by Thomas Babington Macauley.
Originally published in Harper's New Monthly Magazine (Harper and Brothers) vol.14 #83 (Apr 1857), reproduced from the Encyclopædia Britannica, or Dictionary of Arts, Sciences, and General Literature Eighth Edition, ed. Thomas Stewart Traill. (A.&C. Black; 1856).
Oliver Goldsmith was one of the most pleasing English writers of the eighteenth century. He was of a Protestant and Saxon family which had been long settled in Ireland, and which had, like most other Protestant and Saxon families, been, in troubled times, harassed and put in fear by the native population. His father, Charles Goldsmith, studied in the reign of Queen Anne at the diocesan school of Elphin, became attached to the daughter of the schoolmaster, married her, took orders, and settled at a place called Pallas in the county of Longford. There he with difficulty supported his wife and children on what he could earn, partly as a curate and partly as a farmer.
At Pallas Oliver Goldsmith was born in November, 1728. That spot was then, for all practical purposes, almost as remote from the busy and splendid capital in which his later years were passed, as any clearing in Upper Canada or any sheep-walk in Australasia now is. Even at this day those enthusiasts who venture to make a pilgrimage to the birth-place of the poet are forced to perform the latter part of their journey on foot. The hamlet lies far from any high road, on a dreary plain which, in wet weather, is often a lake. The lanes would break any jaunting car to pieces; and there are ruts and sloughs through which the most strongly-built wheels can not be dragged.
When Oliver was still a child his father was presented to a living worth about £200 a year, in the county of Westmeath. The family accordingly quitted their cottage in the wilderness for a spacious house on a frequented road, near the village of Lissoy. Here the boy was taught his letters by a maid-servant, and was sent in his seventh year to a village school kept by an old quarter-master on half-pay, who professed to teach nothing but reading, writing, and arithmetic, but who had an inexhaustible fund of stories about ghosts, banshees, and fairies, about the great Rapparee chiefs, Baldearg O'Donnell and galloping Hogan, and about the exploits of Peterborough and Stanhope, the surprise of Monjuich, and the glorious disaster of Brihuega. This man must have been of the Protestant religion; but he was of the aboriginal race, and not only spoke the Irish language, but could pour forth unpremeditated Irish verses. Oliver early became, and through life continued to be, a passionate admirer of the Irish music, and especially of the compositions of Carolan, some of the last notes of whose harp he heard. It ought to be added that Oliver, though by birth one of the Englishry, and though connected by numerous ties with the Established Church, never showed the least sign of that contemptuous antipathy with which, in his days, the ruling minority in Ireland too generally regarded the subject majority. So far indeed was he from sharing in the opinions and feelings of the caste to which he belonged that he conceived an aversion to the Glorious and Immortal Memory, and, even when George the Third was on the throne, maintained that nothing but the restoration of the banished dynasty could save the country.
From the humble academy kept by the old soldier Goldsmith was removed in his ninth year. He went to several grammar-schools and acquired some knowledge of the ancient languages. His life at this time seems to have been far from happy. He had, as appears from the admirable portrait of him at Knowle, features harsh even to ugliness. The small-pox had set its mark on him with more than usual severity. His stature was small, and his limbs ill put together. Among boys little tenderness is shown to personal defects; and the ridicule excited by poor Oliver's appearance was heightened by a peculiar simplicity and a disposition to blunder which he retained to the last. He became the common butt of boys and masters, was pointed at as a fright in the play-ground, and flogged as a dunce in the school-room. When he had risen to eminence, those who once derided him ransacked their memory for the events of his early years, and recited repartees and couplets which had dropped from him, and which, though little noticed at the time, were supposed, a quarter of a century later, to indicate the powers which produced the Vicar of Wakefield and the Deserted Village.
