Oliver Goldsmith: Wikis


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Oliver Goldsmith, after Joshua Reynolds, 1769-1770

Oliver Goldsmith (10 November 1728 – 4 April 1774) was an Anglo-Irish writer, poet, and physician known for his novel The Vicar of Wakefield (1766), his pastoral poem The Deserted Village (1770) (written in memory of his brother), and his plays The Good-Natur'd Man (1768) and She Stoops to Conquer (1771, first performed in 1773). (He is also thought to have written the classic children's tale, The History of Little Goody Two-Shoes, giving the world that familiar phrase.)



Goldsmith's birth date and year are not known with certainty. According to the Library of Congress authority file, he told a biographer that he was born on 29 November, 1731, or perhaps in 1730. Other sources have indicated 10 November, on any year from 1727 to 1731. 10 November 1730 is now the most commonly accepted birth date.

Neither is the location of his birthplace certain. He was born either in the townland of Pallas, near Ballymahon, County Longford, Ireland, where his father was the Anglican curate of the parish of Forgney, or at the residence of his maternal grandparents, at the Smith Hill House in the diocese of Elphin, County Roscommon where his grandfather Oliver Jones was a clergyman and master of the Elphin diocesan school. When he was two years old, Goldsmith's father was appointed the rector of the parish of "Kilkenny West" in County Westmeath. The family moved to the parsonage at Lissoy, between Athlone and Ballymahon, and continued to live there until his father's death in 1747.

In 1744 Goldsmith went up to Trinity College, Dublin. Neglecting his studies in theology and law, he fell to the bottom of his class. His tutor was Theaker Wilder. He was graduated in 1749 as a Bachelor of Arts, but without the discipline or distinction that might have gained him entry to a profession in the church or the law; his education seemed to have given him mainly a taste for fine clothes, playing cards, singing Irish airs and playing the flute. He lived for a short time with his mother, tried various professions without success, studied medicine desultorily at the University of Edinburgh and the University of Leiden, and set out on a walking tour of Flanders, France, Switzerland and Northern Italy, living by his wits (busking with his flute).

Dr Samuel Johnson - author James Boswell - biographer Sir Joshua Reynolds - host David Garrick - actor Edmund Burke - statesman Pasqual Paoli - Corsican independent Charles Burney - music historian Thomas Warton - poet laureate Oliver Goldsmith - writer prob. ''The Infant Academy'' (1782) Puck by Joshua Reynolds unknown portrait servant - poss. Dr Johnson's heir Use button to enlarge or use hyperlinks
'A literary party at Sir Joshua Reynolds's'.[1] Use a cursor to see who is who.

He settled in London in 1756, where he briefly held various jobs, including apothecary's assistant and usher of a school. Perennially in debt and addicted to gambling, Goldsmith produced a massive output as a hack writer for the publishers of London, but his few painstaking works earned him the company of Samuel Johnson, with whom he was a founding member of "The Club". The combination of his literary work and his dissolute lifestyle led Horace Walpole to give him the epithet inspired idiot. During this period he used the pseudonym "James Willington" (the name of a fellow student at Trinity) to publish his 1758 translation of the autobiography of the Huguenot Jean Marteilhe.

Goldsmith was described by contemporaries as prone to envy, a congenial but impetuous and disorganised personality who once planned to emigrate to America but failed because he missed his ship.

His premature death in 1774 may have been partly due to his own misdiagnosis of his kidney infection. Goldsmith was buried in Temple Church. The inscription reads; "HERE LIES/OLIVER GOLDSMITH". There is a monument to him in the center of Ballymahon, also in Westminster Abbey with an epitaph written by Samuel Johnson.[2]


See The Vicar of Wakefield, The Good-Natur'd Man, and She Stoops to Conquer.

The Deserted Village

Goldsmith wrote the pastoral poem The Deserted Village in memory of his brother. It is a reaction to the recently passed Inclosure Acts which forced a mass emigration of poor farming families from the countryside to the cities. The nostalgic tone as he reminisces on a once vibrant rural town that has since been abandoned, replaced by a sprawling country manor.

