l. 52.  -----
+        "By day, 'twas gadding or coquetting".  The first version after
+        'coquetting' begins a fresh paragraph with--
+
+        Now tawdry madam kept, etc.
+
+l. 58.  -----
+        "A sigh in suffocating smoke".
+        Here in the first version follows:--
+
+        She, in her turn, became perplexing,
+        And found substantial bliss in vexing.
+        Thus every hour was pass'd, etc.
+
+l. 61.  -----
+        "Thus as her faults each day were known".  First version:
+
+        'Each day, the more her faults,' etc.
+
+l. 71.  -----
+        "Now, to perplex".  The first version has 'Thus.'
+        But the alteration in line 61 made a change necessary.
+
+l. 85.  -----
+        "paste".  First version 'pastes.'
+
+l. 91.  -----
+        "condemn'd to hack", i.e. to hackney, to plod.
+
+
+
+
+
+A NEW SIMILE.
+
+The 'New Simile' first appears in 'Essays:  By Mr. Goldsmith, 1765, pp.
+234-6, where it forms Essay xxvii. In the second edition of 1766 it
+occupies pp. 246-8 and forms Essay xix. The text here followed is that
+of the second edition, which varies slightly from the first. In both
+cases the poem is followed by the enigmatical initials '*J. B.,' which,
+however, as suggested by Gibbs, may simply stand for 'Jack Bookworm' of
+'The Double Transformation'. (See p. 204.)
+
+l. 1.  -----
+        "Long had I sought in vain to find".  The text of 1765
+        reads--
+
+        'I long had rack'd my brains to find.'
+
+l. 6.  -----
+        "Tooke's Pantheon".  Andrew Tooke (1673-1732) was first
+        usher and then Master at the Charterhouse. In the latter
+        capacity he succeeded Thomas Walker, the master of Addison and
+        Steele. His 'Pantheon', a revised translation from the Latin of
+        the Jesuit, Francis Pomey, was a popular school-book of
+        mythology, with copper-plates.
+
+l. 16.  -----
+        "Wings upon either side--mark that".  The petasus of
+        Mercury, like his sandals (l. 24), is winged.
+
+l. 36.  -----
+        "No poppy-water half so good".  Poppy-water, made by
+        boiling the heads of the white, black, or red poppy, was a
+        favourite eighteenth-century soporific:--'Juno shall give her
+        peacock 'poppy-water', that he may fold his ogling tail.'
+        (Congreve's 'Love for Love', 1695, iv. 3.)
+
+l. 42.  -----
+        "With this he drives men's souls to hell".
+        Tu....
+        ....virgaque levem coerces
+        Aurea turbam.--Hor. 'Od'. i. 10.
+
+l. 57.  "Moreover, Merc'ry had a failing".
+        Te canam....
+        Callidum, quidquid placuit, iocoso
+        Condere furto.--Hor. 'Od'. i. 10.
+
+        Goldsmith, it will be observed, rhymes 'failing' and 'stealing.'
+        But Pope does much the same:--
+
+        That Jelly's rich, this Malmsey healing,
+        Pray dip your Whiskers and your tail in.
+                  ('Imitation of Horace', Bk. ii, Sat. vi.)
+
+        Unless this is to be explained by poetical licence, one of these
+        words must have been pronounced in the eighteenth century as it
+        is not pronounced now.
+
+l. 59.  -----
+        "In which all modern bards agree".
+        The text of 1765 reads 'our scribling bards.'
+
+
+
+
+
+
+
+EDWIN AND ANGELINA.
+
+This ballad, usually known as 'The Hermit', was written in or before
+1765, and printed privately in that year 'for the amusement of the
+Countess of Northumberland,' whose acquaintance Goldsmith had recently
+made through Mr. Nugent. (See the prefatory note to 'The Haunch of
+Venison'.) Its title was "'Edwin and Angelina. A Ballad'. By Mr.
+Goldsmith." It was first published in 'The Vicar of Wakefield', 1766,
+where it appears at pp. 70-7, vol. i. In July, 1767, Goldsmith was
+accused [by Dr. Kenrick] in the 'St. James's Chronicle' of having taken
+it from Percy's 'Friar of Orders Gray'. Thereupon he addressed a letter
+to the paper, of which the following is the material portion:--
+'Another Correspondent of yours accuses me of having taken a Ballad, I
+published some Time ago, from one by the ingenious Mr. Percy. I do not
+think there is any great Resemblance between the two Pieces in Question.
+If there be any, his Ballad is taken from mine. I read it to Mr. Percy
+some Years ago, and he (as we both considered these Things as Trifles at
+best) told me, with his usual Good Humour, the next Time I saw him, that
+he had taken my Plan to form the fragments of Shakespeare into a Ballad
+of his own. He then read me his little Cento, if I may so call it, and I
+highly approved it. Such petty Anecdotes as these are scarce worth
+printing, and were it not for the busy Disposition of some of your
+Correspondents, the Publick should never have known that he owes me the
+Hint of his Ballad, or that I am obliged to his Friendship and Learning
+for Communications of a much more important Nature. -- I am, Sir, your's
+etc. OLIVER GOLDSMITH.' ('St. James's Chronicle', July 23-5, 1767.) No
+contradiction of this statement appears to have been offered by Percy;
+but in re-editing his 'Reliques of Ancient English Poetry' in 1775,
+shortly after Goldsmith's death, he affixed this note to 'The Friar of
+Orders Gray:-- 'As the foregoing song has been thought to have
+suggested to our late excellent poet, Dr. Goldsmith, the plan of his
+beautiful ballad of 'Edwin and Emma [Angelina]', first printed
+[published?] in his 'Vicar of Wakefield', it is but justice to his
+memory to declare, that his poem was written first, and that if there is
+any imitation in the case, they will be found both to be indebted to the
+beautiful old ballad, 'Gentle Herdsman, etc.', printed in the second
+volume of this work, which the doctor had much admired in manuscript,
+and has finely improved' (vol. i. p. 250). The same story is told, in
+slightly different terms, at pp. 74-5 of the 'Memoir' of Goldsmith drawn
+up under Percy's superintendence for the 'Miscellaneous Works' of 1801,
+and a few stanzas of 'Gentle Herdsman', which Goldsmith is supposed to
+have had specially in mind, are there reproduced. References to them
+will be found in the ensuing notes. The text here adopted (with
+exception of ll. 117-20) is that of the fifth edition of 'The Vicar of
+Wakefield', 1773[4], i. pp. 78-85; but the variations of the earlier
+version of 1765 are duly chronicled, together with certain hitherto
+neglected differences between the first and later editions of the novel.
+The poem was also printed in the 'Poems for Young Ladies', 1767, pp.
+91-8*. The author himself, it may be added, thought highly of it. 'As to
+my "Hermit," that poem,' he is reported to have said, 'cannot be
+amended.' (Cradock's 'Memoirs', 1828, iv. 286.)
+
+[footnote] *This version differs considerably from the others, often
+following that of 1765; but it has not been considered necessary to
+record the variations here. That Goldsmith unceasingly revised the piece
+is sufficiently established.
+
+l. 1.  -----
+        "Turn, etc."  The first version has --
+
+        Deign saint-like tenant of the dale,
+        To guide my nightly way,
+        To yonder fire, that cheers the vale
+        With hospitable ray.
+
+l. 11.  -----
+        "For yonder faithless phantom flies".
+        'The Vicar of Wakefield', first edition, has --
+
+        'For yonder phantom only flies.'
+
+l. 30.  -----
+        "All".  'Vicar of Wakefield', first edition, 'For.'
+
+l. 31.  -----
+        "Man wants but little here below".  Cf. Young's 'Complaint',
+        1743, 'Night' iv. 9, of which this and the next line are a
+        recollection. According to Prior ('Life', 1837, ii. 83), they
+        were printed as a quotation in the version of 1765. Young's line
+        is--
+
+        Man wants but Little; nor that Little, long.
+
+l. 35.  -----
+        "modest".  'Vicar of Wakefield', first edition, 'grateful.'
+
+l. 37.  -----
+        "Far in a wilderness obscure".  First version, and 'Vicar of
+        Wakefield', first edition:--
+
+        Far shelter'd in a glade obscure
+        The modest mansion lay.
+
+l. 43.  -----
+        "The wicket, opening with a latch".  First version, and 'Vicar
+        of Wakefield', first edition:--
+
+        The door just opening with a latch.
+
+l. 45.  -----
+        "And now, when busy crowds retire".  First version, and 'Vicar
+        of Wakefield', first edition:--
+
+        And now, when worldly crowds retire
+        To revels or to rest.
+
+l. 57.  -----
+        "But nothing, etc."  In the first version this stanza runs as
+        follows:--
+
+        But nothing mirthful could assuage
+        The pensive stranger's woe;
+        For grief had seized his early age,
+        And tears would often flow.
+
+l. 78.  -----
+        "modern". 'Vicar of Wakefield', first edition, reads 'haughty.'
+
+l. 84.  -----
+        "His love-lorn guest betray'd".  First version, and 'Vicar of
+        Wakefield', first edition:--
+
+        The bashful guest betray'd.
+
+l. 85.  -----
+        "Surpris'd, he sees, etc."  First version, and 'Vicar of
+        Wakefield', first edition:--
+
+        He sees unnumber'd beauties rise,
+        Expanding to the view;
+        Like clouds that deck the morning skies,
+        As bright, as transient too.
+
+l. 89.  -----
+        "The bashful look, the rising breast".  First version,
+        and 'Vicar of Wakefield', first edition:--
+
+        Her looks, her lips, her panting breast.
+
+l. 97.  -----
+        "But let a maid, etc."  For this, and the next two stanzas,
+        the first version substitutes:--
+
+        Forgive, and let thy pious care
+        A heart's distress allay;
+        That seeks repose, but finds despair
+        Companion of the way.
+        My father liv'd, of high degree,
+        Remote beside the Tyne;
+        And as he had but only me,
+        Whate'er he had was mine.
+        To win me from his tender arms,
+        Unnumber'd suitors came;
+        Their chief pretence my flatter'd charms,
+        My wealth perhaps their aim.
+
+l. 109.  -----
+        "a mercenary crowd".  'Vicar of Wakefield', first edition, has:--
+
+         'the gay phantastic crowd.'
+
+l. 111.  -----
+        "Amongst the rest young Edwin bow'd".  First version:--
+
+         Among the rest young Edwin bow'd,
+         Who offer'd only love.
+
+l. 115.  -----
+         "Wisdom and worth, etc."  First version, and 'Vicar of
+         Wakefield', first edition:--
+
+         A constant heart was all he had,
+         But that was all to me.
+
+l. 117.  -----
+         "And when beside me, etc."  For this 'additional stanza,' says
+         the 'Percy Memoir', p. 76, 'the reader is indebted to Richard
+         Archdal, Esq., late a member of the Irish Parliament, to whom it
+         was presented by the author himself.' It was first printed in
+         the 'Miscellaneous Works', 1801, ii. 25. In Prior's edition of
+         the 'Miscellaneous Works', 1837, iv. 41, it is said to have been
+         'written some years after the rest of the poem.'
+
+l. 121.  -----
+         "The blossom opening to the day, etc."  For this and the next
+         two stanzas the first version substitutes:--
+
+        Whene'er he spoke amidst the train,
+        How would my heart attend!
+        And till delighted even to pain,
+        How sigh for such a friend!
+        And when a little rest I sought
+        In Sleep's refreshing arms,
+        How have I mended what he taught,
+        And lent him fancied charms!
+        Yet still (and woe betide the hour!)
+        I spurn'd him from my side,
+        And still with ill-dissembled power
+        Repaid his love with pride.
+
+l. 129.  -----
+         "For still I tried each fickle art, etc."  Percy finds the
+         prototype of this in the following stanza of 'Gentle Herdsman':--
+
+        And grew soe coy and nice to please,
+        As women's lookes are often soe,
+        He might not kisse, nor hand forsoothe,
+        Unlesse I willed him soe to doe.
+
+l. 133.  -----
+        "Till quite dejected with my scorn, etc."  The first edition
+        reads this stanza and the first two lines of the next thus:--
+
+        Till quite dejected by my scorn,
+        He left me to deplore;
+        And sought a solitude forlorn,
+        And ne'er was heard of more.
+        Then since he perish'd by my fault,
+        This pilgrimage I pay, etc.
+
+l. 135.  -----
+        "And sought a solitude forlorn".  Cf. 'Gentle Herdsman:--
+
+        He gott him to a secrett place,
+        And there he dyed without releeffe.
+
+l. 141.  -----
+        "And there forlorn, despairing, hid, etc."  The first edition
+        for this and the next two stanzas substitutes the following:--
+
+        And there in shelt'ring thickets hid,
+        I'll linger till I die;
+        'Twas thus for me my lover did,
+        And so for him will I.
+
+        'Thou shalt not thus,' the Hermit cried,
+        And clasp'd her to his breast;
+        The astonish'd fair one turned to chide, --
+        'Twas Edwin's self that prest.
+
+        For now no longer could he hide,
+        What first to hide he strove;
+        His looks resume their youthful pride,
+        And flush with honest love.
+
+l. 143.  -----
+        "'Twas so for me, etc."  Cf. 'Gentle Herdsman':--
+
+        Thus every day I fast and pray,
+        And ever will doe till I dye;
+        And gett me to some secret place,
+        For soe did hee, and soe will I.
+
+l. 145.  -----
+        "Forbid it, Heaven."  'Vicar of Wakefield', first edition,
+        like the version of 1765, has 'Thou shalt not thus.'
+
+l. 156.  -----
+        "My life."  'Vicar of Wakefield', first edition, has 'O thou.'
+
+l. 157.  -----
+        "No, never from this hour, etc."  The first edition reads:--
+
+        No, never, from this hour to part,
+        Our love shall still be new;
+        And the last sigh that rends thy heart,
+        Shall break thy Edwin's too.
+
+        The poem then concluded thus:--
+        Here amidst sylvan bowers we'll rove,
+        From lawn to woodland stray;
+        Blest as the songsters of the grove,
+        And innocent as they.
+
+        To all that want, and all that wail,
+        Our pity shall be given,
+        And when this life of love shall fail,
+        We'll love again in heaven.
+
+        These couplets, with certain alterations in the first and last
+        lines, are to be found in the version printed in 'Poems for
+        Young Ladies', 1767, p. 98.
+
+
+
+
+
+
+
+AN ELEGY ON THE DEATH OF A MAD DOG.
+
+This poem was first published in 'The Vicar of Wakefield', 1766, i.
+175-6, where it is sung by one of the little boys. In common with the
+'Elegy on Mrs. Mary Blaize' (p. 47) it owes something of its origin to
+Goldsmith's antipathy to fashionable elegiacs, something also to the
+story of M. de la Palisse. As regards mad dogs, its author seems to have
+been more reasonable than many of his contemporaries, since he
+ridiculed, with much common sense, their exaggerated fears on this
+subject ('v. Chinese Letter' in 'The Public Ledger' for August 29, 1760,
+afterwards Letter lxvi of 'The Citizen of the World', 1762, ii. 15). But
+it is ill jesting with hydrophobia. Like 'Madam Blaize', these verses
+have been illustrated by Randolph Caldecott.
+
+l. 5.   -----
+        "In Islington there was a man".  Goldsmith had lodgings at Mrs.
+        Elizabeth Fleming's in Islington (or 'Isling town' as the
+        earlier editions have it) in 1763-4; and the choice of the
+        locality may have been determined by this circumstance. But the
+        date of the composition of the poem is involved in the general
+        obscurity which hangs over the 'Vicar' in its unprinted state.
+        (See 'Introduction', pp. xviii-xix.)
+
+l. 19.  -----
+        "The dog, to gain some private ends".  The first edition reads
+        'his private ends.'
+
+l. 32.  -----
+        "The dog it was that died".  This catastrophe suggests the
+        couplet from the 'Greek Anthology',
+        ed. Jacobs, 1813-7, ii. 387:--
+
+        Kappadoken pot exidna kake daken alla kai aute
+        katthane, geusamene aimatos iobolou.
+
+        Goldsmith, however, probably went no farther back
+        than Voltaire on Freron:--
+
+        L'autre jour, au fond d'un vallon,
+        Un serpent mordit Jean Freron.
+        Devinez ce qu'il arriva?
+        Ce fut le serpent qui creva.
+
+This again, according to M. Edouard Fournier ('L'Esprit des Autres',
+sixth edition, 1881, p. 288), is simply the readjustment of an earlier
+quatrain, based upon a Latin distich in the 'Epigrammatum delectus',
+1659:--
+
+        Un gros serpent mordit Aurelle.
+        Que croyez-vous qu'il arriva?
+        Qu'Aurelle en mourut? -- Bagatelle!
+        Ce fut le serpent qui creva.
+
+
+
+
+SONG
+
+FROM 'THE VICAR OF WAKEFIELD.'
+
+First published in 'The Vicar of Wakefield', 1766, ii. 78 (chap. v).  It
+is there sung by Olivia Primrose, after her return home with her father.
+'Do, my pretty Olivia,' says Mrs. Primrose, let us have that little
+melancholy air your pappa was so fond of, your sister Sophy has already
+obliged us. Do child, it will please your old father.' 'She complied in
+a manner so exquisitely pathetic,' continues Dr. Primrose, 'as moved
+me.' The charm of the words, and the graceful way in which they are
+introduced, seem to have blinded criticism to the impropriety, and even
+inhumanity, of requiring poor Olivia to sing a song so completely
+applicable to her own case. No source has been named for this piece; and
+its perfect conformity with the text would appear to indicate that
+Goldsmith was not indebted to any earlier writer for his idea.
+
+His well-known obligations to French sources seem, however, to have
+suggested that, if a French original could not be discovered for the
+foregoing lyric, it might be desirable to invent one. A clever
+paragraphist in the 'St. James's Gazette' for January 28th, 1889,
+accordingly reproduced the following stanzas, which he alleged, were to
+be found in the poems of Segur, 'printed in Paris in 1719':--
+
+        Lorsqu'une femme, apres trop de tendresse,
+        D'un homme sent la trahison,
+        Comment, pour cette si douce foiblesse
+        Peut-elle trouver une guerison?
+
+        Le seul remede qu'elle peut ressentir,
+        La seul revanche pour son tort,
+        Pour faire trop tard l'amant repentir,
+        Helas!  trop tard -- est la mort.
+
+As a correspondent was not slow to point out, Goldsmith, if a copyist,
+at all events considerably improved his model (see in particular lines 7
+and 8 of the French). On the 30th of the month the late Sir William
+Fraser gave it as his opinion, that, until the volume of 1719 should be
+produced, the 'very inferior verses quoted' must be classed with the
+fabrications of 'Father Prout,' and he instanced that very version of
+the 'Burial of Sir John Moore' ('Les Funerailles de Beaumanoir') which
+has recently (August 1906) been going the round of the papers once
+again. No Segur volume of 1719 was, of course, forthcoming.
+
+Kenrick, as we have already seen, had in 1767 accused Goldsmith of
+taking 'Edwin and Angelina' from Percy (p. 206). Thirty years later, the
+charge of plagiarism was revived in a different way when 'Raimond and
+Angeline', a French translation of the same poem, appeared, as
+Goldsmith's original, in a collection of Essays called 'The Quiz', 1797.
+It was eventually discovered to be a translation 'from' Goldsmith by a
+French poet named Leonard, who had included it in a volume dated 1792,
+entitled 'Lettres de deux Amans, Habitans de Lyon' (Prior's 'Life',
+1837, ii. 89-94). It may be added that, according to the 'Biographie
+Universelle', 1847, vol. 18 (Art. 'Goldsmith'), there were then no fewer
+than at least three French imitations of 'The Hermit' besides Leonard's.