In his seventeenth year Oliver went up to Trinity College, Dublin, as a sizar. The sizars paid nothing for food and tuition, and very little for lodging; but they had to perform some menial services from which they have long been relieved. They swept the court: they carried up the dinner to the fellows' table, and changed the plates and poured out the ale of the rulers of the society. Goldsmith was quartered, not alone, in a garret, on the window of which his name, scrawled by himself, is still read with interest. From such garrets many men of less parts than his have made their way to the woolsack or to the episcopal bench. But Goldsmith, while he suffered all the humiliations, threw away all the advantages of his situation. He neglected the studies of the place, stood low at the examinations, was turned down to the bottom of his class for playing the buffoon in the lecture-room, was severely reprimanded for pumping on a constable, and was caned by a brutal tutor for giving a ball in the attic story of the college to some gay youths and damsels from the city.
While Oliver was leading at Dublin a life divided between squalid distress and squalid dissipation, his father died, leaving a mere pittance. The youth obtained his bachelor's degree, and left the university. During some time the humble dwelling to which his widowed mother had retired was his home. He was now in his twenty-first year; it was necessary that he should do something; and his education seemed to have fitted him to do nothing but to dress himself in gaudy colors, of which he was as fond as a magpie, to take a hand at cards, to sing Irish airs, to play the flute, to angle in summer, and to tell ghost stories by the fire in winter. He tried five or six professions in turn without success. He applied for ordination; but, as he applied in scarlet clothes, he was speedily turned out of the episcopal palace. He then became tutor in an opulent family, but soon quitted his situation in consequence of a dispute about play. Then he determined to emigrate to America. His relations, with much satisfaction, saw him set out for Cork on a good horse, with thirty pounds in his pocket. But in six weeks he came back on a miserable hack, without a penny, and informed his mother that the ship in which he had taken his passage, having got a fair wind while he was at a party of pleasure, had sailed without him. Then he resolved to study the law. A generous kinsman advanced fifty pounds. With this sum Goldsmith went to Dublin, was enticed into a gaming house, and lost every shilling. He then thought of medicine. A small purse was made up; and in his twenty-fourth year he was sent to Edinburgh. At Edinburgh he passed eighteen months in nominal attendance on lectures, and picked up some superficial information about chemistry and natural history. Thence he went to Leyden, still pretending to study physic. He left that celebrated university—the third university at which he had resided—in his twenty-seventh year, without a degree, with the merest smattering of medical knowledge, and with no property but his clothes and his flute. His flute, however, proved a useful friend. He rambled on foot through Flanders, France, and Switzerland, playing tunes which every where set the peasantry dancing, and which often procured for him a supper and a bed. He wandered as far as Italy. His musical performances, indeed, were not to the taste of the Italians; but he contrived to live on the alms which he obtained at the gates of convents. It should, however, be observed, that the stories which he told about this part of his life ought to be received with great caution; for strict veracity was never one of his virtues; and a man who is ordinarily inaccurate in narration is likely to be more than ordinarily inaccurate when he talks about his own travels. Goldsmith, indeed, was so regardless of truth as to assert in print that he was present at a most interesting conversation between Voltaire and Fontenelle, and that this conversation took place at Paris. Now it is certain that Voltaire never was within a hundred leagues of Paris during the whole time which Goldsmith passed on the Continent.
In 1756 the wanderer landed at Dover, without a shilling, without a friend, and without a calling. He had, indeed, if his own unsupported evidence may be trusted, obtained from the University of Padua a doctor's degree; but this dignity proved utterly useless to him. In England his flute was not in request: there were no convents; and he was forced to have recourse to a series of desperate expedients. He turned strolling player; but his face and figure were ill-suited to the boards even of the humblest theatre. He pounded drugs and ran about London with phials for charitable chemists. He joined a swarm of beggars, which made its nest in Axe Yard. He was for a time usher of a school, and felt the miseries and humiliations of this situation so keenly, that he thought it a promotion to be permitted to earn his bread as a bookseller's hack; but he soon found the new yoke more galling than the old one, and was glad to become an usher again. He obtained a medical appointment in the service of the East India Company; but the appointment was speedily revoked. Why it was revoked we are not told. The subject was one on which he never liked to talk. It is probable that he was incompetent to perform the duties of the place. Then he presented himself at Surgeons' Hall for examination, as mate to a naval hospital. Even to so humble a post he was found unequal. By this time the schoolmaster whom he had served for a morsel of food and the third part of a bed, was no more. Nothing remained but to return to the lowest drudgery of literature. Goldsmith took a garret in a miserable court, to which he had to climb from the brink of Fleet Ditch by a dizzy ladder of flagstones called Breakneck Steps. The court and the ascent have long disappeared; but old Londoners well remember both. Here, at thirty, the unlucky adventurer sat down to toil like a galley slave.