The Hermit

Goldsmith wrote this romantic ballad of precisely 160 lines in 1765. The hero and heroine are Edwin, a youth without wealth or power, and Angelina, the daughter of a lord "beside the Tyne." Angelina spurns many wooers, but refuses to make plain her love for young Edwin. "Quite dejected with my scorn," Edwin disappears and becomes a hermit. One day, Angelina turns up at his cell in boy's clothes and, not recognizing him, tells him her story. Edwin then reveals his true identity, and the lovers never part again. The poem is notable for its interesting portrayal of a hermit, who is fond of the natural world and his wilderness solitude but maintains a gentle, sympathetic demeanor toward other people. In keeping with eremitical tradition, however, Edwin the Hermit claims to "spurn the [opposite] sex." This poem appears under the title of "A Ballad" sung by the character of Mr. Burchell in Chapter 8 of Goldsmith's novel, The Vicar of Wakefield.

The Citizen of the World

In 1760, Goldsmith began to publish a series of letters in the Public Ledger under the title The Citizen of the World. Purportedly written by a Chinese traveler in England named Lien Chi, they used this fictional outsider's perspective to comment ironically and at times moralistically on British society and manners. It was inspired by the earlier essay series Persian Letters by Charles de Secondat, baron de Montesquieu.

The ironic poem, An Elegy on the Death of a Mad Dog was published in 1766.

He is also thought to have written the classic children's tale The History of Little Goody Two-Shoes.

Memorials concerning Oliver Goldsmith

There is a school named after him in London called the Oliver Goldsmith Primary School.

In the play "Marx In Soho" by Howard Zinn, Marx makes a reference to The Deserted Village.[3]

A statue of him stands at the Front Arch of Trinity College, Dublin.

His name has been given to a new lecture theater and student accommodation on the Trinity College campus, "Goldsmith Hall".

Somerset Maugham used the last line from An Elegy On The Death Of A Mad Dog in his novel The Painted Veil (1925). The character Walter Fane's last words are The dog it was that died.

Auburn, Alabama and Auburn University were named for the first line in Goldsmith's poem: "Sweet Auburn, loveliest village on the plain." Auburn is still referred to as the 'loveliest village on the plains.'

There is a statue in Ballymahon County Longford.

London Underground locomotive number 16 (used on the Metropolitan line of the London Underground until 1962) was named Oliver Goldsmith.


  1. ^ 'A literary party at Sir Joshua Reynolds's, D. George Thompson, published by Owen Bailey, after James William Edmund Doyle, published 1 October 1851
  2. ^ "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 move or tears, a powerful yet gentle master. In genius, vivid, versatile, sublime. In style, clear, elevated, elegant." Epitaph written by Dr. Johnson, translated from the original Latin.
  3. ^ Marx in Soho, Howard Zinn 1999, South End Press


  • The Vicar of Wakefield, ISBN 0-19-283940-3
  • She Stoops to Conquer, ISBN 0-486-26867-5
  • Life of Oliver Goldsmith, by Washington Irving, ISBN 1-58963-236-2
  • The Complete Poetical Works of Oliver Goldsmith by Austin Dobson (Editor), ISBN 1-58827-277-X
  • Oliver Goldsmith (Everyman's Poetry Series) edited by Gordon Campbell, ISBN 0-460-87827-1
  • George Rousseau (1974), Goldsmith: The Critical Heritage (London: Routledge and Kegan Paul, 1974). ISBN 0710077203
  • Oliver Goldsmith of Elphin, by J. A. Connellan, Published for the Goldsmith Society (1935)
  • Life of Goldsmith, by James Prior, two volumes (London: John Murray, 1837) at Google Books.

External links


Up to date as of January 14, 2010

From Wikiquote

Man wants but little here below, Nor wants that little long.

Oliver Goldsmith (10 November 1730 (or 1728) – 4 April 1774) was an Irish writer, playwright, and physician.