+
+
+
+
+
+
+EPILOGUE TO 'THE GOOD NATUR'D MAN.'
+
+Goldsmith's comedy of 'The Good Natur'd Man' was produced by Colman, at
+Covent Garden, on Friday, January 29, 1768. The following note was
+appended to the Epilogue when printed:-- 'The Author, in expectation of
+an Epilogue from a friend at Oxford, deferred writing one himself till
+the very last hour. What is here offered, owes all its success to the
+graceful manner of the Actress who spoke it.' It was spoken by Mrs.
+Bulkley, the 'Miss Richland' of the piece. In its first form it is to be
+found in 'The Public Advertiser' for February 3. Two days later the play
+was published, with the version here followed.
+
+l. 1.  -----
+        "As puffing quacks".  Goldsmith had devoted a Chinese
+        letter to this subject. See 'Citizen of the World', 1762, ii. 10
+        (Letter lxv).
+
+l. 17.  -----
+        "No, no:  I've other contests, etc."  This couplet is
+        not in the first version. The old building of the College of
+        Physicians was in Warwick Lane; and the reference is to the
+        long-pending dispute, occasionally enlivened by personal
+        collision, between the Fellows and Licentiates respecting the
+        exclusion of certain of the latter from Fellowships. On this
+        theme Bonnell Thornton, himself an M.B. like Goldsmith, wrote a
+        satiric additional canto to Garth's 'Dispensary', entitled 'The
+        Battle of the Wigs', long extracts from which are printed in
+        'The Gentleman's Magazine' for March, 1768, p. 132. The same
+        number also reviews 'The Siege of the Castle of Aesculapius, an
+        heroic Comedy, as it is acted in Warwick-Lane'. Goldsmith's
+        couplet is, however, best illustrated by the title of one of
+        Sayer's caricatures, 'The March of the Medical Militants to the
+        Siege of Warwick-Lane-Castle in the Year' 1767. The quarrel was
+        finally settled in favour of the college in June, 1771.
+
+l. 19.  -----
+        "Go, ask your manager".  Colman, the manager of Covent
+        Garden, was not a prolific, although he was a happy writer of
+        prologues and epilogues.
+
+l. 32.  -----
+        The quotation is from 'King Lear', Act iii, Sc. 4.
+
+l. 34.  -----
+        In the first version the last line runs:--
+
+        And view with favour, the 'Good-natur'd Man.'
+
+
+
+
+
+
+
+EPILOGUE TO 'THE SISTER.'
+
+'The Sister', produced at Covent Garden February 18, 1769, was a comedy
+by Mrs. Charlotte Lenox or Lennox, 'an ingenious lady,' says 'The
+Gentleman's Magazine' for April in the same year, 'well known in the
+literary world by her excellent writings, particularly the Female
+Quixote, and Shakespeare illustrated.... The audience expressed their
+disapprobation of it with so much clamour and appearance of prejudice,
+that she would not suffer an attempt to exhibit it a second time (p.
+199).' According to the same authority it was based upon one of the
+writer's own novels, 'Henrietta', published in 1758. Though tainted with
+the prevailing sentimentalism, 'The Sister' is described by Forster as
+'both amusing and interesting'; and it is probable that it was not
+fairly treated when it was acted. Mrs. Lenox (1720-1804), daughter of
+Colonel Ramsay, Lieut.-Governor of New York, was a favourite with the
+literary magnates of her day. Johnson was half suspected of having
+helped her in her book on Shakespeare; Richardson admitted her to his
+readings at Parson's Green; Fielding, who knew her, calls her, in the
+'Journal of a Voyage to Lisbon', 1755, p. 35 (first version), 'the
+inimitable author of the Female Quixote'; and Goldsmith, though he had
+no kindness for genteel comedy (see 'post', p. 228), wrote her this
+lively epilogue, which was spoken by Mrs. Bulkley, who personated the
+'Miss Autumn' of the piece. Mrs. Lenox died in extremely reduced
+circumstances, and was buried by the Right Hon. George Ross, who had
+befriended her later years. There are several references to her in
+Boswell's 'Life of Johnson'. (See also Hawkins' 'Life', 2nd ed. 1787,
+pp. 285-7.)
+
+
+
+
+
+
+
+PROLOGUE TO 'ZOBEIDE.'
+
+'Zobeide', a play by Joseph Cradock (1742-1826), of Gumley, in
+Leicestershire, was produced by Colman at Covent Garden on Dec. 11,
+1771. It was a translation from three acts of 'Les Scythes', an
+unfinished tragedy by Voltaire. Goldsmith was applied to, through the
+Yates's, for a prologue, and sent that here printed to the author of the
+play with the following note:-- 'Mr. Goldsmith presents his best
+respects to Mr. Cradock, has sent him the Prologue, such as it is. He
+cannot take time to make it better. He begs he will give Mr. Yates the
+proper instructions; and so, even so, commits him to fortune and the
+publick.' (Cradock's 'Memoirs', 1826, i. 224.) Yates, to the acting of
+whose wife in the character of the heroine the success of the piece,
+which ran for thirteen nights, was mainly attributable, was to have
+spoken the prologue, but it ultimately fell to Quick, later the 'Tony
+Lumpkin' of 'She Stoops to Conquer', who delivered it in the character
+of a sailor. Cradock seems subsequently to have sent a copy of 'Zobeide'
+to Voltaire, who replied in English as follows:--
+
+               9e. 8bre. 1773. a ferney.
+        Sr.
+        Thanks to yr muse a foreign copper shines
+        Turn'd in to gold, and coin'd in sterling lines.
+        You have done to much honour to an old sick man of eighty.
+        I am with the most sincere esteem and gratitude
+             Sr.
+                  Yr. obdt. Servt. Voltaire.
+        A Monsieur Monsieur J. Cradock.
+
+The text of the prologue is here given as printed in Cradock's
+'Memoirs', 1828, iii. 8-9. It is unnecessary to specify the variations
+between this and the earlier issue of 1771.
+
+l. 1.  -----
+        "In these bold times, etc."  The reference is to Cook,
+        who, on June 12, 1771, had returned to England in the
+        'Endeavour', after three years' absence, having gone to Otaheite
+        to observe the transit of Venus (l. 4).
+
+l. 5.  -----
+        "Botanists".  Mr. (afterward Sir Joseph) Banks and Dr.
+        Solander, of the British Museum, accompanied Cook.
+
+l. 6.  -----
+        "go simpling", i.e. gathering simples, or herbs.  Cf.
+        'Merry Wives of Windsor', Act iii, Sc. 3:--
+        '-- These lisping hawthorn buds that...
+        smell like Bucklersbury in 'simple'-time.'
+        In the caricatures of the day Solander figured as 'The
+        'simpling' Macaroni.' (See note, p. 247, l. 31.)
+
+l. 11.  -----
+        "With Scythian stores".  The scene of the play was laid
+        in Scythia ('v. supra').
+
+l. 28.  -----
+        "to make palaver", to hold a parley, generally with the
+        intention of cajoling. Two of Goldsmith's notes to Garrick in
+        1773 are endorsed by the actor -- 'Goldsmith's parlaver.'
+        (Forster's 'Life', 1871, ii. 397.)
+
+l. 32.  -----
+        "mercenary".  Cradock gave the profits of 'Zobeide' to
+        Mrs. Yates. 'I mentioned the disappointment it would be to you'
+        -- she says in a letter to him dated April 26, 1771 --' as you
+        had generously given the emoluments of the piece to me.'
+        ('Memoirs', 1828, iv. 211.)
+
+
+
+
+
+
+THRENODIA AUGUSTALIS.
+
+Augusta, widow of Frederick, Prince of Wales, and mother of George the
+Third, died at Carlton House, February 8, 1772. This piece was spoken
+and sung in Mrs. Teresa Cornelys's Great Room in Soho Square, on the
+Thursday following (the 20th), being sold at the door as a small quarto
+pamphlet, printed by William Woodfall. The author's name was not given;
+but it was prefaced by this 'advertisement,' etc.:--
+
+'The following may more properly be termed a compilation than a poem.
+It was prepared for the composer in little more than two days: and may
+be considered therefore rather as an industrious effort of gratitude
+than of genius. In justice to the composer it may likewise be right to
+inform the public, that the music was adapted in a period of time
+equally short.
+
+SPEAKERS.
+
+'Mr. Lee and Mrs. Bellamy'.
+
+SINGERS.
+
+'Mr. Champnes, Mr. Dine, and Miss Jameson; with twelve chorus singers.
+The music prepared and adapted by Signor Vento.'
+
+It is -- as Cunningham calls it -- a 'hurried and unworthy off-spring of
+the muse of Goldsmith.'
+
+(Part I).
+
+l. 122  "-----
+        Celestial-like her bounty fell".  The
+        Princess's benefactions are not exaggerated. 'She had paid off
+        the whole of her husband's debts, and she had given munificent
+        sums in charity. More than 10,000'l.' a year were given away by
+        her in pensions to individuals whom she judged deserving, very
+        few of whom were aware, until her death, whence the bounty came.
+        The whole of her income she spent in England, and very little on
+        herself' ('Augusta: Princess of Wales', by W. H. Wilkins,
+        'Nineteenth Century', October, 1903, p. 675).
+
+l. 132.  -----
+        "There faith shall come".  This, and the three lines
+        that follow, are borrowed from Collins's 'Ode written in the
+        beginning of the year' 1746.
+
+(Part II).
+
+l. 22 "-----
+        The towers of Kew".  'The embellishments of
+        Kew palace and gardens, under the direction of [Sir William]
+        Chambers, and others, was the favourite object of her [Royal
+        Highness's] widowhood' (Bolton Corney).
+
+l. 77.  -----
+        "Along the billow'd main".  Cf. 'The Captivity', Act ii,
+        I. 18.
+
+l. 83.  -----
+        "Oswego's dreary shores".  Cf. 'The Traveller', l. 411.
+
+l. 91.  -----
+        "And with the avenging fight".  Varied from Collins's
+        'Ode on the Death of Colonel Charles Ross at Fontenoy'.
+
+l. 177.  -----
+        "Its earliest bloom".  Cf. Collins's 'Dirge in Cymbeline'.
+
+
+
+
+
+
+SONG
+
+FROM 'SHE STOOPS TO CONQUER.'
+
+This thoroughly characteristic song, for a parallel to which one must go
+to Congreve, or to the 'Here's to the maiden of bashful fifteen' of 'The
+School for Scandal', has one grave defect, -- it is too good to have
+been composed by Tony Lumpkin, who, despite his inability to read
+anything but 'print-hand,' declares, in Act i. Sc. 2 of 'She Stoops to
+Conquer', 1773, that he himself made it upon the ale-house ('The Three
+Pigeons') in which he sings it, and where it is followed by the annexed
+comments, directed by the author against the sentimentalists, who, in
+'The Good Natur'd Man' of five years before, had insisted upon the
+omission of the Bailiff scene:--
+
+'OMNES.
+Bravo, bravo!
+
+'First' FELLOW.
+The 'Squire has got spunk in him.
+
+'Second' FELLOW.
+I loves to hear him sing, bekeays he never gives us nothing
+that's 'low'...
+
+'Fourth' FELLOW.
+The genteel thing is the genteel thing at any time.  If so be that a
+gentleman bees in a concatenation accordingly.
+
+'Third' FELLOW.
+I like the maxum of it, Master Muggins.  What, tho' I am obligated to
+dance a bear, a man may be a gentleman for all that. May this be my
+poison if my bear ever dances but to the very genteelest of tunes.
+'Water parted'*, or the minuet in 'Ariadne'.'
+
+[footnote] *i.e. Arne's 'Water Parted from the Sea', -- the song of
+Arbaces in the opera of 'Artaxerxes, 1762. The minuet in 'Ariadne' was
+by Handel. It came at the end of the overture, and is said to have been
+the best thing in the opera.
+
+l. 9.  -----
+        "When Methodist preachers, etc."  Tony Lumpkin's
+        utterance accurately represents the view of this sect taken by
+        some of his contemporaries. While moderate and just spectators
+        of the Johnson type could recognize the sincerity of men, who,
+        like Wesley, travelled 'nine hundred miles in a month, and
+        preached twelve times a week' for no ostensibly adequate reward,
+        there were others who saw in Methodism, and especially in the
+        extravagancies of its camp followers, nothing but cant and
+        duplicity. It was this which prompted on the stage Foote's
+        'Minor' (1760) and Bickerstaffe's 'Hypocrite' (1768); in art the
+        'Credulity, Superstition, and Fanaticism' of Hogarth (1762); and
+        in literature the 'New Bath Guide' of Anstey (1766), the
+        'Spiritual Quixote' of Graves, 1772, and the sarcasms of Sterne,
+        Smollett and Walpole.
+
+        It is notable that the most generous contemporary portrait of
+        these much satirised sectaries came from one of the originals of
+        the 'Retaliation' gallery. Scott highly praises the character of
+        Ezekiel Daw in Cumberland's 'Henry', 1795, adding, in his large
+        impartial fashion, with reference to the general practice of
+        representing Methodists either as idiots or hypocrites, 'A very
+        different feeling is due to many, perhaps to most, of this
+        enthusiastic sect; nor is it rashly to be inferred, that he who
+        makes religion the general object of his life, is for that sole
+        reason to be held either a fool or an impostor.' (Scott's
+        'Miscellaneous Prose Works', 1834, iii. 222.)
+
+l. 23.  -----
+        "But of all the birds in the air".  Hypercriticism may
+        object that 'the hare' is not a bird. But exigence of rhyme has
+        to answer for many things. Some editors needlessly read 'the
+        'gay' birds' to lengthen the line. There is no sanction for this
+        in the earlier editions.
+
+
+
+
+
+
+
+EPILOGUE TO 'SHE STOOPS TO CONQUER.'
+
+This epilogue was spoken by Mrs. Bulkley in the character of
+Miss Hardcastle. It is probably the epilogue described by
+Goldsmith to Cradock, in the letter quoted at p. 246, as 'a very
+mawkish thing,' a phrase not so incontestable as Bolton Corney's
+remark that it is 'an obvious imitation of Shakespere.'
+
+l. 6.  -----
+        "That pretty Bar-maids have done execution".  Cf. 'The
+        Vicar of Wakefield', 1766, i. 7:-- 'Sophia's features were not
+        so striking at first; but often did more certain execution.'
+
+l. 16.  -----
+        "coquets the guests".  Johnson explains this word 'to
+        entertain with compliments and amorous tattle,' and quotes the
+        following illustration from Swift, 'You are 'coquetting' a maid
+        of honour, my lord looking on to see how the gamesters play, and
+        I railing at you both.'
+
+l. 26.  -----
+        "Nancy Dawson".  Nancy Dawson was a famous 'toast' and
+        horn-pipe dancer, who died at Haverstock Hill, May 27, 1767, and
+        was buried behind the Foundling, in the burial-ground of St.
+        George the Martyr. She first appeared at Sadler's Wells, and
+        speedily passed to the stage of Covent Garden, where she danced
+        in the 'Beggar's Opera'. There is a portrait of her in the
+        Garrick Club, and there are several contemporary prints. She was
+        the heroine of a popular song, here referred to, beginning:--
+
+        Of all the girls in our town,
+        The black, the fair, the red, the brown,
+        Who dance and prance it up and down,
+        There's none like Nancy Dawson:
+        Her easy mien, her shape so neat,
+        She foots, she trips, she looks so sweet,
+        Her ev'ry motion is complete;
+        I die for Nancy Dawson.
+
+        Its tune -- says J. T. Smith ('Book for a Rainy Day', Whitten's
+        ed., 1905, p. 10) was 'as lively as that of "Sir Roger de
+        Coverley."'
+
+        "Che faro", i.e. 'Che faro senza Euridice', the lovely lament
+        from Gluck's 'Orfeo', 1764.
+
+l. 28.  -----
+        "the Heinel of Cheapside".  The reference is to
+        Mademoiselle Anna-Frederica Heinel, 1752-1808, a beautiful
+        Prussian, subsequently the wife of Gaetano Apollino Balthazar
+        Vestris, called 'Vestris the First.' After extraordinary success
+        as a 'danseuse' at Stuttgard and Paris, where Walpole saw her in
+        1771 (Letter to the Earl of Strafford 25th August), she had come
+        to London; and, at this date, was the darling of the Macaronies
+        (cf. the note on p. 247, l. 31), who, from their club, added a
+        'regallo' (present) of six hundred pounds to the salary allowed
+        her at the Haymarket. On April 1, 1773, Metastasio's 'Artaserse'
+        was performed for her benefit, when she was announced to dance a
+        minuet with Monsieur Fierville, and 'Tickets were to be hand, at
+        her house in Piccadilly, two doors from Air Street.'
+
+l. 31.  -----
+        "spadille", i.e. the ace of spades, the first trump in
+        the game of Ombre. Cf. Swift's 'Journal of a Modern Lady in a
+        Letter to a Person of Quality', 1728:--
+
+        She draws up card by card, to find
+        Good fortune peeping from behind;
+        With panting heart, and earnest eyes,
+        In hope to see 'spadillo' rise;
+        In vain, alas!  her hope is fed;
+        She draws an ace, and sees it red.
+
+l. 35.  -----
+        "Bayes".  The chief character in Buckingham's
+        'Rehearsal', 1672, and intended for John Dryden. Here the name
+        is put for the 'poet' or 'dramatist.' Cf. Murphy's Epilogue to
+        Cradock's 'Zobeide', 1771:--
+
+        Not e'en poor 'Bayes' within must hope to be
+        Free from the lash:-- His Play he writ for me
+        'Tis true -- and now my gratitude you'll see;
+
+        and Colman's Epilogue to 'The School for Scandal', 1777:--
+        So wills our virtuous bard -- the motley 'Bayes'
+        Of crying epilogues and laughing plays!
+
+
+
+
+
+
+
+RETALIATION.
+
+'Retaliation:  A Poem.  By Doctor Goldsmith.  Including Epitaphs on the
+Most Distinguished Wits of this Metropolis', was first published by G.
+Kearsly in April, 1774, as a 4to pamphlet of 24 pp. On the title-page is
+a vignette head of the author, etched by James Basire, after Reynolds's
+portrait; and the verses are prefaced by an anonymous letter to the
+publisher, concluding as follows:-- 'Dr. Goldsmith 'belonged to a Club
+of' Beaux Esprits, 'where Wit sparkled sometimes at the Expence of
+Good-nature. It was proposed to write Epitaphs on the Doctor; his
+Country, Dialect and Person, furnished Subjects of Witticism. -- The
+Doctor was called on for' Retaliation, 'and at their next Meeting
+produced the following Poem, which I think adds one Leaf to his immortal
+Wreath.' This account seems to have sufficed for Evans, Percy, and the
+earlier editors. But in vol. i. p. 78 of his edition of Goldsmith's
+'Works', 1854, Mr. Peter Cunningham published for the first time a
+fuller version of the circumstances, derived from a manuscript lent to
+him by Mr. George Daniel of Islington; and (says Mr. Cunningham)
+'evidently designed as a preface to a collected edition of the poems
+which grew out of Goldsmith's trying his epigrammatic powers with
+Garrick.' It is signed 'D. Garrick.' 'At a meeting' -- says the writer
+-- 'of a company of gentlemen, who were well known to each other, and
+diverting themselves, among many other things, with the peculiar
+oddities of Dr. Goldsmith, who would never allow a superior in any art,
+from writing poetry down to dancing a horn-pipe, the Dr. with great
+eagerness insisted upon trying his epigrammatic powers with Mr. Garrick,
+and each of them was to write the other's epitaph. Mr. Garrick
+immediately said that his epitaph was finished, and spoke the following
+distich extempore:--
+
+Here lies NOLLY Goldsmith, for shortness call'd Noll,
+Who wrote like an angel, but talk'd like poor Poll.
