{"1": {"fulltext": "H E\\nI^^C^ Of\\nsmith s\\ntraveller ancl\\nDeserted Vfllage", "height": "3098", "width": "2116", "jp2-path": "olivergoldsmiths01gold_0001.jp2"}, "2": {"fulltext": "LIBRARY OF CONGRESS.\\nShelf r..t f.//^^^\\nUNITED STATES OF AMERICA.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0002.jp2"}, "3": {"fulltext": "", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0003.jp2"}, "4": {"fulltext": "", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0004.jp2"}, "5": {"fulltext": "Prices largely reduced.\\nWi^t Students* txim of Englisl) Clasisics.\\nColeridge s Ancient Mariner 25 cts.\\nA Ballad Book 50\\nT^e Merchant of Venice 35\\nEdited by KATHARINE LEE BATES, Wellesley College.\\nMatthew Arnold s Sohrab and Rustum 25\\nWebster s First Bunker Hill Oration 25\\nMilton, Lyrics 25\\nEdited by Louise Manning Hodgkins.\\nIntroduction to the Writings of John Ruskin 50\\nMacaulay s Essay on Lord Clive 35\\nEdited by ViDA D. Scudder, Wellesley College.\\nGeorge Eliot s Silas Mamer 35\\nScott s Marmion 35\\nEdited by MARY HARRIOTT NORRIS, Instructor, New York.\\nSir Roger de Coverley Papers from The Spectator 35\\nEdited by A. S. ROE, Worcester, Mass.\\nMacaulay s Second Essay on the Earl of Chatham 35\\nEdited by W. W. CURTIS, High School, Pawtucket, R.I.\\nJohnson s History of Rasselas 35\\nEdited by FRED N. Scott, University of Michigan.\\nJoan of Arc and Other Selections from De Quincey 35\\nEdited by HENRY H. Belfield, Chicago Manual Training\\nSchool.\\nX", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0005.jp2"}, "6": {"fulltext": "2 THE STUDENTS SERIES OF ENGLISH CLASSICS.\\nCarlyle s The Diamond Necklace 35 cts.\\nEdited by W. F. MoziER, High School, Ottawa, 111.\\nMacaulay s Essays on Milton and Addison 35\\nEdited by JAMES CHALMERS, Ohio State University.\\nSelections from Washington Irving 50\\nEdited by ISAAC Thomas, High School, New Haven, Conn.\\nScott s Lady of the Lake\\nEdited by JAMES ARTHUR TUFTS, Phillips Exeter Academy.\\nSelected Orations and Speeches\\nEdited by C. A. WHITING, University of Utah.\\nLays of Ancient Rome\\nEdited by D. D. PRATT, High School, Portsmouth, Ohio.\\nGoldsmith s Traveller and Deserted Village 25\\nEdited by W. F. GREGORY, High School, Hartford, Conn.\\nBurke s Speech on Conciliation with America\\nEdited by L. Du PONT Syle, University of California.\\nMacaulay Life of Samuel Johnson Essay on Byron\\nEdited by GAMALIEL BRADFORD, Jr., Instructor in Literature,\\nWellesley and Boston.\\nWordsworth s White Doe of Rylstone\\nEdited by MARY HARRIOTT NORRIS, Professor of English\\nLiterature.\\nTennyson s Elaine 25\\nEdited by FANNIE MORE McCauley, Instructor in English\\nLiterature, Winchester School, Baltimore.\\nAll are substantially bound in cloth. The usual discount will he made\\nfor these books in quantities.\\nLEACH, SHEWELL, SANBORN, Publishers.\\nBOSTON. NEW YORK. CHICAGO.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0006.jp2"}, "7": {"fulltext": "_\\nOLIVER GOLDSMITH S\\nTRAVELLER\\nAND\\nDESERTED VILLAGE\\njF/zs song fresh and beautiful as when first he charmed with it.\\nThackeray.\\nEDITED BY\\nW^ARREN FENNO GREGORY, A.B.,\\nHartford Public High School.\\nI\\nnOV 26\\nLEACH, SHEV^ELL, SANBORN,\\nBOSTON. NEW YORK. CHICAGO.\\nJX.^;;;^", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0007.jp2"}, "8": {"fulltext": "Copyright, 1894,\\nBy Leach, Shewell, Sanborn.\\nEUEOTBOXYPED BY C. J. FETEBS SON.\\nPBKS8 OF BEBWICK SMITH.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0008.jp2"}, "9": {"fulltext": "PREFACE.\\nThe purpose in presenting this little volume is to\\nlead our students to an intimate acquaintance with two\\npoems that for more than a century and a quarter have\\nstood with the purest, most graceful, and most pleasing\\nproductions of English literature. There must be a\\ntraining of the heart as well as of the intellect and few\\nwritings are so fitted to accomplish this as are these\\nmasterpieces, beautiful alike in thought and expression.