In the succeeding six years he sent to the press some things which have survived, and many which have perished. He produced articles for reviews, magazines, and newspapers; children's books, which, bound in gilt paper and adorned with hideous wood-cuts, appeared in the window of the once far-famed shop at the corner of Saint Paul's Churchyard; An Inquiry into the State of Polite Learning in Europe, which, though of little or no value, is still reprinted among his works; a Life of Beau Nash, which is not reprinted, though it well deserves to be so; a superficial and incorrect, but very readable, History of England, in a series of letters purporting to be addressed by a nobleman to his son; and some very lively and amusing Sketches of London Society, in a series of letters purporting to be addressed by a Chinese traveler to his friends. All these works were anonymous; but some of them were well known to be Goldsmith's; and he gradually rose in the estimation of the book-sellers for whom he drudged. He was, indeed, emphatically a popular writer. For accurate research or grave disquisition he was not well qualified by nature or by education. He knew nothing accurately: his reading had been desultory; nor had he meditated deeply on what he had read. He had seen much of the world; but he had noticed and retained little more of what he had seen than some grotesque incidents and characters which happened to strike his fancy. But, though his mind was very scantily stored with materials, he used what materials he had in such a way as to produce a wonderful effect. There have been many greater writers; but perhaps no writer was ever more uniformly agreeable. His style was always pure and easy, and, on proper occasions, pointed and energetic. His narratives were always amusing, his descriptions always picturesque, his humor rich and joyous, yet not without an occasional tinge of amiable sadness. About every thing that he wrote, serious or sportive, there was a certain natural grace and decorum, hardly to be expected from a man a great part of whose life had been passed among thieves and beggars, street-walkers and merry-andrews, in those squalid dens which are the reproach of great capitals.
As his name gradually became known, the circle of his acquaintance widened. He was introduced to Johnson, who was then considered as the first of living English writers; to Reynolds, the first of English painters; and to Burke, who had not yet entered parliament, but had distinguished himself greatly by his writings and by the eloquence of his conversation. With these eminent men Goldsmith became intimate. In 1763 he was one of the nine original members of that celebrated fraternity which has sometimes been called the Literary Club, but which has always disclaimed that epithet, and still glories in the simple name of The Club.
By this time Goldsmith had quitted his miserable dwelling at the top of Breakneck Steps, and had taken chambers in the more civilized region of the Inns of Court. But he was still often reduced to pitiable shifts. Toward the close of 1764 his rent was so long in arrear that his landlady one morning called in the help of a sheriff's officer. The debtor, in great perplexity, dispatched a messenger to Johnson; and Johnson, always friendly, though often surly, sent back the messenger with a guinea, and promised to follow speedily. He came, and found that Goldsmith had changed the guinea, and was railing at the landlady over a bottle of Madeira. Johnson put the cork into the bottle, and entreated his friend to consider calmly how money was to be procured. Goldsmith said that he had a novel ready for the press. Johnson glanced at the manuscript, saw that there were good things in it, took it to a bookseller, sold it for £60, and soon returned with the money. The rent was paid; and the sheriff's officer withdrew. According to one story, Goldsmith gave his landlady a sharp reprimand for her treatment of him; according to another, he insisted on her joining him in a bowl of punch. Both stories are probably true. The novel which was thus ushered into the world was the Vicar of Wakefield.