+
+Goldsmith, upon the company's laughing very heartily, grew very
+thoughtful, and either would not, or could not, write anything at that
+time: however, he went to work, and some weeks after produced the
+following printed poem called 'Retaliation', which has been much
+admired, and gone through several editions.' This account, though
+obviously from Garrick's point of view, is now accepted as canonical,
+and has superseded those of Davies, Cradock, Cumberland, and others, to
+which some reference is made in the ensuing notes.
+
+A few days after the publication of the first edition, which appeared on
+the 18th or 19th of April, a 'new' or second edition was issued, with
+four pages of 'Explanatory Notes, Observations, etc.' At the end came
+the following announcement:-- 'G. Kearsly, the Publisher, thinks it his
+duty to declare, that Dr. Goldsmith wrote the Poem as it is here
+printed, a few errors of the press excepted, which are taken notice of
+at the bottom of this page.' From this version 'Retaliation' is here
+reproduced. In the third edition, probably in deference to some wounded
+susceptibilities, the too comprehensive 'most Distinguished Wits of the
+Metropolis' was qualified into ''some of the most' Distinguished Wits,'
+etc., but no further material alteration was made in the text until the
+suspicious lines on Caleb Whitefoord were added to the fifth edition.
+
+With the exception of Garrick's couplet, and the fragment of Whitefoord
+referred to at p. 234, none of the original epitaphs upon which
+Goldsmith was invited to 'retaliate' have survived. But the unexpected
+ability of the retort seems to have prompted a number of 'ex post facto'
+performances, some of which the writers would probably have been glad to
+pass off as their first essays. Garrick, for example, produced three
+short pieces, one of which ('Here, Hermes! says Jove, who with nectar
+was mellow') hits off many of Goldsmith's contradictions and foibles
+with considerable skill ('v'. Davies's 'Garrick', 2nd ed., 1780, ii.
+157). Cumberland ('v. Gent. Mag'., Aug. 1778, p. 384) parodied the
+poorest part of 'Retaliation', the comparison of the guests to dishes,
+by likening them to liquors, and Dean Barnard in return rhymed upon
+Cumberland. He wrote also an apology for his first attack, which is said
+to have been very severe, and conjured the poet to set his wit at
+Garrick, who, having fired his first shot, was keeping out of the way:--
+
+        On him let all thy vengeance fall;
+        On me you but misplace it:
+        Remember how he called thee 'Poll' --
+        But, ah!  he dares not face it.
+
+For these, and other forgotten pieces arising out of 'Retaliation',
+Garrick had apparently prepared the above-mentioned introduction. It may
+be added that the statement, prefixed to the first edition, that
+'Retaliation', as we now have it, was produced at the 'next meeting' of
+the Club, is manifestly incorrect. It was composed and circulated in
+detached fragments, and Goldsmith was still working at it when he was
+seized with his last illness.
+
+l. 1.  -----
+        "Of old, when Scarron, etc."  Paul Scarron (1610-60), the
+        author 'inter alia' of the 'Roman Comique', 1651-7, upon a
+        translation of which Goldsmith was occupied during the last
+        months of his life. It was published by Griffin in 1776.
+
+l. 2.  -----
+        "Each guest brought his dish".  'Chez Scarron,' -- says
+        his editor, M. Charles Baumet, when speaking of the poet's
+        entertainments, -- 'venait d'ailleurs l'elite des dames, des
+        courtisans & des hommes de lettres. On y dinait joyeusement.
+        'Chacun apportait son plat'.' ('Oeuvres de Scarron', 1877, i.
+        viii.) Scarron's company must have been as brilliant as
+        Goldsmith's. Villarceaux, Vivonne, the Marechal d'Albret,
+        figured in his list of courtiers; while for ladies he had
+        Mesdames Deshoulieres, de Scudery, de la Sabliere, and de
+        Sevigne, to say nothing of Ninon de Lenclos and Marion Delorme.
+        (Cf. also Guizot, 'Corneille et son Temps', 1862, 429-30.)
+
+l. 3.  -----
+        "If our landlord".  The 'explanatory note' to the second
+        edition says -- 'The master of the St. James's coffee-house,
+        where the Doctor, and the friends he has characterized in this
+        Poem, held an occasional club.' This, it should be stated, was
+        not the famous 'Literary Club,' which met at the Turk's Head
+        Tavern in Gerrard Street. The St. James's Coffee-house, as
+        familiar to Swift and Addison at the beginning, as it was to
+        Goldsmith and his friends at the end of the eighteenth century,
+        was the last house but one on the south-west corner of St.
+        James's Street. It now no longer exists. Cradock ('Memoirs',
+        1826, i. 228-30) speaks of dining 'at the bottom of St. James's
+        Street' with Goldsmith, Percy, the two Burkes ('v. infra'),
+        Johnson, Garrick, Dean Barnard, and others. 'We sat very late;'
+        he adds in conclusion, 'and the conversation that at last
+        ensued, was the direct cause of my friend Goldsmith's poem,
+        called "Retaliation."'
+
+l. 5.  -----
+        "Our Dean".  Dr. Thomas Barnard, an Irishman, at this
+        time Dean of Derry. He died at Wimbledon in 1806. It was Dr.
+        Barnard who, in reply to a rude sally of Johnson, wrote the
+        charming verses on improvement after the age of forty-five,
+        which end --
+
+        If I have thoughts, and can't express them,
+        Gibbon shall teach me how to dress them,
+        In terms select and terse;
+        Jones teach me modesty and Greek,
+        Smith how to think, Burke how to speak,
+        And Beauclerk to converse.
+        Let Johnson teach me how to place
+        In fairest light, each borrow'd grace,
+        From him I'll learn to write;
+        Copy his clear, familiar style,
+        And from the roughness of his file
+        Grow like himself -- polite.
+
+        (Northcote's 'Life of Reynolds', 2nd ed., 1819, i. 221.)
+        According to Cumberland ('Memoirs', 1807, i. 370), 'The dean
+        also gave him [Goldsmith] an epitaph, and Sir Joshua illuminated
+        the dean's verses with a sketch of his bust in pen and ink
+        inimitably caricatured.' What would collectors give for that
+        sketch and epitaph! Unfortunately in Cumberland's septuagenarian
+        recollections the 'truth severe' is mingled with an unusual
+        amount of 'fairy fiction.' However Sir Joshua 'did' draw
+        caricatures, for a number of them were exhibited at the
+        Grosvenor Gallery (by the Duke of Devonshire) in the winter of
+        1883-4.
+
+l. 6.  -----
+        "Our Burke".  The Right Hon. Edmund Burke, 1729-97.
+
+l. 7.  -----
+        "Our Will".  'Mr. William Burke, late Secretary to
+        General Conway, and member for Bedwin, Wiltshire' (Note to
+        second edition). He was a kinsman of Edmund Burke, and one of
+        the supposed authors of Junius's 'Letters'. He died in 1798. 'It
+        is said that the notices Goldsmith first wrote of the Burkes
+        were so severe that Hugh Boyd persuaded the poet to alter them,
+        and entirely rewrite the character of William, for he was sure
+        that if the Burkes saw what was originally written of them the
+        peace of the Club would be disturbed.' (Rev. W. Hunt in 'Dict.
+        Nat. Biography', Art. 'William Burke.')
+
+l. 8.  -----
+        "And Dick".  Richard Burke, Edmund Burke's younger
+        brother. He was for some years Collector to the Customs at
+        Grenada, being on a visit to London when 'Retaliation' was
+        written (Forster's 'Life', 1871, ii. 404). He died in 1794,
+        Recorder of Bristol.
+
+l. 9.  -----
+        "Our Cumberland's sweetbread".  Richard Cumberland, the
+        poet, novelist, and dramatist, 1731-1811, author of 'The West
+        Indian', 1771, 'The Fashionable Lover', 1772, and many other
+        more or less sentimental plays. In his 'Memoirs', 1807, i.
+        369-71, he gives an account of the origin of 'Retaliation',
+        which adds a few dubious particulars to that of Garrick. But it
+        was written from memory long after the events it records.
+
+l. 10.  -----
+        "Douglas".  'Dr. Douglas, since Bishop of Salisbury,'
+        says Cumberland. He died in 1807 ('v. infra').
+
+l. 14.  -----
+        "Ridge".  'Counsellor John Ridge, a gentleman belonging
+        to the Irish Bar' (Note to second edition). 'Burke,' says Bolton
+        Corney, 'in 1771, described him as "one of the honestest and
+        best-natured men living, and inferior to none of his profession
+        in ability."' (See also note to line 125.)
+
+l. 15.  -----
+        "Hickey".  The commentator of the second edition of
+        'Retaliation' calls this gentleman 'honest Tom Hickey'. His
+        Christian name, however, was 'Joseph' (Letter of Burke, November
+        8, 1774). He was a jovial, good-natured, over-blunt Irishman,
+        the legal adviser of both Burke and Reynolds. Indeed it was
+        Hickey who drew the conveyance of the land on which Reynolds's
+        house 'next to the Star and Garter' at Richmond (Wick House) was
+        built by Chambers the architect. Hickey died in 1794. Reynolds
+        painted his portrait for Burke, and it was exhibited at the
+        Royal Academy in 1772 (No. 208). In 1833 it belonged to Mr. T.
+        H. Burke. Sir Joshua also painted Miss Hickey in 1769-73. Her
+        father, not much to Goldsmith's satisfaction, was one of the
+        Paris party in 1770. See also note to l. 125.
+
+l. 16.  -----
+        "Magnanimous Goldsmith".  According to Malone
+        (Reynolds's 'Works', second edition, 1801, i. xc), Goldsmith
+        intended to have concluded with his own character.
+
+l. 34.  -----
+        "Tommy Townshend", M.P. for Whitchurch, Hampshire,
+        afterwards first Viscount Sydney. He died in 1800. Junius says
+        Bolton Corney, gives a portrait of him as 'still life'. His
+        presence in 'Retaliation' is accounted for by the fact that he
+        had commented in Parliament upon Johnson's pension. 'I am well
+        assured,' says Boswell, 'that Mr. Townshend's attack upon
+        Johnson was the occasion of his "hitching in a rhyme"; for, that
+        in the original copy of Goldsmith's character of Mr. Burke, in
+        his 'Retaliation' another person's name stood in the couplet
+        where Mr. Townshend is now introduced.' (Birkbeck Hill's
+        'Boswell', 1887, iv. 318.)
+
+l. 35.  -----
+        "too deep for his hearers".  'The emotion to which he
+        commonly appealed was that too rare one, the love of wisdom, and
+        he combined his thoughts and knowledge in propositions of wisdom
+        so weighty and strong, that the minds of ordinary hearers were
+        not on the instant prepared for them.' (Morley's 'Burke', 1882,
+        209-10.)
+
+l. 36.  -----
+        "And thought of convincing, while they thought of
+        dining". For the reason given in the previous note, many of
+        Burke's hearers often took the opportunity of his rising to
+        speak, to retire to dinner. Thus he acquired the nickname of the
+        'Dinner Bell.'
+
+l. 42.  -----
+        "To eat mutton cold".  There is a certain resemblance
+        between this character and Gray's lines on himself written in
+        1761, beginning 'Too poor for a bribe, and too proud to
+        importune.' (See Gosse's 'Gray's Works', 1884, i. 127.) But both
+        Gray and Goldsmith may have been thinking of a line in the once
+        popular song of 'Ally Croaker':--
+
+        Too dull for a wit, too grave for a joker.
+
+l. 43.  -----
+        "honest William", i.e. William Burke ('v. supra').
+
+l. 54.  -----
+        "Now breaking a jest, and now breaking a limb".  A note
+        to the second edition says -- 'The above Gentleman [Richard
+        Burke, 'v. supra'] having slightly fractured one of his arms and
+        legs, at different times, the Doctor [i.e. Goldsmith] has
+        rallied him on those accidents, as a kind of 'retributive'
+        justice for breaking his jests on other people.'
+
+l. 61.  -----
+        "Here Cumberland lies".  According to Boaden's 'Life of
+        Kemble', 1825, i. 438, Mrs. Piozzi rightly regarded this
+        portrait as wholly ironical; and Bolton Corney, without much
+        expenditure of acumen, discovers it to have been written in a
+        spirit of 'persiflage'. Nevertheless, Cumberland himself
+        ('Memoirs', 1807, i. 369) seems to have accepted it in good
+        faith. Speaking of Goldsmith he says -- I conclude my account of
+        him with gratitude for the epitaph he bestowed on me in his poem
+        called 'Retaliation'.' From the further details which he gives
+        of the circumstances, it would appear that his own performance,
+        of which he could recall but one line --
+
+        All mourn the poet, I lament the man --
+
+        was conceived in a less malicious spirit than those of the
+        others, and had predisposed the sensitive bard in his favour.
+        But no very genuine cordiality could be expected to exist
+        between the rival authors of 'The West Indian' and 'She Stoops
+        to Conquer'.
+
+l. 66.  -----
+        "And Comedy wonders at being so fine".  It is
+        instructive here to transcribe Goldsmith's serious opinion of
+        the kind of work which Cumberland essayed:-- 'A new species of
+        Dramatic Composition has been introduced, under the name of
+        'Sentimental' Comedy, in which the virtues of Private Life are
+        exhibited, rather than the Vices exposed; and the Distresses
+        rather than the Faults of Mankind, make our interest in the
+        piece.... In these Plays almost all the Characters are good, and
+        exceedingly generous; they are lavish enough of their 'Tin'
+        Money on the Stage, and though they want Humour, have abundance
+        of Sentiment and Feeling. If they happen to have Faults or
+        Foibles, the Spectator is taught not only to pardon, but to
+        applaud them, in consideration of the goodness of their hearts;
+        so that Folly, instead of being ridiculed, is commended, and the
+        Comedy aims at touching our Passions without the power of being
+        truly pathetic.' ('Westminster Magazine', 1772, i. 5.) Cf. also
+        the 'Preface to The Good Natur'd Man', where he 'hopes that too
+        much refinement will not banish humour and character from our's,
+        as it has already done from the French theatre. Indeed the
+        French comedy is now become so very elevated and sentimental,
+        that it has not only banished humour and 'Moliere' from the
+        stage, but it has banished all spectators too.'
+
+l. 80.  -----
+        "The scourge of impostors, the terror of quacks".  Dr.
+        John Douglas ('v. supra') distinguished himself by his exposure
+        of two of his countrymen, Archibald Bower, 1686-1766, who, being
+        secretly a member of the Catholic Church, wrote a 'History of
+        the Popes'; and William Lauder 1710-1771, who attempted to prove
+        Milton a plagiarist. Cf. Churchill's 'Ghost', Bk. ii:--
+
+        By TRUTH inspir'd when 'Lauder's' spight
+        O'er MILTON cast the Veil of Night,
+        DOUGLAS arose, and thro' the maze
+        Of intricate and winding ways,
+        Came where the subtle Traitor lay,
+        And dragg'd him trembling to the day.
+
+        'Lauder on Milton' is one of the books bound to the
+        trunk-maker's in Hogarth's 'Beer Street', 1751. He imposed on
+        Johnson, who wrote him a 'Preface' and was consequently trounced
+        by Churchill ('ut supra') as 'our Letter'd POLYPHEME.'
+
+l. 86.  -----
+        "Our Dodds shall be pious".  The reference is to the
+        Rev. Dr. William Dodd, who three years after the publication of
+        'Retaliation' (i.e. June 27, 1777) was hanged at Tyburn for
+        forging the signature of the fifth Earl of Chesterfield, to whom
+        he had been tutor. His life previously had long been scandalous
+        enough to justify Goldsmith's words. Johnson made strenuous and
+        humane exertions to save Dodd's life, but without avail. (See
+        Birkbeck Hill's 'Boswell', 1887, iii. 139-48.) There is an
+        account of Dodd's execution at the end of vol. i of Angelo's
+        'Reminiscences', 1830.
+
+        "our Kenricks".  Dr. William Kenrick -- say the earlier
+        annotators -- who 'read lectures at the Devil Tavern, under the
+        Title of "The School of Shakespeare."' The lectures began
+        January 19, 1774, and help to fix the date of the poem.
+        Goldsmith had little reason for liking this versatile and
+        unprincipled Ishmaelite of letters, who, only a year before, had
+        penned a scurrilous attack upon him in 'The London Packet'.
+        Kenrick died in 1779.
+
+l. 87.  -----
+        "Macpherson".  'David [James] Macpherson, Esq.; who
+        lately, from the mere 'force of his style', wrote down the first
+        poet of all antiquity.' (Note to second edition.) This was
+        'Ossian' Macpherson, 1738-96, who, in 1773, had followed up his
+        Erse epics by a prose translation of Homer, which brought him
+        little but opprobrium. 'Your abilities, since your Homer, are
+        not so formidable,' says Johnson in the knockdown letter which
+        he addressed to him in 1775. (Birkbeck Hill's 'Boswell', 1887,
+        ii. 298.)
+
+l. 88.  -----
+        "Our Townshend".  See note to line 34.
+
+l. 89.  -----
+        "New Lauders and Bowers".  See note to l. 80.
+
+l. 92.  -----
+        "And Scotchman meet Scotchman, and cheat in the dark".
+        Mitford compares Farquhar's 'Love and a Bottle', 1699, Act iii--
+
+        But gods meet gods and jostle in the dark.
+
+        But Farquhar was quoting from Dryden and Lee's 'Oedipus', 1679,
+        Act iv (at end).
+
+l. 93.  -----
+        "Here lies David Garrick".  'The sum of all that can be
+        said for and against Mr. Garrick, some people think, may be
+        found in these lines of Goldsmith,' writes Davies in his 'Life
+        of Garrick', 2nd ed., 1780, ii. 159. Posterity has been less
+        hesitating in its verdict. 'The lines on Garrick,' says Forster,
+        'Life of Goldsmith', 1871, ii. 409, 'are quite perfect writing.
+        Without anger, the satire is finished, keen, and uncompromising;
+        the wit is adorned by most discriminating praise; and the truth
+        is only the more unsparing for its exquisite good manners and
+        good taste.'
+
+l. 115.  -----
+        "Ye Kenricks".  See note to line 86.
+
+        "ye Kellys".  Hugh Kelly (1739-1777), an Irishman, the author of
+        'False Delicacy', 1768; 'A Word to the Wise', 1770; 'The School
+        for Wives', 1774, and other 'sentimental dramas,' is here
+        referred to. His first play, which is described in Garrick's
+        prologue as a 'Sermon,' 'preach'd in Acts,' was produced at
+        Drury Lane just six days before Goldsmith's comedy of 'The Good
+        Natur'd Man' appeared at Covent Garden, and obtained a success
+        which it ill deserved. 'False Delicacy' -- said Johnson truly
+        (Birkbeck Hill's 'Boswell', 1887, ii. 48) -- 'was totally void
+        of character,' -- a crushing accusation to make against a drama.
+        But Garrick, for his private ends, had taken up Kelly as a rival
+        to Goldsmith; and the 'comedie serieuse' or 'larmoyante' of La
+        Chaussee, Sedaine, and Diderot had already found votaries in
+        England. 'False Delicacy', weak, washy, and invertebrate as it
+        was, completed the transformation of 'genteel' into
+        'sentimental' comedy, and establishing that 'genre' for the next
+        few years, effectually retarded the wholesome reaction towards
+        humour and character which Goldsmith had tried to promote by
+        'The Good Natur'd Man'. (See note to l. 66.)