\\nNo true grasp of literature can be gained without\\na knowledge of its human side, or the author as a\\nman. Th^ Traveller and The Deserted Village\\nespecially demand this, as they continually reflect the\\nfeelings and experience of the poet. Goldsmith also\\nrepresents a remarkable circle of men, and has an un-\\nasually pleasing and interesting personality. For these\\nreasons an attempt has been made to provide for a care-\\nful study of his life.\\nSo many have dealt with Goldsmith and his works,\\nbhat a writer of the present day can here be but little\\nin", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0009.jp2"}, "10": {"fulltext": "iv PREFACE.\\nmore than a gatherer and disposer of other men s\\nstuff. Hence, while aiming at originality in the scope\\nof this work, and endeavoring to secure it in treatment,\\nthe author has freely drawn his material from the accu-\\nmulated mass.\\nWARREN FENNO GREGORY.\\nHartford (Ct.) Public High School,\\nNovember, 1894.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0010.jp2"}, "11": {"fulltext": "CONTENTS.\\nPAGE\\nBiographical Sketch 1\\nLiterary Productions of Oliver Goldsmith 16\\nIntroduction to The Traveller 20\\nDedication 22\\nThe Traveller 25\\nIntroduction to The Deserted Village 41\\nDedication 45\\nThe Deserted Village 4^\\nIntroduction to Notes 63\\nNotes on The Traveller 65\\nNotes on The Deserted Village 72", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0011.jp2"}, "12": {"fulltext": "", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0012.jp2"}, "13": {"fulltext": "OLIVER GOLDSMITH.\\n(1728-1774.)\\nBIOGRAPHICAL SKETCH.\\nThe life of Poor Goldsmith, as lie has been fa-\\nmiliarly and affectionately called, illustrates to a singular\\ndegree the force of family traits. He inherited a com-\\nbination of goodness of heart, simplicity of mind, and\\nfaculty for enjoying the present in a spirit of abandon\\nblended with much shrewdness of observation, a rol-\\nlicking Irish sense of humor, and a proverbial gift for\\nblundering in conversation. This being the case, the\\nconditions were right for producing one of the most\\nhelpless, thriftless, disappointing, and at the same time\\nbrilliant and lovable of all our authors.\\nThe place of his birth is usually given as Pallas,\\nCounty Longford, Ireland, the date being Nov. 10, 1728\\nand he was the fifth of the eight children of Charles and\\nAnn Goldsmith. His father was at this time curate to\\nthe rector of Kilkenny West, with an income of not\\nover \u00c2\u00a340 annually. In 1730 he succeeded his wife s\\nuncle as rector, and settled in the pretty village of Lis-\\nsoy, having now \u00c2\u00a3200 a year. Little Oliver was sent to\\n1", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0013.jp2"}, "14": {"fulltext": "2 OLIVER GOLDSMITH.\\na dame s school at the age of three, and impressed\\nthe mistress as being one of the dullest boys she had\\never met with. At six he was sent to the village school,\\nkept by Thomas Byrne, an old soldier who had more\\nfondness for fairy lore and tales of war than for the\\nusual branches. Such instruction would not make an ac-\\ncurate scholar of a boy with his imaginative mind but it\\ncultivated a poetic taste, besides filling him with a burn-\\ning desire for travel and adventure. A severe attack of\\nthe small-pox broke off his attendance here, after which\\nhe was sent to a better school. His father s means\\nwere straitened by keeping an elder son, Henry, at a\\nclassical school but relatives, especially his imcle, Rev.