But before the Vicar of Wakefield appeared in print came the great crisis of Goldsmith's literary life. In Christmas week, 1764, he published a poem, entitled the Traveler. It was the first work to which he had put his name; and it at once raised him to the rank of a legitimate English classic. The opinion of the most skillful critics was, that nothing finer had appeared in verse since the fourth book of the Dunciad. In one respect the Traveler differs from all Goldsmith's other writings. In general his designs were bad, and his execution good. In the Traveler, the execution, though deserving of much praise, is far inferior to the design. No philosophical poem, ancient or modern, has a plan so noble, and at the same time so simple. An English wanderer, seated on a crag among the Alps, near the point where three great countries meet, looks down on the boundless prospect, reviews his long pilgrimage, recalls the varieties of scenery, of climate, of government, of religion, of national character, which he has observed, and comes to the conclusion, just or unjust, that our happiness depends little on political institutions, and much on the temper and regulation of our minds.
While the fourth edition of the Traveler was on the counters of the booksellers, the Vicar of Wakefield appeared, and rapidly obtained a popularity which has lasted down to our own time, and which is likely to last as long as our language. The fable is indeed one of the worst that ever was constructed. It wants, not merely that probability which ought to be found in a tale of common English life, but that consistency which ought to be found even in the wildest fiction about witches, giants, and fairies. But the earlier chapters have all the sweetness of pastoral poetry, together with all the vivacity of comedy. Moses and his spectacles, the vicar and his monogamy, the sharper and his cosmogony, the squire proving from Aristotle that relatives are related, Olivia preparing herself for the arduous task of converting a rakish lover by studying the controversy between Robinson Crusoe and Friday, the great ladies with their scandal about Sir Tomkyn's amours and Dr. Burdock's verses, and Mr. Burchell with his "Fudge," have caused as much harmless mirth as has ever been caused by matter packed into so small a number of pages. The latter part of the tale is unworthy of the beginning. As we approach the catastrophe, the absurdities lie thicker and thicker; and the gleams of pleasantry become rarer and rarer.
The success which had attended Goldsmith as a novelist emboldened him to try his fortune as a dramatist. He wrote the Good-natured Man—a piece which had a worse fate than it deserved. Garrick refused to produce it at Drury Lane. It was acted at Covent Garden in 1768, but was coldly received. The author, however, cleared by his benefit nights, and by the sale of the copyright, not less than £500, five times as much as he had made by the Traveler and the Vicar of Wakefield together. The plot of the Good-natured Man is, like almost all Goldsmith's plots, very ill constructed. But some passages are exquisitely ludicrous; much more ludicrous, indeed, than suited the taste of the town at that time. A canting, mawkish play, entitled False Delicacy, had just had an immense run. Sentimentality was all the mode. During some years, more tears were shed at comedies than at tragedies; and a pleasantry which moved the audience to any thing more than a grave smile was reprobated as low. It is not strange, therefore, that the very best scene in the Good-natured Man, that in which Miss Richland finds her lover attended by the bailiff and the bailiff's follower in full court-dresses, should have been mercilessly hissed, and should have been omitted after the first night.