+
+        "Woodfalls".  'William Woodfall' -- says Bolton Corney --
+        'successively editor of 'The London Packet' and 'The Morning
+        Chronicle', was matchless as a reporter of speeches, and an able
+        theatrical critic. He made lofty pretensions to editorial
+        impartiality -- but the actor [i.e. Garrick] was not 'always'
+        satisfied.' He died in 1803. He must not be confounded with
+        Henry Sampson Woodfall, the editor of Junius's 'Letters'. (See
+        note to l. 162.)
+
+l. 120.  -----
+        "To act as an angel".  There is a sub-ironic touch in
+        this phrase which should not be overlooked. Cf. l. 102.
+
+l. 125.  -----
+        "Here Hickey reclines".  See note to l. 15.  In
+        Cumberland's 'Poetical Epistle to Dr. Goldsmith; or Supplement
+        to his Retaliation' {'Gentleman's Magazine', Aug. 1778, p. 384)
+        Hickey's genial qualities are thus referred to:--
+
+        Give RIDGE and HICKY, generous souls!
+        Of WHISKEY PUNCH convivial bowls.
+
+l. 134.  -----
+        "a special attorney".  A special attorney was merely an
+        attorney who practised in one court only. The species is now
+        said to be extinct.
+
+l. 135.  -----
+        "burn ye".  The annotator of the second edition,
+        apologizing for this 'forced' rhyme to 'attorney,' informs the
+        English reader that the phrase of 'burn ye' is 'a familiar
+        method of salutation in Ireland amongst the lower classes of the
+        people.'
+
+l. 137.  -----
+        "Here Reynolds is laid".  This shares the palm with the
+        admirable epitaphs on Garrick and Burke. But Goldsmith loved
+        Reynolds, and there are no satiric strokes in the picture. If we
+        are to believe Malone (Reynolds's 'Works', second edition, 1801,
+        i. xc), 'these were the last lines the author wrote.'
+
+l. 140.  -----
+        "bland".  Malone ('ut supra', lxxxix) notes this word
+        as 'eminently happy, and characteristick of his [Reynolds's]
+        easy and placid manners.' Boswell (Dedication of 'Life of
+        Johnson') refers to his 'equal and placid temper.' Cf. also Dean
+        Barnard's verses (Northcote's 'Life of Reynolds', 2nd ed., 1819,
+        i. 220), and Mrs. Piozzi's lines in her 'Autobiography', 2nd
+        ed., 1861, ii. 175-6.
+
+l. 146.  -----
+        "He shifted his trumpet".  While studying Raphael in
+        the Vatican in 1751, Reynolds caught so severe a cold 'as to
+        occasion a deafness which obliged him to use an ear-trumpet for
+        the remainder of his life.' (Taylor and Leslie's 'Reynolds',
+        1865, i. 50.) This instrument figures in a portrait of himself
+        which he painted for Thrale about 1775. See also Zoffany's
+        picture of the 'Academicians gathered about the model in the
+        Life School at Somerset House,' 1772, where he is shown
+        employing it to catch the conversation of Wilton and Chambers.
+
+        "and only took snuff".  Sir Joshua was a great snuff-taker.  His
+        snuff-box, described in the Catalogue as the one 'immortalized
+        in Goldsmith's 'Retaliation',' was exhibited, with his
+        spectacles and other personal relics, at the Grosvenor Gallery
+        in 1883-4. In the early editions this epitaph breaks off
+        abruptly at the word 'snuff.' But Malone says that half a line
+        more had been written. Prior gives this half line as 'By
+        flattery unspoiled --,' and affirms that among several erasures
+        in the manuscript sketch devoted to Reynolds it 'remained
+        unaltered.' ('Life', 1837, ii. 499.) See notes to ll. 53, 56,
+        and 91 of 'The Haunch of Venison'.
+
+l. 147.  -----
+        "Here Whitefoord reclines".  The circumstances which
+        led to the insertion of these lines in the fifth edition are
+        detailed in the prefatory words of the publisher given at p. 92.
+        There is more than a suspicion that Whitefoord wrote them
+        himself; but they have too long been accepted as an appendage to
+        the poem to be now displaced. Caleb Whitefoord (born 1734) was a
+        Scotchman, a wine-merchant, and an art connoisseur, to whom J.
+        T. Smith, in his 'Life of Nollekens', 1828, i. 333-41, devotes
+        several pages. He was one of the party at the St. James's
+        Coffee-house. He died in 1810. There is a caricature of him in
+        'Connoisseurs inspecting a Collection of George Morland,'
+        November, 16, 1807; and Wilkie's 'Letter of Introduction', 1814,
+        was a reminiscence of a visit which, when he first came to
+        London, he paid to Whitefoord. He was also painted by Reynolds
+        and Stuart. Hewins's 'Whitefoord Papers', 1898, throw no light
+        upon the story of the epitaph.
+
+l. 148.  -----
+        "a grave man".  Cf. 'Romeo and Juliet', Act iii, Sc. 1:
+        -- 'Ask for me to-morrow, and you shall find me 'a grave man'.'
+        This Shakespearean recollection is a little like Goldsmith's
+        way. (See note to 'The Haunch of Venison', l. 120.)
+
+l. 150.  -----
+        "and rejoic'd in a pun".  'Mr. W. is so notorious a
+        punster, that Doctor Goldsmith used to say, it was impossible to
+        keep him company, without being 'infected' with the 'itch of
+        punning'.' (Note to fifth edition.)
+
+l. 160.  -----
+        '"if the table he set on a roar".'  Cf. 'Hamlet', Act
+        v, Sc. I.
+
+l. 162.  -----
+        "Woodfall", i.e. Henry Sampson Woodfall, printer of
+        'The Public Advertiser'. He died in 1805. (See note to l. 115.)
+
+l. 170.  -----
+        "Cross-Readings, Ship-News, and Mistakes of the Press".
+        Over the 'nom de guerre' of 'Papyrius Cursor,' a real Roman
+        name, but as happy in its applicability as Thackeray's 'Manlius
+        Pennialinus,' Whitefoord contributed many specimens of this
+        mechanic wit to 'The Public Advertiser'. The 'Cross Readings'
+        were obtained by taking two or three columns of a newspaper
+        horizontally and 'onwards' instead of 'vertically' and
+        downwards, thus:--
+
+        Colds caught at this season are
+        The Companion to the Playhouse.
+        or
+        To be sold to the best Bidder,
+        My seat in Parliament being vacated.
+
+        A more elaborate example is
+
+        On Tuesday an address was presented;
+        it unhappily missed fire and the villain made off,
+        when the honour of knighthood was conferred on him
+        to the great joy of that noble family
+
+        Goldsmith was hugely delighted with Whitefoord's 'lucky
+        inventions' when they first became popular in 1766. 'He
+        declared, in the heat of his admiration of them, it would have
+        given him more pleasure to have been the author of them than of
+        all the works he had ever published of his own' (Northcote's
+        'Life of Reynolds', 2nd ed., 1819, i. 217). What is perhaps more
+        remarkable is, that Johnson spoke of Whitefoord's performances
+        as 'ingenious and diverting' (Birkbeck Hill's 'Boswell', 1887,
+        iv. 322); and Horace Walpole laughed over them till he cried
+        (Letter to Montagu, December 12, 1766). To use Voltaire's
+        witticism, he is 'bien heureux' who can laugh now. It may be
+        added that Whitefoord did not, as he claimed, originate the
+        'Cross Readings.' They had been anticipated in No. 49 of
+        Harrison's spurious 'Tatler', vol. v [1720].
+
+        The fashion of the 'Ship-News' was in this wise:  'August 25
+        [1765]. We hear that his Majestys Ship 'Newcastle' will soon
+        have a new figurehead, the old one being almost worn out.' The
+        'Mistakes of the Press' explain themselves. (See also Smith's
+        'Life of Nollekens', 1828, i. 336-7; Debrett's 'New Foundling
+        Hospital for Wit', 1784, vol. ii, and 'Gentleman's Magazine',
+        1810, p. 300.)
+
+l. 172.  -----
+        "That a Scot may have humour, I had almost said wit".
+        Goldsmith, -- if he wrote these verses, -- must have forgotten
+        that he had already credited Whitefoord with 'wit' in l. 153.
+
+l. 174.  -----
+        "Thou best humour'd man with the worst humour'd muse".
+        Cf. Rochester of Lord Buckhurst, afterwards Earl of Dorset:--
+        The best good man, with the worst-natur'd muse.
+
+        Whitefoord's contribution to the epitaphs on Goldsmith is said
+        to have been unusually severe, -- so severe that four only of
+        its eight lines are quoted in the 'Whitefoord Papers', 1898, the
+        rest being 'unfit for publication' (p. xxvii). He afterwards
+        addressed a metrical apology to Sir Joshua, which is printed at
+        pp. 217-8 of Northcote's 'Life', 2nd ed., 1819. See also
+        Forster's 'Goldsmith', 1871, ii. 408-9.
+
+
+
+
+
+
+
+SONG FOR 'SHE STOOPS TO CONQUER.'
+
+Boswell, to whom we are indebted for the preservation of this
+lively song, sent it to 'The London Magazine' for June, 1774
+(vol. xliii, p. 295), with the following:--
+
+
+'To the Editor of 'The London Magazine'.
+SIR, -- I send you a small production of the late Dr. 'Goldsmith', which
+has never been published, and which might perhaps have been totally lost
+had I not secured it. He intended it as a song in the character of Miss
+'Hardcastle', in his admirable comedy, 'She stoops to conquer'; but it
+was left out, as Mrs. 'Bulkley' who played the part did not sing. He
+sung it himself in private companies very agreeably. The tune is a
+pretty Irish air, called 'The Humours of Balamagairy', to which, he told
+me, he found it very difficult to adapt words; but he has succeeded
+happily in these few lines. As I could sing the tune, and was fond of
+them, he was so good as to give me them about a year ago, just as I was
+leaving London, and bidding him adieu for that season, little
+apprehending that it was a last farewell. I preserve this little relick
+in his own handwriting with an affectionate care.
+I am, Sir,
+Your humble Servant,
+JAMES BOSWELL.'
+
+When, seventeen years later, Boswell published his 'Life of Samuel
+Johnson, LL.D.', he gave an account of his dining at General
+Oglethorpe's in April, 1773, with Johnson and Goldsmith; and he says
+that the latter sang the 'Three Jolly Pigeons', and this song, to the
+ladies in the tea-room. Croker, in a note, adds that the younger Colman
+more appropriately employed the 'essentially low comic' air for Looney
+Mactwolter in the ['Review; or the] Wags of Windsor', 1808 [i.e. in that
+character's song beginning -- 'Oh, whack! Cupid's a mannikin'], and that
+Moore tried to bring it into good company in the ninth number of the
+'Irish Melodies'. But Croker did not admire the tune, and thought poorly
+of Goldsmith's words. Yet they are certainly fresher than Colman's or
+Moore's:--
+
+        Sing -- sing -- Music was given,
+        To brighten the gay, and kindle the loving;
+        Souls here, like planets in Heaven,
+        By harmony's laws alone are kept moving, etc.
+
+
+
+
+
+
+
+TRANSLATION.
+
+These lines, which appear at p. 312 of vol. V of the 'History of the
+Earth and Animated Nature', 1774, are freely translated from some Latin
+verses by Addison in No 412 of the 'Spectator', where they are
+introduced as follows:-- 'Thus we see that every different Species of
+sensible Creatures has its different Notions of Beauty, and that each of
+them is most affected with the Beauties of its own kind. This is nowhere
+more remarkable than in Birds of the same Shape and Proportion, where we
+often see the Male determined in his Courtship by the single Grain or
+Tincture of a Feather, and never discovering any Charms but in the
+Colour of its own Species.' Addison's lines, of which Goldsmith
+translated the first fourteen only, are printed from his corrected MS.
+at p. 4 of 'Some Portions of Essays contributed to the Spectator by Mr.
+Joseph Addison [by the late J. Dykes Campbell], 1864.
+
+
+
+
+
+
+
+THE HAUNCH OF VENISON.
+
+It is supposed that this poem was written early in 1771, although it was
+not printed until 1776, when it was published by G. Kearsly and J.
+Ridley under the title of 'The Haunch of Venison, a Poetical Epistle to
+the Lord Clare. By the late Dr. Goldsmith. With a Head of the Author,
+Drawn by Henry Bunbury, Esq; and Etched by [James] Bretherton.' A second
+edition, the text of which is here followed, appeared in the same year
+'With considerable Additions and Corrections, Taken from the Author's
+'last' Transcript.' The Lord Clare to whom the verses are addressed was
+Robert Nugent, of Carlanstown, Westmeath, M.P. for St. Mawes in 1741-54.
+In 1766 he was created Viscount Clare; in 1776 Earl Nugent. In his youth
+he had himself been an easy if not very original versifier; and there
+are several of his performances in the second volume of Dodsley's
+'Collection of Poems by Several Hands', 4th ed., 1755. One of the
+Epistles, beginning 'Clarinda, dearly lov'd, attend The Counsels of a
+faithful friend,' seems to have betrayed Goldsmith into the blunder of
+confusing it, in the 'Poems for Young Ladies'. 1767, p. 114, with
+Lyttelton's better-known 'Advice to a Lady' ('The counsels of a friend,
+Belinda, hear'), also in Dodsley's miscellany; while another piece, an
+'Ode to William Pultney, Esq.', contains a stanza so good that Gibbon
+worked it into his character of Brutus:--
+
+        What tho' the good, the brave, the wise,
+        With adverse force undaunted rise,
+        To break th' eternal doom!
+        Tho' CATO liv'd, tho' TULLY spoke,
+        Tho' BRUTUS dealt the godlike stroke,
+        Yet perish'd fated ROME.
+
+Detraction, however, has insinuated that Mallet, his step-son's tutor,
+was Nugent's penholder in this instance. 'Mr. Nugent sure did not write
+his own Ode,' says Gray to Walpole (Gray's 'Works', by Gosse, 1884, ii.
+220). Earl Nugent died in Dublin in October, 1788, and was buried at
+Gosfield in Essex, a property he had acquired with his second wife. A
+'Memoir' of him was written in 1898 by Mr. Claud Nugent. He is described
+by Cunningham as 'a big, jovial, voluptuous Irishman, with a loud voice,
+a strong Irish accent, and a ready though coarse wit.' According to
+Percy ('Memoir', 1801, p. 66), he had been attracted to Goldsmith by the
+publication of 'The Traveller' in 1764, and he mentioned him favourably
+to the Earl of Northumberland, then Lord Lieutenant of Ireland. A note
+in Forster's 'Life', 1871, ii. 329-30, speaks of Goldsmith as a frequent
+visitor at Gosfield, and at Nugent's house in Great George Street,
+Westminster, where he had often for playmate his host's daughter, Mary,
+afterwards Marchioness of Buckingham.
+
+Scott and others regarded 'The Haunch of Venison' as autobiographical.
+To what extent this is the case, it is difficult to say. That it
+represents the actual thanks of the poet to Lord Clare for an actual
+present of venison, part of which he promptly transferred to Reynolds,
+is probably the fact. But, as the following notes show, it is also clear
+that Goldsmith borrowed, if not his entire fable, at least some of its
+details from Boileau's third satire; and that, in certain of the lines,
+he had in memory Swift's 'Grand Question Debated', the measure of which
+he adopts. This throws more than a doubt upon the truth of the whole.
+'His genius' (as Hazlitt says) 'was a mixture of originality and
+imitation'; and fact and fiction often mingle inseparably in his work.
+The author of the bailiff scene in the 'Good Natur'd Man' was quite
+capable of inventing for the nonce the tragedy of the unbaked pasty, or
+of selecting from the Pilkingtons and Purdons of his acquaintance such
+appropriate guests for his Mile End Amphitryon as the writers of the
+'Snarler' and the 'Scourge'. It may indeed even be doubted whether, if
+'The Haunch of Venison' had been absolute personal history, Goldsmith
+would ever have retailed it to his noble patron at Gosfield, although it
+may include enough of real experience to serve as the basis for a 'jeu
+d'esprit'.
+
+l. 4.  -----
+        "The fat was so white, etc."  The first version reads --
+        'The white was so white, and the red was so ruddy.'
+
+l. 5.  -----
+        "Though my stomach was sharp, etc."  This couplet is not
+        in the first version.
+
+l. 10.  -----
+        "One gammon of bacon".  Prior compared a passage from
+        Goldsmith's 'Animated Nature', 1774, iii. 9, 'a propos' of a
+        similar practice in Germany, Poland, and Switzerland. 'A piece
+        of beef,' he says, 'hung up there, is considered as an elegant
+        piece of furniture, which, though seldom touched, at least
+        argues the possessor's opulence and ease.'
+
+l. 14.  -----
+        "a bounce", i.e. a braggart falsehood.  Steele, in No.
+        16 of 'The Lover', 1715, p. 110, says of a manifest piece of
+        brag, 'But this is supposed to be only a 'Bounce'.'
+
+l. 18.  -----
+        "Mr. Byrne", spelled 'Burn' in the earlier editions, was
+        a relative of Lord Clare.
+
+l. 24.  -----
+        "M--r--'s."  MONROE's in the first version.  'Dorothy
+        Monroe,' says Bolton Corney, 'whose various charms are
+        celebrated in verse by Lord Townshend.'
+
+l. 27.  -----
+        "There's H--d, and C--y, and H--rth, and H--ff".  In the
+        first version --
+        'There's COLEY, and WILLIAMS, and HOWARD, and HIFF.'
+
+        -- Hiff was Paul Hiffernan, M.B., 1719-77, a Grub Street author
+        and practitioner. Bolton Corney hazards some conjectures as to
+        the others; but Cunningham wisely passes them over.
+
+l. 29.  -----
+        "H--gg--ns".  Perhaps, suggests Bolton Corney, this was
+        the Captain Higgins who assisted at Goldsmith's absurd 'fracas'
+        with Evans the bookseller, upon the occasion of Kenrick's
+        letter in 'The London Packet' for March 24, 1773. Other
+        accounts, however, state that his companion was Captain Horneck
+        (Prior, 'Life', 1837, ii. 411-12). This couplet is not in the
+        first version
+
+l. 33.  -----
+        "Such dainties to them, etc."  The first version reads:--
+
+        Such dainties to them!  It 'would' look like a flirt,
+        Like sending 'em Ruffles when wanting a Shirt.
+
+        Cunningham quotes a similar idea from T. Brown's 'Laconics,
+        Works', 1709, iv. 14. 'To treat a poor wretch with a bottle of
+        Burgundy, or fill his snuff-box, is like giving a pair of lace
+        ruffles to a man that has never a shirt on his back.' But
+        Goldsmith, as was his wont, had already himself employed the
+        same figure. 'Honours to one in my situation,' he says in a
+        letter to his brother Maurice, in January, 1770, when speaking
+        of his appointment as Professor of Ancient History to the Royal
+        Academy, 'are something like ruffles to a man that wants a
+        shirt' ('Percy Memoir', 1801, 87-8). His source was probably,
+        not Brown's 'Laconics', but those French 'ana' he knew so well.
+        According to M. J. J. Jusserand ('English Essays from a French
+        Pen', 1895, pp. 160-1), the originator of this conceit was M.
+        Samuel de Sorbieres, the traveller in England who was assailed
+        by Bishop Sprat. Considering himself inadequately rewarded by
+        his patrons, Mazarin, Louis XIV, and Pope Clement IX, he said
+        bitterly -- 'They give lace cuffs to a man without a shirt'; a
+        'consolatory witticism' which he afterwards remodelled into, 'I
+        wish they would send me bread for the butter they kindly
+        provided me with.' In this form it appears in the Preface to the
+        'Sorberiana', Toulouse, 1691.