\\nThomas Contarine, helped him to schools which prepared\\nhim for the University. His school-life was varied on\\nthe one hand, he was careless and dull in all studies re-\\nquiring steady thought, while his short, thick, ungainly\\nfigure, his never handsome features, pitted with the\\nmarks of disease, and his chronic blundering brought\\nhim in among the boys for a full share of ridicule, to\\nwhich his natural sensitiveness and self-consciousness\\nrendered him all the more liable. On the other hand,\\nhis fondness for the Latin poets secured kindly attention\\nfrom his teachers, while his generous heart and fondness\\nfor sports brought the good-will of his mates, even if\\nthey did at times make merry at his expense.\\nOne of many anecdotes may be introduced here. On\\nhis way home from his last fitting-school, supplied by\\nfriends with a horse and a guinea, he determined to play", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0014.jp2"}, "15": {"fulltext": "BIOGRAPHICAL SKETCH. 3\\nthe man at an inn. He was sent as a joke to the house\\nof a prominent family. These people kindly allowed\\nthe mistake to go on, so that G-oldsmith swaggered\\nthrough the whole performance, only to learn the true\\nstate of things next morning, to his great mortification.\\nHe afterwards used this occurrence upon which to base\\nhis comedy, She Stoops to Conquer, or the Mistakes of\\na Night.\\nCollege came next but his sister Catherine had pri-\\nvately married the son of a rich neighbor, and family\\npride prompted his father to raise a dowry of \u00c2\u00a3400.\\nThis so reduced his resources that Oliver had to enter\\nTrinity College, Dublin, as a sizar, or poor-student,\\nwho worked in part payment of his expenses, and was\\ndistinguished by his dress. He felt the humiliation, but\\ncontrived to be merry in a happy-go-lucky way. He\\nwas fond of the flute, and played by ear with consider-\\nable sweetness. His father died in 1747, but his uncle\\nContariae helped him at times, and he struggled on;\\nsometimes writing street-ballads for sale, and again\\npawning his books. His nature fitted him for getting\\ninto trouble, and he was once admonished for aiding in a\\nriot in which a bailiff was ducked and some lives lost in\\nthe attempted storming of a jail. At another time he\\nran away to Cork after being caned by a tutor for giving\\na dance in his room. He had no money to go farther\\nand his brother Henry arranged his return, after which\\nhe succeeded in taking the degree of B. A. in 1749.\\nThe next thing was the choice of a profession for the", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0015.jp2"}, "16": {"fulltext": "4 OLIVER GOLDSMITH,\\nidle fellow who was living on his friends, enjoying him-\\nself at rustic merry-makings, and learning French from\\npriests. He was first designed for the church, and after\\ntwo years of probation was rejected by the bishop. It\\nis said that this was for presenting himself for orders\\nwhile wearing scarlet breeches. After trying and giving\\nup a tutorship, his relatives raised \u00c2\u00a350 for him, and with\\ngreat satisfaction, no doubt, saw him mounted on a good\\nhorse, and starting for Cork to embark for America, only\\nto have him return on a wretched beast and without a\\npenny, having lost all in his reckless adventures. Law\\nwas the next in order, and good uncle Contarine raised\\n\u00c2\u00a350 more to start him as a lawyer in London. He came\\nback as usual, after losing his money gambling in Dub-\\nlin. The only profession left to try was that of medi-\\ncine and, supplied again with a moderate sum, he started\\nfor the medical school at Edinburgh, this time never to\\nreturn.\\nAfter eighteen months of desultory work here, he\\nwished to study abroad, and with more money from his\\nfaithful uncle he arrived in Holland after sundry mis-\\nfortunes. A fellow-countryman befriended him in Ley-\\nden, but afterwards advised him to leave, as gamblers,\\nwho were taking all he had, were getting too strong a\\nhold on him. He then started for Paris with his flute,\\na guinea, and an extra shirt. He wandered through\\nFrance and Switzerland, chiefly on foot, playing on his\\nflute many times to secure food and lodging from the\\npeasants. In Italy, the land of music, this would not", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0016.jp2"}, "17": {"fulltext": "BIOGRAPHICAL SKETCH. 