  • A nightcap decked his brows instead of bay,
    A cap by night — a stocking all the day!
    • Description of an Author's Bedchamber (1760)
  • Men may be very learned, and yet very miserable; it is easy to be a deep geometrician, or a sublime astronomer, but very difficult to be a good man. I esteem, therefore, the traveller who instructs the heart, but despise him who only indulges the imagination. A man who leaves home to mend himself and others, is a philosopher; but he who goes from country to country, guided by the blind impulse of curiosity, is only a vagabond.
    • The Citizen of the World (1762) Letter VII
  • Such dainties to them, their health it might hurt;
    It's like sending them ruffles, when wanting a shirt.
    • The Haunch of Venison (1776)
  • There is no arguing with Johnson: for if his pistol misses fire, he knocks you down with the butt end of it.
  • [To Mr. Johnson] If you were to make little fishes talk, they would talk like whales.
  • You may all go to pot.
    • Verses in reply to an invitation to dine at Dr. Baker's
  • For he who fights and runs away
    May live to fight another day;
    But he who is in battle slain
    Can never rise and fight again.
    • The Art of Poetry on a New Plan (1761), vol. ii. p. 147. Similar sentiments have been recorded by many. [1]

The Bee (1759)

  • One writer, for instance, excels at a plan or a title page, another works away at the body of the book, and a third is a dab at an index.
    • No. 1
  • As writers become more numerous, it is natural for readers to become more indolent.
    • No. 175, Upon Unfortunate Merit
  • Good people all, with one acord,
    Lament for Madame Blaize,
    Who never wanted a good word —
    From those who spoke her praise.
    • Elegy on Mrs. Mary Blaize, st. 1

The Captivity, An Oratorio (1764)

  • That strain once more; it bids remembrance rise.
    • Act I
  • O Memory! thou fond deceiver.
    • Act I
  • To the last moment of his breath
    On hope the wretch relies;
    And e'en the pang preceding death
    Bids expectation rise.
    • Act II
  • Hope, like the gleaming taper's light,
    Adorns and cheers our way;
    And still, as darker grows the night,
    Emits a brighter ray.
    • Act II

The Traveller (1764)

  • Remote, unfriended, melancholy, slow,
    Or by the lazy Scheldt, or wandering Po.
    • Line 1
  • Where'er I roam, whatever realms I see,
    My heart untraveled fondly turns to thee;
    Still to my brother turns with ceaseless pain,
    And drags at each remove a lengthening chain.
    • Line 7
  • Such is the patriot's boast, where'er we roam,
    His first, best country ever is, at home.
    • Line 73
  • Where wealth and freedom reign contentment fails,
    And honor sinks where commerce long prevails.
    • Line 91
  • Man seems the only growth that dwindles here.
    • Line 126
  • But winter lingering chills the lap of May.
    • Line 172
  • Unknown those powers that raise the soul to flame,
    Catch every nerve, and vibrate through the frame.
    Their level life is but a mouldering fire,
    Unquenched by want, unfanned by strong desire.
    • Line 219
  • They please, are pleased, they give to get esteem,
    Till, seeming blest, they grow to what they seem.
    • Line 265
  • To men of other minds my fancy flies,
    Embosomed in the deep where Holland lies.
    Methinks her patient sons before me stand,
    Where the broad ocean leans against the land.
    • Line 281
  • Pride in their port, defiance in their eye,
    I see the lords of humankind pass by.
    • Line 327
  • For just experience tells; in every soil,
    That those that think must govern those that toil.
    • Line 371
  • Laws grind the poor, and rich men rule the law.
    • Line 386
  • Vain, very vain, my weary search to find
    That bliss which only centers in the mind.
    • Line 423

The Vicar of Wakefield (1766)

