CHAPTER TWENTY-NINE

THE POET AMONG THE LADIES--DESCRIPTION OF HIS PERSON AND MANNERS--EXPEDITION TO PARIS WITH THE HORNECK FAMILY--THE TRAVELER OF TWENTY AND THE TRAVELER OF FORTY--HICKEY, THE SPECIAL ATTORNEY--AN UNLUCKY EXPLOIT

The Deserted Village had shed an additional poetic grace round the homely person of the author; he was becoming more and more acceptable in ladies' eyes, and finding himself more and more at ease in their society; at least in the society of those whom he met in the Reynolds circle, among whom he

## particularly affected the beautiful family of the Hornecks.

But let us see what were really the looks and manners of Goldsmith about this time, and what right he had to aspire to ladies' smiles; and in so doing let us not take the sketches of Boswell and his compeers, who had a propensity to represent him in caricature; but let us take the apparently truthful and discriminating picture of him as he appeared to Judge Day, when the latter was a student in the Temple.

"In person," says the judge, "he was short; about five feet five or six inches; strong, but not heavy in make; rather fair in complexion, with brown hair; such, at least, as could be distinguished from his wig. His features were plain, but not repulsive--certainly not so when lighted up by conversation. His manners were simple, natural, and perhaps on the whole, we may say, not polished; at least without the refinement and good-breeding which the exquisite polish of his compositions would lead us to expect. He was always cheerful and animated, often, indeed, boisterous in his mirth; entered with spirit into convivial society; contributed largely to its enjoyments by solidity of information, and the naïvete and originality of his character; talked often without premeditation, and laughed loudly without restraint."

This, it will be recollected, represents him as he appeared to a young Templar, who probably saw him only in Temple coffee-houses, at students' quarters, or at the jovial supper parties given at the poet's own chambers; here, of course, his mind was in its rough dress; his laugh may have been loud and his mirth boisterous; but we trust all these matters became softened and modified when he found himself in polite drawing-rooms and in female society.

But what say the ladies themselves of him; and here, fortunately, we have another sketch of him, as he appeared at the time to one of the Horneck circle; in fact, we believe, to the Jessamy Bride herself. After admitting, apparently with some reluctance, that "he was a very plain man," she goes on to say, "but had he been much more so, it was impossible not to love and respect his goodness of heart, which broke out on every occasion. His benevolence was unquestionable, and _his countenance bore every trace of it_: no one that knew him intimately could avoid admiring and loving his good qualities." When to all this we add the idea of intellectual delicacy and refinement associated with him by his poetry and the newly plucked bays that were flourishing round his brow, we cannot be surprised that fine and fashionable ladies should be proud of his attentions, and that even a young beauty should not be altogether displeased with the thoughts of having a man of his genius in her chains.

We are led to indulge some notions of the kind from finding him in the month of July, but a few weeks after the publication of the Deserted Village, setting off on a six weeks' excursion to Paris, in company with Mrs. Horneck and her two beautiful daughters. A day or two before his departure we find another new gala suit charged to him on the books of Mr. William Filby. Were the bright eyes of the Jessamy Bride responsible for this additional extravagance of wardrobe? Goldsmith had recently been editing the works of Parnell; had he taken courage from the example of Edwin in the fairy tale?--

"Yet spite of all that nature did To make his uncouth form forbid, This creature dared to love. He felt the force of Edith's eyes, Nor wanted hope to gain the prize _Could ladies look within--_"

All this we throw out as mere hints and surmises, leaving it to our readers to draw their own conclusions. It will be found, however, that the poet was subjected to shrewd bantering among his contemporaries about the beautiful Mary Horneck, and that he was extremely sensitive on the subject.

It was in the month of June that he set out for Paris with his fair companions, and the following letter was written by him to Sir Joshua Reynolds, soon after the party landed at Calais:

"MY DEAR FRIEND--We had a very quick passage from Dover to Calais, which we performed in three hours and twenty minutes, all of us extremely seasick, which must necessarily have happened, as my machine to prevent seasickness was not completed. We were glad to leave Dover, because we hated to be imposed upon; so were in high spirits at coming to Calais, where we were told that a little money would go a great way.

"Upon landing, with two little trunks, which was all we carried with us, we were surprised to see fourteen or fifteen fellows all running down to the ship to lay their hands upon them; four got under each trunk, the rest surrounded and held the hasps; and in this manner our little baggage was conducted, with a kind of funeral solemnity, till it was safely lodged at the custom-house. We were well enough pleased with the people's civility till they came to be paid; every creature that had the happiness of but touching our trunks with their finger expected sixpence; and they had so pretty and civil a manner of demanding it that there was no refusing them.

"When we had done with the porters, we had next to speak with the custom-house officers, who had their pretty civil ways too. We were directed to the Hotel d'Angleterre, where a valet-de-place came to offer his service, and spoke to me ten minutes before I once found out that he was speaking English. We had no occasion for his services, so we gave him a little money because he spoke English, and because he wanted it. I cannot help mentioning another circumstance: I bought a new ribbon for my wig at Canterbury, and the barber at Calais broke it in order to gain sixpence by buying me a new one."

An incident which occurred in the course of this tour has been tortured by that literary magpie, Boswell, into a proof of Goldsmith's absurd jealousy of any admiration shown to others in his presence. While stopping at a hotel in Lisle, they were drawn to the windows by a military parade in front. The extreme beauty of the Misses Horneck immediately attracted the attention of the officers, who broke forth with enthusiastic speeches and compliments intended for their ears. Goldsmith was amused for a while, but at length affected impatience at this exclusive admiration of his beautiful companions, and exclaimed, with mock severity of aspect, "Elsewhere I also would have my admirers."

It is difficult to conceive the obtuseness of intellect necessary to misconstrue so obvious a piece of mock petulance and dry humor into an instance of mortified vanity and jealous self-conceit.

Goldsmith jealous of the admiration of a group of gay officers for the charms of two beautiful young women! This even out-Boswells Boswell; yet this is but one of several similar absurdities, evidently misconceptions of Goldsmith's peculiar vein of humor, by which the charge of envious jealousy has been attempted to be fixed upon him. In the present instance it was contradicted by one of the ladies herself, who was annoyed that it had been advanced against him. "I am sure," said she, "from the peculiar manner of his humor, and assumed frown of countenance, what was often uttered in jest was mistaken, by those who did not know him, for earnest." No one was more prone to err on this point than Boswell. He had a tolerable perception of wit, but none of humor.

The following letter to Sir Joshua Reynolds was subsequently written:

"To _Sir Joshua Reynolds_.

"PARIS, _July 29 (1770)_.

"MY DEAR FRIEND--I began a long letter to you from Lisle, giving a description of all that we had done and seen, but, finding it very dull, and knowing that you would show it again, I threw it aside and it was lost. You see by the top of this letter that we are at Paris, and (as I have often heard you say) we have brought our own amusement with us, for the ladies do not seem to be very fond of what we have yet seen.

"With regard to myself, I find that traveling at twenty and forty are very different things. I set out with all my confirmed habits about me, and can find nothing on the Continent so good as when I formerly left it. One of our chief amusements here is scolding at everything we meet with, and praising everything and every person we left at home. You may judge, therefore, whether your name is not frequently bandied at table among us. To tell you the truth, I never thought I could regret your absence so much as our various mortifications on the road have often taught me to do. I could tell you of disasters and adventures without number; of our lying in barns, and of my being half poisoned with a dish of green peas; of our quarreling with postilions, and being cheated by our landladies; but I reserve all this for a happy hour which I expect to share with you upon my return.

"I have little to tell you more but that we are at present all well, and expect returning when we have stayed out one month, which I did not care if it were over this very day. I long to hear from you all, how you yourself do, how Johnson, Burke, Dyer, Chamier, Colman, and every one of the club do. I wish I could send you some amusement in this letter, but I protest I am so stupefied by the air of this country (for I am sure it cannot be natural) that I have not a word to say. I have been thinking of the plot of a comedy, which shall be entitled A Journey to Paris, in which a family shall be introduced with a full intention of going to France to save money. You know there is not a place in the world more promising for that purpose. As for the meat of this country, I can scarce eat it; and, though we pay two good shillings a head for our dinner, I find it all so tough that I have spent less time with my knife than my picktooth. I said this as a good thing at the table, but it was not understood. I believe it to be a good thing.

"As for our intended journey to Devonshire, I find it out of my power to perform it; for, as soon as I arrive at Dover, I intend to let the ladies go on, and I will take a country lodging somewhere near that place in order to do some business. I have so outrun the constable that I must mortify a little to bring it up again. For God's sake, the night you receive this, take your pen in your hand and tell me something about yourself and myself, if you know anything that has happened. About Miss Reynolds, about Mr. Bickerstaff, my nephew, or anybody that you regard. I beg you will send to Griffin the bookseller to know if there be any letters left for me, and be so good as to send them to me at Paris. They may perhaps be left for me at the Porter's Lodge, opposite the pump in Temple Lane. The same messenger will do. I expect one from Lord Clare, from Ireland. As for the others, I am not much uneasy about.

"Is there anything I can do for you at Paris? I wish you would tell me. The whole of my own purchases here is one silk coat, which I have put on, and which makes me look like a fool. But no more of that. I find that Colman has gained his lawsuit. I am glad of it. I suppose you often meet. I will soon be among you, better pleased with my situation at home than I ever was before. And yet I must say that, if anything could make France pleasant, the very good women with whom I am at present would certainly do it. I could say more about that, but I intend showing them the letter before I send it away. What signifies teasing you longer with moral observations, when the business of my writing is over? I have one thing only more to say, and of that I think every hour in the day; namely, that I am your most sincere and most affectionate friend,

"OLIVER GOLDSMITH.

"Direct to me at the Hotel de Danemarc, Rue Jacob, Fauxbourg St. Germains."

A word of comment on this letter:

Traveling is, indeed, a very different thing with Goldsmith the poor student at twenty, and Goldsmith the poet and professor at forty. At twenty, though obliged to trudge on foot from town to town, and country to country, paying for a supper and a bed by a tune on the flute, everything pleased, everything was good; a truckle bed in a garret was a conch of down, and the homely fare of the peasant a feast fit for an epicure. Now, at forty, when he posts through the country in a carriage, with fair ladies by his side, everything goes wrong: he has to quarrel with postilions, he is cheated by landladies, the hotels are barns, the meat is too tough to be eaten, and he is half poisoned by green peas! A line hi his letter explains the secret: "The ladies do not seem to be very fond of what we have yet seen." "One of our chief amusements is scolding at everything we meet with, and praising everything and every person we have left at home!" the true English traveling amusement. Poor Goldsmith! he has "all his _confirmed_ habits about him"; that is to say, he has recently risen into high life, and acquired highbred notions; he must be fastidious like his fellow-travelers; he dare not be pleased with what pleased the vulgar tastes of his youth. He is unconsciously illustrating the trait so humorously satirized by him in Bill Tibbs, the shabby beau, who can find "no such dressing as he had at Lord Crump's or Lady Crimp's"; whose very senses have grown genteel, and who no longer "smacks at wretched wine or praises detestable custard." A lurking thorn, too, is worrying him throughout this tour; he has "outrun the constable"; that is to say, his expenses have outrun his means, and he will have to make up for this butterfly flight by toiling like a grub on his return.

Another circumstance contributes to mar the pleasure he had promised himself in this excursion. At Paris the party is unexpectedly joined by a Mr. Hickey, a bustling attorney, who is well acquainted with that metropolis and its environs, and insists on playing the cicerone on all occasions. He and Goldsmith do not relish each other, and they have several petty altercations. The lawyer is too much a man of business and method for the careless poet, and is disposed to manage everything. He has perceived Goldsmith's whimsical peculiarities without properly appreciating his merits, and is prone to indulge in broad bantering and raillery at his expense, particularly irksome if indulged in presence of the ladies. He makes himself merry on his return to England, by giving the following anecdote as illustrative of Goldsmith's vanity:

"Being with a party at Versailles, viewing the waterworks, a question arose among the gentlemen present, whether the distance from whence they stood to one of the little islands was within the compass of a leap. Goldsmith maintained the affirmative; but, being bantered on the subject, and remembering his former prowess as a youth, attempted the leap, but, falling short, descended into the water, to the great amusement of the company."

Was the Jessamy Bride a witness of this unlucky exploit?

This same Hickey is the one of whom Goldsmith, some time subsequently, gave a good-humored sketch in his poem of The Retaliation.

"Here Hickey reclines, a most blunt, pleasant creature, 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; 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, not Then what was his failing? Come, tell it, and burn ye-- He was, could he help it? a special attorney."

One of the few remarks extant made by Goldsmith during his tour is the following, of whimsical import, in his Animated Nature.

"In going through the towns of France, some time since, I could not help observing how much plainer their parrots spoke than ours, and how very distinctly I understood their parrots speak French, when I could not understand our own, though they spoke my native language. I at first ascribed it to the different qualities of the two languages, and was for entering into an elaborate discussion on the vowels and consonants; but a friend that was with me solved the difficulty at once, by assuring me that the French women scarce did anything else the whole day than sit and instruct their feathered pupils; and that the birds were thus distinct in their lessons in consequence of continual schooling."

His tour does not seem to have left in his memory the most fragrant recollections; for, being asked, after his return, whether traveling on the Continent repaid "an Englishman for the privations and annoyances attendant on it," he replied, "I recommend it by all means to the sick, if they are without the sense of _smelling_, and to the poor, if they are without the sense of _feeling_; and to both, if they can discharge from their minds all idea of what in England we term comfort."

It is needless to say that the universal improvement in the art of living on the Continent has at the present day taken away the force of Goldsmith's reply, though even at the time it was more humorous than correct.

CHAPTER THIRTY

DEATH OF GOLDSMITH'S MOTHER--BIOGRAPHY OF PARNELL--AGREEMENT WITH DAVIES FOR THE HISTORY OF ROME--LIFE OP BOLINGBROKE--THE HAUNCH OF VENISON

On his return to England, Goldsmith received the melancholy tidings of the death of his mother. Notwithstanding the fame as an author to which he had attained, she seems to have been disappointed in her early expectations from him. Like others of his family, she had been more vexed by his early follies than pleased by his proofs of genius; and in subsequent years, when he had risen to fame and to intercourse with the great, had been annoyed at the ignorance of the world and want of management, which prevented him from pushing his fortune. He had always, however, been an affectionate son, and in the latter years of her life, when she had become blind, contributed from his precarious resources to prevent her from feeling want.

He now resumed the labors of the pen, which his recent excursion to Paris rendered doubly necessary. We should have mentioned a Life of Parnell, published by him shortly after the Deserted Village. It was, as usual, a piece of job work, hastily got up for pocket-money. Johnson spoke slightingly of it, and the author, himself, thought proper to apologize for its meagerness; yet, in so doing, used a simile which for beauty of imagery and felicity of language is enough of itself to stamp a value upon the essay.

"Such," says he, "is the very unpoetical detail of the life of a poet. Some dates and some few facts, scarcely more interesting than those that make the ornaments of a country tombstone, are all that remain of one whose labors now begin to excite universal curiosity. A poet, while living, is seldom an object sufficiently great to attract much attention; his real merits are known but to a few, and these are generally sparing in their praises. When his fame is increased by time, it is then too late to investigate the peculiarities of his disposition; _the dews of morning are past, and we vainly try to continue the chase by the meridian splendor_."

He now entered into an agreement with Davies to prepare an abridgment, in one volume duodecimo, of his History of Rome; but first to write a work for which there was a more immediate demand. Davies was about to republish Lord Bolingbroke's Dissertation on Parties, which he conceived would be exceedingly applicable to the affairs of the day, and make a probable _hit_ during the existing state of violent political excitement; to give it still greater effect and currency he engaged Goldsmith to introduce it with a prefatory life of Lord Bolingbroke.

About this time Goldsmith's friend and countryman, Lord Clare, was in great affliction, caused by the death of his only son, Colonel Nugent, and stood in need of the sympathies of a kind-hearted friend. At his request, therefore, Goldsmith paid him a visit at his noble seat of Gosford, taking his tasks with him. Davies was in a worry lest Gosford Park should prove a Capua to the poet, and the time be lost. "Dr. Goldsmith," writes he to a friend, "has gone with Lord Clare into the country, and I am plagued to get the proofs from him of the Life of Lord Bolingbroke." The proofs, however, were furnished in time for the publication of the work in December. The Biography, though written during a time of political turmoil, and introducing a work intended to be thrown into the arena of politics, maintained that freedom from party prejudice observable in all the writings of Goldsmith. It was a selection of facts drawn from many unreadable sources, and arranged into a clear, flowing narrative, illustrative of the career and character of one who, as he intimates, "seemed formed by nature to take delight in struggling with opposition; whose most agreeable hours were passed in storms of his own creating; whose life was spent in a continual conflict of politics, and as if that was too short for the combat, has left his memory as a subject of lasting contention." The sum received by the author for this memoir is supposed, from circumstances, to have been forty pounds.

Goldsmith did not find the residence among the great unattended with mortifications. He had now become accustomed to be regarded in London as a literary lion, and was annoyed at what he considered a slight on the part of Lord Camden. He complained of it on his return to town at a party of his friends. "I met him," said he, "at Lord Clare's house in the country; and he took no more notice of me than if I had been an ordinary man." "The company," says Boswell, "laughed heartily at this piece of 'diverting simplicity.'" And foremost among the laughters was doubtless the rattle-pated Boswell. Johnson, however, stepped forward, as usual, to defend the poet, whom he would allow no one to assail but himself; perhaps in the present instance he thought the dignity of literature itself involved in the question. "Nay, gentlemen," roared he, "Dr. Goldsmith is in the right. A nobleman ought to have made up to such a man as Goldsmith, and I think it is much against Lord Camden that he neglected him."

After Goldsmith's return to town he received from Lord Clare a present of game, which he has celebrated and perpetuated in his amusing verses entitled the Haunch of Venison. Some of the lines pleasantly set forth the embarrassment caused by the appearance of such an aristocratic delicacy in the humble kitchen of a poet, accustomed to look up to mutton as a treat:

"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, To spoil such a delicate picture by eating: I had thought 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; But, for eating a rasher, of what they take pride in, They'd as soon think of eating the pan it was fry'd in.

* * * * * * *

"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._"

We have an amusing anecdote of one of Goldsmith's blunders which took place on a subsequent visit to Lord Clare's, when that nobleman was residing in Bath.

Lord Clare and the Duke of Northumberland had houses next to each other, of similar architecture. Returning home one morning from an early walk, Goldsmith, in one of his frequent fits of absence, mistook the house, and walked up into the duke's dining-room, where he and the duchess were about to sit down to breakfast. Goldsmith, still supposing himself in the house of Lord Clare, and that they were visitors, made them an easy salutation, being acquainted with, them, and threw himself on a sofa in the lounging manner of a man perfectly at home. The duke and duchess soon perceived his mistake, and, while they smiled internally, endeavored, with the considerateness of well-bred people, to prevent any awkward embarrassment. They accordingly chatted sociably with him about matters in Bath, until, breakfast being served, they invited him to partake. The truth at once flashed upon poor heedless Goldsmith; he started up from the free-and-easy position, made a confused apology for his blunder, and would have retired perfectly disconcerted, had not the duke and duchess treated the whole as a lucky occurrence to throw him in their way, and exacted a promise from him to dine with them.

This may be hung up as a companion-piece to his blunder on his first visit to Northumberland House.

CHAPTER THIRTY-ONE

DINNER AT THE ROYAL ACADEMY--THE ROWLEY CONTROVERSY--HORACE WALPOLE'S CONDUCT TO CHATTERTON--JOHNSON AT REDCLIFFE CHURCH--GOLDSMITH'S HISTORY OF ENGLAND--DAVIES' CRITICISM--LETTER TO BENNET LANGTON

On St. George's day of this year (1771), the first annual banquet of the Royal Academy was held in the exhibition room; the walls of which were covered with works of art, about to be submitted to public inspection. Sir Joshua Reynolds, who first suggested this elegant festival, presided in his official character; Drs. Johnson and Goldsmith, of course, were present, as professors of the academy; and, besides the academicians, there was a large number of the most distinguished men of the day as guests. Goldsmith on this occasion drew on himself the attention of the company by launching out with enthusiasm on the poems recently given to the world by Chatterton as the works of an ancient author by the name of Rowley, discovered in the tower of Redcliffe Church, at Bristol. Goldsmith spoke of them with rapture, as a treasure of old English poetry. This immediately raised the question of their authenticity; they having been pronounced a forgery of Chatterton's. Goldsmith was warm for their being genuine. When he considered, he said, the merit of the poetry; the acquaintance with life and the human heart displayed in them, the antique quaintness of the language and the familiar knowledge of historical events of their supposed day, he could not believe it possible they could be the work of a boy of sixteen, of narrow education, and confined to the duties of an attorney's office. They must be the productions of Rowley.