In 1770 appeared the Deserted Village. In mere diction and versification this celebrated poem is fully equal, perhaps superior, to the Traveler, and it is generally preferred to the Traveler by that large class of readers who think, with Bayes in the Rehearsal, that the only use of a plan is to bring in fine things. More discerning judges, however, while they admire the beauty of the details, are shocked by one unpardonable fault which pervades the whole. The fault which we mean is not that theory about wealth and luxury which has so often been censured by political economists. The theory is indeed false: but the poem, considered merely as a poem, is not necessarily the worse on that account. The finest poem in the Latin language, indeed the finest didactic poem in any language, was written in defense of the silliest and meanest of all systems of natural and moral philosophy. A poet may easily be pardoned for reasoning ill; but he can not be pardoned for describing ill, for observing the world in which he lives so carelessly that his portraits bear no resemblance to the originals—for exhibiting as copies from real life monstrous combinations of things which never were and never could be found together. What would be thought of a painter who should mix August and January in one landscape, who should introduce a frozen river into a harvest scene? Would it be a sufficient defense of such a picture to say that every part was exquisitely colored, that the green hedges, the apple-trees loaded with fruit, the wagons reeling under the yellow sheaves, and the sun-burned reapers wiping their foreheads were very fine, and that the ice and the boys sliding were also very fine? To such a picture the Deserted Village bears a great resemblance. It is made up of incongruous parts. The village in its happy days is a true English village. The village in its decay is an Irish village. The felicity and the misery which Goldsmith has brought close together belong to two different countries, and to two different stages in the progress of society. He had assuredly never seen in his native island such a rural paradise, such a seat of plenty, content, and tranquillity, as his Auburn. He had assuredly never seen in England all the inhabitants of such a paradise turned out of their homes in one day and forced to emigrate in a body to America. The hamlet he had probably seen in Kent; the ejectment he had probably seen in Munster; but by joining the two, he has produced something which never was and never will be seen in any part of the world.
In 1773 Goldsmith tried his chance at Covent Garden with a second play, She Stoops to Conquer. The manager was not without great difficulty induced to bring this piece out. The sentimental comedy still reigned, and Goldsmith's comedies were not sentimental. The Good-natured Man had been too funny to succeed; yet the mirth of the Good-natured Man was sober when compared with the rich drollery of She Stoops to Conquer, which is, in truth, an incomparable farce in five acts. On this occasion, however, genius triumphed. Pit, boxes, and galleries, were in a constant roar of laughter. If any bigoted admirer of Kelly and Cumberland ventured to hiss or groan, he was speedily silenced by a general cry of "Turn him out," or "Throw him over." Two generations have since confirmed the verdict which was pronounced on that night.
While Goldsmith was writing the Deserted Village and She Stoops to Conquer, he was employed on works of a very different kind, works from which he derived little reputation but much profit. He compiled for the use of schools a History of Rome by which he made £300, a History of England by which he made £600, a History of Greece for which he received £250, a Natural History, for which the booksellers covenanted to pay him 800 guineas. These works he produced without any elaborate research, by merely selecting, abridging, and translating into his own clear, pure, and flowing language, what he found in books well known to the world, but too bulky or too dry for boys and girls. He committed some strange blunders; for he knew nothing with accuracy. Thus in his History of England he tells us that Naseby is in Yorkshire; nor did he correct this mistake when the book was reprinted. He was very nearly hoaxed into putting into the History of Greece an account of a battle between Alexander the Great and Montezuma. In his Animated Nature he relates, with faith and with perfect gravity, all the most absurd lies which he could find in books of travels about gigantic Patagonians, monkeys that preach sermons, nightingales that repeat long conversations. "If he can tell a horse from a cow," says Johnson, "that is the extent of his knowledge of zoology." How little Goldsmith was qualified to write about the physical sciences is sufficiently proved by two anecdotes. He on one occasion denied that the sun is longer in the northern than in the southern signs. It was vain to cite the authority of Maupertuis. "Maupertuis!" he cried, "I understand those matters better than Maupertuis." On another occasion he, in defiance of the evidence of his own senses, maintained obstinately, and even angrily, that he chewed his dinner by moving his upper jaw.
Yet, ignorant as Goldsmith was, few writers have done more to make the first steps in the laborious road to knowledge easy and pleasant. His compilations are widely distinguished from the compilations of ordinary book-makers. He was a great, perhaps an unequaled, master of the arts of selection and condensation. In these respects his histories of Rome and of England, and still more his own abridgments of these histories, well deserved to be studied. In general nothing is less attractive than an epitome: but the epitomes of Goldsmith, even when most concise, are always amusing; and to read them is considered by intelligent children not as a task but as a pleasure.