  • A book may be very amusing with numerous errors, or it may be very dull without a single absurdity.
    • Preface
  • I...chose a wife, as she did her wedding gown, not for a fine glossy surface, but such qualities as would wear well.
    • Ch. 1
  • We sometimes had those little rubs which Providence sends to enhance the value of its favors.
    • Ch. 1
  • Handsome is that handsome does.
    • Ch. 1
  • That virtue which requires to be ever guarded is scarce worth the sentinel.
    • Ch. 5
  • I find you want me to furnish you with argument and intellects too.
    • Ch. 7
  • Man wants but little here below,
    Nor wants that little long.
    • Ch. 8, The Hermit (Edwin and Angelina), st. 8
  • She was all of a muck of sweat.
    • Ch. 9
  • They would talk of nothing but high life, and high-lived company, with other fashionable topics, such as pictures, taste, Shakespeare, and the musical glasses.
    • Ch. 9
  • Conscience is a coward, and those faults it has not strength enough to prevent it seldom has justice enough to accuse.
    • Ch. 13
  • The naked every day he clad
    When he put on his clothes.
    • Ch. 17, An Elegy on the Death of a Mad Dog, st. 3
  • And in that town a dog was found,
    As many dogs there be,
    Both mongrel, puppy, whelp, and hound,
    And curs of low degree.
    • Ch. 17, An Elegy on the Death of a Mad Dog, st. 4
  • The dog, to gain some private ends,
    Went mad, and bit the man.
    • Ch. 17, An Elegy on the Death of a Mad Dog, st. 5
  • The man recovered of the bite,
    The dog it was that died.
    • Ch. 17, An Elegy on the Death of a Mad Dog, st. 8
  • When lovely woman stoops to folly,
    And finds too late that men betray,
    What charm can soothe her melancholy?
    What art can wash her guilt away?
    • Ch. 29, Song, st. 1
  • The only art her guilt to cover,
    To hide her shame from every eye,
    To give repentance to her lover,
    And wring his bosom, is — to die.
    • Ch. 29, Song, st. 2

The Good-Natured Man (1768)

  • This same philosophy is a good horse in the stable, but an arrant jade on a journey.
    • Act I
  • He calls his extravagance, generosity; and his trusting everybody, universal benevolence.
    • Act I
  • All his faults are such that one loves him still the better for them.
    • Act I
  • Friendship is a disinterested commerce between equals; love, an abject intercourse between tyrants and slaves.
    • Act I
  • Silence gives consent.
    • Act II
  • Measures, not men, have always been my mark.
    • Act II

The Deserted Village (1770)

  • The bashful virgin's sidelong looks of love,
    The matron's glance that would those looks reprove.
    • Line 29
  • Ill fares the land, to hastening ills a prey,
    Where wealth accumulates, and men decay;
    Princes and lords may flourish, or may fade;
    A breath can make them, as a breath has made;
    But a bold peasantry, their country's pride,
    When once destroyed, can never be supplied.
    • Line 51
  • His best companions, innocence and health;
    And his best riches, ignorance of wealth.
    • Line 61
  • How happy he who crowns in shades like these,
    A youth of labour with an age of ease.
    • Line 99
  • Bends to the grave with unperceived decay,
    While resignation gently slopes the way;
    And, all his prospects brightening to the last,
    His heaven commences ere the world be past.
    • Line 109
  • The watchdog's voice that bayed the whispering wind,
    And the loud laugh that spoke the vacant mind.
    • Line 121
  • A man he was to all the country dear,
    And passing rich with forty pounds a year.
    • Line 141
  • Careless their merits or their faults to scan,
    His pity gave ere charity began.
    Thus to relieve the wretched was his pride,
    And e'en his failings leaned to Virtue's side.
    • Line 161
  • And, as a bird each fond endearment tries
    To tempt its new-fledged offspring to the skies,
    He tried each art, reproved each dull delay,
    Allured to brighter worlds, and led the way.
    • Line 167
  • Truth from his lips prevailed with double sway,
    And fools, who came to scoff, remained to pray.
    • Line 179
  • Even children followed with endearing wile,
    And plucked his gown, to share the good man's smile.
    • Line 183
  • A man severe he was, and stern to view;
    I knew him well, and every truant knew:
    Well had the boding tremblers learned to trace
    The day's disasters in his morning face;
    Full well they laughed with counterfeited glee,
    At all his jokes, for many a joke had he;
    Full well the bust whisper, circling round,
    Conveyed the dismal tidings when he frowned;
    Yet he was kind; or if severe in aught,
    The love he bore to learning was in fault;
    The village all declared how much he knew;
    'Twas certain he could write, and cipher too.
    • Line 197
  • In arguing too, the parson owned his skill,
    For e'en though vanquished, he could argue still;
    While words of learned length, and thundering sound
    Amazed the gazing rustics ranged around;
    And still they gazed, and still the wonder grew,
    That one small head could carry all he knew.
    • Line 211
  • Where village statesmen talked with looks profound,
    And news much older than their ale went round.
    • Line 223
  • The whitewashed wall, the nicely sanded floor,
    The varnished clock that clicked behind the door;
    The chest contrived a double debt to pay,
    A bed by night, a chest of drawers by day.
    • Line 227
  • To me more dear, congenial to my heart,
    One native charm, than all the gloss of art.
    • Line 253
  • And, ev'n while fashion's brightest arts decoy,
    The heart distrusting asks, if this be joy.
    • Line 263
  • Her modest looks the cottage might adorn,
    Sweet as the primrose peeps beneath the thorn.
    • Line 329
  • Thou source of all my bliss, and all my woe,
    That found'st me poor at first, and keep'st me so.
    • Line 413