Johnson, who was a stout unbeliever in Rowley, as he had been in Ossian, rolled in his chair and laughed at the enthusiasm of Goldsmith. Horace Walpole, who sat near by, joined in the laugh and jeer as soon as he found that the "_trouvaille_," as he called it, "of _his friend_ Chatterton" was in question. This matter, which had excited the simple admiration of Goldsmith, was no novelty to him, he said. "He might, had he pleased, have had the honor of ushering the great discovery to the learned world." And so he might, had he followed his first impulse in the matter, for he himself had been an original believer; had pronounced some specimen verses sent to him by Chatterton wonderful for their harmony and spirit; and had been ready to print them and publish them to the world with his sanction. When he found, however, that his unknown correspondent was a mere boy, humble in sphere and indigent in circumstances, and when Gray and Mason pronounced the poems forgeries, he had changed his whole conduct toward the unfortunate author, and by his neglect and coldness had dashed all his sanguine hopes to the ground.

Exulting in his superior discernment, this cold-hearted man of society now went on to divert himself, as he says, with the credulity of Goldsmith, whom he was accustomed to pronounce "an inspired idiot"; but his mirth was soon dashed, for on asking the poet what had become of this Chatterton, he was answered, doubtless in the feeling tone of one who had experienced the pangs of despondent genius, that "he had been to London and had destroyed himself."

The reply struck a pang of self-reproach even to the cold heart of Walpole; a faint blush may have visited his cheek at his recent levity. "The persons of honor and veracity who were present," said he in after years, when he found it necessary to exculpate himself from the charge of heartless neglect of genius, "will attest with what surprise and concern. I thus first heard of his death." Well might he feel concern. His cold neglect had doubtless contributed to madden the spirit of that youthful genius, and hurry him toward his untimely end; nor have all the excuses and palliations of Walpole's friends and admirers been ever able entirely to clear this stigma from his fame.

But what was there in the enthusiasm and credulity of honest Goldsmith in this matter to subject him to the laugh of Johnson or the raillery of Walpole? Granting the poems were not ancient, were they not good? Granting they were not the productions of Rowley, were they the less admirable for being the productions of Chatterton? Johnson himself testified to their merits and the genius of their composer when, some years afterward, he visited the tower of Redcliffe Church, and was shown the coffer in which poor Chatterton had pretended to find them. "This," said he, "is the most extraordinary young man that has encountered my knowledge. _It is wonderful how the whelp has written such things_."

As to Goldsmith, he persisted in his credulity, and had subsequently a dispute with Dr. Percy on the subject, which interrupted and almost destroyed their friendship. After all, his enthusiasm was of a generous, poetic kind; the poems remain beautiful monuments of genius, and it is even now difficult to persuade one's self that they could be entirely the productions of a youth of sixteen.

In the month of August was published anonymously the History of England, on which Goldsmith had been for some time employed. It was in four volumes, compiled chiefly, as he acknowledged in the preface, from Rapin, Carle, Smollett and Hume, "each of whom," says he, "have their admirers, in proportion as the reader is studious of political antiquities, fond of minute anecdote, a warm partisan, or a deliberate reasoner." It possessed the same kind of merit as his other historical compilations; a clear, succinct narrative, a simple, easy, and graceful style, and an agreeable arrangement of facts; but was not remarkable for either depth of observation or minute accuracy of research. Many passages were transferred, with little if any alteration, from his Letters from a Nobleman to his Son on the same subject. The work, though written without party feeling, met with sharp animadversions from political scribblers. The writer was charged with being unfriendly to liberty, disposed to elevate monarchy above its proper sphere; a tool of ministers; one who would betray his country for a pension. Tom Davies, the publisher, the pompous little bibliopole of Russell Street, alarmed lest the book should prove unsalable, undertook to protect it by his pen, and wrote a long article in its defense in "The Public Advertiser." He was vain of his critical effusion, and sought by nods and winks and innuendoes to intimate his authorship. "Have you seen," said he in a letter to a friend, "'An Impartial Account of Goldsmith's History of England'? If you want to know who was the writer of it, you will find him in Russell Street--_but mum_!"

The history, on the whole, however, was well received; some of the critics declared that English history had never before been so usefully, so elegantly, and agreeably epitomized, "and, like his other historical writings, it has kept its ground" in English literature.

Goldsmith had intended this summer, in company with Sir Joshua Reynolds, to pay a visit to Bennet Langton, at his seat in Lincolnshire, where he was settled in domestic life, having the year previously married the Countess Dowager of Rothes. The following letter, however, dated from his chambers in the Temple, on the 7th of September, apologizes for putting off the visit, while it gives an amusing account of his summer occupations and of the attacks of the critics on his History of England:

"MY DEAR SIR--Since I had the pleasure of seeing you last, I have been almost wholly in the country, at a farmer's house, quite alone, trying to write a comedy. It is now finished; but when or how it will be acted, or whether it will be acted at all, are questions I cannot resolve. I am therefore so much employed upon that, that I am under the necessity of putting off my intended visit to Lincolnshire for this season. Reynolds is just returned from Paris, and finds himself now in the case of a truant that must make up for his idle time by diligence. We have therefore agreed to postpone our journey till next summer, when we hope to have the honor of waiting upon Lady Rothes and you, and staying double the time of our late intended visit. We often meet, and never without remembering you. I see Mr. Beauclerc very often both in town and country. He is now going directly forward to become a second Boyle; deep in chemistry and physics. Johnson has been down on a visit to a country parson, Dr. Taylor; and is returned to his old haunts at Mrs. Thrale's. Burke is a farmer, _en attendant_ a better place; but visiting about too. Every soul is visiting about and merry but myself. And that is hard too, as I have been trying these three months to do something to make people laugh. There have I been strolling about the hedges, studying jests with a most tragical countenance. The Natural History is about half finished, and I will shortly finish the rest. God knows I am tired of this kind of finishing, which is but bungling work; and that not so much my fault as the fault of my scurvy circumstances. They begin to talk in town of the Opposition's gaining ground; the cry of liberty is still as loud as ever. I have published, or Davies has published for me, an 'Abridgment of the History of England,' for which I have been a good deal abused in the newspapers, for betraying the liberties of the people. God knows I had no thought for or against liberty in my head; my whole aim being to make up a book of a decent size, that, as 'Squire Richard says, _would do no harm to nobody_. However, they set me down as an arrant Tory, and consequently an honest man. When you come to look at any part of it, you'll say that I am a sore Whig. God bless you, and with my most respectful compliments to her ladyship, I remain, dear sir, your most affectionate humble servant,

"OLIVER GOLDSMITH."

CHAPTER THIRTY-TWO

MARRIAGE OF LITTLE COMEDY--GOLDSMITH AT BARTON--PRACTICAL JOKES AT THE EXPENSE OF HIS TOILET--AMUSEMENTS AT BARTON--AQUATIC MISADVENTURE

Though Goldsmith found it impossible to break from his literary occupations to visit Bennet Langton, in Lincolnshire, he soon yielded to attractions from another quarter, in which somewhat of sentiment may have mingled. Miss Catharine Horneck, one of his beautiful fellow-travelers, otherwise called "Little Comedy," had been married in August to Henry William Bunbury, Esq., a gentleman of fortune, who has become celebrated for the humorous productions of his pencil. Goldsmith was shortly afterward invited to pay the newly married couple a visit at their seat, at Barton, in Suffolk. How could he resist such an invitation--especially as the Jessamy Bride would, of course, be among the guests? It is true, he was hampered with work; he was still more hampered with debt; his accounts with Newbery were perplexed; but all must give way. New advances are procured from Newbery, on the promise of a new tale in the style of the Vicar of Wakefield, of which he showed him a few roughly-sketched chapters; so, his purse replenished in the old way, "by hook or by crook," he posted off to visit the bride at Barton. He found there a joyous household, and one where he was welcomed with affection. Garrick was there, and played the part of master of the revels, for he was an intimate friend of the master of the house. Notwithstanding early misunderstandings, a social intercourse between the actor and the poet had grown up of late, from meeting together continually in the same circle. A few particulars have reached us concerning Goldsmith while on this happy visit. We believe the legend has come down from Miss Mary Horneck herself. "While at Barton," she says, "his manners were always playful and amusing, taking the lead in promoting any scheme of innocent mirth, and usually prefacing the invitation with 'Come, now, let us play the fool a little.' At cards, which was commonly a round game, and the stake small, he was always the most noisy, affected great eagerness to win, and teased his opponents of the gentler sex with continual jest and banter on their want of spirit in not risking the hazards of the game. But one of his most favorite enjoyments was to romp with the children, when he threw off all reserve, and seemed one of the most joyous of the group.

"One of the means by which he amused us was his songs, chiefly of the comic kind, which were sung with some taste and humor; several, I believe, were of his own composition, and I regret that I neither have copies, which might have been readily procured from him at the time, nor do I remember their names."

His perfect good humor made him the object of tricks of all kinds; often in retaliation of some prank which he himself had played off. Unluckily these tricks were sometimes made at the expense of his toilet, which, with a view peradventure to please the eye of a certain fair lady, he had again enriched to the impoverishment of his purse. "Being at all times gay in his dress," says this ladylike legend, "he made his appearance at the breakfast-table in a smart black silk coat with an expensive pair of ruffles; the coat some one contrived to soil, and it was sent to be cleansed; but, either by accident, or probably by design, the day after it came home, the sleeves became daubed with paint, which was not discovered until the ruffles also, to his great mortification, were irretrievably disfigured.

"He always wore a wig, 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 seriously to 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."

This was wicked waggery, especially when it was directed to mar all the attempts of the unfortunate poet to improve his personal appearance, about which he was at all times dubiously sensitive, and particularly when among the ladies.

We have in a former chapter recorded his unlucky tumble into a fountain at Versailles, when attempting a feat of agility in presence of the fair Hornecks. Water was destined to be equally baneful to him on the present occasion. "Some difference of opinion," says the fair narrator, "having arisen with Lord Harrington respecting the depth of a pond, the poet remarked that it was not so deep, but that, if anything valuable was to be found at the bottom, he would not hesitate to pick it up. His lordship, after some banter, threw in a guinea; Goldsmith, not to be outdone in this kind of bravado, in attempting to fulfill his promise without getting wet, accidentally fell in, to the amusement of all present, but persevered, brought out the money, and kept it, remarking that he had abundant objects on whom to bestow any further proofs of his lordship's whim or bounty."

All this is recorded by the beautiful Mary Horneck, the Jessamy Bride herself; but while she gives these amusing pictures of poor Goldsmith's eccentricities, and of the mischievous pranks played off upon him, she bears unqualified testimony, which we have quoted elsewhere, to the qualities of his head and heart, which shone forth, in his countenance, and gained him the love of all who knew him.

Among the circumstances of this visit vaguely called to mind by this fair lady in after years, was that Goldsmith read to her and her sister the first part of a novel which he had in hand. It was doubtless the manuscript mentioned at the beginning of this chapter, on which he had obtained an advance of money from Newbery to stave off some pressing debts, and to provide funds for this very visit. It never was finished. The bookseller, when he came afterward to examine the manuscript, objected to it as a mere narrative version of the Good-Natured Man. Goldsmith, too easily put out of conceit of his writings, threw it aside, forgetting that this was the very Newbery who kept his Vicar of Wakefield by him nearly two years through doubts of its success. The loss of the manuscript is deeply to be regretted; it doubtless would have been properly wrought up before given to the press, and might have given us new scenes in life and traits of character, while it could not fail to bear traces of his delightful style. What a pity he had not been guided by the opinions of his fair listeners at Barton, instead of that of the astute Mr. Newbery!

CHAPTER THIRTY-THREE

DINNER AT GENERAL OGLETHORPE'S--ANECDOTES OF THE GENERAL--DISPUTE ABOUT DUELING--GHOST STORIES

We have mentioned old General Oglethorpe as one of Goldsmith's aristocratical acquaintances. This veteran, born in 1698, had commenced life early, by serving, when a mere stripling, under Prince Eugene, against the Turks. He had continued in military life, and been promoted to the rank of major-general in 1745, and received a command during the Scottish rebellion. Being of strong Jacobite tendencies, he was suspected and accused of favoring the rebels; and though acquitted by a court of inquiry, was never afterward employed; or, in technical language, was shelved. He had since been repeatedly a member of parliament, and had always distinguished himself by learning, taste, active benevolence, and high Tory principles. His name, however, has become historical, chiefly from his transactions in America, and the share he took in the settlement of the colony of Georgia. It lies embalmed in honorable immortality in a single line of Pope's:

"One, driven _by strong benevolence of soul_, Shall fly, like Oglethorpe, from pole to pole."

The veteran was now seventy-four years of age, but healthy and vigorous, and as much the preux chevalier as in his younger days, when he served with Prince Eugene. His table was often the gathering-place of men of talent. Johnson was frequently there, and delighted in drawing from the general details of his various "experiences." He was anxious that he should give the world his life. "I know no man," said he, "whose life would be more interesting." Still the vivacity of the general's mind and the variety of his knowledge made him skip from subject to subject too fast for the lexicographer. "Oglethorpe," growled he, "never completes what he has to say."

Boswell gives us an interesting and characteristic account of a dinner party at the general's (April 10, 1772), at which Goldsmith and Johnson were present. After dinner, when the cloth was removed, Oglethorpe, at Johnson's request, gave an account of the siege of Belgrade, in the true veteran style. Pouring a little wine upon the table, he drew his lines and parallels with a wet finger, describing the positions of the opposing forces. "Here were we--here were the Turks," to all which Johnson listened with the most earnest attention, poring over the plans and diagrams with his usual purblind closeness.

In the course of conversation the general gave an anecdote of himself in early life, when serving under Prince Eugene. Sitting at table once in company with a prince of Wurtemberg, the latter gave a fillip to a glass of wine, so as to make some of it fly in Oglethorpe's face. The manner in which it was done was somewhat equivocal. How was it to be taken by the stripling officer? If seriously, he must challenge the prince; but in so doing he might fix on himself the character of a drawcansir. If passed over without notice, he might be charged with cowardice. His mind was made up in an instant. "Prince," said he, smiling, "that is an excellent joke; but we do it much better in England." So saying, he threw a whole glass of wine in the prince's face. "Il a bien fait, mon prince," cried an old general present, "vouz l'avez commencé." (He has done right, my prince; you commenced it.) The prince had the good sense to acquiesce in the decision of the veteran, and Oglethorpe's retort in kind was taken in good part.

It was probably at the close of this story that the officious Boswell, ever anxious to promote conversation for the benefit of his note-book, started the question whether dueling were consistent with moral duty. The old general fired up in an instant. "Undoubtedly," said he, with a lofty air; "undoubtedly a man has a right to defend his honor." Goldsmith immediately carried the war into Boswell's own quarters, and pinned him with the question, "what he would do if affronted?" The pliant Boswell, who for the moment had the fear of the general rather than of Johnson before his eyes, replied, "he should think it necessary to fight." "Why, then, that solves the question," replied Goldsmith. "No, sir," thundered out Johnson; "it does not follow that what a man would do, is therefore right." He, however, subsequently went into a discussion to show that there were necessities in the case arising out of the artificial refinement of society, and its proscription of any one who should put up with an affront without fighting a duel. "He then," concluded he, "who fights a duel does not fight from passion against his antagonist, but out of self-defense, to avert the stigma of the world, and to prevent himself from being driven out of society. I could wish there were not that superfluity of refinement; but while such notions prevail, no doubt a man may lawfully fight a duel."

Another question started was, whether people who disagreed on a capital point could live together in friendship. Johnson said they might. Goldsmith said they could not, as they had not the idem velle atque idem voile--the same liking and aversions. Johnson rejoined that they must shun the subject on which they disagreed. "But, sir," said Goldsmith, "when people live together who have something as to which they disagree, and which they want to shun, they will be in the situation mentioned in the story of Blue Beard: 'you may look into all the chambers but one'; but we should have the greatest inclination to look into that chamber, to talk of that subject." "Sir," thundered Johnson, in a loud voice, "I am not saying that _you_ could live in friendship with a man from whom you differ as to some point; I am only saying that _I_ could do it."

Who will not say that Goldsmith had not the best of this petty contest? How just was his remark! how felicitous the illustration of the blue chamber! how rude and overbearing was the argumentum ad hominem of Johnson, when he felt that he had the worst of the argument!

The conversation turned upon ghosts! General Oglethorpe told the story of a Colonel Prendergast, an officer in the Duke of Marlborough's army, who predicted among his comrades that he should die on a certain day. The battle of Malplaquet took place on that day. The colonel was in the midst of it but came out unhurt. The firing had ceased, and his brother officers jested with him about the fallacy of his prediction. "The day is not over," replied he, gravely, "I shall die notwithstanding what you see." His words proved true. The order for a cessation of firing had not reached one of the French batteries, and a random shot from it killed the colonel on the spot. Among his effects was found a pocketbook in which he had made a solemn entry, that Sir John Friend, who had been executed for high treason, had appeared to him, either in a dream or vision, and predicted that he would meet him on a certain day (the very day of the battle). Colonel Cecil, who took possession of the effects of Colonel Prendergast, and read the entry in the pocketbook, told this story to Pope, the poet, in the presence of General Oglethorpe.

This story, as related by the general, appears to have been well received, if not credited, by both Johnson and Goldsmith, each of whom had something to relate in kind. Goldsmith's brother, the clergyman in whom he had such implicit confidence, had assured him of his having seen an apparition. Johnson also had a friend, old Mr. Cave, the printer, at St. John's Gate, "an honest man, and a sensible man," who told him he had seen a ghost: he did not, however, like to talk of it, and seemed to be in great horror, whenever it was mentioned. "And pray, sir," asked Boswell, "what did he say was the appearance?" "Why, sir, something of a shadowy being."

The reader will not be surprised at this superstitious turn in the conversation of such intelligent men, when he recollects that, but a few years before this time, all London had been agitated by the absurd story of the Cock Lane ghost; a matter which Dr. Johnson had deemed worthy of his serious investigation, and about which Goldsmith had written a pamphlet.

CHAPTER THIRTY-FOUR

MR. JOSEPH CRADOCK--AN AUTHOR'S CONFIDINGS--AN AMANUENSIS--LIFE AT EDGEWARE--GOLDSMITH CONJURING--GEORGE COLMAN--THE FANTOCCINI

Among the agreeable acquaintances made by Goldsmith about this time was a Mr. Joseph Cradock, a young gentleman of Leicestershire, living at his ease, but disposed to "make himself uneasy," by meddling with literature and the theater; in fact, he had a passion for plays and players, and had come up to town with a modified translation of Voltaire's tragedy of Zobeide, in a view to get it acted. There was no great difficulty in the case, as he was a man of fortune, had letters of introduction to persons of note, and was altogether in a different position from the indigent man of genius whom managers might harass with impunity. Goldsmith met him at the house of Yates, the actor, and finding that he was a friend of Lord Clare, soon became sociable with him. Mutual tastes quickened the intimacy, especially as they found means of serving each other. Goldsmith wrote an epilogue for the tragedy of Zobeide; and Cradock, who was an amateur musician, arranged the music for the Threnodia Augustalis, a lament on the death of the Princess Dowager of Wales, the political mistress and patron of Lord Clare, which Goldsmith had thrown off hastily to please that nobleman. The tragedy was played with some success at Covent Garden; the Lament was recited and sung at Mrs. Cornelys' rooms--a very fashionable resort in Soho Square, got up by a woman of enterprise of that name. It was in whimsical parody of those gay and somewhat promiscuous assemblages that Goldsmith used to call the motley evening parties at his lodgings "little Cornelys."

The Threnodia Augustalis was not publicly known to be by Goldsmith until several years after his death.

Cradock was one of the few polite intimates who felt more disposed to sympathize with the generous qualities of the poet than to sport with his eccentricities. He sought his society whenever he came to town, and occasionally had him to his seat in the country. Goldsmith appreciated his sympathy, and unburdened himself to him without reserve. Seeing the lettered ease in which this amateur author was enabled to live, and the time he could bestow on the elaboration of a manuscript, "Ah! Mr. Cradock," cried he, "think of me that must write a volume every month!" He complained to him of the attempts made by inferior writers, and by others who could scarcely come under that denomination, not only to abuse and depreciate his writings, but to render him ridiculous as a man; perverting every harmless sentiment and action into charges of absurdity, malice, or folly. "Sir," said he, in the fullness of his heart, "I am as a lion bated by curs!"