+
+        "a flirt" is a jibe or jeer.  'He would sometimes...cast out a
+        jesting 'flirt' at me.' (Morley's 'History of Thomas Ellwood',
+        1895, p. 104.) Swift also uses the word.
+
+l. 37.  -----
+        "An under-bred, fine-spoken fellow, etc."  The first
+        version reads --
+
+        A fine-spoken Custom-house Officer he,
+        Who smil'd as he gaz'd on the Ven'son and me.
+
+l. 44.  -----
+        "but I hate ostentation".  Cf. Beau Tibbs:-- 'She was
+        bred, 'but that's between ourselves', under the inspection of
+        the Countess of All-night.' ('Citizen of the World', 1762, i.
+        238.)
+
+l. 49.  -----
+        "We'll have Johnson, and Burke".  Cf. Boileau, 'Sat.'
+        iii. Ll. 25-6, which Goldsmith had in mind:--
+
+        Moliere avec Tartufe y doit jouer son role,
+        Et Lambert, qui plus est, m'a donne sa parole.
+
+l. 53.  -----
+        "What say you -- a pasty?  It shall, and it must".  The
+        first version reads --
+
+        I'll take no denial -- you shall, and you must.
+
+        Mr. J. H. Lobban, 'Goldsmith, Select Poems', 1900, notes a
+        hitherto undetected similarity between this and the 'It 'must',
+        and it 'shall' be a barrack, my life' of Swift's 'Grand Question
+        Debated'. See also ll. 56 and 91.
+
+l. 56.  "No stirring, I beg -- my dear friend -- my dear
+        friend". In the first edition --
+
+        No words, my dear GOLDSMITH! my very good Friend!
+
+        Mr. Lobban compares:--
+        'Good morrow, good captain.'  'I'll wait on you down,' --
+        'You shan't stir a foot.'  'You'll think me a clown.'
+
+l. 60.  -----
+        "'And nobody with me at sea but myself.'"  This is
+        almost a textual quotation from one of the letters of Henry
+        Frederick, Duke of Cumberland, to Lady Grosvenor, a
+        correspondence which in 1770 gave great delight to contemporary
+        caricaturists and scandal-mongers. Other poets besides Goldsmith
+        seem to have been attracted by this particular lapse of his
+        illiterate Royal Highness, since it is woven into a ballad
+        printed in 'The Public Advertiser' for August 2 in the above
+        year:--
+
+        The Miser who wakes in a Fright for his Pelf,
+        And finds 'no one by him except his own Self', etc.
+
+l. 67.  -----
+        "When come to the place", etc.
+        Cf. Boileau, 'ut supra', ll. 31-4:--
+
+        A peine etais-je entre, que ravi de me voir,
+        Mon homme, en m'embrassant, m'est venu recevoir;
+        Et montrant a mes yeux une allegresse entiere,
+        Nous n'avons, m'a-t-il dit, ni Lambert ni Moliere.
+
+        Lambert the musician, it may be added, had the special
+        reputation of accepting engagements which he never kept.
+
+l. 72. -----
+        "and t'other with Thrale".  Henry Thrale, the Southwark
+        brewer, and the husband of Mrs. Thrale, afterwards Mrs. Piozzi.
+        Johnson first made his acquaintance in 1765. Strahan complained
+        to Boswell that, by this connexion, Johnson 'was in a great
+        measure absorbed from the society of his old friends.' (Birkbeck
+        Hill's 'Boswell', 1887, iii. 225.) Line 72 in the first edition
+        reads --
+
+        The one at the House, and the other with THRALE.
+
+l. 76.  -----
+        "They both of them merry and authors like you".  'They'
+        should apparently be 'they're.' The first version reads --
+
+        Who dabble and write in the Papers -- like you.
+
+l. 78.  -----
+        "Some think he writes Cinna -- he owns to Panurge".
+        'Panurge' and 'Cinna' are signatures which were frequently to be
+        found at the foot of letters addressed to the 'Public
+        Advertiser' in 1770-1 in support of Lord Sandwich and the
+        Government. They are said to have been written by Dr. W. Scott,
+        Vicar of Simonburn, Northumberland, and chaplain of Greenwich
+        Hospital, both of which preferments had been given him by
+        Sandwich. In 1765 he had attacked Lord Bute and his policy over
+        the signature of 'Anti-Sejanus.' 'Sandwich and his parson
+        Anti-Sejanus [are] hooted off the stage' -- writes Walpole to
+        Mann, March 21, 1766. According to Prior, it was Scott who
+        visited Goldsmith in his Temple chambers, and invited him to
+        'draw a venal quill' for Lord North's administration.
+        Goldsmith's noble answer, as reported by his reverend friend,
+        was -- 'I can earn as much as will supply my wants without
+        writing for any party; the assistance therefore you offer is
+        unnecessary to me.' ('Life', 1837, ii. 278.) There is a
+        caricature portrait of Scott at p. 141 of 'The London Museum'
+        for February, 1771, entitled 'Twitcher's Advocate,' 'Jemmy
+        Twitcher' being the nickname of Lord Sandwich.
+
+l. 82.  -----
+        "Swinging', great, huge.  'Bishop Lowth has just
+        finished the Dramas, and sent me word, that although I have paid
+        him the most 'swinging' compliment he ever received, he likes
+        the whole book more than he can say.' ('Memoirs of Hannah More',
+        1834, i. 236.)
+
+l. 84.  -----
+        "pasty".  The first version has 'Ven'son.'
+
+l. 87.  -----
+        "So there I sat, etc."  This couplet is not in the first
+        version.
+
+l. 91.  -----
+        "And, 'Madam,' quoth he".  Mr. Lobban again quotes
+        Swift's 'Grant Question Debated':--
+
+        And 'Madam,' says he, 'if such dinners you give
+        You'll ne'er want for parsons as long as you live.'
+
+        These slight resemblances, coupled with the more obvious
+        likeness of the 'Raphaels, Correggios, and stuff' of
+        'Retaliation' (ll. 145-6) to the 'Noveds' and 'Bluturks' and
+        'Omurs' and stuff' (also pointed out by Mr. Lobban) are
+        interesting, because they show plainly that Goldsmith remembered
+        the works of Swift far better than 'The New Bath Guide', which
+        has sometimes been supposed to have set the tune to the 'Haunch'
+        and 'Retaliation'.
+
+l. 91.  -----
+        "'may this bit be my poison.'"  The gentleman in 'She
+        Stoops to Conquer', Act i, who is 'obligated to dance a bear.'
+        Uses the same asseveration.  Cf. also Squire Thornhill's
+        somewhat similar formula in chap. vii of 'The Vicar of
+        Wakefield', 1766, i. 59.
+
+l. 95.  -----
+        "'The tripe,' quoth the Jew, etc".  The first version
+        reads --
+
+        'Your Tripe!' quoth the 'Jew', 'if the truth I may speak,
+        I could eat of this Tripe seven days in the week.'
+
+l. 103.  -----
+        "Re-echoed", i.e. 'returned' in the first edition.
+
+l. 104.  -----
+        "thot".  This, probably by a printer's error, is
+        altered to 'that' in the second version. But the first reading
+        is the more in keeping, besides being a better rhyme.
+
+l. 110.  -----
+        "Wak'd Priam".  Cf. 2 'Henry IV', Act I, Sc. 1:--
+
+        Even such a man, so faint, so spiritless,
+        So dull, so dead in look, so woe-begone,
+        Drew Priam's curtain in the dead of night.
+        And would have told him half his Troy was burnt.
+
+l. 120.  -----
+        "sicken'd over by learning".  Cf. 'Hamlet', Act iii,
+        Sc. 1:
+
+        And thus the native hue of resolution
+        Is 'sicklied o'er' with the pale cast of thought.
+
+        Notwithstanding the condemnation of Shakespeare in the 'Present
+        State of Polite Learning', and elsewhere, Goldsmith frequently
+        weaves Shakespearean recollections into his work. Cf. 'She
+        Stoops to Conquer', 1773, Act i, p. 13, 'We wanted no ghost to
+        tell us that' ('Hamlet', Act i, Sc. 5); and Act i, p. 9, where
+        he uses Falstaff's words (1 'Henry IV', Act v, Sc. 1):--
+
+        Would it were bed-time and all were well.
+
+l. 121.  -----
+        "as very well known".  The first version has,
+
+        ''tis very well known.'
+
+
+
+
+
+
+
+EPITAPH ON THOMAS PARNELL.
+
+This epitaph, apparently never used, was published with 'The Haunch of
+Venison', 1776; and is supposed to have been written about 1770. In that
+year Goldsmith wrote a 'Life of Thomas Parnell, D.D.', to accompany an
+edition of his poems, printed for Davies of Russell Street. Parnell was
+born in 1679, and died at Chester in 1718, on his way to Ireland. He was
+buried at Trinity Church in that town, on the 24th of October. Goldsmith
+says that his father and uncle both knew Parnell ('Life of Parnell',
+1770, p. v), and that he received assistance from the poet's nephew, Sir
+John Parnell, the singing gentleman who figures in Hogarth's 'Election
+Entertainment'. Why Goldsmith should write an epitaph upon a man who
+died ten years before his own birth, is not easy to explain. But Johnson
+also wrote a Latin one, which he gave to Boswell. (Birkbeck Hill's
+'Life', 1887, iv. 54.)
+
+l. 1.  -----
+        "gentle Parnell's Name".  Mitford compares Pope on
+        Parnell ['Epistle to Harley', 1. iv]:--
+
+        With softest manners, gentlest Arts adorn'd.
+
+        Pope published Parnell's 'Poems' in 1722, and his sending them
+        to Harley, Earl of Oxford, after the latter's disgrace and
+        retirement, was the occasion of the foregoing epistle, from
+        which the following lines respecting Parnell may also be cited:--
+
+        For him, thou oft hast bid the World attend,
+        Fond to forget the statesman in the friend;
+        For SWIFT and him despis'd the farce of state,
+        The sober follies of the wise and great;
+        Dext'rous the craving, fawning crowd to quit,
+        And pleas'd to 'scape from Flattery to Wit.
+
+l. 3.  -----
+        "his sweetly-moral lay".  Cf. 'The Hermit', the 'Hymn to
+        Contentment', the 'Night Piece on Death' -- which Goldsmith
+        certainly recalled in his own 'City Night-Piece'. Of the
+        last-named Goldsmith says ('Life of Parnell', 1770, p. xxxii),
+        not without an obvious side-stroke at Gray's too-popular
+        'Elegy', that it 'deserves every praise, and I should suppose
+        with very little amendment, might be made to surpass all those
+        night pieces and church yard scenes that have since appeared.'
+        This is certainly (as Longfellow sings) to
+
+        .....rustling hear in every breeze
+        The laurels of Miltiades.
+
+        Of Parnell, Hume wrote ('Essays', 1770, i. 244) that 'after the
+        fiftieth reading; [he] is as fresh as at the first.' But Gray
+        (speaking -- it should be explained -- of a dubious volume of
+        his posthumous works) said: 'Parnell is the dung-hill of Irish
+        Grub Street' (Gosse's Gray's 'Works', 1884, ii. 372). Meanwhile,
+        it is his fate to-day to be mainly remembered by three words
+        (not always attributed to him) in a couplet from what Johnson
+        styled 'perhaps the meanest' of his performances, the 'Elegy --
+        to an Old Beauty':--
+
+        And all that's madly wild, or oddly gay,
+        We call it only 'pretty Fanny's way'.
+
+
+
+
+
+
+
+THE CLOWN'S REPLY.
+
+This, though dated 'Edinburgh 1753,' was first printed in 'Poems
+and Plays', 1777, p. 79.
+
+l. 1.  -----
+        "John Trott" is a name for a clown or commonplace
+        character. Miss Burney ('Diary', 1904, i. 222) says of Dr.
+        Delap:-- 'As to his person and appearance, they are much in the
+        'John-trot' style.' Foote, Chesterfield, and Walpole use the
+        phrase; Fielding Scotticizes it into 'John Trott-Plaid, Esq.';
+        and Bolingbroke employs it as a pseudonym.
+
+l. 6.  -----
+        "I shall ne'er see your graces".  'I shall never see a
+        Goose again without thinking on Mr. 'Neverout',' -- says the
+        'brilliant Miss Notable' in Swift's 'Polite Conversation', 1738,
+        p. 156.
+
+
+
+
+
+
+
+EPITAPH ON EDWARD PURDON.
+
+The occasion of this quatrain, first published as Goldsmith's* in 'Poems
+and Plays', 1777, p. 79, is to be found in Forster's 'Life and Times of
+Oliver Goldsmith', 1871, ii. 60. Purdon died on March 27, 1767
+('Gentleman's Magazine', April, 1767, p. 192). '"Dr. Goldsmith made this
+epitaph," says William Ballantyne [the author of 'Mackliniana'], "in his
+way from his chambers in the Temple to the Wednesday evening's club at
+the Globe. 'I think he will never come back', I believe he said. I was
+sitting by him, and he repeated it more than twice. 'I think he will
+never come back."' Purdon had been at Trinity College, Dublin, with
+Goldsmith; he had subsequently been a foot soldier; ultimately he became
+a 'bookseller's hack.' He wrote an anonymous letter to Garrick in 1759,
+and translated the 'Henriade' of Voltaire. This translation Goldsmith is
+supposed to have revised, and his own life of Voltaire was to have
+accompanied it, though finally the Memoir and Translation seem to have
+appeared separately. (Cf. prefatory note to 'Memoirs of M. de Voltaire'
+in Gibbs's 'Works of Oliver Goldsmith', 1885, iv. 2.)
+
+[footnote] *It had previously appeared as an extempore by a
+correspondent in the 'Weekly Magazine', Edin., August 12, 1773 ('Notes
+and Queries', February 14, 1880).
+
+Forster says further, in a note, 'The original...is the epitaph on "La
+Mort du Sieur Etienne":--
+
+        Il est au bout de ses travaux,
+        Il a passe, le Sieur Etienne;
+        En ce monde il eut tant des maux
+        Qu'on ne croit pas qu'il revienne.
+
+With this perhaps Goldsmith was familiar, and had therefore less scruple
+in laying felonious hands on the epigram in the 'Miscellanies' (Swift,
+xiii. 372):--
+
+        Well, then, poor G___ lies underground!
+        So there's an end of honest Jack.
+        So little justice here he found,
+        'Tis ten to one he'll ne'er come back.'
+
+Mr. Forster's 'felonious hands' recalls a passage in Goldsmith's 'Life
+of Parnell', 1770, in which, although himself an habitual sinner in this
+way, he comments gravely upon the practice of plagiarism:-- 'It was the
+fashion with the wits of the last age, to conceal the places from whence
+they took their hints or their subjects. A trifling acknowledgment would
+have made that lawful prize, which may now be considered as plunder' (p.
+xxxii).
+
+
+
+
+
+
+
+EPILOGUE FOR LEE LEWES'S BENEFIT.
+
+This benefit took place at Covent Garden on May 7, 1773, the pieces
+performed being Rowe's 'Lady Jane Grey', and a popular pantomimic
+after-piece by Theobald, called 'Harlequin Sorcerer', Charles Lee Lewes
+(1740-1803) was the original 'Young Marlow' of 'She Stoops to Conquer'.
+When that part was thrown up by 'Gentleman' Smith, Shuter, the 'Mr.
+Hardcastle' of the comedy, suggested Lewes, who was the harlequin of the
+theatre, as a substitute, and the choice proved an admirable one.
+Goldsmith was highly pleased with his performance, and in consequence
+wrote for him this epilogue. It was first printed by Evans, 1780, i.
+112-4.
+
+l. 9.  -----
+        "in thy black aspect", i.e. the half-mask of harlequin,
+        in which character the Epilogue was spoken.
+
+l. 18.  -----
+        "rosined lightning", stage-lightning, in which rosin is
+        an ingredient.
+
+
+
+
+
+
+
+EPILOGUE INTENDED FOR 'SHE STOOPS TO CONQUER.'
+
+This epilogue was first printed at pp. 82-6, vol. ii, of the
+'Miscellaneous Works of' 1801. Bolton Corney says it had been given to
+Percy by Goldsmith. It is evidently the 'quarrelling Epilogue' referred
+to in the following letter from Goldsmith to Cradock ('Miscellaneous
+Memoirs', 1826, i. 225-6):--
+
+'MY DEAR SIR,
+The Play ['She Stoops to Conquer'] has met with a success much beyond
+your expectations or mine. I thank you sincerely for your Epilogue,
+which, however could not be used, but with your permission, shall be
+printed*. The story in short is this; Murphy sent me rather the outline
+of an Epilogue than an Epilogue, which was to be sung by Mrs. Catley,
+and which she approved. Mrs. Bulkley hearing this, insisted on throwing
+up her part, unless according to the custom of the theatre, she were
+permitted to speak the Epilogue. In this embarrassment I thought of
+making a quarrelling Epilogue between Catley and her, debating who
+should speak the Epilogue, but then Mrs. Catley refused, after I had
+taken the trouble of drawing it out. I was then at a loss indeed; an
+Epilogue was to be made, and for none but Mrs. Bulkley. I made one, and
+Colman thought it too bad to be spoken; I was obliged therefore to try a
+fourth time, and I made a very mawkish thing, as you'll shortly see.
+Such is the history of my Stage adventures, and which I have at last
+done with. I cannot help saying that I am very sick of the stage; and
+though I believe I shall get three tolerable benefits, yet I shall upon
+the whole be a loser, even in a pecuniary light; my ease and comfort I
+certainly lost while it was in agitation.
+
+I am, my dear Cradock,
+Your obliged, and obedient servant,
+OLIVER GOLDSMITH
+P.S. -- Present my most humble respects to Mrs. Cradock.'
+
+[footnote] *It is so printed with the note -- 'This came too late to be
+Spoken.'
+
+According to Prior ('Miscellaneous Works', 1837, iv. 154), Goldsmith's
+friend, Dr. Farr, had a copy of this epilogue which still, when Prior
+wrote, remained in that gentleman's family.
+
+l. 21.  -----
+        "Who mump their passion", i.e. grimace their passion.
+
+l. 31.  -----
+        "ye macaroni train".  The Macaronies were the foplings,
+        fribbles, or beaux of Goldsmith's day. Walpole refers to them as
+        early as 1764; but their flourishing time was 1770-3, when the
+        print-shops, and especially Matthew Darly's in the Strand, No.
+        39, swarmed with satirical designs of which they were the
+        subject. Selwyn, March -- many well-known names -- are found in
+        their ranks. Richard Cosway figured as 'The Macaroni Painter';
+        Angelica Kauffmann as 'The Paintress of Maccaroni's'; Thrale as
+        'The Southwark Macaroni.' Another caricature ('The Fluttering
+        Macaroni') contains a portrait of Miss Catley, the singing
+        actress of the present epilogue; while Charles Horneck, the
+        brother of 'The Jessamy Bride' (see p. 251, l. 14) is twice
+        satirized as 'The Martial Macaroni' and 'The Military Macaroni.'
+        The name, as may be guessed, comes from the Italian dish first
+        made fashionable by the 'Macaroni Club,' being afterwards
+        applied by extension to 'the younger and gayer part of our
+        nobility and gentry, who, at the same time that they gave in to
+        the luxuries of eating, went equally into the extravagancies of
+        dress.' ('Macaroni and Theatrical Magazine', Oct. 1772.) Cf. Sir
+        Benjamin Backbite's later epigram in 'The School for Scandal',
+        1777, Act ii, Sc. 2:--
+
+        Sure never was seen two such beautiful ponies;
+        Other horses are clowns, but these 'macaronies':
+        To give them this title I'm sure can't be wrong,
+        Their legs are so slim and their tails are so long.