She Stoops to Conquer (1771)

  • In my time, the follies of the town crept slowly among us, but now they travel faster than a stagecoach.
    • Act I
  • I love everything that's old: old friends, old times, old manners, old books, old wines.
    • Act I
  • The very pink of perfection.
    • Act I
  • Let schoolmasters puzzle their brain,
    With grammar, and nonsense, and learning;
    Good liquor, I stoutly maintain,
    Gives genus a better discerning.
    • Act I
  • I'll be with you in the squeezing of a lemon.
    • Act I
  • A modest woman, dressed out in all her finery, is the most tremendous object of the whole creation.
    • Act II
  • The first blow is half the battle.
    • Act II
  • We are the boys
    That fear no noise
    Where the thundering cannons roar.
    • Act II
  • They liked the book the better the more it made them cry.
    • Act II
  • Travellers, George, must pay in all places: the only difference is, that in good inns, you pay dearly for your luxuries, and in bad inns you are fleeced and starved.
    • Act II
  • Ask me no questions, and I'll tell you no fibs.
    • Act III
  • Oh sir! I must not tell my age.
    They say women and music should never be dated.
    • Act III
  • Baw! Damme, but I'll fight you both, one after the other!
    With baskets.
    • Act IV
  • We modest Gentlemen don't want for much success among the women.
    • Act IV

Retaliation (1774)

  • Our Garrick's a salad; for in him we see
    Oil, vinegar, sugar, and saltness agree!
    • Line 11
  • Here lies our good Edmund, whose genius was such,
    We scarcely can praise it, or blame it too much;
    Who, born for the universe, narrowed his mind,
    And to party gave up what was meant for mankind...
    Who, too deep for his hearers, still went on refining.
    And thought of convincing while they thought of dining;
    Though equal to all things, for all things unfit;
    Too nice for a statesman, too proud for a wit.
    • Line 29
  • His conduct still right, with his argument wrong.
    • Line 46
  • Here lies David Garrick, describe me, who can,
    An abridgment of all that was pleasant in man.
    • Line 93
  • As a wit, if not first, in the very first line.
    • Line 96
  • On the stage he was natural, simple, affecting;
    'Twas only that when he was off he was acting.
    • Line 101
  • He cast off his friends as a huntsman his pack,
    For he knew when he pleased he could whistle them back.
    • Line 107
  • Who peppered the highest was surest to please.
    • Line 112
  • When he talked of their Raphaels, Correggios, and stuff,
    He shifted his trumpet and only took snuff.
    • Line 145

External links

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1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

OLIVER GOLDSMITH (1728-1774), English poet, playwright, novelist and man of letters, came of a Protestant and Saxon family which had long been settled in Ireland. He is usually said to have been born at Pallas or Pallasmore, Co. Longford; but recent investigators have contended, with much show of probability, that his true birthplace was Smith-Hill House, Elphin, Roscommon, the residence of his mother's father, the Rev. Oliver Jones. His father, Charles Goldsmith, lived at Pallas, supporting with difficulty his wife and children on what he could earn, partly as a curate and partly as a farmer.