Another acquaintance which he made about this time, was a young countryman of the name of M'Donnell, whom he met in a state of destitution, and, of course, befriended. The following grateful recollections of his kindness and his merits were furnished by that person in after years:

"It was in the year 1772," writes he, "that the death of my elder brother--when in London, on my way to Ireland--left me in a most forlorn situation; I was then about eighteen; I possessed neither friends nor money, nor the means of getting to Ireland, of which or of England I knew scarcely anything, from having so long resided in France. In this situation I had strolled about for two or three days, considering what to do, but unable to come to any determination, when Providence directed me to the Temple Gardens. I threw myself on a seat, and, willing to forget my miseries for a moment, drew out a book; that book was a volume of Boileau. I had not been there long when a gentleman, strolling about, passed near me, and observing, perhaps, something Irish or foreign in my garb or countenance, addressed me: 'Sir, you seem studious; I hope you find this a favorable place to pursue it.' 'Not very studious, sir; I fear it is the want of society that brings me hither; I am solitary and unknown in this metropolis'; and a passage from Cicero--Oratio pro Archia--occurring to me, I quoted it; 'Haec studia pronoctant nobiscum, perigrinantur, rusticantur.' 'You are a scholar, too, sir, I perceive.' 'A piece of one, sir; but I ought still to have been in the college where I had the good fortune to pick up the little I know.' A good deal of conversation ensued; I told him part of my history, and he, in return, gave his address in the Temple, desiring me to call soon, from which, to my infinite surprise and gratification, I found that the person who thus seemed to take an interest in my fate was my countryman, and a distinguished ornament of letters.

"I did not fail to keep the appointment, and was received in the kindest manner. He told me, smilingly, that he was not rich; that he could do little for me in direct pecuniary aid, but would endeavor to put me in the way of doing something for myself; observing, that he could at least furnish me with advice not wholly useless to a young man placed in the heart of a great metropolis. 'In London,' he continued, 'nothing is to be got for nothing; you must work; and no man who chooses to be industrious need be under obligations to another, for here labor of every kind commands its reward. If you think proper to assist me occasionally as amanuensis, I shall be obliged, and you will be placed under no obligation, until something more permanent can be secured for you.' This employment, which I pursued for some time, was to translate passages from Buffon, which was abridged or altered, according to circumstances, for his Natural History."

Goldsmith's literary tasks were fast getting ahead of him, and he began now to "toil after them in vain."

Five volumes of the Natural History here spoken of had long since been paid for by Mr. Griffin, yet most of them were still to be written. His young amanuensis bears testimony to his embarrassments and perplexities, but to the degree of equanimity with which he bore them:

"It has been said," observes he, "that he was irritable. Such may have been the case at times; nay, I believe it was so; for what with the continual pursuit of authors, printers, and booksellers, and occasional pecuniary embarrassments, few could have avoided exhibiting similar marks of impatience. But it was never so toward me. I saw him only in his bland and kind moods, with a flow, perhaps an overflow, of the milk of human kindness for all who were in any manner dependent upon him. I looked upon him with awe and veneration, and he upon me as a kind parent upon a child.

"His manner and address exhibited much frankness and cordiality,

## particularly to those with whom he possessed any degree of intimacy. His

good-nature was equally apparent. Ton could not dislike the man, although several of his follies and foibles you might be tempted to condemn. He was generous and inconsiderate; money with him had little value."

To escape from many of the tormentors just alluded to, and to devote himself without interruption to his task, Goldsmith took lodgings for the summer at a farmhouse near the six-mile stone on the Edgeware road, and carried down his books in two return post-chaises. He used to say he believed the farmer's family thought him an odd character, similar to that in which the "Spectator" appeared to his landlady and her children: he was "The Gentleman." Boswell tells us that he went to visit him at the place in company with Mickle, translator of the Lusiad. Goldsmith was not at home. Having a curiosity to see his apartment, however, they went in, and found curious scraps of descriptions of animals scrawled upon the wall with a black lead pencil.

The farmhouse in question is still in existence, though much altered. It stands upon a gentle eminence in Hyde Lane, commanding a pleasant prospect toward Hendon. The room is still pointed out in which She Stoops to Conquer was written; a convenient and airy apartment, up one Sight of stairs.

Some matter-of-fact traditions concerning the author were furnished, a few years since, by a son of the farmer, who was sixteen years of age at the time Goldsmith resided with his father. Though he had engaged to board with the family, his meals were generally sent to him in his room, in which he passed the most of his time, negligently dressed, with his shirt collar open, busily engaged in writing. Sometimes, probably when in moods of composition, he would wander into the kitchen, without noticing any one, stand musing with his back to the fire, and then hurry off again to his room, no doubt to commit to paper some thought which had struck him.

Sometimes he strolled about the fields, or was to be seen loitering and reading and musing under the hedges. He was subject to fits of wakefulness and read much in bed; if not disposed to read, he still kept the candle burning; if he wished to extinguish it, and it was out of his reach, he flung his slipper at it, which would be found in the morning near the overturned candlestick, and daubed with grease. He was noted here, as everywhere else, for his charitable feelings. No beggar applied to him in vain, and he evinced on all occasions great commiseration for the poor.

He had the use of the parlor to receive and entertain company, and was visited by Sir Joshua Reynolds, Hugh Boyd, the reputed author of Junius, Sir William Chambers, and other distinguished characters. He gave occasionally, though rarely, a dinner party; and on one occasion, when his guests were detained by a thunder shower, he got up a dance, and carried the merriment late into the night.

As usual, he was the promoter of hilarity among the young, and at one time took the children of the house to see a company of strolling players at Hendon. The greatest amusement to the party, however, was derived from his own jokes on the road and his comments on the performance, which produced infinite laughter among his youthful companions.

Near to his rural retreat at Edgeware, a Mr. Seguin, an Irish merchant, of literary tastes, had country quarters for his family, where Goldsmith was always welcome.

In this family he would indulge in playful and even grotesque humor, and was ready for anything--conversation, music, or a game of romps. He prided himself upon his dancing, and would walk a minuet with Mrs. Seguin, to the infinite amusement of herself and the children, whose shouts of laughter he bore with perfect good-humor. He would sing Irish songs, and the Scotch ballad of Johnny Armstrong. He took the lead in the children's sports of blind man's buff, hunt the slipper, etc., or in their games at cards, and was the most noisy of the party, affecting to cheat and to be excessively eager to win; while with children of smaller size he would turn the hind part of his wig before, and play all kinds of tricks to amuse them.

One word as to his musical skill and his performance on the flute, which comes up so invariably in all his fireside revels. He really knew nothing of music scientifically; he had a good ear, and may have played sweetly; but we are told he could not read a note of music. Roubillac, the statuary, once played a trick upon him in this respect. He pretended to score down an air as the poet played it, but put down crotchets and semi-breves at random. When he had finished, Goldsmith cast his eyes over it and pronounced it correct! It is possible that his execution in music was like his style in writing; in sweetness and melody he may have snatched a grace beyond the reach of art!

He was at all times a capital companion for children, and knew how to fall in with their humors. "I little thought," said Miss Hawkins, the woman grown, "what I should have to boast, when Goldsmith taught me to play Jack and Jill by two bits of paper on his fingers." He entertained Mrs. Garrick, we are told, with a whole budget of stories and songs; delivered the Chimney Sweep with exquisite taste as a solo; and performed a duet with Garrick of Old Rose and Burn the Bellows.

"I was only five years old," says the late George Colman, "when Goldsmith one evening, when drinking coffee with my father, took me on his knee and began to play with me, which amiable act I returned with a very smart slap in the face; it must have been a tingler, for I left the marks of my little spiteful paw upon his cheek. This infantile outrage was followed by summary justice, and I was locked up by my father in an adjoining room, to undergo solitary imprisonment in the dark. Here I began to howl and scream most abominably. At length a friend appeared to extricate me from jeopardy; it was the good-natured doctor himself, with a lighted candle in his hand, and a smile upon his countenance, which was still partially red from the effects of my petulance. I sulked and sobbed, and he fondled and soothed until I began to brighten. He seized the propitious moment, placed three hats upon the carpet, and a shilling under each; the shillings, he told me, were England, France, and Spain. 'Hey, presto, cockolorum!' cried the doctor, and, lo! on uncovering the shillings, they were all found congregated under one. I was no politician at the time, and therefore might not have wondered at the sudden revolution which brought England, France, and Spain all under one crown; but, as I was also no conjurer, it amazed me beyond measure. From that time, whenever the doctor came to visit my father,

"'I pluck'd his gown to share the good man's smile';

a game of romps constantly ensued, and we were always cordial friends and merry playfellows."

Although Goldsmith made the Edgeware farmhouse his headquarters for the summer, he would absent himself for weeks at a time on visits to Mr. Cradock, Lord Clare, and Mr. Langton, at their country-seats. He would often visit town, also, to dine and partake of the public amusements. On one occasion he accompanied Edmund Burke to witness a performance of the Italian Fantoccini or Puppets, in Panton Street; an exhibition which had hit the caprice of the town, and was in great vogue. The puppets were set in motion by wires, so well concealed as to be with difficulty detected. Boswell, with his usual obtuseness with respect to Goldsmith, accuses him of being jealous of the puppets! "When Burke," said he, "praised the dexterity with which one of them tossed a pike, 'Pshaw,' said Goldsmith _with some warmth_, 'I can do it better myself.'" "The same evening," adds Boswell, "when supping at Burke's lodgings, he broke his shin by attempting to exhibit to the company how much better he could jump over a stick than the puppets."

Goldsmith jealous of puppets! This even passes in absurdity Boswell's charge upon him of being jealous of the beauty of the two Misses Horneck.

The Panton Street puppets were destined to be a source of further amusement to the town, and of annoyance to the little autocrat of the stage. Foote, the Aristophanes of the English drama, who was always on the alert to turn every subject of popular excitement to account, seeing the success of the Fantoccini, gave out that he should produce a Primitive Puppet-show at the Haymarket, to be entitled the Handsome Chambermaid, or Piety in Pattens: intended to burlesque the _sentimental comedy_ which Garrick still maintained at Drury Lane. The idea of a play to be performed in a regular theater by puppets excited the curiosity and talk of the town. "Will your puppets be as large as life, Mr. Foote?" demanded a lady of rank. "Oh, no, my lady," replied Foote, "_not much larger than Garrick_."

CHAPTER THIRTY-FIVE

BROKEN HEALTH--DISSIPATION AND DEBTS--THE IRISH WIDOW--PRACTICAL JOKES--SCRUB--A MISQUOTED PUN--MALAGRIDA--GOLDSMITH PROVED TO BE A FOOL--DISTRESSED BALLAD SINGERS--THE POET AT RANELAGH

Goldsmith returned to town in the autumn (1772), with his health much disordered. His close fits of sedentary application, during which he in a manner tied himself to the mast, had laid the seeds of a lurking malady in his system, and produced a severe illness in the course of the summer. Town life was not favorable to the health either of body or mind. He could not resist the siren voice of temptation, which, now that he had become a notoriety, assailed him on every side. Accordingly we find him launching away in a career of social dissipation; dining and supping out; at clubs, at routs, at theaters; he is a guest with Johnson at the Thrales, and an object of Mrs. Thrale's lively sallies; he is a lion at Mrs. Vesey's and Mrs. Montagu's, where some of the high-bred blue-stockings pronounce him a "wild genius," and others, peradventure, a "wild Irishman." In the meantime his pecuniary difficulties are increasing upon him, conflicting with his proneness to pleasure and expense, and contributing by the harassment of his mind to the wear and tear of his constitution. His Animated Nature, though not finished, had been entirely paid for, and the money spent. The money advanced by Garrick on Newbery's note still hangs over him as a debt. The tale on which Newbery had loaned from two to three hundred pounds previous to the excursion to Barton has proved a failure. The bookseller is urgent for the settlement of his complicated account; the perplexed author has nothing to offer him in liquidation but the copyright of the comedy which he has in his portfolio; "Though to tell you the truth, Frank," said he, "there are great doubts of its success." The offer was accepted, and, like bargains wrung from Goldsmith in times of emergency, turned out a golden speculation to the bookseller.

In this way Goldsmith went on "outrunning the constable," as he termed it; spending everything in advance; working with an overtasked head and weary heart to pay for past pleasures and past extravagance, and at the same time incurring new debts, to perpetuate his struggles and darken his future prospects. While the excitement of society and the excitement of composition conspire to keep up a feverishness of the system, he has incurred an unfortunate habit of quacking himself with James' powders, a fashionable panacea of the day.

A farce, produced this year by Garrick, and entitled The Irish Widow, perpetuates the memory of practical jokes played off a year or two previously upon the alleged vanity of poor, simple-hearted Goldsmith. He was one evening at the house of his friend Burke, when he was beset by a tenth muse, an Irish widow and authoress, just arrived from Ireland, full of brogue and blunders, and poetic fire and rantipole gentility. She was soliciting subscriptions for her poems; and assailed Goldsmith for his patronage; the great Goldsmith--her countryman, and of course her friend. She overpowered him with eulogiums on his own poems, and then read some of her own, with vehemence of tone and gesture, appealing continually to the great Goldsmith to know how he relished them.

Poor Goldsmith did all that a kind-hearted and gallant gentleman could do hi such a case; he praised her poems as far as the stomach of his sense would permit: perhaps a little further; he offered her his subscription, and it was not until she had retired with many parting compliments to the great Goldsmith that he pronounced the poetry which had been inflicted on him execrable. The whole scene had been a hoax got up by Burke for the amusement of his company, and the Irish widow, so admirably performed, had been personated by a Mrs. Balfour, a lady of his connection, of great sprightliness and talent.

We see nothing in the story to establish the alleged vanity of Goldsmith, but we think it tells rather to the disadvantage of Burke; being unwarrantable under their relations of friendship, and a species of waggery quite beneath his genius. Croker, in his notes to Boswell, gives another of these practical jokes perpetrated by Burke at the expense of Goldsmith's credulity. It was related to Croker by Colonel O'Moore, of Cloghan Castle, in Ireland, who was a party concerned. The colonel and Burke, walking one day through Leicester Square on their way to Sir Joshua Reynolds', with whom they were to dine, observed Goldsmith, who was likewise to be a guest, standing and regarding a crowd which was staring and shouting at some foreign ladies in the window of a hotel. "Observe Goldsmith," said Burke to O'Moore, "and mark what passes between us at Sir Joshua's." They passed on and reached there before him. Burke received Goldsmith with affected reserve and coldness; being pressed to explain the reason. "Really," said he, "I am ashamed to keep company with a person who could act as you have just done in the Square." Goldsmith protested he was ignorant of what was meant. "Why," said Burke, "did you not exclaim as you were looking up at those women, what stupid beasts the crowd must be for staring with such admiration at those _painted Jezebels_, while a man of your talents passed by unnoticed?" "Surely, surely, my dear friend," cried Goldsmith, with alarm, "surely I did not say so?" "Nay," replied Burke, "if you had not said so, how should I have known it?" "That's true," answered Goldsmith, "I am very sorry--it was very foolish: _I do recollect that something thing of the kind passed through my mind, but I did not think I had uttered it_."

It is proper to observe that these jokes were played off by Burke before he had attained the full eminence of his social position, and that he may have felt privileged to take liberties with Goldsmith as his countryman and college associate. It is evident, however, that the peculiarities of the latter, and his guileless simplicity, made him a butt for the broad waggery of some of his associates; while others more polished, though equally perfidious, are on the watch to give currency to his bulls and blunders.

The Stratford jubilee, in honor of Shakespeare, where Boswell had made a fool of himself, was still in every one's mind. It was sportively suggested that a fete should be held at Lichfield in honor of Johnson and Garrick, and that the Beaux' Stratagem should be played by the members of the Literary Club. "Then," exclaimed Goldsmith, "I shall certainly play Scrub. I should like of all things to try my hand at that character." The unwary speech, which any one else might have made without comment, has been thought worthy of record as whimsically characteristic. Beauclerc was extremely apt to circulate anecdotes at his expense, founded perhaps on some trivial incident, but dressed up with the embellishments of his sarcastic brain. One relates to a venerable dish of peas, served up at Sir Joshua's table, which should have been green, but were any other color. A wag suggested to Goldsmith, in a whisper, that they should be sent to Hammersmith, as that was the way to _turn-em-green_ (Turnham-Green). Goldsmith, delighted with the pun, endeavored to repeat it at Burke's table, but missed the point. "That is the way to _make_ 'em green," said he. Nobody laughed. He perceived he was at fault. "I mean that is the _road_ to turn 'em green." A dead pause and a stare; "whereupon," adds Beauclerc, "he started up disconcerted and abruptly left the table." This is evidently one of Beauclerc's caricatures.

On another occasion the poet and Beauclerc were seated at the theater next to Lord Shelburne, the minister, whom political writers thought proper to nickname Malagrida. "Do you know," said Goldsmith to his lordship, in the course of conversation, "that I never could conceive why they called you Malagrida, _for_ Malagrida was a very good sort of man." This was too good a trip of the tongue for Beauclerc to let pass: he serves it up in his next letter to Lord Charlemont, as a specimen of a mode of turning a thought the wrong way, peculiar to the poet; he makes merry over it with his witty and sarcastic compeer, Horace Walpole, who pronounces it "a picture of Goldsmith's whole life." Dr. Johnson alone, when he hears it bandied about as Goldsmith's last blunder, growls forth a friendly defense: "Sir," said he, "it was a mere blunder in emphasis. He meant to say, I wonder they should use Malagrida as a term of reproach." Poor Goldsmith! On such points he was ever doomed to be misinterpreted. Rogers, the poet, meeting in times long subsequent with a survivor of those days, asked him what Goldsmith really was in conversation. The old conversational character was too deeply stamped in the memory of the veteran to be effaced. "Sir," replied the old wiseacre, "_he was a fool_. The right word never came to him. If you gave him back a bad shilling, he'd say, Why, it's as good a shilling as ever was _born_. You know he ought to have said _coined_. _Coined_, sir, never entered his head. _He was a fool, sir_."

We have so many anecdotes in which Goldsmith's simplicity is played upon that it is quite a treat to meet with one in which he is represented playing upon the simplicity of others, especially when the victim of his joke is the "Great Cham" himself, whom all others are disposed to hold so much in awe. Goldsmith and Johnson were supping cozily together at a tavern in Dean Street, Soho, kept by Jack Roberts, a singer at Drury Lane, and a protege of Garrick's. Johnson delighted in these gastronomical tete-a-tetes, and was expatiating in high good-humor on rumps and kidneys, the veins of his forehead swelling with the ardor of mastication. "These," said he, "are pretty little things; but a man must eat a great many of them before he is filled." "Ay; but how many of them," asked Goldsmith, with affected simplicity, "would reach to the moon?" "To the moon! Ah, sir, that, I fear, exceeds your calculation." "Not at all, sir; I think I could tell." "Pray, then, sir, let us hear." "Why, sir, one, _if it were long enough_!" Johnson growled for a time at finding himself caught in such a trite schoolboy trap. "Well, sir," cried he at length, "I have deserved it. I should not have provoked so foolish an answer by so foolish a question."