+
+l. 36.  -----
+        "Their hands are only lent to the Heinel".  See note to
+        l. 28, p. 85.
+
+
+
+
+
+
+
+EPILOGUE INTENDED FOR 'SHE STOOPS TO CONQUER.'
+
+This epilogue, given by Goldsmith to Dr. Percy in MS., was first
+published in the 'Miscellaneous Works' of 1801, ii. 87-8, as 'An
+Epilogue intended for Mrs. Bulkley'. Percy did not remember for what
+play it was intended; but it is plainly (see note to l. 40) the second
+epilogue for 'She Stoops to Conquer' referred to in the letter printed
+in this volume.
+
+l. 1.  -----
+        "There is a place, so Ariosto sings".  'The poet
+        alludes to the thirty-fourth canto of 'The Orlando furioso'.
+        Ariosto, as translated by Mr. Stewart Rose, observes of the
+        'lunar world';
+
+        There thou wilt find, if thou wilt thither post,
+        Whatever thou on earth beneath hast lost.
+
+        Astolpho undertakes the journey; discovers a portion of his
+        own sense; and, in an ample flask, the lost wits of Orlando.'
+        (Bolton Corney.) Cf. also 'Rape of the Lock',
+        Canto v, ll. 113-14:
+
+        Some thought it mounted to the Lunar sphere,
+        Since all things lost on earth are treasur'd there.
+
+        Lord Chesterfield also refers to the 'happy extravagancy'
+        of Astolpho's journey in his 'Letters', 1774, i. 557.
+
+l. 9.  -----
+        "at Foote's Alone".  'Foote's' was the Little Theatre in
+        the Haymarket, where, in February, 1773, he brought out what he
+        described as a 'Primitive Puppet Show,' based upon the Italian
+        Fantoccini, and presenting a burlesque sentimental Comedy called
+        'The Handsome Housemaid; or, Piety in Pattens', which did as
+        much as 'She Stoops' to laugh false sentiment away. Foote warned
+        his audience that they would not discover 'much wit or humour'
+        in the piece, since 'his brother writers had all agreed that it
+        was highly improper, and beneath the dignity of a mixed
+        assembly, to show any signs of joyful satisfaction; and that
+        creating a laugh was forcing the higher order of an audience to
+        a vulgar and mean use of their muscles' -- for which reason, he
+        explained, he had, like them, given up the sensual for the
+        sentimental style. And thereupon followed the story of a maid of
+        low degree who, 'by the mere effects of morality and virtue,
+        raised herself [like Richardson's 'Pamela'], to riches and
+        honours.' The public, who for some time had acquiesced in the
+        new order of things under the belief that it tended to the
+        reformation of the stage, and who were beginning to weary of the
+        'moral essay thrown into dialogue,' which had for some time
+        supplanted humorous situation, promptly came round under the
+        influence of Foote's Aristophanic ridicule, and the 'comedie
+        larmoyante' received an appreciable check. Goldsmith himself had
+        prepared the way in a paper contributed to the 'Westminster
+        Magazine' for December, 1772 (vol. I. p. 4), with the title of
+        'An Essay on the Theatre; or, A Comparison between Laughing and
+        Sentimental Comedy.' The specific reference in the Prologue is
+        to the fact that Foote gave morning performances of 'The
+        Handsome Housemaid'. There was one, for instance, on Saturday,
+        March 6, 1773.
+
+l. 27.  -----
+        "The Mohawk".  This particular species of the genus
+        'rake' belongs more to Swift's than Goldsmith's time, though the
+        race is eternal. There is an account of the 'Mohock Club' in
+        'Spectator', No. 324. See also 'Spectator', No. 347; Gay's
+        'Trivia', 1716, Book iii. p. 74; Swift's 'Journal to Stella',
+        March 8 and 26, 1712; and the 'Wentworth Papers', 1883, pp.
+        277-8.
+
+l. 40.  -----
+        "Still stoops among the low to copy nature".  This line,
+        one would think, should have helped to convince Percy that the
+        epilogue was intended for 'She Stoops to Conquer', and for no
+        other play.
+
+
+
+
+
+
+THE CAPTIVITY.
+
+The Oratorio of the 'Captivity' was written in 1764; but never set to
+music. It was first printed in 1820 at pp. 451-70 of vol. ii of the
+octavo edition of the 'Miscellaneous Works' issued by the trade in that
+year. Prior reprinted it in 1837 ('Works', iv. Pp. 79-95) from the
+'original manuscript' in Mr. Murray's possession; and Cunningham again
+in 1854 ('Works', i. pp. 63-76). It is here reproduced from Prior. James
+Dodsley, who bought the MS. for Newbery and himself, gave Goldsmith ten
+guineas. Murray's copy was the one made for Dodsley, October 31, 1764;
+the one printed in 1820, that made for Newbery. The latter, which once
+belonged to the autograph collector, William Upcott, was in the market
+in 1887.
+
+l. 23.  -----
+        Act i.  This song had been published in the first
+        edition of 'The Haunch of Venison', 1776, with the second stanza
+        varied thus:--
+
+        Thou, like the world, th' opprest oppressing,
+        Thy smiles increase the wretch's woe'
+        And he who wants each other blessing,
+        In thee must ever find a foe.
+
+l. 33. -----
+        Act ii.  This song also had appeared in the first edition
+        of 'The Haunch of Venison', 1776, in a different form:--
+
+        The Wretch condemn'd with life to part,
+        Still, still on Hope relies;
+        And ev'ry pang that rends the heart,
+        Bids Expectation rise.
+
+        Hope, like the glim'ring taper's light,
+        Adorns and chears the way;
+        And still, as darker grows the night,
+        Emits a brighter ray.
+
+        Mitford, who printed 'The Captivity' from Newbery's version,
+        records a number of 'first thoughts' afterwards altered or
+        improved by the author in his MS. Modern editors have not
+        reproduced them, and their example has been followed here. 'The
+        Captivity' is not, in any sense, one of Goldsmith's important
+        efforts.
+
+
+
+
+
+
+
+VERSES IN REPLY TO AN INVITATION TO DINNER.
+
+These were first published in the 'Miscellaneous Works' of 1837, iv.
+132-3, having been communicated to the editor by Major-General Sir H. E.
+Bunbury, Bart., the son of Henry William Bunbury, the well-known comic
+artist, and husband of Catherine Horneck, the 'Little Comedy' to whom
+Goldsmith refers. Dr. Baker, to whose house the poet was invited, was
+Dr. (afterwards Sir George) Baker, 1722-1809. He was Sir Joshua's
+doctor; and in 1776 became physician to George III, whom he attended
+during his illness of 1788-9. He is often mentioned by Fanny Burney and
+Hannah More.
+
+l. 11.  -----
+        "Horneck", i.e. Mrs. Hannah Horneck -- the 'Plymouth
+        Beauty' -- widow of Captain Kane William Horneck, grandson of
+        Dr. Anthony Horneck of the Savoy, mentioned in Evelyn's 'Diary',
+        for whose 'Happy Ascetick', 1724, Hogarth designed a
+        frontispiece. Mrs. Horneck died in 1803. Like Sir Joshua, the
+        Hornecks came from Devonshire; and through him, had made the
+        acquaintance of Goldsmith.
+
+        "Nesbitt".  Mr. Nesbitt was the husband of one of Mr. Thrale's
+        handsome sisters. He was a member of the Devonshire Club, and
+        twice (1759-61) sat to Reynolds, with whom he was intimate. He
+        died in 1779, and his widow married a Mr. Scott.
+
+l. 13.  -----
+        "Kauffmann".  Angelica Kauffmann, the artist, 1741-1807.
+        She had come to London in 1766. At the close of 1767 she had
+        been cajoled into a marriage with an impostor, Count de Horn,
+        and had separated from him in 1768. In 1769 she painted a 'weak
+        and uncharacteristic' portrait of Reynolds for Mr. Parker of
+        Saltram (afterwards Baron Boringdon), which is now in the
+        possession of the Earl of Morley. It was exhibited at the Royal
+        Academy in the winter of 1876, and is the portrait referred to
+        at l. 44 below.
+
+l. 14.  -----
+        "the Jessamy Bride".  This was Goldsmith's pet-name for
+        Mary, the elder Miss Horneck. After Goldsmith's death she
+        married Colonel F. E. Gwyn (1779). She survived until 1840. 'Her
+        own picture with a turban,' painted by Reynolds, was left to her
+        in his will ('Works' by Malone, 2nd ed., 1798, p. cxviii). She
+        was also painted by Romney and Hoppner. 'Jessamy,' or 'jessimy,'
+        with its suggestion of jasmine flowers, seems in
+        eighteenth-century parlance to have stood for 'dandified,'
+        'superfine,' 'delicate,' and the whole name was probably coined
+        after the model of some of the titles to Darly's prints, then
+        common in all the shops.
+
+l. 16.  -----
+        "The Reynoldses two", i.e. Sir Joshua and his sister,
+        Miss Reynolds.
+
+l. 17.  -----
+        "Little Comedy's face".  'Little Comedy' was Goldsmith's
+        name for the younger Miss Horneck, Catherine, and already
+        engaged to H. W. Bunbury ('v. supra'), to whom she was married
+        in 1771. She died in 1799, and had also been painted by
+        Reynolds.
+
+l. 18.  -----
+        "the Captain in lace".  This was Charles Horneck, Mrs.
+        Horneck's son, an officer in the Foot-guards. He afterwards
+        became a general, and died in 1804. (See note, p. 247, l. 31.)
+
+l. 44.  -----
+        "to-day's Advertiser".  The lines referred to are said
+        by Prior to have been as follows:--
+
+        While fair Angelica, with matchless grace,
+        Paints Conway's lovely form and Stanhope's face;
+        Our hearts to beauty willing homage pay,
+        We praise, admire, and gaze our souls away.
+        But when the likeness she hath done for thee,
+        O Reynolds! with astonishment we see,
+        Forced to submit, with all our pride we own,
+        Such strength, such harmony, excell'd by none,
+        And thou art rivall'd by thyself alone.
+
+        They probably appeared in the newspaper at some date between
+        1769, when the picture was painted, and August 1771, when
+        'Little Comedy' was married, after which time Goldsmith would
+        scarcely speak of her except as 'Mrs. Bunbury' (see p. 132, l.
+        15).
+
+
+
+
+
+
+
+LETTER IN PROSE AND VERSE TO MRS. BUNBURY.
+
+This letter, which contains some of the brightest and easiest of
+Goldsmith's familiar verses, was addressed to Mrs. Bunbury (the 'Little
+Comedy' of the 'Verses in Reply to an Invitation to Dinner', pp. 250-2),
+in answer to a rhymed summons on her part to spend Christmas at Great
+Barton in Suffolk, the family seat of the Bunburys. It was first printed
+by Prior in the 'Miscellaneous Works' of 1837, iv. 148-51, and again in
+1838 in Sir Henry Bunbury's 'Correspondence of Sir Thomas Hanmer,
+Bart.', pp. 379-83. The text of the latter issue is here followed. When
+Prior published the verses, they were assigned to the year 1772; in the
+'Hanmer Correspondence' it is stated that they were 'probably written in
+1773 or 1774.'
+
+P. 130.  -----
+        "your spring velvet coat".  Goldsmith's pronounced
+        taste in dress, and his good-natured simplicity, made his
+        costume a fertile subject for playful raillery, -- sometimes,
+        for rather discreditable practical jokes. (See next note.)
+
+P. 131.  -----
+        "a wig, that is modish and gay".  'He always wore a
+        wig' -- said the 'Jessamy Bride' in her reminiscences to Prior
+        -- 'a peculiarity which those who judge of his appearance only
+        from the fine poetical head of Reynolds, would not suspect; and
+        on one occasion some person contrived to seriously injure this
+        important adjunct to dress. It was the only one he had in the
+        country, and the misfortune seemed irreparable until the
+        services of Mr. Bunbury's valet were called in, who however
+        performed his functions so indifferently that poor Goldsmith's
+        appearance became the signal for a general smile' (Prior's
+        'Life', 1837, ii. 378-9).
+
+P. 131.  -----
+        "Naso contemnere adunco".  Cf. Horace, 'Sat'. i. 6. 5:--
+
+        naso suspendis adunco
+        Ignotos,
+
+        and Martial, 'Ep'. i. 4. 6:--
+        Et pueri nasum Rhinocerotis habent.
+
+l. 2.  -----
+        "Loo", i.e. Lanctre- or Lanterloo, a popular
+        eighteenth-century game, in which 'Pam', l. 6, the knave of
+        clubs, is the highest card. Cf. Pope, 'Rape of the Lock', 1714,
+        iii. 61:--
+
+        Ev'n might 'Pam', that Kings and Queens o'erthrew,
+        And mow'd down armies in the fights of Lu;
+        and Colman's epilogue to 'The School for Scandal', 1777:--
+        And at backgammon mortify my soul,
+        That pants for 'loo', or flutters at a vole?
+
+l. 17.  -----
+        "Miss Horneck".  Miss Mary Horneck, the 'Jessamy Bride'
+        ('vide' note, p. 251, l. 14).
+
+l. 36.  -----
+        "Fielding".  Sir John Fielding, d. 1780, Henry
+        Fielding's blind half-brother, who succeeded him as a Justice of
+        the Peace for the City and Liberties of Westminster. He was
+        knighted in 1761. There are two portraits of him by Nathaniel
+        Hone.
+
+l. 40.  -----
+        "by quinto Elizabeth, Death without Clergy".  Legal
+        authorities affirm that the Act quoted should be 8 Eliz. cap.
+        iv, under which those who stole more than twelvepence 'privately
+        from a man's person' were debarred from benefit of clergy. But
+        'quint. Eliz.' must have offered some special attraction to
+        poets, since Pope also refers to it in the 'Satires and
+        Epistles', i. 147-8:--
+        Consult the Statute: 'quart'. I think, it is,
+        'Edwardi sext.' or 'prim. et quint. Eliz.'
+
+l. 44.  -----
+        "With bunches of fennel, and nosegays before 'em".  This
+        was a custom dating from the fearful jail fever of 1750, which
+        carried off, not only prisoners, but a judge (Mr. Justice Abney)
+        'and many jurymen and witnesses.' 'From that time up to this day
+        [i.e. 1855] it has been usual to place sweet-smelling herbs in
+        the prisoner's dock, to prevent infection.' (Lawrence's 'Life of
+        Henry Fielding', 1855, p. 296.) The close observation of
+        Cruikshank has not neglected this detail in the Old Bailey plate
+        of 'The Drunkard's Children', 1848, v.
+
+l. 45.  -----
+        "mobs".  The mob was a loose undress or 'deshabille',
+        sometimes a hood. 'When we poor souls had presented ourselves
+        with a contrition suitable to our worthlessness, some pretty
+        young ladies in 'mobs', popped in here and there about the
+        church.' ('Guardian', No. 65, May 26, 1713.) Cf. also Addison's
+        'Fine Lady's Diary' ('Spectator', No. 323); 'Went in our 'Mobbs'
+        to the Dumb Man' (Duncan Campbell).
+
+l. 50.  -----
+        "yon solemn-faced".  Cf. 'Introduction', p. xxvii.
+        According to the 'Jessamy Bride,' Goldsmith sometimes aggravated
+        his plainness by an 'assumed frown of countenance' (Prior,
+        'Life', 1837, ii. 379).
+
+l. 55.  -----
+        "Sir Charles", i.e. Sir Thomas Charles Bunbury, Bart.,
+        M. P., Henry Bunbury's elder brother. He succeeded to the title
+        in 1764, and died without issue in 1821. Goldsmith, it may be
+        observed, makes 'Charles' a disyllable. Probably, like many of
+        his countrymen, he so pronounced it. (Cf. Thackeray's
+        'Pendennis', 1850, vol. ii, chap. 5 [or xliii], where this is
+        humorously illustrated in Captain Costigan's 'Sir 'Chorlus', I
+        saw your neem at the Levee.' Perhaps this accounts for 'failing'
+        and 'stealing,' -- 'day on' and 'Pantheon,' in the 'New Simile'.
+        Cooke ('European Magazine', October, 1793, p. 259) says that
+        Goldsmith 'rather cultivated (than endeavoured to get rid of)
+        his brogue.'
+
+l. 58.  -----
+        "dy'd in grain", i.e. fixed, ineradicable.  To 'dye in
+        grain' means primarily to colour with the scarlet or purple dye
+        produced by the 'kermes' insect, called 'granum' in Latin, from
+        its similarity to small seeds. Being what is styled a 'fast' dye
+        the phrase is used by extension to signify permanence.
+
+
+
+
+
+
+
+VIDA'S GAME OF CHESS.
+
+Forster thus describes the MS. of this poem in his 'Life of Goldsmith':
+-- 'It is a small quarto manuscript of thirty-four pages, containing 679
+lines, to which a fly-leaf is appended in which Goldsmith notes the
+differences of nomenclature between Vida's chessmen and our own. It has
+occasional interlineations and corrections, but such as would occur in
+transcription rather than in a first or original copy. Sometimes indeed
+choice appears to have been made (as at page 29) between two words
+equally suitable to the sense and verse, as "to" for "toward"; but the
+insertions and erasures refer almost wholly to words or lines
+accidentally omitted and replaced. The triplet is always carefully
+marked; and seldom as it is found in any other of Goldsmith's poems. I
+am disposed to regard its frequent recurrence here as even helping, in
+some degree, to explain the motive which had led him to the trial of an
+experiment in rhyme comparatively new to him. If we suppose him, half
+consciously, it may be, taking up the manner of the great master of
+translation, Dryden, who was at all times so much a favourite with him,
+he would at least, in so marked a peculiarity, be less apt to fall short
+than to err perhaps a little on the side of excess. Though I am far from
+thinking such to be the result in the present instance. The effect of
+the whole translation is pleasing to me, and the mock-heroic effect I
+think not a little assisted by the reiterated use of the triplet and
+alexandrine. As to any evidence of authorship derivable from the
+appearance of the manuscript, I will only add another word. The lines in
+the translation have been carefully counted, and the number is marked in
+Goldsmith's hand at the close of his transcription. Such a fact is, of
+course, only to be taken in aid of other proof; but a man is not
+generally at the pains of counting, still less, I should say in such a
+case as Goldsmith's, of elaborately transcribing, lines which are not
+his own.' (Forster's 'Goldsmith', 1871, ii. 235-6).
+
+When Forster wrote the above, the MS. was in the possession of Mr.
+Bolton Corney, who had not been aware of its existence when he edited
+Goldsmith's Poems in 1845. In 1854 it was, with his permission, included
+in vol. iv of Cunningham's 'Works' of 1854, and subsequently in the
+Aldine 'Poems' of 1866.
+
+Mark Jerome Vida of Cremona, 1490-1566, was Bishop of Alba, and
+favourite of Leo the Magnificent. Several translators had tried their
+hand at his 'Game of Chess' before Goldsmith. Lowndes mentions
+Rowbotham, 1562; Jeffreys, 1736; Erskine, 1736; Pullin, 1750; and
+'Anon'. (Eton), 1769 (who may have preceded Goldsmith). But after his
+(Goldsmith's) death appeared another Oxford anonymous version, 1778, and
+one by Arthur Murphy, 1786.
+
+
+
+
+
+
+
+APPENDIXES
+
+A.  PORTRAITS OF GOLDSMITH.
+B.  DESCRIPTIONS OF NEWELL'S VIEWS OF LISSOY, ETC.