While Oliver was still a child his father was presented to the living of Kilkenny West, in the county of West Meath. This was worth about aoo a year. The family accordingly quitted their cottage at Pallas for a spacious house on a frequented road, near the village of Lissoy. Here the boy was taught his letters by a relative and dependent, Elizabeth Delap, and was sent in his seventh year to a village school kept by an old quartermaster 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 III. 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 grammarschools, 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 by Reynolds at Knole, 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 schoolroom. When he had risen to eminence, those who had 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. On the 1 rth of June 1744, being then in his sixteenth 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. Goldsmith was quartered, not alone, in a garret of what was then No. 35 in a range of buildings which has long since disappeared. His name, scrawled by himself on one of its window-panes is still preserved in the college library. 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 storey 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. In February 1749 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 colours, 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 pay. Then he determined to emigrate to America. His relations, with much satisfaction, saw him set out for Cork on a good horse, with bo 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 uncle, Mr Contarine, advanced X50. 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 Leiden, 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 everywhere 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 February 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 a doctor's degree on the continent; 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. There is a tradition that he turned strolling player. He pounded drugs and ran about London with phials for charitable chemists. He asserted, upon one occasion, that he had lived "among the beggars in Axe Lane." 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 an hospital." Even to so humble a post he was found unequal. Nothing remained but to return to the lowest drudgery of literature. Goldsmith took a room in a tiny square off Ludgate Hill, to which he had to climb from Sea-coal Lane by a dizzy ladder of flagstones called Breakneck Steps. Green Arbour Court and the ascent have long diasppeared. Here, at thirty, the unlucky adventurer sat down to toil like a galley slave. Already, in 1758, during his first bondage to letters, he had translated Marteilhe's remarkable Memoirs of a Protestant, Condemned to the Galleys of France for his Religion. In the years that now succeeded 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 woodcuts, appeared in the window of Newbery's 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 volume of essays entitled The Bec; a Life of Beau Nash; 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 another series of letters purporting to be addressed by a Chinese traveller 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 booksellers 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 had 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 humour rich and joyous, yet not without an occasional tinge of amiable sadness. About everything 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 merryandrews, 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 date Goldsmith had quitted his miserable dwelling at the top of Breakneck Steps, and, after living for some time at No. 6 Wine Office Court, Fleet Street, had moved into the Temple. But he was still often reduced to pitiable shifts, the most popular of which is connected with the sale of his solitary novel, the Vicar of Wakefield. Towards the close of 1764(?) his rent is alleged to have been so long in arrear that his landlady one morning called in the help of a sheriff's officer. The debtor, in great perplexity, despatched 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. (Unfortunately, however, for this time-honoured version of the circumstances, it has of late years been discovered that as early as October 1762 Goldsmith had already sold a third of the Vicar to one Benjamin Collins of Salisbury, a printer, by whom it was eventually printed for F. Newbery, and it is difficult to reconcile this fact with Johnson's narrative.) But before the Vicar of Wakefield appeared in 1766, came the great crisis of Goldsmith's literary life. In Christmas week 1764 he published a poem, entitled the Traveller. 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 skilful critics was that nothing finer had appeared in verse since the fourth book of the Dunciad. In one respect the Traveller differs from all Goldsmith's other writings. In general his designs were bad, and his execution good. In the Traveller the execution, though deserving of much praise, is far inferior to the design. No philosophical poem, ancient or modern, has a plan so noble, and at the same time so simple. An English wanderer, seated on a crag among the Alps, near the point where three great countries meet, looks down on the boundless prospect, reviews his long pilgrimage, recalls the varieties of scenery, of climate, of government, of religion, of national character, which he has observed, and comes to the conclusion, just or unjust, that our happiness depends little on political institutions, and much on the temper and regulation of our own minds.

While the fourth edition of the Traveller 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 Natur'd 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 January 1768, but was coldly received. The author, however, cleared by his benefit nights, and by the sale of the copyright, no less than £soo, five times as much as he had made by the Traveller and the Vicar of Wakefield together. The plot of the Good Natur'd 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 been produced, and 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 anything more than a grave smile was reprobated as low. It is not strange, therefore, that the very best scene in the Good Natur'd 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, not to be restored for several years.