Among the many incidents related as illustrative of Goldsmith's vanity and envy is one which occurred one evening when he was in a drawing-room with a party of ladies, and a ballad-singer under the window struck up his favorite song of Sally Salisbury. "How miserably this woman sings!" exclaimed he. "Pray, doctor," said the lady of the house, "could you do it better?" "Yes, madam, and the company shall be judges." The company, of course, prepared to be entertained by an absurdity; but their smiles were wellnigh turned to tears, for he acquitted himself with a skill and pathos that drew universal applause. He had, in fact, a delicate ear for music, which had been jarred by the false notes of the ballad-singer; and there were certain pathetic ballads, associated with recollections of his childhood, which were sure to touch the springs of his heart. We have another story of him, connected with ballad-singing, which is still more characteristic. He was one evening at the house of Sir William Chambers, in Berners Street, seated at a whist table with Sir William, Lady Chambers, and Baretti, when all at once he threw down his cards, hurried out of the room and into the street. He returned in an instant, resumed his seat, and the game went on. Sir William, after a little hesitation, ventured to ask the cause of his retreat, fearing he had been overcome by the heat of the room. "Not at all," replied Goldsmith; "but in truth I could not bear to hear that unfortunate woman in the street, half singing, half sobbing, for such tones could only arise from the extremity of distress; her voice grated painfully on my ear and jarred my frame, so that I could not rest until I had sent her away." It was in fact a poor ballad-singer, whose cracked voice had been heard by others of the party, but without having the same effect on their sensibilities. It was the reality of his fictitious

## scene in the story of the "Man in Black"; wherein he describes a woman in

rags with one child in her arms and another on her back, attempting to sing ballads, but with such a mournful voice that it was difficult to determine whether she was singing or crying. "A wretch," he adds, "who, in the deepest distress, still aimed at good-humor, was an object my friend was by no means capable of withstanding." The Man in Black gave the poor woman all that he had--a bundle of matches. Goldsmith, it is probable, sent his ballad-singer away rejoicing with all the money in his pocket.

Ranelagh was at that time greatly in vogue as a place of public entertainment. It was situated near Chelsea; the principal room was a rotunda of great dimensions, with an orchestra in the center and tiers of boxes all round. It was a place to which Johnson resorted occasionally. "I am a great friend to public amusements," said he, "for they keep people from vice." [Footnote: "Alas, sir!" said Johnson, speaking, when in another mood, of grand houses, fine gardens, and splendid places of public amusement; "alas, sir! these are only struggles for happiness. When I first entered Ranelagh it gave an expansion and gay sensation to my mind, such as I never experienced anywhere else. But, as Xerxes wept when he viewed his immense army, and considered that not one of that great multitude would be alive a hundred years afterward, so it went to my heart to consider that there was not one in all that brilliant circle that was not afraid to go home and think."] Goldsmith was equally a friend to them, though perhaps not altogether on such moral grounds. He was particularly fond of masquerades, which were then exceedingly popular, and got up at Ranelagh with great expense and magnificence. Sir Joshua Reynolds, who had likewise a taste for such amusements, was sometimes his companion, at other times he went alone; his peculiarities of person and manner would soon betray him, whatever might be his disguise, and he would be singled out by wags, acquainted with his foibles, and more successful than himself in maintaining their incognito, as a capital subject to be played upon. Some, pretending not to know him, would decry his writings, and praise those of his contemporaries; others would laud his verses to the skies, but purposely misquote and burlesque them; others would annoy him with parodies; while one young lady, whom he was teasing, as he supposed, with great success and infinite humor, silenced his rather boisterous laughter by quoting his own line about "the loud laugh that speaks the vacant mind." On one occasion he was absolutely driven out of the house by the persevering jokes of a wag, whose complete disguise gave him no means of retaliation.

His name appearing in the newspapers among the distinguished persons present at one of these amusements, his old enemy, Kenrick, immediately addressed to him a copy of anonymous verses, to the following purport.

TO DR. GOLDSMITH

ON SEEING HIS NAME IN THE LIST OF MUMMERS AT THE LATE MASQUERADE

"How widely different, Goldsmith, are the ways Of doctors now, and those of ancient days! Theirs taught the truth in academic shades, Ours in lewd hops and midnight masquerades. So changed the times! say, philosophic sage, Whose genius suits so well this tasteful age, Is the Pantheon, late a sink obscene, Become the fountain of chaste Hippocrene? Or do thy moral numbers quaintly flow, Inspired by th' _Aganippe_ of Soho? Do wisdom's sons gorge cates and vermicelli, Like beastly Bickerstaffe or bothering Kelly? Or art thou tired of th' undeserved applause Bestowed on bards affecting Virtue's cause? Is this the good that makes the humble vain, The good philosophy should not disdain? If so, let pride dissemble all it can, A modern sage is still much less than man."

Goldsmith was keenly sensitive to attacks of the kind, and meeting Kenrick at the Chapter Coffee-house, called him to sharp account for taking such a liberty with his name, and calling his morals in question, merely on account of his being seen at a place of general resort and amusement. Kenrick shuffled and sneaked, protesting that he meant nothing derogatory to his private character. Goldsmith let him know, however, that he was aware of his having more than once indulged in attacks of this dastard kind, and intimated that another such outrage would be followed by personal chastisement.

Kenrick having played the craven in his presence, avenged himself as soon as he was gone by complaining of his having made a wanton attack upon him, and by making coarse comments upon his writings, conversation and person.

The scurrilous satire of Kenrick, however unmerited, may have checked Goldsmith's taste for masquerades. Sir Joshua Reynolds, calling on the poet one morning, found him walking about his room in somewhat of a reverie, kicking a bundle of clothes before him like a football. It proved to be an expensive masquerade dress, which he said he had been fool enough to purchase, and as there was no other way of getting the worth of his money, he was trying to take it out in exercise.

CHAPTER THIRTY-SIX

INVITATION TO CHRISTMAS--THE SPRING VELVET COAT--THE HAYMAKING WIG--THE MISCHANCES OF LOO--THE FAIR CULPRIT--A DANCE WITH THE JESSAMY BRIDE

From the feverish dissipations of town, Goldsmith is summoned away to partake of the genial dissipations of the country. In the month of December, a letter from Mrs. Bunbury invites him down to Barton, to pass the Christmas holidays. The letter is written in the usual playful vein which marks his intercourse with this charming family. He is to come in his "smart spring-velvet coat," to bring a new wig to dance with the haymakers in, and, above all, to follow the advice of herself and her sister (the Jessamy Bride), in playing loo. This letter, which plays so archly, yet kindly, with some of poor Goldsmith's peculiarities, and bespeaks such real ladylike regard for him, requires a word or two of annotation. The spring-velvet suit alluded to appears to have been a gallant adornment (somewhat in the style of the famous bloom-colored coat) in which Goldsmith had figured in the preceding month of May--the season of blossoms--for, on the 21st of that month we find the following entry in the chronicle of Mr. William Filby, tailor: _To your blue velvet suit_, £21 10s. 9d. Also, about the same time, a suit of livery and a crimson collar for the serving man. Again we hold the Jessamy Bride responsible for this gorgeous splendor of wardrobe.

The new wig no doubt is a bag-wig and solitaire, still highly the mode, and in which Goldsmith is represented as figuring when in full dress, equipped with his sword.

As to the dancing with the haymakers, we presume it alludes to some gambol of the poet, in the course of his former visit to Barton; when he ranged the fields and lawns a chartered libertine, and tumbled into the fish-ponds.

As to the suggestions about loo, they are in sportive allusion to the doctor's mode of playing that game in their merry evening parties; affecting the desperate gambler and easy dupe; running counter to all rule; making extravagant ventures; reproaching all others with cowardice; dashing at all hazards at the pool, and getting himself completely loo'd, to the great amusement of the company. The drift of the fair sisters' advice was most probably to tempt him on, and then leave him in the lurch.

With these comments we subjoin Goldsmith's reply to Mrs. Bunbury, a fine piece of off-hand, humorous writing, which has but in late years been given to the public, and which throws a familiar light on the social circle at Barton.

"Madam--I read your letter with all that allowance which critical candor 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 many 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 coat 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 kind 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 center. Round and round go the cards, while I inwardly damn 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: 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,... '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. 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! The pool's very rich,... ah! the doctor is loo'd!' Thus foil'd in my courage, on all sides perplext, 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!' '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, 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. What justice, when both to the Old Bailey brought! By the gods, I'll enjoy it, tho' '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, But the judge bids them, angrily, take off their hat. When uncover'd, a buzz of inquiry runs round, 'Pray what are their crimes?'... 'They've been pilfering found.' 'But, pray, who have they pilfer'd?'... 'A doctor, I hear.' _'What, yon solemn-faced, odd-looking man that stands near?'_ '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 wellstrung, '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?' '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' watch-house, 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, 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."

We regret that we have no record of this Christmas visit to Barton; that the poet had no Boswell to follow at his heels, and take note of all his sayings and doings. We can only picture him in our minds, casting off all care; enacting the lord of misrule; presiding at the Christmas revels; providing all kinds of merriment; keeping the card-table in an uproar, and finally opening the ball on the first day of the year in his spring-velvet suit, with the Jessamy Bride for a partner.

CHAPTER THIRTY-SEVEN

THEATRICAL DELAYS--NEGOTIATIONS WITH COLMAN--LETTER TO GARRICK--CROAKING OF THE MANAGER--NAMING OF THE PLAY--SHE STOOPS TO CONQUER--FOOTE'S PRIMITIVE PUPPET-SHOW, PIETY ON PATTENS--FIRST PERFORMANCE OF THE COMEDY--AGITATION OF THE AUTHOR--SUCCESS--COLMAN SQUIBBED OUT OF TOWN

The gay life depicted in the two last chapters, while it kept Goldsmith in a state of continual excitement, aggravated the malady which was impairing his constitution; yet his increasing perplexities in money matters drove him to the dissipation of society as a relief from solitary care. The delays of the theater added to those perplexities. He had long since finished his new comedy, yet the year 1772 passed away without his being able to get it on the stage. No one, uninitiated in the interior of a theater, that little world of traps and trickery, can have any idea of the obstacles and perplexities multiplied in the way of the most eminent and successful author by the mismanagement of managers, the jealousies and intrigues of rival authors, and the fantastic and impertinent caprices of actors. A long and baffling negotiation was carried on between Goldsmith and Colman, the manager of Covent Garden; who retained the play in his hands until the middle of January (1773), without coming to a decision. The theatrical season was rapidly passing away, and Goldsmith's pecuniary difficulties were augmenting and pressing on him. We may judge of his anxiety by the following letter:

"_To George Colman, Esq._

"DEAR SIR--I entreat you'll relieve me from that state of suspense in which I have been kept for a long time. Whatever objections you have made or shall make to my play, I will endeavor to remove and not argue about them. To bring in any new judges, either of its merits or faults, I can never submit to. Upon a former occasion, when my other play was before Mr. Garrick, he offered to bring me before Mr. Whitehead's tribunal, but I refused the proposal with indignation: I hope I shall not experience as harsh treatment from you as from him. I have, as you know, a large sum of money to make up shortly; by accepting my play, I can readily satisfy my creditor that way; at any rate, I must look about to some certainty to be prepared. For God's sake take the play, and let us make the best of it, and let me have the same measure, at least, which you have given as bad plays as mine. I am your friend and servant,

"OLIVER GOLDSMITH."

Colman returned the manuscript with the blank sides of the leaves scored with disparaging comments and suggested alterations, but with the intimation that the faith of the theater should be kept, and the play acted notwithstanding. Goldsmith submitted the criticisms to some of his friends, who pronounced them trivial, unfair, and contemptible, and intimated that Colman, being a dramatic writer himself, might be actuated by jealousy. The play was then sent, with Colman's comments written on it, to Garrick; but he had scarce sent it when Johnson interfered, represented the evil that might result from an apparent rejection of it by Covent Garden, and undertook to go forthwith to Colman, and have a talk with him on the subject. Goldsmith, therefore, penned the following note to Garrick:

"DEAR SIR--I ask many pardons for the trouble I gave you yesterday. Upon more mature deliberation, and the advice of a sensible friend, I began to think it indelicate in me to throw upon you the odium of confirming Mr. Colman's sentence. I therefore request you will send my play back by my servant; for, having been assured of having it acted at the other house, though I confess yours in every respect more to my wish, yet it would be folly in me to forego an advantage which lies in my power of appealing from Mr. Colman's opinion to the judgment of the town. I entreat, if not too late, you will keep this affair a secret for some time.

"I am, dear sir, your very humble servant,

"OLIVER GOLDSMITH."

The negotiation of Johnson with the manager of Covent Garden was effective. "Colman," he says, "was prevailed on at last, by much solicitation, nay, a kind of force," to bring forward the comedy. Still the manager was ungenerous; or, at least, indiscreet enough to express his opinion, that it would not reach a second representation. The plot, he said, was bad, and the interest not sustained; "it dwindled, and dwindled, and at last went out like the snuff of a candle." The effect of his croaking was soon apparent within the walls of the theater. Two of the most popular actors, Woodward and Gentleman Smith, to whom the parts of Tony Lumpkin and Young Marlow were assigned, refused to act them; one of them alleging, in excuse, the evil predictions of the manager. Goldsmith was advised to postpone the performance of his play until he could get these important parts well supplied. "No," said he, "I would sooner that my play were damned by bad players than merely saved by good acting."

Quick was substituted for Woodward in Tony Lumpkin, and Lee Lewis, the harlequin of the theater, for Gentleman Smith in Young Marlow; and both did justice to their parts.

Great interest was taken by Goldsmith's friends in the success of his piece. The rehearsals were attended by Johnson, Cradock, Murphy, Reynolds and his sister, and the whole Horneck connection, including, of course, the "Jessamy Bride," whose presence may have contributed to flutter the anxious heart of the author. The rehearsals went off with great applause, but that Colman attributed to the partiality of friends. He continued to croak, and refused to risk any expense in new scenery or dresses on a play which he was sure would prove a failure.

The time was at hand for the first representation, and as yet the comedy was without a title. "We are all in labor for a name for Goldy's play," said Johnson, who, as usual, took a kind of fatherly protecting interest in poor Goldsmith's affairs. The Old House a New Inn was thought of for a time, but still did not please. Sir Joshua Reynolds proposed The Belle's Stratagem, an elegant title, but not considered applicable, the perplexities of the comedy being produced by the mistake of the hero, not the stratagem of the heroine. The name was afterward adopted by Mrs. Cowley for one of her comedies. The Mistakes of a Night was the title at length fixed upon, to which Goldsmith prefixed the words She Stoops to Conquer.

The evil bodings of Colman still continued; they were even communicated in the box office to the servant of the Duke of Gloucester, who was sent to engage a box. Never did the play of a popular writer struggle into existence through more difficulties.

In the meantime Foote's Primitive Puppet-show, entitled the Handsome Housemaid, or Piety on Pattens, had been brought out at the Haymarket on the 15th of February. All the world, fashionable and unfashionable, had crowded to the theater. The street was thronged with equipages--the doors were stormed by the mob. The burlesque was completely successful, and sentimental comedy received its quietus. Even Garrick, who had recently befriended it, now gave it a kick, as he saw it going down hill, and sent Goldsmith a humorous prologue to help his comedy of the opposite school. Garrick and Goldsmith, however, were now on very cordial terms, to which the social meetings in the circle of the Hornecks and Bunburys may have contributed.

On the 15th of March the new comedy was to be performed. Those who had stood up for its merits, and been irritated and disgusted by the treatment it had received from the manager, determined to muster their forces, and aid in giving it a good launch upon the town. The particulars of this confederation, and of its triumphant success, are amusingly told by Cumberland in his memoirs.

"We were not over-sanguine of success, but perfectly determined to struggle hard for our author. We accordingly assembled our strength at the Shakespeare Tavern, in a considerable body, for an early dinner, where Samuel Johnson took the chair at the head of a long table, and was the life and soul of the corps: the poet took post silently by his side, with the Burkes, Sir Joshua Reynolds, Fitzherbert, Caleb Whitefoord, and a phalanx of North British, predetermined applauders, under the banner of Major Mills, all good men and true. Our illustrious president was in inimitable glee; and poor Goldsmith that day took all his raillery as patiently and complacently as my friend Boswell would have done any day or every day of his life. In the meantime, we did not forget our duty; and though we had a better comedy going, in which Johnson was chief actor, we betook ourselves in good time to our separate and allotted posts, and waited the awful drawing up of the curtain. As our stations were preconcerted, so were our signals for plaudits arranged and determined upon in a manner that gave every one his cue where to look for them, and how to follow them up.

"We had among us a very worthy and efficient member, long since lost to his friends and the world at large, Adam Drummond, of amiable memory, who was gifted by nature with the most sonorous, and, at the same time, the most contagious laugh that ever echoed from the human lungs. The neighing of the horse of the son of Hystaspes was a whisper to it; the whole thunder of the theater could not drown it. This kind and ingenious friend fairly forewarned us that he knew no more when to give his fire than the cannon did that was planted on a battery. He desired, therefore, to have a flapper at his elbow, and I had the honor to be deputed to that office. I planted him in an upper box, pretty nearly over the stage, in full view of the pit and galleries, and perfectly well situated to give the echo all its play through the hollows and recesses of the theater. The success of our maneuver was complete. All eyes were upon Johnson, who sat in a front row of a side box; and when he laughed, everybody thought themselves warranted to roar. In the meantime, my friend followed signals with a rattle so irresistibly comic that, when he had repeated it several times, the attention of the spectators was so engrossed by his person and performances that the progress of the play seemed likely to become a secondary object, and I found it prudent to insinuate to him that he might halt his music without any prejudice to the author; but alas! it was now too late to rein him in; he had laughed upon my signal where he found no joke, and now, unluckily, he fancied that he found a joke in almost everything that was said; so that nothing in nature could be more malapropos than some of his bursts every now and then were. These were dangerous moments, for the pit began to take umbrage; but we carried our point through, and triumphed not only over Colman's judgment, but our own."

Much of this statement has been condemned as exaggerated or discolored. Cumberland's memoirs have generally been characterized as partaking of romance, and in the present instance he had particular motives for tampering with the truth. He was a dramatic writer himself, jealous of the success of a rival, and anxious to have it attributed to the private management of friends. According to various accounts, public and private, such management was unnecessary, for the piece was "received throughout with the greatest acclamations."

Goldsmith, in the present instance, had not dared, as on a former occasion, to be present at the first performance. He had been so overcome by his apprehensions that, at the preparatory dinner he could hardly utter a word, and was so choked that he could not swallow a mouthful. When his friends trooped to the theater, he stole away to St. James' Park: there he was found by a friend between seven and eight o'clock, wandering up and down the Mall like a troubled spirit. With difficulty he was persuaded to go to the theater, where his presence might be important should any alteration be necessary. He arrived at the opening of the fifth act, and made his way behind the scenes. Just as he entered there was a slight hiss at the improbability of Tony Lumpkin's trick on his mother, in persuading her she was forty miles off, on Crackskull Common, though she had been trundled about on her own grounds. "What's that? what's that!" cried Goldsmith to the manager, in great agitation. "Pshaw! doctor," replied Colman, sarcastically, "don't be frightened at a squib, when we've been sitting these two hours on a barrel of gunpowder!" Though of a most forgiving nature Goldsmith did not easily forget this ungracious and ill-timed sally.

If Colman was indeed actuated by the paltry motives ascribed to him in his treatment of this play, he was most amply punished by its success, and by the taunts, epigrams, and censures leveled at him through the press, in which his false prophecies were jeered at; his critical judgment called in question; and he was openly taxed with literary jealousy. So galling and unremitting was the fire, that he at length wrote to Goldsmith, entreating him "to take him off the rack of the newspapers"; in the meantime, to escape the laugh that was raised about him in the theatrical world of London, he took refuge in Bath during the triumphant career of the comedy.

The following is one of the many squibs which assailed the ears of the manager:

TO GEORGE COLMAN, ESQ.

ON THE SUCCESS OF DR. GOLDSMITH'S NEW COMEDY

"Come, Coley, doff those mourning weeds, Nor thus with jokes be flamm'd; Tho' Goldsmith's present play succeeds, His next may still be damn'd.

"As this has 'scaped without a fall, To sink his next prepare; New actors hire from Wapping Wall, And dresses from Rag Fair.

"For scenes let tatter'd blankets fly, The prologue Kelly write; Then swear again the piece must die Before the author's night.

"Should these tricks fail, the lucky elf, To bring to lasting shame, E'en write _the best you can yourself_, And print it in _his name_."

The solitary hiss, which had startled Goldsmith, was ascribed by some of the newspaper scribblers to Cumberland himself, who was "manifestly miserable" at the delight of the audience, or to Ossian Macpherson, who was hostile to the whole Johnson clique, or to Goldsmith's dramatic rival, Kelly. The following is one of the epigrams which appeared:

"At Dr. Goldsmith's merry play, All the spectators laugh, they say; The assertion, sir, I must deny, For Cumberland and Kelly cry.

"_Ride, si sapis_."

Another, addressed to Goldsmith, alludes to Kelly's early apprenticeship to stay-making:

"If Kelly finds fault with the _shape_ of your muse, And thinks that too loosely it plays, He surely, dear doctor, will never refuse To make it a new _Pair of Stays_!"