Goldsmith might now be considered as a prosperous man. He had the means of living in comfort, and even in what to one who had so |often slept in barns and on bulks must have been luxury. His fame was great and was constantly rising. He lived in what was intellectually far the best society of the kingdom, in a society in which no talent or accomplishment was wanting, and in which the art of conversation was cultivated with splendid success. There probably were never four talkers more admirable in four different ways than Johnson, Burke, Beauclerk, and Garrick; and Goldsmith was on terms of intimacy with all the four. He aspired to share in their colloquial renown; but never was ambition more unfortunate. It may seem strange that a man who wrote with so much perspicuity, vivacity, and grace, should have been, whenever he took a part in conversation, an empty, noisy, blundering rattle. But on this point the evidence is overwhelming. So extraordinary was the contrast between Goldsmith's published works and the silly things which he said, that Horace Walpole described him as an inspired idiot. "Noll," said Garrick, "wrote like an angel, and talked like poor Pol." Chamier declared that it was a hard exercise of faith to believe that so foolish a chatterer could have really written the Traveler. Even Boswell could say, with contemptuous compassion, that he liked very well to hear honest Goldsmith run on. "Yes, Sir," said Johnson, "but he should not like to hear himself." Minds differ as rivers differ. There are transparent and sparkling rivers from which it is delightful to drink as they flow; to such rivers the minds of such men as Burke and Johnson may be compared. But there are rivers of which the water when first drawn is turbid and noisome, but becomes pellucid as crystal and delicious to the taste if it be suffered to stand till it has deposited a sediment; and such a river is a type of the mind of Goldsmith. His first thoughts on every subject were confused even to absurdity, but they required only a little time to work themselves clear. When he wrote they had that time, and therefore his readers pronounced him a man of genius; but when he talked he talked nonsense, and made himself the laughing-stock of his hearers. He was painfully sensible of his inferiority in conversation; he felt every failure keenly ;yet he had not sufficient judgment and self-command to hold his tongue. His animal spirits and vanity were always impelling him to try to do the one thing which he could not do. After every attempt he felt that he had exposed himself, and writhed with shame and vexation; yet the next moment he began again.
His associates seem to have regarded him with kindness, which, in spite of their admiration of his writings, was not unmixed with contempt. In truth, there was in his character much to love, but very little to respect. His heart was soft, even to weakness; he was so generous, that he quite forgot to be just; he forgave injuries so readily, that he might be said to invite them, and was so liberal to beggars, that he had nothing left for his tailor and his butcher. He was vain, sensual, frivolous, profuse, improvident. One vice of a darker shade was imputed to him, envy. But there is not the least reason to believe that this bad passion, though it sometimes made him wince and utter fretful exclamations, ever impelled him to injure by wicked arts the reputation of any of his rivals. The truth probably is, that he was not more envious, but merely less prudent than his neighbors. His heart was on his lips. All those small jealousies, which are but too common among men of letters, but which a man of letters who is also a man of the world does his best to conceal, Goldsmith avowed with the simplicity of a child. When he was envious, instead of affecting indifference, instead of damning with faint praise, instead of doing injuries slyly and in the dark, he told every body that he was envious. "Do not, pray do not talk of Johnson in such terms," he said to Boswell; "you harrow up my very soul." George Steevens and Cumberland were men far too cunning to say such a thing. They would have echoed the praises of the man whom they envied, and then have sent to the newspapers anonymous libels upon him. Both what was good and what was bad in Goldsmith's character was to his associates a perfect security that he would never commit such villainy. He was neither ill-natured enough, nor long-headed enough, to be guilty of any malicious act which required contrivance and disguise.