In May 1770 appeared the Deserted Village. In mere diction and versification this celebrated poem is fully equal, perhaps superior, to the Traveller; and it is generally preferred to the Traveller by that large class of readers who think, with Bayes in the Rehearsal, that the only use of a plot 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 defence of the silliest and meanest of all systems of natural and moral philosophy. A poet may easily be pardoned for reasoning ill; but he cannot 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 defence of such a picture to say that every part was exquisitely coloured, that the green hedges, the apple-trees loaded with fruit, the waggons 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 Natur'd Man had been too funny to succeed; yet the mirth of the Good Natur'd 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." Later generations have 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 £Z so; a History of England, by which he made £soo; a History of Greece, for which he received £250; a Natural History, for which the booksellers covenanted to pay him Boo 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," said 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 bookmakers. He was a great, perhaps an unequalled, 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 Poll." Chamier declared that it was a hard exercise of faith to believe that so foolish a chatterer could have really written the Traveller. 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 eyen to w:vkness: 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 neighbours. 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 everybody 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 anything considerable in literature. But after his name had appeared on the title-page of the Traveller, 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 honour 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 unskilful 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 on the continent, he could procure no patients. "I do not practise," 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 4th of April 1774, in his forty-sixth year. He was laid in the churchyard 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 palette 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 masterpiece. 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 honoured 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 powerswere 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. (M.) Goldsmith's life has been written by Prior (1837), by Washington Irving (1844-1849), and by John Forster (1848, 2nd ed. 1854). The diligence of Prior deserves great praise; the style of Washington Irving is always pleasing; but the highest place must, in justice, be assigned to the eminently interesting work of Forster. Subsequent biographies are by William Black (1878), and Austin Dobson (1888, American ed. 1899). The above article by Lord Macaulay has been slightly revised for this edition by Mr Austin Dobson, as regards questions of fact for which there has been new evidence.

Goldstucker, Theodor (1821-1872), German Sanskrit scholar, was born of Jewish parents at Konigsberg on the 18th of January 1821, and, after attending the gymnasium of that town, entered the university in 1836 as a student of Sanskrit. In 1838 he removed to Bonn, and, after graduating at Konigsberg. in 1840, proceeded to Paris; in 1842 he edited a German translation of the Prabodha Chandrodaya. From 1847 to 1850 he resided at Berlin, where his talents and scholarship were recognized by Alexander von Humboldt, but where his advanced political views caused the authorities to regard him with suspicion. In the latter year he removed to London, where in 1852 he was appointed professor of Sanskrit in University College. He now worked on a new Sanskrit dictionary, of which the first instalment appeared in 1856. In 1861 he published his chief work: Pdnini: his place in Sanskrit Literature; and he was one of the founders and chief promoters of the Sanskrit Text Society; he was also an active member of the Philological Society, and of other learned bodies. He died in London on the 6th of March 1872.

As Literary Remains some of his writings were published in two volumes (London, 1879), but his papers were left to the India Office with the request that they were not to be published until 1920.

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A portrait of author Oliver Goldsmith

Oliver Goldsmith (10 November 1730 – 4 April 1774) was writer, poet, and physician famous for his novel, The Vicar of Wakefield(1776). He first succesful literary work was The Traveller (1764), a poem about British rule.[1] Like Jonathan Swift, Goldsmith criticized society, but he did not use biting satire like Swift.[1] Goldsmith's greatest poem, The Deserted Village (1770), was a sad poem about how simple country life was being destroyed by great landowners.[1] The same theme is inside The Vicar of Wakefield. Goldsmith's biggest work at that time was The Citizen of the World (1762), a collection of soft-satire essays on English life seen by an imaginary Chinese visitor. He also wrote two plays, The Good Natured Man (1768), and She Stoops to Conquer (1773).[1](He is also thought to have written the classic children's story, The History of Little Goody Two-Shoes.)


It is not known for sure when he was born. Most people now think that he was born in 10 November 1730.[1] He was the second son of Charles Goldsmith, curate of Kilkenny West in West Meath in Ireland. In 1745 he went to Trinity College Dublin. He quickly spent all his money by gambling, which he became addicted to. After spending some time at the Universities of Edinburgh and Leyden he spent 1755 – 1756 travelling in Europe, where it is said that he lived by playing the flute. Before starting to write he worked in London as a doctor's helper, a doctor, and a school usher. He died in 1774 and was buried in Temple Church.


  1. The Vicar of Wakefield. United States, New York: Oxford Univeristy Press Inc. 2006. ISBN 978-0-19-953754-9. 

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