Cradock had returned to the country before the production of the play; the following letter, written just after the performance, gives an additional picture of the thorns which beset an author in the path of theatrical literature:

"MY DEAR SIR--The play 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 Miss Catley, and which she approved; Mrs. Bulkley hearing this, insisted on throwing up her part" (Miss Hardcastle) "unless, according to the custom of the theater, she were permitted to speak the epilogue. In this embarrassment I thought of making a quarreling 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, on 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."

Johnson, who had taken such a conspicuous part in promoting the interests of poor "Goldy," was triumphant at the success of the piece. "I know of no comedy for many years," said he, "that has so much exhilarated an audience; that has answered so much the great end of comedy--making an audience merry."

Goldsmith was happy, also, in gleaning applause from less authoritative sources. Northcote, the painter, then a youthful pupil of Sir Joshua Reynolds; and Ralph, Sir Joshua's confidential man, had taken their stations in the gallery to lead the applause in that quarter. Goldsmith asked Northcote's opinion of the play. The youth modestly declared he could not presume to judge in such matters. "Did it make you laugh?" "Oh. exceedingly!" "That is all I require," replied Goldsmith; and rewarded him for his criticism by box-tickets for his first benefit night.

The comedy was immediately put to press, and dedicated to Johnson in the following grateful and affectionate terms:

"In inscribing this slight performance to you, I do not mean so much to compliment you as myself. It may do me some honor 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."

The copyright was transferred to Mr. Newbery, according to agreement, whose profits on the sale of the work far exceeded the debts for which the author in his perplexities had pre-engaged it. The sum which accrued to Goldsmith from his benefit nights afforded but a slight palliation of his pecuniary difficulties. His friends, while they exulted in his success, little knew of his continually increasing embarrassments, and of the anxiety of mind which kept tasking his pen while it impaired the ease and freedom of spirit necessary to felicitous composition.

CHAPTER THIRTY-EIGHT

A NEWSPAPER ATTACK--THE EVANS AFFRAY--JOHNSON'S COMMENT

The triumphant success of She Stoops to Conquer brought forth, of course, those carpings and cavilings of underling scribblers which are the thorns and briers in the path of successful authors.

Goldsmith, though easily nettled by attacks of the kind, was at present too well satisfied with the reception of his comedy to heed them; but the following anonymous letter, which appeared in a public paper, was not to be taken with equal equanimity:

[FOR THE LONDON PACKET.]

"TO DR. GOLDSMITH.

"_Vous vous noyez par vanité_.

"SIR--The happy knack which you have learned of puffing your own compositions, provokes me to come forth. You have not been the editor of newspapers and magazines not to discover the trick of literary _humbug_; but the gauze is so thin that the very foolish part of the world see through it, and discover the doctor's monkey face and cloven foot. Your poetic vanity is as unpardonable as your personal. Would man believe it, and will woman bear it, to be told that for hours the great Goldsmith will stand surveying his grotesque orang-outang's figure in a pier-glass? Was but the lovely H--k as much enamored, you would not sigh, my gentle swain, in vain. But your vanity is preposterous. How will this same bard of Bedlam ring the changes in the praise of Goldy! But what has he to be either proud or vain of? The Traveler is a flimsy poem, built upon false principles--principles diametrically opposite to liberty. What is The Good-Natured Man but a poor, water-gruel dramatic dose? What is The Deserted Village but a pretty poem of easy numbers, without fancy, dignity, genius, or fire? And, pray, what may be the last _speaking pantomime_, so praised by the doctor himself, but an incoherent piece of stuff, the figure of a woman with a fish's tail, without plot, incident, or intrigue? We are made to laugh at stale, dull jokes, wherein we mistake pleasantry for wit, and grimace for humor; wherein every scene is unnatural and inconsistent with the rules, the laws of nature and of the drama; viz., two gentlemen come to a man of fortune's house, eat, drink, etc., and take it for an inn. The one is intended as a lover for the daughter; he talks with her for some hours; and, when he sees her again in a different dress, he treats her as a bar-girl, and swears she squinted. He abuses the master of the house, and threatens to kick him out of his own doors. The squire, whom we are told is to be a fool, proves to be the most sensible being of the piece; and he makes out a whole act by bidding his mother lie close behind a bush, persuading her that his father, her own husband, is a highwayman, and that he has come to cut their throats; and, to give his cousin an opportunity to go off, he drives his mother over hedges, ditches, and through ponds. There is not, sweet, sucking Johnson, a natural stroke in the whole play but the young fellow's giving the stolen jewels to the mother, supposing her to be the landlady. That Mr. Colman did no justice to this piece, I honestly allow; that he told all his friends it would be damned, I positively aver; and, from such ungenerous insinuations, without a dramatic merit, it rose to public notice, and it is now the ton to go and see it, though I never saw a person that either liked it or approved it, any more than the absurd plot of Home's tragedy of Alonzo. Mr. Goldsmith, correct your arrogance, reduce your vanity, and endeavor to believe, as a man, you are of the plainest sort; and as an author, but a mortal piece of mediocrity.

"Brise le miroir infidèle Qui vous cache la vérité.

"TOM TICKLE."

It would be difficult to devise a letter more calculated to wound the peculiar sensibilities of Goldsmith. The attacks upon him as an author, though annoying enough, he could have tolerated; but then the allusion to his "grotesque" person, to his studious attempts to adorn it; and, above all, to his being an unsuccessful admirer of the lovely H--k (the Jessamy Bride), struck rudely upon the most sensitive part of his highly sensitive nature. The paragraph, it was said, was first pointed out to him by an officious friend, an Irishman, who told him he was bound in honor to resent it; but he needed no such prompting. He was in a high state of excitement and indignation, and accompanied by his friend, who is said to have been a Captain Higgins, of the marines, he repaired to Paternoster Row, to the shop of Evans, the publisher, whom he supposed to be the editor of the paper. Evans was summoned by his shopman from an adjoining room. Goldsmith announced his name. "I have called," added he, "in consequence of a scurrilous attack made upon me, and an unwarrantable liberty taken with the name of a young lady. As for myself, I care little; but her name must not be sported with."

Evans professed utter ignorance of the matter, and said he would speak to the editor. He stooped to examine a file of the paper, in search of the offensive article; whereupon Goldsmith's friend gave him a signal, that now was a favorable moment for the exercise of his cane. The hint was taken as quick as given, and the cane was vigorously applied to the back of the stooping publisher. The latter rallied in an instant, and, being a stout, high-blooded Welshman, returned the blows with interest. A lamp hanging overhead was broken, and sent down a shower of oil upon the combatants; but the battle raged with unceasing fury. The shopman ran off for a constable; but Dr. Kenrick, who happened to be in the adjacent room, sallied forth, interfered between the combatants, and put an end to the affray. He conducted Goldsmith to a coach, in exceedingly battered and tattered plight, and accompanied him home, soothing him with much mock commiseration, though he was generally suspected, and on good grounds, to be the author of the libel.

Evans immediately instituted a suit against Goldsmith for an assault, but was ultimately prevailed upon to compromise the matter, the poet contributing fifty pounds to the Welsh charity.

Newspapers made themselves, as may well be supposed, exceedingly merry with the combat. Some censured him severely for invading the sanctity of a man's own house; others accused him of having, in his former capacity of editor of a magazine, been guilty of the very offenses that he now resented in others. This drew from him the following vindication:

"_To the Public_.

"Lest it should be supposed that I have been willing to correct in others an abuse of which I have been guilty myself, I beg leave to declare, that, in all my life, I never wrote or dictated a single paragraph, letter, or essay in a newspaper, except a few moral essays under the character of a Chinese, about ten years ago, in the 'Ledger,' and a letter, to which I signed my name in the 'St. James' Chronicle.' If the liberty of the press, therefore, has been abused, I have had no hand in it.

"I have always considered the press as the protector of our freedom, as a watchful guardian, capable of uniting the weak against the encroachments of power. What concerns the public most properly admits of a public discussion. But, of late, the press has turned from defending public interest to making inroads upon private life; from combating the strong to overwhelming the feeble. No condition is now too obscure for its abuse, and the protector has become the tyrant of the people. In this manner the freedom of the press is beginning to sow the seeds of its own dissolution; the great must oppose it from principle, and the weak from fear; till at last every rank of mankind shall be found to give up its benefits, content with security from insults.

"How to put a stop to this licentiousness, by which all are indiscriminately abused, and by which vice consequently escapes in the general censure, I am unable to tell; all I could wish is that, as the law gives us no protection against the injury, so it should give calumniators no shelter after having provoked correction. The insults which we receive before the public, by being more open, are the more distressing; by treating them with silent contempt we do not pay a sufficient deference to the opinion of the world. By recurring to legal redress we too often expose the weakness of the law, which only serves to increase our mortification by failing to relieve us. In short, every man should singly consider himself as the guardian of the liberty of the press, and, as far as his influence can extend, should endeavor to prevent its licentiousness becoming at last the grave of its freedom.

"OLIVER GOLDSMITH."

Boswell, who had just arrived in town, met with this article in a newspaper which he found at Dr. Johnson's. The doctor was from home at the time, and Bozzy and Mrs. Williams, in a critical conference over the letter, determined from the style that it must have been written by the lexicographer himself. The latter on his return soon undeceived them. "Sir," said he to Boswell, "Goldsmith would no more have asked me to have wrote such a thing as that for him than he would have asked me to feed him with a spoon, or do anything else that denoted his imbecility. Sir, had he shown it to any one friend, he would not have been allowed to publish it. He has, indeed, done it very well; but it is a foolish thing well done. I suppose he has been so much elated with the success of his new comedy that he has thought everything that concerned him must be of importance to the public."

CHAPTER THIRTY-NINE

BOSWELL IN HOLY WEEK--DINNER AT OGLETHORPE'S--DINNER AT PAOLI'S--THE POLICY OF TRUTH--GOLDSMITH AFFECTS INDEPENDENCE OF ROYALTY--PAOLI'S COMPLIMENT--JOHNSON'S EULOGIUM ON THE FIDDLE--QUESTION ABOUT SUICIDE--BOSWELL'S SUBSERVIENCY

The return of Boswell to town to his task of noting down the conversations of Johnson enables us to glean from his journal some scanty notices of Goldsmith. It was now Holy Week, a time during which Johnson was

## particularly solemn in his manner and strict in his devotions. Boswell, who

was the imitator of the great moralist in everything, assumed, of course, an extra devoutness on the present occasion. "He had an odd mock solemnity of tone and manner," said Miss Burney (afterward Madame D'Arblay), "which he had acquired from constantly thinking, and imitating Dr. Johnson." It would seem, that he undertook to deal out some secondhand homilies, _à la Johnson_, for the edification of Goldsmith during Holy Week. The poet, whatever might be his religious feeling, had no disposition to be schooled by so shallow an apostle. "Sir," said he in reply, "as I take my shoes from the shoemaker, and my coat from the tailor, so I take my religion from the priest."

Boswell treasured up the reply in his memory or his memorandum book. A few days afterward, the 9th of April, he kept Good Friday with Dr. Johnson, in orthodox style; breakfasted with him on tea and crossbuns; went to church with him morning and evening; fasted in the interval, and read with him in the Greek Testament; then, in the piety of his heart, complained of the sore rebuff he had met with in the course of his religious exhortations to the poet, and lamented that the latter should indulge in "this loose way of talking." "Sir," replied Johnson, "Goldsmith knows nothing--he has made up his mind about nothing."

This reply seems to have gratified the lurking jealousy of Boswell, and he has recorded it in his journal. Johnson, however, with respect to Goldsmith, and indeed with respect to everybody else, blew hot as well as cold, according to the humor he was in. Boswell, who was astonished and piqued at the continually increasing celebrity of the poet, observed some time after to Johnson, in a tone of surprise, that Goldsmith had acquired more fame than all the officers of the last war who were not generals. "Why, sir," answered Johnson, his old feeling of good-will working uppermost, "you will find ten thousand fit to do what they did, before you find one to do what Goldsmith has done. You must consider that a thing is valued according to its rarity. A pebble that paves the street is in itself more useful than the diamond upon a lady's finger."

On the 13th of April we find Goldsmith and Johnson at the table of old General Oglethorpe, discussing the question of the degeneracy of the human race. Goldsmith asserts the fact, and attributes it to the influence of luxury. Johnson denies the fact; and observes that, even admitting it, luxury could not be the cause. It reached but a small proportion of the human race. Soldiers, on sixpence a day, could not indulge in luxuries; the poor and laboring classes, forming the great mass of mankind, were out of its sphere. Wherever it could reach them, it strengthened them and rendered them prolific. The conversation was not of particular force or point as reported by Boswell; the dinner party was a very small one, in which there was no provocation to intellectual display.

After dinner they took tea with the ladies, where we find poor Goldsmith happy and at home, singing Tony Lumpkin's song of the Three Jolly Pigeons, and another called the Humors of Ballamaguery, to a very pretty Irish tune. It was to have been introduced in She Stoops to Conquer, but was left out, as the actress who played the heroine could not sing.

It was in these genial moments that the sunshine of Goldsmith's nature would break out, and he would say and do a thousand whimsical and agreeable things that made him the life of the strictly social circle. Johnson, with whom conversation was everything, used to judge Goldsmith too much by his own colloquial standard, and undervalue him for being less provided than himself with acquired facts, the ammunition of the tongue and often the mere lumber of the memory; others, however, valued him for the native felicity of his thoughts, however carelessly expressed, and for certain good-fellow qualities, less calculated to dazzle than to endear. "It is amazing," said Johnson one day, after he himself had been talking like an oracle; "it is amazing how little Goldsmith knows; he seldom comes where he is not more ignorant than any one else." "Yet," replied Sir Joshua Reynolds, with affectionate promptness, "there is no man whose company is more _liked_."

Two or three days after the dinner at General Oglethorpe's, Goldsmith met Johnson again at the table of General Paoli, the hero of Corsica. Martinelli, of Florence, author of an Italian History of England, was among the guests; as was Boswell, to whom we are indebted for minutes of the conversation which took place. The question was debated whether Martinelli should continue his history down to that day. "To be sure he should," said Goldsmith. "No, sir;" cried Johnson, "it would give great offense. He would have to tell of almost all the living great what they did not wish told." Goldsmith.--"It may, perhaps, be necessary for a native to be more cautious; but a foreigner, who comes among us without prejudice, may be considered as holding the place of a judge, and may speak his mind freely." Johnson.--"Sir, a foreigner, when he sends a work from the press, ought to be on his guard against catching the error and mistaken enthusiasm of the people among whom he happens to be." Goldsmith.--"Sir, he wants only to sell his history, and to tell truth; one an honest, the other a laudable motive." Johnson.--"Sir, they are both laudable motives. It is laudable in a man to wish to live by his labors; but he should write so as he may live by them, not so as he may be knocked on the head. I would advise him to be at Calais before he publishes his history of the present age. A foreigner who attaches himself to a political party in this country is in the worst state that can be imagined; he is looked upon as a mere intermeddler. A native may do it from interest." Boswell.--"Or principle." Goldsmith.--"There are people who tell a hundred political lies every day, and are not hurt by it. Surely, then, one may tell truth with perfect safety." Johnson.--"Why, sir, in the first place, he who tells a hundred lies has disarmed the force of his lies. But, besides, a man had rather have a hundred lies told of him than one truth which he does not wish to be told." Goldsmith.--"For my part, I'd tell the truth, and shame the devil." Johnson.--"Yes, sir, but the devil will be angry. I wish to shame the devil as much as you do, but I should choose to be out of the reach of his claws." Goldsmith.--"His claws can do you no hurt where you have the shield of truth."

This last reply was one of Goldsmith's lucky hits, and closed the argument in his favor.

"We talked," writes Boswell, "of the king's coming to see Goldsmith's new play." "I wish he would," said Goldsmith, adding, however, with an affected indifference, "Not that it would do me the least good." "Well, then," cried Johnson, laughing, "let us say it would do _him_ good. No, sir, this affectation will not pass; it is mighty idle. In such a state as ours, who would not wish to please the chief magistrate?"

"I _do_ wish to please him," rejoined Goldsmith. "I remember a line in Dryden:

"'And every poet is the monarch's friend,'

"it ought to be reversed." "Nay," said Johnson, "there are finer lines in Dryden on this subject:

"'For colleges on bounteous kings depend, And never rebel was to arts a friend.'"

General Paoli observed that "successful rebels might be." "Happy rebellions," interjected Martinelli. "We have no such phrase," cried Goldsmith. "But have you not the thing?" asked Paoli. "Yes," replied Goldsmith, "all our _happy_ revolutions. They have hurt our constitution, and _will_ hurt it, till we mend it by another HAPPY REVOLUTION." This was a sturdy sally of Jacobitism that quite surprised Boswell, but must have been relished by Johnson.

General Paoli mentioned a passage in the play, which had been construed into a compliment to a lady of distinction, whose marriage with the Duke of Cumberland had excited the strong disapprobation of the king as a mesalliance. Boswell, to draw Goldsmith out, pretended to think the compliment unintentional. The poet smiled and hesitated. The general came to his relief. "Monsieur Goldsmith," said he, "est comme la mer, qui jette des perles et beaucoup d'autres belles choses, sans s'en appercevoir" (Mr. Goldsmith is like the sea, which casts forth pearls and many other beautiful things without perceiving it).

"Très-bien dit, et très-elegamment" (very well said, and very elegantly), exclaimed Goldsmith; delighted with so beautiful a compliment from such a quarter.

Johnson spoke disparagingly of the learning of a Mr. Harris, of Salisbury, and doubted his being a good Grecian. "He is what is much better," cried Goldsmith, with a prompt good-nature, "he is a worthy, humane man." "Nay, sir," rejoined the logical Johnson, "that is not to the purpose of our argument; that will prove that he can play upon the fiddle as well as Giardini, as that he is an eminent Grecian." Goldsmith found he had got into a scrape, and seized upon Giardini to help him out of it. "The greatest musical performers," said he, dexterously turning the conversation, "have but small emoluments; Giardini, I am told, does not get above seven hundred a year." "That is indeed but little for a man to get," observed Johnson, "who does best that which so many endeavor to do. There is nothing, I think, in which the power of art is shown so much as in playing on the fiddle. In all other things we can do something at first. Any man will forge a bar of iron, if you give him a hammer; not so well as a smith, but tolerably. A man will saw a piece of wood, and make a box, though a clumsy one; but give him a fiddle and fiddlestick, and he can do nothing."

This, upon the whole, though reported by the one-sided Boswell, is a tolerable specimen of the conversations of Goldsmith and Johnson; the farmer heedless, often illogical, always on the kind-hearted side of the question, and prone to redeem himself by lucky hits; the latter closely argumentative, studiously sententious, often profound, and sometimes laboriously prosaic.

They had an argument a few days later at Mr. Thrale's table, on the subject of suicide. "Do you think, sir," said Boswell, "that all who commit suicide are mad?" "Sir," replied Johnson, "they are not often universally disordered in their intellects, but one passion presses so upon them that they yield to it, and commit suicide, as a passionate man will stab another. I have often thought," added he, "that after a man has taken the resolution to kill himself, it is not courage in him to do anything, however desperate, because he has nothing to fear." "I don't see that," observed Goldsmith. "Nay, but, my dear sir," rejoined Johnson, "why should you not see what every one else does?" "It is," replied Goldsmith, "for fear of something that he has resolved to kill himself; and will not that timid disposition restrain him?" "It does not signify," pursued Johnson, "that the fear of something made him resolve; it is upon the state of his mind, after the resolution is taken, that I argue. Suppose a man, either from fear, or pride, or conscience, or whatever motive, has resolved to kill himself; when once the resolution is taken he has nothing to fear. He may then go and take the King of Prussia by the nose at the head of his army. He cannot fear the rack who is determined to kill himself." Boswell reports no more of the discussion, though Goldsmith might have continued it with advantage; for the very timid disposition, which, through fear of something, was impelling the man to commit suicide, might restrain him from an act involving the punishment of the rack, more terrible to him than death itself.

It is to be regretted in all these reports by Boswell we have scarcely anything but the remarks of Johnson; it is only by accident that he now and then gives us the observations of others, when they are necessary to explain or set off those of his hero. "When in _that presence_," says Miss Burney, "he was unobservant, if not contemptuous of every one else. In truth, when he met with Dr. Johnson, he commonly forbore even answering anything that was said, or attending to anything that went forward, lest he should miss the smallest sound from that voice, to which he paid such exclusive, though merited, homage. But the moment that voice burst forth, the attention which it excited on Mr. Boswell amounted almost to pain. His eyes goggled with eagerness; he leaned his ear almost on the shoulder of the doctor; and his mouth dropped open to catch every syllable that might be uttered; nay, he seemed not only to dread losing a word, but to be anxious not to miss a breathing; as if hoping from it latently, or mystically, some information."