Goldsmith has sometimes been represented as a man of genius, cruelly treated by the world, and doomed to struggle with difficulties which at last broke his heart. But no representation can be more remote from the truth. He did, indeed, go through much sharp misery before he had done any thing considerable in literature. But after his name had appeared on the title-page of the Traveler, he had none but himself to blame for his distresses. His average income during the last seven years of his life certainly exceeded £400 a year, and £400 a year ranked among the incomes of that day at least as high as £800 a year would rank at present. A single man living in the Temple with £400 a year might then be called opulent. Not one in ten of the young gentlemen of good families who were studying the law there had so much. But all the wealth which Lord Clive had brought from Bengal, and Sir Lawrence Dundas from Germany, joined together, would not have sufficed for Goldsmith. He spent twice as much as he had. He wore fine clothes, gave dinners of several courses, paid court to venal beauties. He had also, it should be remembered to the honor of his heart, though not of his head, a guinea, or five, or ten, according to the state of his purse, ready for any tale of distress, true or false. But it was not in dress or feasting, in promiscuous amours or promiscuous charities, that his chief expense lay. He had been from boyhood a gambler, and at once the most sanguine and the most unskillful of gamblers. For a time he put off the day of inevitable ruin by temporary expedients. He obtained advances from booksellers by promising to execute works which he never began. But at length this source of supply failed. He owed more than £2000, and he saw no hope of extrication from his embarrassments. His spirits and health gave way. He was attacked by a nervous fever, which he thought himself competent to treat. It would have been happy for him if his medical skill had been appreciated as justly by himself as by others. Notwithstanding the degree which he pretended to have received at Padua, he could procure no patients. "I do not practice," he once said; "I make it a rule to prescribe only for my friends." "Pray, dear Doctor," said Beauclerk, "alter your rule, and prescribe only for your enemies." Goldsmith now, in spite of this excellent advice, prescribed for himself. The remedy aggravated the malady. The sick man was induced to call in real physicians, and they at one time imagined that they had cured the disease. Still his weakness and restlessness continued. He could get no sleep; he could take no food. "You are worse," said one of his medical attendants, "than you should be from the degree of fever which you have. Is your mind at ease?" "No, it is not," were the last recorded words of Oliver Goldsmith. He died on the 3d of April, 1774, in his forty-sixth year. He was laid in the church-yard of the Temple; but the spot was not marked by any inscription, and is now forgotten. The coffin was followed by Burke and Reynolds. Both these great men were sincere mourners. Burke, when he heard of Goldsmith's death, had burst into a flood of tears. Reynolds had been so much moved by the news, that he had flung aside his brush and pallet for the day.
A short time after Goldsmith's death, a little poem appeared, which will, as long as our language lasts, associate the names of his two illustrious friends with his own. It has already been mentioned that he sometimes felt keenly the sarcasm which his wild blundering talk brought upon him. He was, not long before his last illness, provoked into retaliating. He wisely betook himself to his pen, and at that weapon he proved himself a match for all his assailants together. Within a small compass he drew with a singularly easy and vigorous pencil the characters of nine or ten of his intimate associates, Though this little work did not receive his last touches, it must always be regarded as a master-piece. It is impossible, however, not to wish that four or five likenesses which have no interest for posterity were wanting to that noble gallery, and that their places were supplied by sketches of Johnson and Gibbon, as happy and vivid as the sketches of Burke and Garrick.
Some of Goldsmith's friends and admirers honored him with a cenotaph in Westminster Abbey. Nollekens was the sculptor, and Johnson wrote the inscription. It is much to be lamented that Johnson did not leave to posterity a more durable and a more valuable memorial of his friend. A life of Goldsmith would have been an inestimable addition to the Lives of the Poets. No man appreciated Goldsmith's writings more justly than Johnson; no man was better acquainted with Goldsmith's character and habits; and no man was more competent to delineate with truth and spirit the| peculiarities of a mind in which great powers were found in company with great weaknesses. But the list of poets to whose works Johnson was requested by the booksellers to furnish prefaces ended with Lyttelton, who died in 1773. The line seems to have been drawn expressly for the purpose of excluding the person whose portrait would have most fitly closed the series. Goldsmith, however, has been fortunate in his biographers. Within a few years his life has been written by Mr. Prior, by Mr. Washington Irving, and by Mr. Forster. The diligence of Mr. Prior deserves great praise; the style of Mr. Washington Irving is always pleasing; but the highest place must in justice be assigned to the eminently interesting work of Mr. Forster.