+C.  THE EPITHET 'SENTIMENTAL.'
+D.  FRAGMENTS OF TRANSLATIONS, ETC. BY GOLDSMITH.
+E.  GOLDSMITH ON POETRY UNDER ANNE AND GEORGE THE FIRST.
+F.  CRITICISMS FROM GOLDSMITH'S 'BEAUTIES OF ENGLISH POESY.'
+
+
+
+APPENDIX A
+
+PORTRAITS OF GOLDSMITH.
+
+PORTRAITS of Goldsmith are not numerous; and the best known are those of
+Reynolds and H. W. Bunbury. That by Sir Joshua was painted in 1766-70,
+and exhibited in the Royal Academy (No. 151) from April 24th to May 28th
+in the latter year. It represents the poet in a plain white collar,
+furred mantle open at the neck, and holding a book in his right hand.
+Its general characteristics are given at p. xxviii of the
+'Introduction.' It was scraped in mezzotint in 1770 by Reynolds's
+Italian pupil, Giuseppe, or Joseph Marchi; and it is dated 1st
+December.* Bunbury's portrait first appeared, after Goldsmith's death,
+as a frontispiece to the 'Haunch of Venison'; and it was etched in
+facsimile by James Bretherton. The plate is dated May 24, 1776. In his
+loyal but despotic 'Life of Goldsmith' (Bk. iv, ch. 6), Mr. John Forster
+reproduces these portraits side by side; in order, he professes, to show
+'the distinction between truth and a caricature of it.' Bunbury, it may
+be, was primarily a caricaturist, and possibly looked at most things
+from a more or less grotesque point of view; but this sketch -- it
+should be observed -- was meant for a likeness, and we have the express
+testimony of one who, if she was Bunbury's sister-in-law, was also
+Goldsmith's friend, that it rendered Goldsmith accurately. It 'gives the
+head with admirable fidelity' -- says the 'Jessamy Bride' (afterwards
+Mrs. Gwyn) -- 'as he actually lived among us; nothing can exceed its
+truth' (Prior's 'Life', 1837, ii. 380). In other words, it delineates
+Goldsmith as his contemporaries saw him, with bulbous forehead,
+indecisive chin, and long protruding upper lip, -- awkward,
+insignificant, ill at ease, -- restlessly burning 'to get in and shine.'
+It enables us moreover to understand how people who knew nothing of his
+better and more lovable qualities, could speak of him as an 'inspired
+idiot,' as 'silly Dr. Goldsmith,' as 'talking like poor Poll.' It is, in
+short, his external, objective presentment. The picture by Sir Joshua,
+on the contrary, is almost wholly subjective. Draped judiciously in a
+popular studio costume, which is not that of the sitter's day, it
+reveals to us the author of 'The Deserted Village' as Reynolds conceived
+him to be at his best, serious, dignified, introspective, with his
+physical defects partly extenuated by art, partly over-mastered by his
+intellectual power. To quote the 'Jessamy Bride' once more -- it is 'a
+fine poetical head for the admiration of posterity, but as it is
+divested of his wig and with the shirt collar open, it was not the man
+as seen in daily life' ('Ib'. ii. 380). Had Goldsmith lived in our era
+of photography, photography would doubtless have given us something
+which would have been neither the one nor the other, but more like
+Bunbury than Reynolds. Yet we may be grateful for both. For Bunbury's
+sketch and Reynolds's portrait are alike indispensable to the true
+comprehension of Goldsmith's curiously dual personality.**
+
+[footnote]* This was the print to which Goldsmith referred in a
+well-known anecdote. Speaking to his old Peckham pupil, Samuel Bishop,
+whom, after many years, he met accidentally in London, he asked him
+eagerly whether he had got an engraving of the new portrait, and finding
+he had not, 'said with some emotion, "if your picture had been
+published, I should not have suffered an hour to elapse without
+procuring it."' But he was speedily 'appeased by apologies.' (Prior's
+'Life', 1837, i. 219-20.)
+
+[footnote]** There is in existence another undated etching by Bretherton
+after Bunbury on a larger scale, which comes much nearer to Reynolds;
+and it is of course possible, though not in our opinion probable, that
+Mrs. Gwyn may have referred to this. But Forster selected the other for
+his comparison; it is prefixed to the 'Haunch of Venison'; it is
+certainly the better known; and (as we believe) cannot ever have been
+intended for a caricature.
+
+The portrait by Reynolds, above referred to, was painted for the Thrale
+Gallery at Streatham, on the dispersion of which, in May, 1816, it was
+bought for the Duke of Bedford for 133 pounds 7s. It is now at Woburn
+Abbey (Cat. No. 254). At Knole, Lord Sackville possesses another version
+(Cat. No. 239), which was purchased in 1773 by the Countess Delawarr,
+and was shown at South Kensington in 1867. Here the dress is a black
+coat and a brown mantle with fur. The present owner exhibited it at the
+Guelph Exhibition of 1891. A third version, now in the Irish National
+Gallery, once belonged to Goldsmith himself, and then to his
+brother-in-law, Daniel Hodson. Finally there is a copy, by a pupil of
+Reynolds, in the National Portrait Gallery, to which it was bequeathed
+in 1890 by Dr. Leifchild, having formerly been the property of Caleb
+Whitefoord. Caleb Whitefoord also had an 'admirable miniature' by
+Reynolds, which belongs to the Rev. Benjamin Whitefoord, Hon. Canon of
+Salisbury ('Whitefoord Papers', 1898, p. xxvii). A small circular print,
+based upon Reynolds, and etched by James Basire, figures on the
+title-page of 'Retaliation'. Some of the plates are dated April 18,
+1774.* The National Portrait Gallery has also a silhouette, attributed
+to Ozias Humphry, R.A., which was presented in 1883 by Sir Theodore
+Martin, K.C.B. Then there is the portrait by Hogarth shown at South
+Kensington in 1867 by the late Mr. Studley Martin of Liverpool. It
+depicts the poet writing at a round table in a black cap,
+claret-coloured coat and ruffles. Of this there is a wood-cut in the
+later editions of Forster's 'Life' (Bk. iii, ch. 14). The same
+exhibition of 1867 contained a portrait of Goldsmith in a brown coat and
+red waistcoat, 'as a young man.' It was said to be extremely like him in
+face, and was attributed to Gainsborough. In Evans's edition of the
+'Poetical and Dramatic Works' is another portrait engraved by Cook,
+said, on some copies, to be 'from an original drawing'; and there is in
+the Print Room at the British Museum yet another portrait still,
+engraved by William Ridley 'from a painting in the possession of the
+Rev. Mr. Williams,' no doubt Goldsmith's friend, the Rev. David
+Williams, founder of the Royal Literary Fund. One of these last may have
+been the work to which the poet refers in a letter to his brother
+Maurice in January, 1770. 'I have sent my cousin Jenny [Jane Contarine]
+a miniature picture of myself...The face you well know, is ugly enough,
+but it is finely painted' ('Misc. Works', 1801, p. 88).
+
+[footnote]*  There is also a sketch by Reynolds (?) at the British
+Museum.
+
+In front of Dublin University is a bronze statue of Goldsmith by J. H.
+Foley, R.A., erected in 1864.* Of this there is a good engraving by G.
+Stodart. On the memorial in Westminster Abbey erected in 1776 is a
+medallion by Joseph Nollekens.
+
+[footnote]*  Goldsmith's traditional ill-luck pursued him after death.
+During some public procession in front of Trinity College, a number of
+undergraduates climbed on the statue, with the result that the thin
+metal of the poet's head was flattened or crushed in, requiring for its
+readjustment very skilful restorative treatment. The Editor is indebted
+for this item of information to the kindness of Mr. Percy Fitzgerald,
+who was present at the subsequent operation.
+
+
+
+
+
+
+APPENDIX B
+
+DESCRIPTIONS OF NEWELL'S VIEWS OF LISSOY, ETC.
+
+In 1811, the Rev. R. H. Newell, B.D. and Fellow of St. John's College,
+Cambridge, issued an edition of the 'Poetical Works' of Goldsmith. The
+distinctive feature of this lay in the fact that it was illustrated by a
+number of aquatints 'by Mr. Alkin' (i.e. Samuel Alken), after drawings
+made by Newell in 1806-9, and was accompanied by a series of 'Remarks,
+attempting to ascertain, chiefly from local observation, the actual
+scene of 'The Deserted Village'.' Some quotations from these 'Remarks'
+have already been made in the foregoing notes; but as copies of six of
+the drawings are given in this volume, it may be well, in each case, to
+reproduce Newell's 'descriptions.'
+
+
+LISHOY, OR LISSOY MILL.
+
+The west end of it, as seen from a field near the road; to the north the
+country slopes away in coarsely cultivated enclosures, and the distance
+eastward is bounded by the Longford hills. The stream ran from the south
+side of the mill (where it is still of some width though nearly choked
+up), and fell over the once busy wheel, into a deep channel, now
+overgrown with weeds. Neglect and poverty appear all around. The farm
+house and barn-like buildings, which fill up the sketch, seem to have no
+circumstances of interest attached to them (p. 83).
+
+
+
+KILKENNY WEST CHURCH.
+
+This south-west view was taken from the road, which passes by the
+church, towards Lishoy, and overlooks the adjacent country to the west.
+The church appears neat, its exterior having been lately repaired. The
+tree added to the foreground is the only liberty taken with the subject
+(p. 83).
+
+
+HAWTHORN TREE.
+
+An east view of the tree, as it stood in August, 1806.  The Athlone road
+occupies the centre of the sketch, winding round the stone wall to the
+right, into the village, and to the left leading toward the church. The
+cottage and tree opposite the hawthorn, adjoin the present public-house;
+the avenue before the parsonage tops the distant eminence (p. 84).
+
+
+SOUTH VIEW FROM GOLDSMITH'S MOUNT.
+
+In this sketch 'the decent church,' at the top of the hill in the
+distance, is an important object, from its exact correspondence with the
+situation given it in the poem. Half-way up stands the solitary ruin of
+Lord Dillon's castle. The hill in shadow, on the left, is above the
+village, and is supposed to be alluded to in the line --
+
+Up yonder hill the distant murmur rose.
+
+A flat of bogland extends from the narrow lake in the centre to the
+mount on the right of the foreground (p. 84).
+
+
+THE PARSONAGE.
+
+A south view from the Athlone road, which runs parallel with the stone
+wall, and nearly east and west: the gateway is that mentioned in
+Goldsmith's letter*, the mount being directly opposite, in a field
+contiguous with the road.
+
+[footnote] *See note to l. 114 of 'The Deserted Village'.
+
+The ruinous stone wall in this and three other sketches, which is a
+frequent sort of fence in the neighbourhood, gives a characteristic
+propriety to the line (48)
+
+And the long grass o'ertops the mould'ring wall.
+(pp. 84-5).
+
+
+THE SCHOOL-HOUSE.
+
+This cottage is situated, as the poem describes it, by the road-side,
+just where it forms a sharp angle by branching out from the village
+eastward: at this point a south-west view was taken (p. 85).
+
+Newell's book was reissued in 1820; but no alterations were made in the
+foregoing descriptions which, it must be borne in mind, refer to 1806-9.
+His enthusiastic identifications will no doubt be taken by the reader
+with the needful grain of salt. Goldsmith probably remembered the
+hawthorn bush, the church upon the hill, the watercress gatherer, and
+some other familiar objects of the 'seats of his youth.' But distance
+added charm to the regretful retrospect; and in the details his fancy
+played freely with his memories. It would be unwise, for example, to
+infer -- as Mr. Hogan did -- the decorations of the 'Three Pidgeons' at
+Lissoy from the account of the inn in the poem.* Some twelve years
+before its publication, when he was living miserably in Green Arbour
+Court, Goldsmith had submitted to his brother Henry a sample of a
+heroi-comic poem describing a Grub Street writer in bed in 'a paltry
+ale-house.' In this 'the sanded floor,' the 'twelve good rules' and the
+broken tea-cups all played their parts as accessories, and even the
+double-dealing chest had its prototype in the poet's night-cap, which
+was 'a cap by night -- a stocking all the day.' A year or two later he
+expanded these lines in the 'Citizen of the World', and the scene
+becomes the Red Lion in Drury Lane. From this second version he adapted,
+or extended again, the description of the inn parlour in 'The Deserted
+Village'. It follows therefore, either that he borrowed for London the
+details of a house in Ireland, or that he used for Ireland the details
+of a house in London. If, on the other hand, it be contended that those
+details were common to both places, then the identification in these
+particulars of Auburn with Lissoy falls hopelessly to the ground.
+
+[footnote] *What follows is taken from the writer's 'Introduction' to
+Mr. Edwin Abbey's illustrated edition of 'The Deserted Village', 1902,
+p. ix..
+
+
+
+
+
+
+
+APPENDIX C
+
+
+THE EPITHET 'SENTIMENTAL.'
+
+Goldsmith's use of 'sentimental' in the 'prologue' to 'She Stoops to
+Conquer' (p. 109, l. 36) -- the only occasion upon which he seems to
+have employed it in his 'poems' -- affords an excuse for bringing
+together one or two dispersed illustrations of the rise and growth of
+this once highly-popular adjective, not as yet reached in the N. E. D.
+Johnson, who must often have heard it, ignores it altogether; and in
+Todd's edition of his 'Dictionary' (1818) it is expressly marked with a
+star as one of the modern words which are 'not' to be found in the
+Doctor's collection. According to Mr. Sidney Lee's admirable article in
+the 'Dictionary of National Biography' on Sterne, that author is to be
+regarded as the 'only begetter' of the epithet. Mr. Lee says that it
+first occurs in a letter of 1740 written by the future author of
+'Tristram Shandy' to the Miss Lumley he afterwards married. Here is the
+precise and characteristic passage:-- 'I gave a thousand pensive,
+penetrating looks at the chair thou hadst so often graced, in those
+quiet and 'sentimental' repasts -- then laid down my knife and fork, and
+took out my handkerchief, and clapped it across my face, and wept like a
+child' (Sterne's 'Works' by Saintsbury, 1894, v. 25). Nine years later,
+however circulated, 'sentimental' has grown 'so much in vogue' that it
+has reached from London to the provinces. 'Mrs. Belfour' (Lady
+Bradshaigh) writing from Lincolnshire to Richardson says:-- 'Pray, Sir,
+give me leave to ask you...what, in your opinion, is the meaning of the
+word 'sentimental', so much in vogue amongst the polite, both in town
+and country? In letters and common conversation, I have asked several
+who make use of it, and have generally received for answer, it is -- it
+is -- 'sentimental'. Every thing clever and agreeable is comprehended in
+that word; but [I] am convinced a wrong interpretation is given, because
+it is impossible every thing clever and agreeable can be so common as
+this word. I am frequently astonished to hear such a one is a
+'sentimental' man; we were a 'sentimental' party; I have been taking a
+'sentimental' walk. And that I might be reckoned a little in the
+fashion, and, as I thought, show them the proper use of the word, about
+six weeks ago, I declared I had just received a 'sentimental' letter.
+Having often laughed at the word, and found fault with the application
+of it, and this being the first time I ventured to make use of it, I was
+loudly congratulated upon the occasion: but I should be glad to know
+your interpretation of it' (Richardson's 'Correspondence', 1804, iv. pp.
+282-3). The reply of the author of 'Clarissa', which would have been
+interesting, is not given; but it is clear that by this date (1749)
+'sentimental' must already have been rather overworked by 'the polite.'
+Eleven years after this we meet with it in the Prologue to Colman's
+'Dramatick Novel' of 'Polly Honeycombe'. 'And then,' he says, commenting
+upon the fiction of the period, --
+
+        And then so 'sentimental' is the Stile,
+        So chaste, yet so bewitching all the while!
+        Plot, and elopement, passion, rape, and rapture,
+        The total sum of ev'ry dear -- dear -- Chapter.
+
+With February, 1768, came Sterne's 'Sentimental Journey' upon which
+Wesley has this comment:-- 'I casually took a volume of what is called,
+"A Sentimental Journey through France and Italy." 'Sentimental'! what is
+that? It is not English: he might as well say, 'Continental' [!]. It is
+not sense. It conveys no determinate idea; yet one fool makes many. And
+this nonsensical word (who would believe it?) is become a fashionable
+one!' ('Journal', February 11, 1772). In 1773, Goldsmith puts it in the
+'Dedication' to 'She Stoops':-- 'The undertaking a comedy, not merely
+'sentimental', was very dangerous;' and Garrick (forgetting Kelly and
+'False Delicacy') uses it more than once in his 'Prologue' to the same
+play, e.g. -- 'Faces are blocks in 'sentimental' scenes.' Further
+examples might easily be multiplied, for the word, in spite of Johnson,
+had now come to stay. Two years subsequently we find Sheridan referring
+to
+
+        The goddess of the woful countenance,
+        The 'sentimental' Muse! --
+
+in an occasional 'Prologue' to 'The Rivals'.  It must already have
+passed into the vocabulary of the learned. Todd gives examples from
+Shenstone and Langhorne. Warton has it more than once in his 'History of
+English Poetry'; and it figures in the 'Essays' of Vicesimus Knox. Thus
+academically launched, we need no longer follow its fortunes.
+
+
+
+
+
+
+
+APPENDIX D
+
+FRAGMENTS OF TRANSLATIONS, ETC., BY
+GOLDSMITH.
+
+To the Aldine edition of 1831, the Rev. John Mitford added several
+fragments of translation from Goldsmith's 'Essays'. About a third of
+these were traced by Bolton Corney in 1845 to the 'Horace' of Francis.
+He therefore compiled a fresh collection, here given.
+
+        'From a French version of Homer'.
+        The shouting army cry'd with joy extreme,
+        He sure must conquer, who himself can tame!
+                  'The Bee', 1759, p. 90.
+
+The next is also from Homer, and is proposed as an
+improvement of Pope:--
+
+        They knew and own'd the monarch of the main:
+        The sea subsiding spreads a level plain:
+        The curling waves before his coursers fly:
+        The parting surface leaves his brazen axle dry.
+                  'Miscellaneous Works', 1801, iv. 410.
+
+From the same source comes number three,
+a quatrain from Vida's 'Eclogues':--
+
+        Say heavenly muse, their youthful frays rehearse;
+        Begin, ye daughters of immortal verse;
+        Exulting rocks have crown'd the power of song!
+        And rivers listen'd as they flow'd along.
+                  'Miscellaneous Works', 1801, iv. 427.
+
+Another is a couplet from Ovid, the fish
+referred to being the 'scarus' or bream:--
+
+        Of all the fish that graze beneath the flood,
+        He, 'only', ruminates his former food.
+                  'History of the Earth, etc.', 1774, iii. 6.
+
+Bolton Corney also prints the translation from the 'Spectator', already
+given in this volume. His last fragment is from the posthumous
+translation of Scarron's 'Roman Comique':--
+
+        Thus, when soft love subdues the heart
+        With smiling hopes and chilling fears,
+        The soul rejects the aid of art,
+        And speaks in moments more than years.
+                'The Comic Romance of Monsieur Scarron', 1775, ii. 161.
+
+It is unnecessary to refer to any other of the poems attributed to
+Goldsmith. Mitford included in his edition a couple of quatrains
+inserted in the 'Morning Chronicle' for April 3, 1800, which were said
+to be by the poet; but they do not resemble his manner. Another piece
+with the title of 'The Fair Thief' was revived in July, 1893, by an
+anonymous writer in the 'Daily Chronicle', as being possibly by
+Goldsmith, to whom it was assigned in an eighteenth-century anthology
+(1789-80). Its discoverer, however, subsequently found it given in
+Walpole's 'Noble Authors' (Park's edition, 1806) to Charles Wyndham,
+Earl of Egremont. It has no great merit; and may safely be neglected as
+an important addition to Goldsmith's 'Works', already burdened with much
+which that critical author would never have reprinted.