On one occasion the doctor detected Boswell, or Bozzy, as he called him, eavesdropping behind his chair, as he was conversing with Miss Burney at Mr. Thrale's table. "What are you doing there, sir?" cried he, turning round angrily, and clapping his hand upon his knee. "Go to the table, sir."

Boswell obeyed with an air of affright and submission, which raised a smile on every face. Scarce had he taken his seat, however, at a distance, than, impatient to get again at the side of Johnson, he rose and was running off in quest of something to show him, when the doctor roared after him authoritatively, "What are you thinking of, sir? Why do you get up before the cloth is removed? Come back to your place, sir"--and the obsequious spaniel did as he was commanded. "Running about in the middle of meals!" muttered the doctor, pursing his mouth at the same time to restrain his rising risibility.

Boswell got another rebuff from Johnson, which would have demolished any other man. He had been teasing him with many direct questions, such as What did you do, sir? What did you say, sir? until the great philologist became perfectly enraged. "I will not be put to the _question!_" roared he. "Don't you consider, sir, that these are not the manners of a gentleman? I will not be baited with _what_ and _why;_ What is this? What is that? Why is a cow's tail long? Why is a fox's tail bushy?" "Why, sir," replied pil-garlick, "you are so good that I venture to trouble you," "Sir," replied Johnson, "my being so _good_ is no reason why you should be so _ill_." "You have but two topics, sir," exclaimed he on another occasion, "yourself and me, and I am sick of both."

Boswell's inveterate disposition to _toad_ was a sore cause of mortification to his father, the old laird of Auchinleck (or Affleck). He had been annoyed by his extravagant devotion to Paoli, but then he was something of a military hero; but this tagging at the heels of Dr. Johnson, whom he considered a kind of pedagogue, set his Scotch blood in a ferment. "There's nae hope for Jamie, mon," said he to a friend; "Jamie is gaen clean gyte. What do you think, mon? He's done wi' Paoli; he's off wi' the land-louping scoundrel of a Corsican; and whose tail do you think he has pinn'd himself to now, mon? A _dominie_ mon; an auld dominie: he keeped a schule, and cau'd it an acaadamy."

We shall show in the next chapter that Jamie's devotion to the dominie did not go unrewarded.

CHAPTER FORTY

CHANGES IN THE LITERARY CLUB--JOHNSON'S OBJECTION TO GARRICK--ELECTION OP BOSWELL

The Literary Club (as we have termed the club in Gerard Street, though it took that name some time later) had now been in existence several years. Johnson was exceedingly chary at first of its exclusiveness, and opposed to its being augmented in number. Not long after its institution, Sir Joshua Reynolds was speaking of it to Garrick. "I like it much," said little David, briskly; "I think I shall be of you." "When Sir Joshua mentioned this to Dr. Johnson," says Boswell, "he was much displeased with the actor's conceit. '_He'll be of us?_' growled he. 'How does he know we will _permit_ him? The first duke in England has no right to hold such language.'"

When Sir John Hawkins spoke favorably of Garrick's pretensions, "Sir," replied Johnson, "he will disturb us by his buffoonery." In the same spirit he declared to Mr. Thrale that if Garrick should apply for admission he would blackball him. "Who, sir?" exclaimed Thrale, with surprise; "Mr. Garrick--your friend, your companion--blackball him!" "Why, sir," replied Johnson, "I love my little David dearly--better than all or any of his flatterers do; but surely one ought to sit in a society like ours,

"'Unelbowed by a gamester, pimp, or player.'"

The exclusion from the club was a sore mortification to Garrick, though he bore it without complaining. He could not help continually to ask questions about it--what was going on there--whether he was ever the subject of conversation. By degrees the rigor of the club relaxed: some of the members grew negligent. Beauclerc lost his right of membership by neglecting to attend. On his marriage, however, with Lady Diana Spencer, daughter of the Duke of Marlborough, and recently divorced from Viscount Bolingbroke, he had claimed and regained his seat in the club. The number of members had likewise been augmented. The proposition to increase it originated with Goldsmith. "It would give," he thought, "an agreeable variety to their meetings; for there can be nothing new among us," said he; "we have traveled over each other's minds." Johnson was piqued at the suggestion. "Sir," said he, "you have not traveled over my mind, I promise you." Sir Joshua, less confident in the exhaustless fecundity of his mind, felt and acknowledged the force of Goldsmith's suggestion. Several new members, therefore, had been added; the first, to his great joy, was David Garrick. Goldsmith, who was now on cordial terms with him, had zealously promoted his election, and Johnson had given it his warm approbation. Another new member was Beauclerc's friend, Lord Charlemont; and a still more important one was Mr., afterward Sir William Jones, the famous Orientalist, at that time a young lawyer of the Temple and a distinguished scholar.

To the great astonishment of the club, Johnson now proposed his devoted follower, Boswell, as a member. He did it in a note addressed to Goldsmith, who presided on the evening of the 23d of April. The nomination was seconded by Beauclerc. According to the rules of the club, the ballot would take place at the next meeting (on the 30th); there was an intervening week, therefore, in which to discuss the pretensions of the candidate. We may easily imagine the discussions that took place. Boswell had made himself absurd in such a variety of ways, that the very idea of his admission was exceedingly irksome to some of the members. "The honor of being elected into the Turk's Head Club," said the Bishop of St. Asaph, "is not inferior to that of being representative of Westminster and Surrey." What had Boswell done to merit such an honor? What chance had he of gaining it? The answer was simple: he had been the persevering worshiper, if not sycophant of Johnson. The great lexicographer had a heart to be won by apparent affection; he stood forth authoritatively in support of his vassal. If asked to state the merits of the candidate, he summed them up in an indefinite but comprehensive word of his own coining; he was _clubable_. He moreover gave significant hints that if Boswell were kept out he should oppose the admission of any other candidate. No further opposition was made; in fact none of the members had been so fastidious and exclusive in regard to the club as Johnson himself; and if he were pleased, they were easily satisfied; besides, they knew that, with all his faults, Boswell was a cheerful companion, and possessed lively social qualities.

On Friday, when the ballot was to take place, Beauclerc gave a dinner, at his house in the Adelphi, where Boswell met several of the members who were favorable to his election. After dinner the latter adjourned to the club, leaving Boswell in company with Lady Di Beauclerc until the fate of his election should be known. He sat, he says, in a state of anxiety which even the charming conversation of Lady Di could not entirely dissipate. It was not long before tidings were brought of his election, and he was conducted to the place of meeting, where, besides the company he had met at dinner, Burke, Dr. Nugent, Garrick, Goldsmith, and Mr. William Jones were waiting to receive him. The club, notwithstanding all its learned dignity in the eyes of the world, could at times "unbend and play the fool" as well as less important bodies. Some of its jocose conversations have at times leaked out, and a society in which Goldsmith could venture to sing his song of "an old woman tossed in a blanket," could not be so very staid in its gravity. We may suppose, therefore, the jokes that had been passing among the members while awaiting the arrival of Boswell. Beauclerc himself could not have repressed his disposition for a sarcastic pleasantry. At least we have a right to presume all this from the conduct of Dr. Johnson himself.

With all his gravity he possessed a deep fund of quiet humor, and felt a kind of whimsical responsibility to protect the club from the absurd propensities of the very questionable associate he had thus inflicted on them. Rising, therefore, as Boswell entered, he advanced with a very doctorial air, placed himself behind a chair, on which he leaned as on a desk or pulpit, and then delivered, _ex cathedra_, a mock solemn charge, pointing out the conduct expected from him as a good member of the club; what he was to do, and especially what he was to avoid; including in the latter, no doubt, all those petty, prying, questioning, gossiping, babbling habits which had so often grieved the spirit of the lexicographer. It is to be regretted that Boswell has never thought proper to note down the particulars of this charge, which, from the well known characters and positions of the parties, might have furnished a parallel to the noted charge of Launcelot Gobbo to his dog.

CHAPTER FORTY-ONE

DINNER AT THE DILLYS'--CONVERSATIONS ON NATURAL HISTORY--INTERMEDDLING OF BOSWELL--DISPUTE ABOUT TOLERATION--JOHNSON'S REBUFF TO GOLDSMITH--HIS APOLOGY--MAN-WORSHIP--DOCTORS MAJOR AND MINOR--A FAREWELL VISIT

A few days after the serio-comic scene of the elevation of Boswell into the Literary Club, we find that indefatigable Biographer giving particulars of a dinner at the Dillys', booksellers, in the Poultry, at which he met Goldsmith and Johnson, with several other literary characters. His anecdotes of the conversation, of course, go to glorify Dr. Johnson; for, as he observes in his biography, "His conversation alone, or what led to it, or was interwoven with it, is the business of this work." Still on the present, as on other occasions, he gives unintentional and perhaps unavoidable gleams of Goldsmith's good sense, which show that the latter only wanted a less prejudiced and more impartial reporter to put down the charge of colloquial incapacity so unjustly fixed upon him. The conversation turned upon the natural history of birds, a beautiful subject, on which the poet, from his recent studies, his habits of observation, and his natural tastes, must have talked with instruction and feeling; yet, though we have much of what Johnson said, we have only a casual remark or two of Goldsmith. One was on the migration of swallows, which he pronounced

## partial; "the stronger ones," said he, "migrate, the others do not."

Johnson denied to the brute creation the faculty of reason. "Birds," said he, "build by instinct; they never improve; they build their first nest as well as any one they ever build." "Yet we see," observed Goldsmith, "if you take away a bird's nest with the eggs in it, she will make a slighter nest and lay again." "Sir," replied Johnson, "that is because at first she has full time, and makes her nest deliberately. In the case you mention, she is pressed to lay, and must, therefore, make her nest quickly, and consequently it will be slight." "The nidification of birds," rejoined Goldsmith, "is what is least known in natural history, though one of the most curious things in it." While conversation was going on in this placid, agreeable and instructive manner, the eternal meddler and busybody Boswell, must intrude, to put it in a brawl. The Dillys were dissenters; two of their guests were dissenting clergymen; another, Mr. Toplady, was a clergyman of the established church. Johnson, himself, was a zealous, uncompromising churchman. None but a marplot like Boswell would have thought, on such an occasion, and in such company, to broach the subject of religious toleration; but, as has been well observed, "it was his perverse inclination to introduce subjects that he hoped would produce difference and debate." In the present instance he gamed his point. An animated dispute immediately arose in which, according to Boswell's report, Johnson monopolized the greater part of the conversation; not always treating the dissenting clergymen with the greatest courtesy, and even once wounding the feelings of the mild and amiable Bennet Langton by his harshness.

Goldsmith mingled a little in the dispute and with some advantage, but was cut short by flat contradictions when most in the right. He sat for a time silent but impatient under such overbearing dogmatism, though Boswell, with his usual misinterpretation, attributes his "restless agitation" to a wish to _get in and shine_. "Finding himself excluded," continued Boswell, "he had taken his hat to go away, but remained for a time with it in his hand, like a gamester, who, at the end of a long night, lingers for a little while to see if he can have a favorable opportunity to finish with success." Once he was beginning to speak when he was overpowered by the loud voice of Johnson, who was at the opposite end of the table, and did not perceive his attempt; whereupon he threw down, as it were, his hat and his argument, and, darting an angry glance at Johnson, exclaimed in a bitter tone, "_Take it._"

Just then one of the disputants was beginning to speak, when Johnson uttering some sound, as if about to interrupt him, Goldsmith, according to Boswell, seized the opportunity to vent his own _envy and spleen_ under pretext of supporting another person. "Sir," said he to Johnson, "the gentleman has heard you patiently for an hour; pray allow us now to hear him." It was a reproof in the lexicographer's own style, and he may have felt that he merited it; but he was not accustomed to be reproved. "Sir," said he sternly, "I was not interrupting the gentleman; I was only giving him a signal of my attention. Sir, _you are impertinent_." Goldsmith made no reply, but after some time went away, having another engagement.

That evening, as Boswell was on the way with Johnson and Langton to the club, he seized the occasion to make some disparaging remarks on Goldsmith, which he thought would just then be acceptable to the great lexicographer. "It was a pity," he said, "that Goldsmith would, on every occasion, endeavor to shine, by which he so often exposed himself." Langton contrasted him with Addison, who, content with the fame of his writings, acknowledged himself unfit for conversation; and on being taxed by a lady with silence in company, replied, "Madam, I have but ninepence in ready money, but I can draw for a thousand pounds." To this Boswell rejoined that Goldsmith had a great deal of gold in his cabinet, but was always taking out his purse. "Yes, sir," chuckled Johnson, "and that so often an empty purse."

By the time Johnson arrived at the club, however, his angry feelings had subsided, and his native generosity and sense of justice had got the uppermost. He found Goldsmith in company with Burke, Garrick, and other members, but sitting silent and apart, "brooding," as Boswell says, "over the reprimand he had received." Johnson's good heart yearned toward him; and knowing his placable nature, "I'll make Goldsmith forgive me," whispered he; then, with a loud voice, "Dr. Goldsmith," said he, "something passed to-day where you and I dined--_I ask your pardon_." The ire of the poet was extinguished in an instant, and his grateful affection for the magnanimous though sometimes overbearing moralist rushed to his heart. "It must be much from you, sir," said he, "that I take ill!" "And so," adds Boswell, "the difference was over, and they were on as easy terms as ever, and Goldsmith rattled away as usual." We do not think these stories tell to the poet's disadvantage, even though related by Boswell.

Goldsmith, with all his modesty, could not be ignorant of his proper merit; and must have felt annoyed at times at being undervalued and elbowed aside by light-minded or dull men, in their blind and exclusive homage to the literary autocrat. It was a fine reproof he gave to Boswell on one occasion, for talking of Johnson as entitled to the honor of exclusive superiority. "Sir, you are for making a monarchy what should be a republic." On another occasion, when he was conversing in company with great vivacity, and apparently to the satisfaction of those around him, an honest Swiss, who sat near, one George Michael Moser, keeper of the Royal Academy, perceiving Dr. Johnson rolling himself as if about to speak, exclaimed, "Stay, stay! Toctor Shonson is going to say something." "And are you sure, sir," replied Goldsmith, sharply, "that _you_ can comprehend what he says?"

This clever rebuke, which gives the main zest to the anecdote, is omitted by Boswell, who probably did not perceive the point of it.

He relates another anecdote of the kind, on the authority of Johnson himself. The latter and Goldsmith were one evening in company with the Rev. George Graham, a master of Eton, who, notwithstanding the sobriety of his cloth, had got intoxicated "to about the pitch of looking at one man and talking to another." "Doctor," cried he in an ecstasy of devotion and good-will, but goggling by mistake upon Goldsmith, "I should be glad to see you at Eton." "I shall be glad to wait upon you," replied Goldsmith. "No, no!" cried the other eagerly, "'tis not you I mean, Doctor _Minor_, 'tis Doctor _Major_ there." "You may easily conceive," said Johnson in relating the anecdote, "what effect this had upon Goldsmith, who was irascible as a hornet." The only comment, however, which he is said to have made, partakes more of quaint and dry humor than bitterness: "That Graham," said he, "is enough to make one commit suicide." What more could be said to express the intolerable nuisance of a consummate bore?

We have now given the last scenes between Goldsmith and Johnson which stand recorded by Boswell. The latter called on the poet a few days after the dinner at Dillys', to take leave of him prior to departing for Scotland; yet, even in this last interview, he contrives to get up a charge of "jealousy and envy." Goldsmith, he would fain persuade us, is very angry that Johnson is going to travel with him in Scotland; and endeavors to persuade him that he will be a dead weight "to lug along through the Highlands and Hebrides." Any one else, knowing the character and habits of Johnson, would have thought the same; and no one but Boswell would have supposed his office of bear-leader to the ursa major a thing to be envied. [Footnote: One of Peter Pindar's (Dr. Wolcot) most amusing _jeux d'esprit_ is his congratulatory epistle to Boswell on his tour, of which we subjoin a few lines.

"O Boswell, Bozzy, Bruce, whate'er thy name, Thou mighty shark for anecdote and fame; Thou jackal, leading lion Johnson forth, To eat M'Pherson 'midst his native north; To frighten grave professors with his roar, And shake the Hebrides from shore to shore. * * * * * "Bless'd be thy labors, most adventurous Bozzy, Bold rival of Sir John and Dame Piozzi; Heavens! with what laurels shall thy head be crown'd! A grove, a forest, shall thy ears surround! Yes! whilst the Rambler shall a comet blaze, And gild a world of darkness with his rays, Thee, too, that world with wonderment shall hail, A lively, bouncing cracker at his tail!"]

CHAPTER FORTY-TWO

PROJECT OF A DICTIONARY OF ARTS AND SCIENCES--DISAPPOINTMENT--NEGLIGENT AUTHORSHIP--APPLICATION FOR A PENSION--BEATTIE'S ESSAY ON TRUTH--PUBLIC ADULATION--A HIGH-MINDED REBUKE

The works which Goldsmith had still in hand being already paid for, and the money gone, some new scheme must be devised to provide for the past and the future--for impending debts which threatened to crush him, and expenses which were continually increasing. He now projected a work of greater compass than any he had yet undertaken; a Dictionary of Arts and Sciences on a comprehensive scale, which was to occupy a number of volumes. For this he received promises of assistance from several powerful hands. Johnson was to contribute an article on ethics; Burke, an abstract of his Essay on the Sublime and Beautiful, an essay on the Berkleyan system of philosophy, and others on political science; Sir Joshua Reynolds, an essay on painting; and Garrick, while he undertook on his own part to furnish an essay on acting, engaged Dr. Burney to contribute an article on music. Here was a great array of talent positively engaged, while other writers of eminence were to be sought for the various departments of science. Goldsmith was to edit the whole. An undertaking of this kind, while it did not incessantly task and exhaust his inventive powers by original composition, would give agreeable and profitable exercise to his taste and judgment in selecting, compiling, and arranging, and he calculated to diffuse over the whole the acknowledged graces of his style.

He drew up a prospectus of the plan, which is said by Bishop Percy, who saw it, to have been written with uncommon ability, and to have had that perspicuity and elegance for which his writings are remarkable. This paper, unfortunately, is no longer in existence.

Goldsmith's expectations, always sanguine respecting any new plan, were raised to an extraordinary height by the present project; and well they might be, when we consider the powerful coadjutors already pledged. They were doomed, however, to complete disappointment. Davies, the bibliopole of Russell Street, lets us into the secret of this failure. "The booksellers," said he, "notwithstanding they had a very good opinion of his abilities, yet were startled at the bulk, importance, and expense of so great an undertaking, the fate of which was to depend upon the industry of a man with whose indolence of temper and method of procrastination they had long been acquainted."

Goldsmith certainly gave reason for some such distrust by the heedlessness with which he conducted his literary undertakings. Those unfinished, but paid for, would be suspended to make way for some job that was to provide for present necessities. Those thus hastily taken up would be as hastily executed, and the whole, however pressing, would be shoved aside and left "at loose ends," on some sudden call to social enjoyment or recreation.

Cradock tells us that on one occasion, when Goldsmith was hard at work on his Natural History, he sent to Dr. Percy and himself, entreating them to finish some pages of his work which lay upon his table, and for which the press was urgent, he being detained by other engagements at Windsor. They met by appointment at his chambers in the Temple, where they found everything in disorder, and costly books lying scattered about on the tables and on the floor; many of the books on natural history which he had recently consulted lay open among uncorrected proof-sheets. The subject in hand, and from which he had suddenly broken off, related to birds. "Do you know anything about birds?" asked Dr. Percy, smiling. "Not an atom," replied Cradock; "do you?" "Not I! I scarcely know a goose from a swan: however, let us try what we can do." They set to work and completed their friendly task. Goldsmith, however, when he came to revise it, made such alterations that they could neither of them recognize their own share. The engagement at Windsor, which had thus caused Goldsmith to break off suddenly from his multifarious engagements, was a party of pleasure with some literary ladies. Another anecdote was current, illustrative of the carelessness with which he executed works requiring accuracy and research. On the 22d of June he had received payment in advance for a Grecian History in two volumes, though only one was finished. As he was pushing on doggedly at the second volume, Gibbon, the historian, called in. "You are the man of all others I wish to see," cried the poet, glad to be saved the trouble of reference to his books. "What was the name of that Indian king who gave Alexander the Great so much trouble?" "Montezuma," replied Gibbon, sportively. The heedless author was about committing the name to paper without reflection, when Gibbon pretended to recollect himself, and gave the true name, Porus.

This story, very probably, was a sportive exaggeration; but it was a multiplicity of anecdotes like this and the preceding one, some true and some false, which had impaired the confidence of booksellers in Goldsmith, as a man to be relied on for a task requiring wide and accurate research, and close and long-continued application. The project of the Universal Dictionary, therefore, met with no encouragement, and fell through.

The failure of this scheme, on which he had built such spacious hopes, sank deep into Goldsmith's heart. He was still further grieved and mortified by the failure of an effort made by some of his friends to obtain for him a pension from government. There had been a talk of the disposition of the ministry to extend the bounty of the crown to distinguished literary men in pecuniary difficulty, without regard to their political creed: when the merits and claims of Goldsmith, however, were laid before them, they met no favor. The sin of sturdy independence lay at his door. He had refused to become a ministerial hack when offered a _carte blanche_ by Parson, Scott, the cabinet emissary. The wondering parson had left him his poverty and "_his garrets_" and there the ministry were disposed to suffer him to remain.

In the meantime Dr. Beattie comes out with his Essay On Truth, and all the orthodox world are thrown into a paroxysm of contagious ecstasy. He is cried up as the great champion of Christianity against the attacks of modern philosophers and infidels; he is feted and flattered in every way. He receives at Oxford the honorary degree of doctor of civil law, at the same time with Sir Joshua Reynolds. The king sends for him, praises his Essay, and gives him a pension of two hundred pounds.

Goldsmith feels more acutely the denial of a pension to himself when one has thus been given unsolicited to a man he might without vanity consider so much his inferior. He was not one to conceal his feelings. "Here's such a stir," said he one day at Thrale's table, "about a fellow that has written one book, and I have written so many!"

"Ah, doctor!" exclaimed Johnson, in one of his caustic moods, "there go two and forty sixpences, you know, to one guinea." This is one of the cuts at poor Goldsmith in which Johnson went contrary to head and heart in his love for saying what is called a "good thing." No one knew better than himself the comparative superiority of the writings of Goldsmith; but the jingle of the sixpences and the guinea was not to be resisted.

"Everybody," exclaimed Mrs. Thrale, "loves Dr. Beattie, but Goldsmith, who says he cannot bear the sight of so much applause as they all bestow upon him. Did he not tell us so himself no one would believe he was so exceedingly ill-natured."

He told them so himself because he was too open and unreserved to disguise his feelings, and because he really considered the praise lavished on Beattie extravagant, as in fact it was. It was all, of course, set down to sheer envy and uncharitableness. To add to his annoyance, he found his friend, Sir Joshua Reynolds, joining in the universal adulation. He had painted a full-length portrait of Beattie decked in the doctor's robes in which he had figured at Oxford, with the Essay on Truth under his arm and the angel of truth at his side, while Voltaire figured as one of the demons of infidelity, sophistry, and falsehood, driven into utter darkness.

Goldsmith had known Voltaire in early life; he had been his admirer and his biographer; he grieved to find him receiving such an insult from the classic pencil of his friend. "It is unworthy of you," said he to Sir Joshua, "to debase so high a genius as Voltaire before so mean a writer as Beattie. Beattie and his book will be forgotten in ten years, while Voltaire's fame will last forever. Take care it does not perpetuate this picture to the shame of such a man as you." This noble and high-minded rebuke is the only instance on record of any reproachful words between the poet and the painter; and we are happy to find that it did not destroy the harmony of their intercourse.

CHAPTER FORTY-THREE

TOIL WITHOUT HOPE--THE POET IN THE GREEN-ROOM--IN THE FLOWER GARDEN--AT VAUXHALL--DISSIPATION WITHOUT GAYETY--CRADOCK IN TOWN--FRIENDLY SYMPATHY--A

## PARTING SCENE--AN INVITATION TO PLEASURE

Thwarted in the plans and disappointed in the hopes which had recently cheered and animated him, Goldsmith found the labor at his half-finished tasks doubly irksome from the consciousness that the completion of them could not relieve him from his pecuniary embarrassments. His impaired health, also, rendered him less capable than formerly of sedentary application, and continual perplexities disturbed the flow of thought necessary for original composition. He lost his usual gayety and good-humor, and became, at times, peevish and irritable. Too proud of spirit to seek sympathy or relief from his friends, for the pecuniary difficulties he had brought upon himself by his errors and extravagance; and unwilling, perhaps, to make known their amount, he buried his cares and anxieties in his own bosom, and endeavored in company to keep up his usual air of gayety and unconcern. This gave his conduct an appearance of fitfulness and caprice, varying suddenly from moodiness to mirth, and from silent gravity to shallow laughter; causing surprise and ridicule in those who were not aware of the sickness of heart which lay beneath.

His poetical reputation, too, was sometimes a disadvantage to him; it drew upon him a notoriety which he was not always in the mood or the vein to act up to. "Good heavens, Mr. Foote," exclaimed an actress at the Haymarket Theater, "what a humdrum kind of man Dr. Goldsmith appears in our green-room compared with the figure he makes in his poetry!" "The reason of that, madam," replied Foote, "is because the muses are better company than the players."

Beauclerc's letters to his friend, Lord Charlemont, who was absent in Ireland, give us now and then an indication of the whereabout of the poet during the present year. "I have been but once to the club since you left England," writes he; "we were entertained, as usual, with Goldsmith's absurdity." With Beauclerc everything was absurd that was not polished and pointed. In another letter he threatens, unless Lord Charlemont returns to England, to bring over the whole club, and let them loose upon him to drive him home by their peculiar habits of annoyance--Johnson shall spoil his books; Goldsmith shall _pull his flowers;_ and last, and most intolerable of all, Boswell shall--talk to him. It would appear that the poet, who had a passion for flowers, was apt to pass much of his time in the garden when on a visit to a country seat, much to the detriment of the flowerbeds and the despair of the gardener.

The summer wore heavily away with Goldsmith. He had not his usual solace of a country retreat; his health was impaired and his spirits depressed. Sir Joshua Reynolds, who perceived the state of his mind, kindly gave him much of his company. In the course of their interchange of thought, Goldsmith suggested to him the story of Ugolino, as a subject for his pencil. The painting founded on it remains a memento of their friendship.

On the 4th of August we find them together at Vauxhall; at that time a place in high vogue, and which had once been to Goldsmith a scene of Oriental splendor and delight. We have, in fact, in the Citizen of the World, a picture of it as it had struck him in former years and in his happier moods. "Upon entering the gardens," says the Chinese philosopher, "I found every sense occupied with more than expected pleasure; the lights everywhere glimmering through the scarcely-moving trees; the full-bodied concert bursting on the stillness of the night; the natural concert of the birds in the more retired part of the grove, vying with that which was formed by art; the company gayly dressed, looking satisfaction, and the tables spread with various delicacies, all conspired to fill my imagination with the visionary happiness of the Arabian lawgiver, and lifted me into an ecstasy of admiration." [Footnote: Citizen of the World, Letter xxi]

Everything now, however, is seen with different eyes; with him it is dissipation without pleasure; and he finds it impossible any longer, by mingling in the gay and giddy throng of apparently prosperous and happy beings, to escape from the carking care which is clinging to his heart.

His kind friend, Cradock, came up to town toward autumn, when all the fashionable world was in the country, to give his wife the benefit of a skillful dentist. He took lodgings in Norfolk Street, to be in Goldsmith's neighborhood, and passed most of his mornings with him. "I found him," he says, "much altered and at times very low. He wished me to look over and revise some of his works; but, with a select friend or two, I was more pressing that he should publish by subscription his two celebrated poems of the Traveler and the Deserted Village, with notes." The idea of Cradock was that the subscription would enable wealthy persons, favorable to Goldsmith, to contribute to his pecuniary relief without wounding his pride. "Goldsmith," said he, "readily gave up to me his private copies, and said, 'Pray do what you please with them.' But while he sat near me, he rather submitted to than encouraged my zealous proceedings.

"I one morning called upon him, however, and found him infinitely better than I had expected; and, in a kind of exulting style, he exclaimed, 'Here are some of the best of my prose writings; _I have been hard at work since midnight,_ and I desire you to examine them.' 'These,' said I, 'are excellent indeed.' 'They are,' replied he, 'intended as an introduction to a body of arts and sciences.'"

Poor Goldsmith was, in fact, gathering together the fragments of his shipwreck; the notes and essays and memoranda collected for his dictionary, and proposed to found on them a work in two volumes, to be entitled A Survey of Experimental Philosophy.

The plan of the subscription came to nothing, and the projected survey never was executed. The head might yet devise, but the heart was failing him; his talent at hoping, which gave him buoyancy to carry out his enterprises, was almost at an end.

Cradock's farewell scene with him is told in a simple but touching manner.

"The day before I was to set out for Leicestershire I insisted upon his dining with us. He replied, 'I will, but on one condition, that you will not ask me to eat anything.' 'Nay,' said I, 'this answer is absolutely unkind, for I had hoped, as we are supplied from the Crown and Anchor, that you would have named something you might have relished.' 'Well,' was the reply, 'if you will but explain it to Mrs. Cradock, I will certainly wait upon you.'

"The doctor found, as usual, at my apartments, newspapers and pamphlets, and with a pen and ink he amused himself as well as he could. I had ordered from the tavern some fish, a roasted joint of lamb, and a tart; and the doctor either sat down or walked about just as he pleased. After dinner he took some wine with biscuits; but I was obliged soon to leave him for a while, as I had matters to settle prior to my next day's journey. On my return coffee was ready, and the doctor appeared more cheerful (for Mrs. Cradock was always rather a favorite with him), and in the evening he endeavored to talk and remark as usual, but all was forced. He stayed till midnight, and I insisted on seeing him safe home, and we most cordially shook hands at the Temple gate." Cradock little thought that this was to be their final parting. He looked back to it with mournful recollections in after years, and lamented that he had not remained longer in town at every inconvenience, to solace the poor broken-spirited poet.

The latter continued in town all the autumn. At the opening of the Opera House, on the 20th of November, Mrs. Yates, an actress whom he held in great esteem, delivered a poetical exordium of his composition. Beauclerc, in a letter to Lord Charlemont, pronounced it very good, and predicted that it would soon be in all the papers. It does not appear, however, to have been ever published. In his fitful state of mind Goldsmith may have taken no care about it, and thus it has been lost to the world, although it was received with great applause by a crowded and brilliant audience.

A gleam of sunshine breaks through the gloom that was gathering over the poet. Toward the end of the year he receives another Christmas invitation to Barton. A country Christmas! with all the cordiality of the fireside circle, and the joyous revelry of the oaken hall--what a contrast to the loneliness of a bachelor's chambers in the Temple! It is not to be resisted. But how is poor Goldsmith to raise the ways and means? His purse is empty; his booksellers are already in advance to him. As a last resource, he applies to Garrick. Their mutual intimacy at Barton may have suggested him as an alternative. The old loan of forty pounds has never been paid; and Newbery's note, pledged as a security, has never been taken up. An additional loan of sixty pounds is now asked for, thus increasing the loan to one hundred; to insure the payment, he now offers, besides Newbery's note, the transfer of the comedy of the Good-Natured Man to Drury Lane, with such alterations as Garrick may suggest. Garrick, in reply, evades the offer of the altered comedy, alludes significantly to a new one which Goldsmith had talked of writing for him, and offers to furnish the money required on his own acceptance.

The reply of Goldsmith bespeaks a heart brimful of gratitude and overflowing with fond anticipations of Barton and the smiles of its fair residents. "My dear friend," writes he, "I thank you. I wish I could do something to serve you. I shall have a comedy for you in a season, or two at furthest, that I believe will be worth your acceptance, for I fancy I will make it a fine thing. You shall have the refusal.... I will draw upon you one month after date for sixty pounds, and your acceptance will be ready money, _part of which I want to go down to Barton with_. May God preserve my honest little man, for he has my heart. Ever,

"OLIVER GOLDSMITH."

And having thus scrambled together a little pocket-money, by hard contrivance, poor Goldsmith turns his back upon care and trouble, and Temple quarters, to forget for a time his desolate bachelorhood in the family circle and a Christmas fireside at Barton.

CHAPTER FORTY-FOUR

A RETURN TO DRUDGERY--FORCED GAYETY--RETREAT TO THE COUNTRY--THE POEM OF RETALIATION--PORTRAIT OF GARRICK--OF GOLDSMITH--OF REYNOLDS--ILLNESS OF THE POET--HIS DEATH--GRIEF OF HIS FRIENDS--A LAST WORD RESPECTING THE JESSAMY BRIDE

The Barton festivities are over; Christmas, with all its home-felt revelry of the heart, has passed like a dream; the Jessamy Bride has beamed her last smile upon the poor poet, and the early part of 1774 finds him in his now dreary bachelor abode in the Temple, toiling fitfully and hopelessly at a multiplicity of tasks. His Animated Nature, so long delayed, so often interrupted, is at length announced for publication, though it has yet to receive a few finishing touches. He is preparing a third History of England, to be compressed and condensed in one volume, for the use of schools. He is revising his Inquiry into Polite Learning, for which he receives the pittance of five guineas, much needed in his present scantiness of purse; he is arranging his Survey of Experimental Philosophy, and he is translating the Comic Romance of Scarron. Such is a part of the various labors of a drudging, depressing kind, by which his head is made wrong and his heart faint. "If there is a mental drudgery," says Sir Walter Scott, "which lowers the spirits and lacerates the nerves, like the toil of a slave, it is that which is exacted by literary composition, when the heart is not in unison with the work upon which the head is employed. Add to the unhappy author's task sickness, sorrow, or the pressure of unfavorable circumstances, and the labor of the bondsman becomes light in comparison." Goldsmith again makes an effort to rally his spirits by going into gay society. "Our club," writes Beauclerc to Charlemont, on the 12th of February, "has dwindled away to nothing. Sir Joshua and Goldsmith have got into such a round of pleasures that they have no time." This shows how little Beauclerc was the companion of the poet's mind, or could judge of him below the surface. Reynolds, the kind participator in joyless dissipation, could have told a different story of his companion's heart-sick gayety.

In this forced mood Goldsmith gave entertainments in his chambers in the Temple; the last of which was a dinner to Johnson, Reynolds, and others of his intimates, who partook with sorrow and reluctance of his imprudent hospitality. The first course vexed them by its needless profusion. When a second, equally extravagant, was served up, Johnson and Reynolds declined to partake of it; the rest of the company, understanding their motives, followed their example, and the dishes went from the table untasted. Goldsmith felt sensibly this silent and well-intended rebuke.

The gayeties of society, however, cannot medicine for any length of time a mind diseased. Wearied by the distractions and harassed by the expenses of a town life, which he had not the discretion to regulate, Goldsmith took the resolution, too tardily adopted, of retiring to the serene quiet and cheap and healthful pleasures of the country, and of passing only two months of the year in London. He accordingly made arrangements to sell his right in the Temple chambers, and in the month of March retired to his country quarters at Hyde, there to devote himself to toil. At this dispirited juncture, when inspiration seemed to be at an end, and the poetic fire extinguished, a spark fell on his combustible imagination and set it in a blaze.

He belonged to a temporary association of men of talent, some of them members of the Literary Club, who dined together occasionally at the St. James' Coffee-house. At these dinners, as usual, he was one of the last to arrive. On one occasion, when he was more dilatory than usual, a whim seized the company to write epitaphs on him, as "The late Dr. Goldsmith," and several were thrown off in a playful vein, hitting off his peculiarities. The only one extant was written by Garrick, and has been preserved, very probably, by its pungency:

"Here lies poet Goldsmith, for shortness called Noll, Who wrote like an angel, but talked like poor poll."

Goldsmith did not relish the sarcasm, especially as coming from such a quarter. He was not very ready at repartee; but he took his time, and in the interval of his various tasks concocted a series of epigrammatic sketches, under the title of Retaliation, in which the characters of his distinguished intimates were admirably hit off, with a mixture of generous praise and good-humored raillery. In fact, the poem for its graphic truth; its nice discrimination; its terse good sense, and its shrewd knowledge of the world, must have electrified the club almost as much as the first appearance of The Traveler, and let them still deeper into the character and talents of the man they had been accustomed to consider as their butt. Retaliation, in a word, closed his accounts with the club, and balanced all his previous deficiencies.

The portrait of David Garrick is one of the most elaborate in the poem. When the poet came to touch it off, he had some lurking piques to gratify, which the recent attack had revived. He may have forgotten David's cavalier treatment of him, in the early days of his comparative obscurity; he may have forgiven his refusal of his plays; but Garrick had been capricious in his conduct in the times of their recent intercourse; sometimes treating him with gross familiarity, at other times affecting dignity and reserve, and assuming airs of superiority; frequently he had been facetious and witty in company at his expense, and lastly he had been guilty of the couplet just quoted. Goldsmith, therefore, touched off the lights and shadows of his character with a free hand, and, at the same time, gave a side hit at his old rival, Kelly, and his critical persecutor, Kenrick, in making them sycophantic satellites of the actor. Goldsmith, however, was void of gall, even in his revenge, and his very satire was more humorous than caustic:

"Here lies David Garrick, describe him who can, An abridgment of all that was pleasant in man; As an actor, confess'd without rival to shine; 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 colors he spread, And beplaster'd with rouge his own natural red. 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 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 pleased, 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; 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, What a commerce was yours, while you got and you gavel How did Grub Street re-echo the shouts that you raised, While he was be-Rosciused and you were be-praised! But peace to his spirit, wherever it flies, To act as an angel and mix with the skies; 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."

This portion of Retaliation soon brought a retort from Garrick, which we insert, as giving something of a likeness of Goldsmith, though in broad caricature:

"Here, Hermes, says Jove, who with nectar was mellow, Go fetch me some clay--I will make an odd fellow: Right and wrong shall be jumbled, much gold and some dross, Without cause be he pleased, without cause be he cross; Be sure, as I work, to throw in contradictions, A great love of truth, yet a mind turn'd to fictions; Now mix these ingredients, which, warm'd in the baking, Turn'd to _learning_ and _gaming_, _religion_, and _raking_, With the love of a wench, let his writings be chaste; Tip his tongue with strange matters, his lips with fine taste; That the rake and the poet o'er all may prevail, Set fire to the head and set fire to the tail; For the joy of each sex on the world I'll bestow it, This scholar, rake, Christian, dupe, gamester, and poet. Though a mixture so odd, he shall merit great fame, And among brother mortals be Goldsmith his name; When on earth this strange meteor no more shall appear, You, _Hermes_, shall fetch him, to make us sport here."

The charge of raking, so repeatedly advanced in the foregoing lines, must be considered a sportive one, founded, perhaps, on an incident or two within Garrick's knowledge, but not borne out by the course of Goldsmith's life. He seems to have had a tender sentiment for the sex, but perfectly free from libertinism. Neither was he an habitual gamester. The strictest scrutiny has detected no settled vice of the kind. He was fond of a game of cards, but an unskillful and careless player. Cards in those days were universally introduced into society. High play was, in fact, a fashionable amusement, as at one time was deep drinking; and a man might occasionally lose large sums, and be beguiled into deep potations, without incurring the character of a gamester or a drunkard. Poor Goldsmith, on his advent into high society, assumed fine notions with fine clothes; he was thrown occasionally among high players, men of fortune who could sport their cool hundreds as carelessly as his early comrades at Ballymahon could their half crowns. Being at all times magnificent in money matters, he may have played with them in their own way, without considering that what was sport to them to him was ruin. Indeed part of his financial embarrassments may have arisen from losses of the kind, incurred inadvertently, not in the indulgence of a habit. "I do not believe Goldsmith to have deserved the name of gamester," said one of his contemporaries; "he liked cards very well, as other people do, and lost and won occasionally; but as far as I saw or heard, and I had many opportunities of hearing, never any considerable sum. If he gamed with any one, it was probably with Beauclerc, but I do not know that such was the case."

Retaliation, as we have already observed, was thrown off in parts, at intervals, and was never completed. Some characters, originally intended to be introduced, remained unattempted; others were but partially sketched--such was the one of Reynolds, the friend of his heart, and which he commenced with a felicity which makes us regret that it should remain unfinished.