+
+
+
+
+
+
+APPENDIX E
+
+GOLDSMITH ON POETRY UNDER ANNE AND
+GEORGE THE FIRST.
+
+In Letter xvi, vol. ii. pp.139-41, of 'An History of England in a Series
+of Letters from a Nobleman to his Son', 1764, Goldsmith gives the
+following short account of the state of poetry in the first quarter of
+the Eighteenth Century.
+
+'But, of all the other arts, poetry in this age was carried to the
+greatest perfection. The language, for some ages, had been improving,
+but now it seemed entirely divested of its roughness and barbarity.
+Among the poets of this period we may place John Philips, author of
+several poems, but of none more admired than that humourous one,
+entitled, 'The Splendid Shilling'; he lived in obscurity, and died just
+above want. William Congreve deserves also particular notice; his
+comedies, some of which were but coolly received upon their first
+appearance, seemed to mend upon repetition; and he is, at present,
+justly allowed the foremost in that species of dramatic poesy. His wit
+is ever just and brilliant; his sentiments new and lively; and his
+elegance equal to his regularity. Next him Vanbrugh is placed, whose
+humour seems more natural, and characters more new; but he owes too many
+obligations to the French, entirely to pass for an original; and his
+total disregard to decency, in a great measure, impairs his merit.
+Farquhar is still more lively, and, perhaps more entertaining than
+either; his pieces still continue the favourite performances of the
+stage, and bear frequent repetition without satiety; but he often
+mistakes pertness for wit, and seldom strikes his characters with proper
+force or originality. However, he died very young; and it is remarkable,
+that he continued to improve as he grew older; his last play, entitled
+'The Beaux' Strategem', being the best of his productions. Addison, both
+as a poet and prose writer, deserves the highest regard and imitation.
+His 'Campaign', and 'Letter to Lord Halifax from Italy', are
+masterpieces in the former, and his 'Essays' published in the
+'Spectator' are inimitable specimens of the latter. Whatever he treated
+of was handled with elegance and precision; and that virtue which was
+taught in his writings, was enforced by his example. Steele was
+Addison's friend and admirer; his comedies are perfectly polite, chaste,
+and genteel; nor were his other works contemptible; he wrote on several
+subjects, and yet it is amazing, in the multiplicity of his pursuits,
+how he found leisure for the discussion of any. Ever persecuted by
+creditors, whom his profuseness drew upon him, or pursuing impracticable
+schemes, suggested by ill-grounded ambition. Dean Swift was the
+professed antagonist both of Addison and him. He perceived that there
+was a spirit of romance mixed with all the works of the poets who
+preceded him; or, in other words, that they had drawn nature on the most
+pleasing side. There still therefore was a place left for him, who,
+careless of censure, should describe it just as it was, with all its
+deformities; he therefore owes much of his fame, not so much to the
+greatness of his genius, as to the boldness of it. He was dry,
+sarcastic, and severe; and suited his style exactly to the turn of his
+thought, being concise and nervous. In this period also flourished many
+of subordinate fame. Prior was the first who adopted the French elegant
+easy manner of telling a story; but if what he has borrowed from that
+nation be taken from him, scarce anything will be left upon which he can
+lay any claim to applause in poetry. Rowe was only outdone by
+Shakespeare and Otway as a tragic writer; he has fewer absurdities than
+either; and is, perhaps, as pathetic as they; but his flights are not so
+bold, nor his characters so strongly marked. Perhaps his coming later
+than the rest may have contributed to lessen the esteem he deserves.
+Garth had success as a poet; and, for a time, his fame was even greater
+than his desert. In his principal work, 'The Dispensary', his
+versification is negligent; and his plot is now become tedious; but
+whatever he may lose as a poet, it would be improper to rob him of the
+merit he deserves for having written the prose dedication, and preface,
+to the poem already mentioned; in which he has shown the truest wit,
+with the most refined elegance. Parnell, though he has written but one
+poem, namely, 'The Hermit', yet has found a place among the English
+first rate poets. Gay, likewise, by his 'Fables' and 'Pastorals', has
+acquired an equal reputation. But of all who have added to the stock of
+English Poetry, Pope, perhaps, deserves the first place. On him,
+foreigners look as one of the most successful writers of his time; his
+versification is the most harmonious, and his correctness the most
+remarkable of all our poets. A noted contemporary of his own calls the
+English the finest writers on moral topics, and Pope the noblest moral
+writer of all the English. Mr. Pope has somewhere named himself the last
+English Muse; and, indeed, since his time, we have seen scarce any
+production that can justly lay claim to immortality; he carried the
+language to its highest perfection; and those who have attempted still
+farther to improve it, instead of ornament, have only caught finery.'
+
+
+
+
+
+
+APPENDIX F
+
+CRITICISMS FROM GOLDSMITH'S 'BEAUTIES
+OF ENGLISH POESY.'
+
+To 'The Beauties of English Poesy', 2 vols., 1767, Goldsmith
+prefixed, in each case, 'short introductory criticisms.' They
+are, as he says, 'rather designed for boys than men'; and aim
+only at being 'obvious and sincere'; but they carry his views on
+the subject somewhat farther than the foregoing account from the
+'History of England'.
+
+
+THE RAPE OF THE LOCK.
+
+This seems to be Mr. Pope's most finished production, and is,
+perhaps, the most perfect in our language. It exhibits stronger
+powers of imagination, more harmony of numbers, and a greater
+knowledge of the world, than any other of this poet's works; and
+it is probable, if our country were called upon to show a
+specimen of their genius to foreigners, this would be the work
+here fixed upon.
+
+
+
+THE HERMIT.
+
+This poem is held in just esteem, the versification being
+chaste, and tolerably harmonious, and the story told with
+perspicuity and conciseness. It seems to have cost great labour,
+both to Mr. Pope and Parnell himself, to bring it to this
+perfection.* It may not be amiss to observe that the fable is
+taken from one of Dr. Henry More's Dialogues.
+
+[footnote] *Parnell's 'Poems', 1770, xxiv.
+
+
+
+IL PENSEROSO.
+
+I have heard a very judicious critic say, that he had an higher
+idea of Milton's style in poetry, from the two following poems
+['Il Penseroso' and 'l'Allegro'], than from his 'Paradise Lost'.
+It is certain the imagination shown in them is correct and
+strong. The introduction to both in irregular measure is
+borrowed from the Italian, and hurts an English ear.
+
+
+
+AN ELEGY, WRITTEN IN A COUNTRY CHURCH YARD.
+
+This is a very fine poem, but overloaded with epithet.*  The
+heroic measure with alternate rhyme is very properly adapted to
+the solemnity of the subject, as it is the slowest movement that
+our language admits of. The latter part of the poem is pathetic
+and interesting.
+
+[footnote] *This is a strange complaint to come from Goldsmith,
+whose own 'Hermit', as was pointed out to the present Editor by
+the late Mr. Kegan Paul, is certainly open to this impeachment.
+
+
+
+LONDON.  IN IMITATION OF THE THIRD SATIRE OF JUVENAL.
+
+This poem of Mr. Johnson's is the best imitation of the original
+that has appeared in our language, being possessed of all the
+force and satirical resentment of Juvenal. Imitation gives us a
+much truer idea of the ancients than even translation could do.
+
+
+
+THE SCHOOL-MISTRESS.  IN IMITATION OF SPENSER.
+
+This poem is one of those happinesses in which a poet excels
+himself, as there is nothing in all Shenstone which in any way
+approaches it in merit; and, though I dislike the imitations of
+our old English poets in general, yet, on this minute subject,
+the antiquity of the style produces a very ludicrous solemnity.
+
+
+
+COOPER'S HILL.
+
+This poem, by Denham, though it may have been exceeded by later
+attempts in description, yet deserves the highest applause, as
+it far surpasses all that went before it: the concluding part,
+though a little too much crowded, is very masterly.
+
+
+
+ELOISA TO ABELARD.
+
+The harmony of numbers in this poem is very fine.  It is rather
+drawn out to too tedious a length, although the passions vary
+with great judgement. It may be considered as superior to
+anything in the epistolary way; and the many translations which
+have been made of it into the modern languages, are in some
+measure a proof of this.
+
+
+
+AN EPISTLE FROM MR. PHILIPS* TO THE EARL OF DORSET.
+
+The opening of this poem is incomparably fine.  The latter part
+is tedious and trifling.
+
+[footnote] *Ambrose Philips.
+
+
+
+A LETTER FROM ITALY, TO THE RIGHT HONOURABLE CHARLES LORD
+HALIFAX.
+
+In the Year MDCCI.
+
+Few poems have done more honour to English genius than this.
+There is in it a strain of political thinking that was, at that
+time, new in our poetry. Had the harmony of this been equal to
+that of Pope's versification, it would be incontestably the
+finest poem in our language; but there is a dryness in the
+numbers which greatly lessens the pleasure excited both by the
+poet's judgement and imagination.*
+
+[footnote] *See introductory note to 'The Traveller', p. 162.
+
+
+
+ALEXANDER'S FEAST; OR, THE POWER OF MUSIC. AN ODE, IN HONOUR OF
+ST. CECILIA'S DAY.
+
+This ode [by Mr. Dryden] has been more applauded, perhaps, than
+it has been felt, however, it is a very fine one, and gives its
+beauties rather at a third, or fourth, than at a first perusal.
+
+
+
+ODE FOR MUSIC ON ST. CECILIA'S DAY.
+
+This ode [by Mr. Pope] has by many been thought equal to the
+former. As it is a repetition of Dryden's manner, it is so far
+inferior to him. The whole hint of Orpheus, and many of the
+lines, have been taken from an obscure Ode upon Music, published
+in Tate's Miscellanies.*
+
+[footnote] *'A Pindaric Essay upon Musick' -- says Gibbs -- by
+'Mr. Wilson',' which appears at p. 401 of Tate's Collection of
+1685.
+
+
+
+THE SHEPHERD'S WEEK.  IN SIX PASTORALS.
+
+These are Mr. Gay's principal performances.  They were
+originally intended, I suppose, as a burlesque on those of
+[Ambrose] Philips; but, perhaps without designing it, he has hit
+the true spirit of pastoral poetry. In fact, he more resembles
+Theocritus than any other English pastoral writer whatsoever.
+There runs through the whole a strain of rustic pleasantry which
+should ever distinguish this species of composition; but how far
+the antiquated expressions used here may contribute to the
+humour, I will not determine; for my own part, I could wish the
+simplicity were preserved, without recurring to such obsolete
+antiquity for the manner of expressing it.
+
+
+
+MAC FLECKNOE.
+
+The severity of this satire, and the excellence of its
+versification give it a distinguished rank in this species of
+composition. At present, an ordinary reader would scarce suppose
+that Shadwell, who is here meant by Mac Flecknoe, was worth
+being chastised, and that Dryden's descending to such game was
+like an eagle's stooping to catch flies.* The truth however is,
+Shadwell, at one time, held divided reputation with this great
+poet. Every age produces its fashionable dunces, who, by
+following the transient topic, or humour, of the day, supply
+talkative ignorance with materials for conversation.
+
+[footnote] *'Aquila non capit muscas' (Apostolius).
+
+
+
+ON POETRY.  A RHAPSODY.
+
+Here follows one of the best versified poems in our language,
+and the most masterly production of its author. The severity
+with which Walpole is here treated, was in consequence of that
+minister having refused to provide for Swift in England, when
+applied to for that purpose in the year 1725 (if I remember
+right). The severity of a poet, however, gave Walpole very
+little uneasiness. A man whose schemes, like this minister's,
+seldom extended beyond the exigency of the year, but little
+regarded the contempt of posterity.
+
+
+
+OF THE USE OF RICHES.
+
+This poem, as Mr. Pope tells us himself, cost much attention and
+labour; and, from the easiness that appears in it, one would be
+apt to think as much.
+
+
+
+FROM THE DISPENSARY.
+
+This sixth canto of the 'Dispensary', by Dr. Garth, has more
+merit than the whole preceding part of the poem, and, as I am
+told, in the first edition of this work it is more correct than
+as here exhibited; but that edition I have not been able to
+find. The praises bestowed on this poem are more than have been
+given to any other; but our approbation, at present, is cooler,
+for it owed part of its fame to party.*
+
+[footnote] *Cf. Dedication of 'The Traveller', ll. 34-45.
+
+
+
+ECLOGUE I. SELIM:  OR, THE SHEPHERD'S MORAL.
+
+The following eclogues*, written by Mr. Collins, are very
+pretty: the images, it must be owned, are not very local; for
+the pastoral subject could not well admit of it. The description
+of Asiatic magnificence, and manners, is a subject as yet
+unattempted amongst us, and I believe, capable of furnishing a
+great variety of poetical imagery.
+
+[footnote] *i.e. -- Selim, Hassan, Agib and Secander, and Abra.
+Goldsmith admired Collins, whom he calls in the 'Enquiry', 1759,
+p. 143, 'the neglected author of the Persian eclogues, which,
+however inaccurate, excel any in our language.' He borrowed
+freely from him in the 'Threnodia Augustalis', q.v.
+
+
+
+THE SPLENDID SHILLING. BY MR. J. PHILIPS.
+
+This is reckoned the best parody of Milton in our language:  it
+has been an hundred times imitated, without success. The truth
+is, the first thing in this way must preclude all future
+attempts; for nothing is so easy as to burlesque any man's
+manner, when we are once showed the way.
+
+
+
+A PIPE OF TOBACCO: IN IMITATION OF SIX SEVERAL AUTHORS.
+
+Mr. Hawkins Browne, the author of these, as I am told, had no
+good original manner of his own, yet we see how well he
+succeeded when he turns an imitator; for the following are
+rather imitations than ridiculous parodies.
+
+
+
+A NIGHT-PIECE ON DEATH.
+
+The great fault of this piece, written by Dr. Parnell, is that
+it is in eight-syllable lines, very improper for the solemnity
+of the subject; otherwise, the poem is natural, and the
+reflections just.
+
+
+
+A FAIRY TALE. BY DR. PARNELL.
+
+Never was the old manner of speaking more happily applied, or a
+tale better told, than this.
+
+
+
+PALEMON AND LAVINIA.*
+
+Mr. Thomson, though, in general, a verbose and affected poet,
+has told this story with unusual simplicity: it is rather given
+here for being much esteemed by the public, than by the editor.
+
+[footnote] *From 'The Seasons'.
+
+
+
+THE BASTARD.
+
+Almost all things written from the heart, as this certainly was,
+have some merit. The poet here describes sorrows and misfortunes
+which were by no means imaginary; and, thus, there runs a truth
+of thinking through this poem, without which it would be of
+little value, as Savage is, in other respects, but an
+indifferent poet.
+
+
+
+THE POET AND HIS PATRON.
+
+Mr. Mo[o]re was a poet that never had justice done him while
+living; there are few of the moderns have a more correct taste,
+or a more pleasing manner of expressing their thoughts. It was
+upon these fables [Nos. v, vi, and xvi of the 'Fables for the
+Ladies'] he chiefly founded his reputation; yet they are, by no
+means, his best production.
+
+
+
+AN EPISTLE TO A LADY.
+
+This little poem, by Mr. Nugent [afterwards Lord Clare] is very
+pleasing. The easiness of the poetry, and the justice of the
+thoughts, constitute its principal beauty.
+
+
+
+HANS CARVEL.
+
+This bagatelle, for which, by the by, Mr. Prior has got his
+greatest reputation, was a tale told in all the old Italian
+collections of jests, and borrowed from thence by Fontaine. It
+had been translated once or twice before into English, yet was
+never regarded till it fell into the hands of Mr. Prior. A
+strong instance how everything is improved in the hands of a man
+of genius.
+
+
+
+BAUCIS AND PHILEMON.
+
+This poem [by Swift] is very fine; and though in the same strain
+with the preceding [Prior's 'Ladle'] is yet superior.
+
+
+
+TO THE EARL OF WARWICK, ON THE DEATH OF MR. ADDISON.
+
+This elegy (by Mr. Ticknell) is one of the finest in our
+language; there is so little new that can be said upon the death
+of a friend, after the complaints of Ovid and the Latin
+Italians, in this way, that one is surprised to see so much
+novelty in this to strike us, and so much interest to affect.
+
+
+
+COLIN AND LUCY.
+
+Through all Tickell's works there is a strain of
+ballad-thinking, if I may so express it; and, in this professed
+ballad, he seems to have surpassed himself. It is, perhaps, the
+best in our language in this way.
+
+
+
+THE TEARS OF SCOTLAND. WRITTEN IN THE YEAR MDCCXLVI.
+
+This ode, by Dr. Smollett, does rather more honour to the
+author's feelings than his taste. The mechanical part, with
+regard to numbers and language, is not so perfect as so short a
+work as this requires; but the pathetic it contains,
+particularly in the last stanza but one, is exquisitely fine.
+
+
+
+ON THE DEATH OF THE LORD PROTECTOR.
+
+Our poetry was not quite harmonized in Waller's time; so that
+this, which would be now looked upon as a slovenly sort of
+versification, was, with respect to the times in which it was
+written, almost a prodigy of harmony. A modern reader will
+chiefly be struck with the strength of thinking, and the turn of
+the compliments bestowed upon the usurper. Everybody has heard
+the answer our poet made Charles II; who asked him how his poem
+upon Cromwell came to be finer than his panegyric upon himself.
+'Your majesty,' replies Waller, 'knows, that poets always
+succeed best in fiction.'
+
+
+
+THE STORY OF PHOEBUS AND DAPHNE APPLIED.
+
+The French claim this [by Mr. Waller] as belonging to them. To
+whomsoever it belongs the thought is finely turned.
+
+
+
+NIGHT THOUGHTS. BY DR. YOUNG.
+
+These seem to be the best of the collection; from whence only
+the two first are taken. They are spoken of differently, either
+with exaggerated applause or contempt, as the reader's
+disposition is either turned to mirth or melancholy.
+
+
+
+SATIRE I.
+
+Young's Satires were in higher reputation when published, than
+they stand in at present. He seems fonder of dazzling than
+pleasing; of raising our admiration for his wit, than our
+dislike of the follies he ridicules.
+
+
+
+A PASTORAL BALLAD.
+
+These ballads of Mr. Shenstone are chiefly commended for the
+natural simplicity of the thoughts and the harmony of the
+versification. However, they are not excellent in either.
+
+
+
+PHOEBE.  A PASTORAL.
+
+This, by Dr. Byrom, is a better effort than the preceding [a
+ballad by Shenstone].
+
+
+
+A SONG.
+
+This ['Despairing beside a clear stream'] by Mr. Rowe, is better
+than anything of the kind in our language.
+
+
+
+AN ESSAY ON POETRY.
+
+This work, by the Duke of Buckingham, is enrolled among our
+great English productions. The precepts are sensible, the poetry
+not indifferent, but it has been praised more than it deserves.
+
+
+
+CADENUS AND VANESSA.
+
+This is thought one of Dr. Swift's correctest pieces; its chief
+merit, indeed, is the elegant ease with which a story, but
+ill-conceived in itself, is told.
+
+
+
+ALMA:  OR, THE PROGRESS OF THE MIND.
+
+What Prior meant by this poem I can't understand; by the Greek
+motto to it one would think it was either to laugh at the
+subject or the reader. There are some parts of it very fine; and
+let them save the badness of the rest.
+
+
+
+End of Project Gutenberg's The Complete Poetical Works of Oliver Goldsmith
+
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