"Here Reynolds is laid, and to tell you my mind, He has not left a wiser or better behind. His pencil was striking, resistless, and grand; His manners were gentle, complying, and bland; 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 judged without skill he was still hard of hearing: When they talked of their Raphaels, Correggios, and stuff, He shifted his trumpet and only took snuff. By flattery unspoiled--"

The friendly portrait stood unfinished on the easel; the hand of the artist had failed! An access of a local complaint, under which he had suffered for some time past, added to a general prostration of health, brought Goldsmith back to town before he had well settled himself in the country. The local complaint subsided, but was followed by a low nervous fever. He was not aware of his critical situation, and intended to be at the club on the 25th of March, on which occasion Charles Fox, Sir Charles Bunbury (one of the Horneck connection), and two other new members were to be present. In the afternoon, however, he felt so unwell as to take to his bed, and his symptoms soon acquired sufficient force to keep him there. His malady fluctuated for several days, and hopes were entertained of his recovery, but they proved fallacious. He had skillful medical aid and faithful nursing, but he would not follow the advice of his physicians, and persisted in the use of James' powders, which he had once found beneficial, but which were now injurious to him. His appetite was gone, his strength failed him, but his mind remained clear, and was perhaps too active for his frame. Anxieties and disappointments which had previously sapped his constitution, doubtless aggravated his present complaint and rendered him sleepless. In reply to an inquiry of his physician, he acknowledged that his mind was ill at ease. This was his last reply; he was too weak to talk, and in general took no notice of what was said to him. He sank at last into a deep sleep, and it was hoped a favorable crisis had arrived. He awoke, however, in strong convulsions, which continued without intermission until he expired, on the fourth of April, at five o'clock in the morning; being in the forty-sixth year of his age.

His death was a shock to the literary world, and a deep affliction to a wide circle of intimates and friends; for with all his foibles and peculiarities, he was fully as much beloved as he was admired. Burke, on hearing the news, burst into tears. Sir Joshua Reynolds threw by his pencil for the day, and grieved more than he had done in times of great family distress. "I was abroad at the time of his death," writes Dr. M'Donnell, the youth whom when in distress he had employed as an amanuensis, "and I wept bitterly when the intelligence first reached me. A blank came over my heart as if I had lost one of my nearest relatives, and was followed for some days by a feeling of despondency." Johnson felt the blow deeply and gloomily. In writing some time afterward to Boswell, he observed, "Of poor Dr. Goldsmith there is little to be told more than the papers have made public. He died of a fever, made, I am afraid, more violent by uneasiness of mind. His debts began to be heavy, and all his resources were exhausted. Sir Joshua is of opinion that he owed no less than two thousand pounds. Was ever poet so trusted before?"

Among his debts were seventy-nine pounds due to his tailor, Mr. William Filby, from whom he had received a new suit but a few days before his death. "My father," said the younger Filby, "though a loser to that amount, attributed no blame to Goldsmith; he had been a good customer, and had he lived would have paid every farthing." Others of his tradespeople evinced the same confidence in his integrity, notwithstanding his heedlessness. Two sister milliners in Temple Lane, who had been accustomed to deal with him, were concerned, when told, some time before his death, of his pecuniary embarrassments. "Oh, sir," said they to Mr. Cradock, "sooner persuade him to let us work for him gratis than apply to any other; we are sure he will pay us when he can."

On the stairs of his apartment there was the lamentation of the old and infirm, and the sobbing of women; poor objects of his charity to whom he had never turned a deaf ear, even when struggling himself with poverty.

But there was one mourner, whose enthusiasm for his memory, could it have been foreseen, might have soothed the bitterness of death. After the coffin had been screwed down, a lock of his hair was requested for a lady, a

## particular friend, who wished to preserve it as a remembrance. It was the

beautiful Mary Horneck--the Jessamy Bride. The coffin was opened again, and a lock of hair cut off; which she treasured to her dying day. Poor Goldsmith! could he have foreseen that such a memorial of him was to be thus cherished!

One word more concerning this lady, to whom we have so often ventured to advert. She survived almost to the present day. Hazlitt met her at Northcote's painting-room, about twenty years since, as Mrs. Gwyn, the widow of a General Gwyn of the army. She was at that time upward of seventy years of age. Still, he said, she was beautiful, beautiful even in years. After she was gone, Hazlitt remarked how handsome she still was. "I do not know," said Northcote, "why she is so kind as to come to see me, except that I am the last link in the chain that connects her with all those she most esteemed when young--Johnson, Reynolds, Goldsmith--and remind her of the most delightful period of her life." "Not only so," observed Hazlitt, "but you remember what she was at twenty; and you thus bring back to her the triumphs of her youth--that pride of beauty, which must be the more fondly cherished as it has no external vouchers, and lives chiefly in the bosom of its once lovely possessor. In her, however, the Graces had triumphed over time; she was one of Ninon de l'Enclos' people, of the last of the immortals. I could almost fancy the shade of Goldsmith in the room, looking round with complacency."

The Jessamy Bride survived her sister upward of forty years, and died in 1840, within a few days of completing her eighty-eighth year. "She had gone through all the stages of life," says Northcote, "and had lent a grace to each." However gayly she may have sported with the half-concealed admiration of the poor awkward poet in the heyday of her youth and beauty, and however much it may have been made a subject of teasing by her youthful companions, she evidently prided herself in after years upon having been an object of his affectionate regard; it certainly rendered her interesting throughout life in the eyes of his admirers, and has hung a poetical wreath above her grave.

CHAPTER FORTY-FIVE

THE FUNERAL--THE MONUMENT--THE EPITAPH--CONCLUDING REMARKS

In the warm feeling of the moment, while the remains of the poet were scarce cold, it was determined by his friends to honor them by a public funeral and a tomb in Westminster Abbey. His very pall-bearers were designated: Lord Shelburne, Lord Lowth, Sir Joshua Reynolds; the Hon. Mr. Beauclerc, Mr. Burke, and David Garrick. This feeling cooled down, however, when it was discovered that he died in debt, and had not left wherewithal to pay for such expensive obsequies. Five days after his death, therefore, at five o'clock of Saturday evening, the 9th of April, he was privately interred in the burying-ground of the Temple Church; a few persons attending as mourners, among whom we do not find specified any of his peculiar and distinguished friends. The chief mourner was Sir Joshua Reynolds' nephew, Palmer, afterward Dean of Cashel. One person, however, from whom it was but little to be expected, attended the funeral and evinced real sorrow on the occasion. This was Hugh Kelly, once the dramatic rival of the deceased, and often, it is said, his anonymous assailant in the newspapers. If he had really been guilty of this basest of literary offenses, he was punished by the stings of remorse, for we are told that he shed bitter tears over the grave of the man he had injured. His tardy atonement only provoked the lash of some unknown satirist, as the following lines will show:

"Hence Kelly, who years, without honor or shame, Had been sticking his bodkin in Oliver's fame, Who thought, like the Tartar, by this to inherit His genius, his learning, simplicity, spirit; Now sets every feature to weep o'er his fate, And acts as a mourner to blubber in state."

One base wretch deserves to be mentioned, the reptile Kenrick, who, after having repeatedly slandered Goldsmith while living, had the audacity to insult his memory when dead. The following distich is sufficient to show his malignancy, and to hold him up to execration:

"By his own art, who justly died, A blund'ring, artless suicide: Share, earthworms, share, since now he's dead, His megrim, maggot-bitten head."

This scurrilous epitaph produced a burst of public indignation that awed for a time even the infamous Kenrick into silence. On the other hand, the press teemed with tributes in verse and prose to the memory of the deceased; all evincing the mingled feeling of admiration for the author and affection for the man.

Not long after his death the Literary Club set on foot a subscription, and raised a fund to erect a monument to his memory in Westminster Abbey. It was executed by Nollekins, and consisted simply of a bust of the poet in profile, in high relief, in a medallion, and was placed in the area of a pointed arch, over the south door in Poets' Corner, between the monuments of Gay and the Duke of Argyle. Johnson furnished a Latin epitaph, which was read at the table of Sir Joshua Reynolds, where several members of the club and other friends of the deceased were present. Though considered by them a masterly composition, they thought the literary character of the poet not defined with sufficient exactness, and they preferred that the epitaph should be in English rather than Latin, as "the memory of so eminent an English writer ought to be perpetuated in the language to which his works were likely to be so lasting an ornament." These objections were reduced to writing, to be respectfully submitted to Johnson, but such was the awe entertained of his frown that every one shrank from putting his name first to the instrument; whereupon their names were written about it in a circle, making what mutinous sailors call a Round Robin. Johnson received it half graciously, half grimly. "He was willing," he said, "to modify the sense of the epitaph in any manner the gentlemen pleased; _but he never would consent to disgrace the walls of Westminster Abbey with an English inscription_." Seeing the names of Dr. Wharton and Edmund Burke among the signers, "he wondered," he said, "that Joe Wharton, a scholar by profession, should be such a fool; and should have thought that Mund Burke would have had more sense." The following is the epitaph as it stands inscribed on a white marble tablet beneath the bust:

OLIVARII GOLDSMITH,

Poetae, Physici, Historici, Qui nullum ferè scribendi genus Non tetigit, Nullum quod tetigit non ornavit Sive risus essent movendi, Sive lacrymae, Affectuum potens ac lenis dominator: Ingenio sublimis, vividus, versatilis, Oratione grandis, nitidus, venustus: Hoc monumento memoriam coluit Sodalium amor, Amicorum fides, Lectorum veneratio. Natus in Hibernia Forniae Longfordiensis, In loco cui nomen Pallas, Nov. xxix. MDCCXXXI.; Eblanse literis institutus; Obiit Londini, April iv. MDCCLXXIV.

The following translation is from Croker's edition of Boswell's Johnson:

OF OLIVER GOLDSMITH--

A Poet, Naturalist, and Historian, Who left scarcely any style of writing untouched, And touched nothing that he did not adorn; Of all the passions, Whether smiles were to be moved or tears, A powerful yet gentle master; In genius, sublime, vivid, versatile, In style, elevated, clear, elegant-- The love of companions, The fidelity of friends, And the veneration of readers, Have by this monument honored the memory. He was born in Ireland, At a place called Pallas, [In the parish] of Forney, [and county] of Longford, On the 29th Nov., 1731,[*] Educated at [the University of] Dublin, And died in London, 4th April, 1774. [Footnote *: Incorrect. See page 12.]

* * * * *

We shall not pretend to follow these anecdotes of the life of Goldsmith with any critical dissertation on his writings; their merits have long since been fully discussed, and their station in the scale of literary merit permanently established. They have outlasted generations of works of higher power and wider scope, and will continue to outlast succeeding generations, for they have that magic charm of style by which works are embalmed to perpetuity. Neither shall we attempt a regular analysis of the character of the poet, but will indulge in a few desultory remarks in addition to those scattered throughout the preceding chapters.

Never was the trite, because sage apothegm, that "The child is father to the man," more fully verified than in the case of Goldsmith. He is shy, awkward, and blundering in childhood, yet full of sensibility; he is a butt for the jeers and jokes of his companions, but apt to surprise and confound them by sudden and witty repartees; he is dull and stupid at his tasks, yet an eager and intelligent devourer of the traveling tales and campaigning stories of his half military pedagogue; he may be a dunce, but he is already a rhymer; and his early scintillations of poetry awaken the expectations of his friends. He seems from infancy to have been compounded of two natures, one bright, the other blundering; or to have had fairy gifts laid in his cradle by the "good people" who haunted his birthplace, the old goblin mansion on the banks of the Inny.

He carries with him the wayward elfin spirit, if we may so term it, throughout his career. His fairy gifts are of no avail at school, academy, or college; they unfit him for close study and practical science, and render him heedless of everything that does not address itself to his poetical imagination and genial and festive feelings; they dispose him to break away from restraint, to stroll about hedges, green lanes, and haunted streams, to revel with jovial companions, or to rove the country like a gypsy in quest of odd adventures.

As if confiding in these delusive gifts, he takes no heed of the present nor care for the future, lays no regular and solid foundation of knowledge, follows out no plan, adopts and discards those recommended by his friends, at one time prepares for the ministry, next turns to the law, and then fixes upon medicine. He repairs to Edinburgh, the great emporium of medical science, but the fairy gifts accompany him; he idles and frolics away his time there, imbibing only such knowledge as is agreeable to him; makes an excursion to the poetical regions of the Highlands; and having walked the hospitals for the customary time, sets off to ramble over the Continent, in quest of novelty rather than knowledge. His whole tour is a poetical one. He fancies he is playing the philosopher while he is really playing the poet; and though professedly he attends lectures and visits foreign universities, so deficient is he on his return, in the studies for which he set out, that he fails in an examination as a surgeon's mate; and while figuring as a doctor of medicine, is outvied on a point of practice by his apothecary. Baffled in every regular pursuit, after trying in vain some of the humbler callings of commonplace life, he is driven almost by chance to the exercise of his pen, and here the fairy gifts come to his assistance. For a long time, however, he seems unaware of the magic properties of that pen; he uses it only as a makeshift until he can find a _legitimate_ means of support. He is not a learned man, and can write but meagerly and at second-hand on learned subjects; but he has a quick convertible talent that seizes lightly on the points of knowledge necessary to the illustration of a theme; his writings for a time are desultory, the fruits of what he has seen and felt, or what he has recently and hastily read; but his gifted pen transmutes everything into gold, and his own genial nature reflects its sunshine through his pages.

Still unaware of his powers he throws off his writings anonymously, to go with the writings of less favored men; and it is a long time, and after a bitter struggle with poverty and humiliation, before he acquires confidence in his literary talent as a means of support, and begins to dream of reputation.

From this time his pen is a wand of power in his hand, and he has only to use it discreetly, to make it competent to all his wants. But discretion is not a part of Goldsmith's nature; and it seems the property of these fairy gifts to be accompanied by moods and temperaments to render their effect precarious. The heedlessness of his early days; his disposition for social enjoyment; his habit of throwing the present on the neck of the future, still continue. His expenses forerun his means; he incurs debts on the faith of what his magic pen is to produce, and then, under the pressure of his debts, sacrifices its productions for prices far below their value. It is a redeeming circumstance in his prodigality, that it is lavished oftener upon others than upon himself; he gives without thought or stint, and is the continual dupe of his benevolence and his trustfulness in human nature. We may say of him as he says of one of his heroes, "He could not stifle the natural impulse which he had to do good, but frequently borrowed money to relieve the distressed; and when he knew not conveniently where to borrow, he has been observed to shed tears as he passed through the wretched suppliants who attended his gate."....

"His simplicity in trusting persons whom he had no previous reasons to place confidence in, seems to be one of those lights of his character which, while they impeach his understanding, do honor to his benevolence. The low and the timid are ever suspicious; but a heart impressed with honorable sentiments expects from others sympathetic sincerity." [Footnote: Goldsmith's Life of Nashe.]

His heedlessness in pecuniary matters, which had rendered his life a struggle with poverty even in the days of his obscurity, rendered the struggle still more intense when his fairy gifts had elevated him into the society of the wealthy and luxurious, and imposed on his simple and generous spirit fancied obligations to a more ample and bounteous display.

"How comes it," says a recent and ingenious critic, "that in all the miry paths of life which he had trod, no speck ever sullied the robe of his modest and graceful muse. How amid all that love of inferior company, which never to the last forsook him, did he keep his genius so free from every touch of vulgarity?"

We answer that it was owing to the innate purity and goodness of his nature; there was nothing in it that assimilated to vice and vulgarity. Though his circumstances often compelled him to associate with the poor, they never could betray him into companionship with the depraved. His relish for humor and for the study of character, as we have before observed, brought him often into convivial company of a vulgar kind; but he discriminated between their vulgarity and their amusing qualities, or rather wrought from the whole those familiar features of life which form the staple of his most popular writings.

Much, too, of this intact purity of heart may be ascribed to the lessons of his infancy under the paternal roof; to the gentle, benevolent, elevated, unworldly maxims of his father, who "passing rich with forty pounds a year," infused a spirit into his child which riches could not deprave nor poverty degrade. Much of his boyhood, too, had been passed in the household of his uncle, the amiable and generous Contarine; where he talked of literature with the good pastor, and practiced music with his daughter, and delighted them both by his juvenile attempts at poetry. These early associations breathed a grace and refinement into his mind and tuned it up, after the rough sports on the green, or the frolics at the tavern. These led him to turn from the roaring glees of the club, to listen to the harp of his cousin Jane; and from the rustic triumph of "throwing sledge," to a stroll with his flute along the pastoral banks of the Inny.

The gentle spirit of his father walked with him through life, a pure and virtuous monitor; and in all the vicissitudes of his career we find him ever more chastened in mind by the sweet and holy recollections of the home of his infancy.

It has been questioned whether he really had any religious feeling. Those who raise the question have never considered well his writings; his Vicar of Wakefield, and his pictures of the Village Pastor, present religion under its most endearing forms, and with a feeling that could only flow from the deep convictions of the heart. When his fair traveling companions at Paris urged him to read the Church Service on a Sunday, he replied that "he was not worthy to do it." He had seen in early life the sacred offices performed by his father and his brother, with a solemnity which had sanctified them in his memory; how could he presume to undertake such functions? His religion has been called in question by Johnson and by Boswell; he certainly had not the gloomy hypochondriacal piety of the one, nor the babbling mouth-piety of the other; but the spirit of Christian charity breathed forth in his writings and illustrated in his conduct give us reason to believe he had the indwelling religion of the soul.

We have made sufficient comments in the preceding chapters on his conduct in elevated circles of literature and fashion. The fairy gifts which took him there were not accompanied by the gifts and graces necessary to sustain him in that artificial sphere. He can neither play the learned sage with Johnson, nor the fine gentleman with Beauclerc, though he has a mind replete with wisdom and natural shrewdness, and a spirit free from vulgarity. The blunders of a fertile but hurried intellect, and the awkward display of the student assuming the man of fashion, fix on him a character for absurdity and vanity which, like the charge of lunacy, it is hard to disprove, however weak the grounds of the charge and strong the facts in opposition to it.

In truth, he is never truly in his place in these learned and fashionable circles, which talk and live for display. It is not the kind of society he craves. His heart yearns for domestic life; it craves familiar, confiding intercourse, family firesides, the guileless and happy company of children; these bring out the heartiest and sweetest sympathies of his nature.

"Had it been his fate," says the critic we have already quoted, "to meet a woman who could have loved him, despite his faults, and respected him despite his foibles, we cannot but think that his life and his genius would have been much more harmonious; his desultory affections would have been concentered, his craving self-love appeased, his pursuits more settled, his character more solid. A nature like Goldsmith's, so affectionate, so confiding--so susceptible to simple, innocent enjoyments--so dependent on others for the sunshine of existence, does not flower if deprived of the atmosphere of home."

The cravings of his heart in this respect are evident, we think, throughout his career; and if we have dwelt with more significancy than others upon his intercourse with the beautiful Horneck family, it is because we fancied we could detect, amid his playful attentions to one of its members, a lurking sentiment of tenderness, kept down by conscious poverty and a humiliating idea of personal defects. A hopeless feeling of this kind--the last a man would communicate to his friends--might account for much of that fitfulness of conduct, and that gathering melancholy, remarked, but not comprehended by his associates, during the last year or two of his life; and may have been one of the troubles of the mind which aggravated his last illness, and only terminated with his death.

We shall conclude these desultory remarks with a few which have been used by us on a former occasion. From the general tone of Goldsmith's biography, it is evident that his faults, at the worst, were but negative, while his merits were great and decided. He was no one's enemy but his own; his errors, in the main, inflicted evil on none but himself, and were so blended with humorous, and even affecting circumstances, as to disarm anger and conciliate kindness. Where eminent talent is united to spotless virtue, we are awed and dazzled into admiration, but our admiration is apt to be cold and reverential; while there is something in the harmless infirmities of a good and great, but erring individual, that pleads touchingly to our nature; and we turn more kindly toward the object of our idolatry, when we find that, like ourselves, he is mortal and is frail. The epithet so often heard, and in such kindly tones, of "Poor Goldsmith," speaks volumes. Few who consider the real compound of admirable and whimsical qualities which form his character would wish to prune away its eccentricities, trim its grotesque luxuriance, and clip it down to the decent formalities of rigid virtue. "Let not his frailties be remembered," said Johnson; "he was a very great man." But, for our part, we rather say "Let them be remembered," since their tendency is to endear; and we question whether he himself would not feel gratified in hearing his reader, after dwelling with admiration on the proofs of his greatness, close the volume with the kind-hearted phrase, so fondly and familiarly ejaculated, of "POOR GOLDSMITH."