5\\navail, and he is said to have taken part in disputes,\\nor debates, at universities and convents, where the con-\\ntestant would be entitled to a supper and a bed. While\\nat Padua, where some claim that he took the degree of\\nBachelor of Medicine, while others say that he had pre-\\nviously taken it at Louvain in France, his Uncle Con-\\ntarine died, and his irregular and scanty remittances of\\nmoney now ceased entirely, so that he retraced his wan-\\nderings.\\nHe arrived at Dover in 1756 in complete destitution\\nand while his improvidence made all his life a hard one,\\nthe next five years are peculiarly distressing, being\\nwholly devoid of the compensations which his subse-\\nquent fame brought. He appears to have sought in vain\\nfor a place as chemist s assistant, and is said to have\\ntried the stage, in a humble way, for a brief period.\\nThere is no definite account of his life at this time, but\\nit is evident that he drifted towards London in a state\\nof beggary. Here he is known to have been employed\\nin a school, and then in a chemist s laboratory. A good\\nQuaker physician who had been a fellow-student at\\nEdinburgh encouraged him to practise medicine, which\\nhe did for a time in the suburbs, but unprofitably, as his\\npatients were mainly among the poor, and could not pay\\nhim. His friend. Dr. Sleigh, helped him to a little writ-\\ning for the booksellers and a patient who was a printer\\nfor Samuel Richardson, a rich publisher and also author\\nof Pamela and other novels, secured for him an in-\\ntroduction to his employer. Richardson gave him a", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0017.jp2"}, "18": {"fulltext": "6 OLIVER GOLDSMITH.\\nlittle work and helped him to make some acquaintances,\\namong whom was Dr. Young, author of Night\\nThoughts.^ Another friend was Dr. Milner, also from\\nEdinburgh, whose father kept a classical school, of\\nwhich Goldsmith, now giving up medicine, was placed\\nin charge during the proprietor s illness. While with\\nthe Milners he met Griffiths, a bookseller, who published\\nthe Monthly Review. Goldsmith was given employment\\non this in 1757 at a small salary, and was thus fairly\\nstarted as a literary drudge. He could not long endure\\nthe exactions of the employer and his wife and now\\nhaving a little acquaintance with publishers, he shifted\\nfor himself, doing any writing that came his way. The\\nMilners tried to befriend him again, and secured for him\\nthe appointment as post-surgeon on the coast of Coro-\\nmandel. This was revoked, however a second attempt\\nto practise medicine proved unprofitable he failed to\\npass an examination for a subordinate hospital position\\nat the College of Surgeons, and was still in most abject\\npoverty. Yet he was continually giving money if he\\nhad it, or even the clothes from his back and the cover-\\nings from his bed, to those who begged of him. His\\nwritings were of whatever sort would bring him money,\\nand he had as yet produced nothing to bring him into\\nprominence.\\nIn 1759 he published anonymously An Enquiry into\\nthe Present State of Polite Learning in Europe, which\\nhe had long been meditating, and in 1760 his Chinese\\nLetters appeared. The money from these enabled", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0018.jp2"}, "19": {"fulltext": "BIOGRAPHICAL SKETCH. 7\\nGoldsmith to change his wretched garret for better\\nquarters and, what was more, he now drew to himself\\nvaluable friends, the chief among whom was the eccen-\\ntric intellectual giant, Samuel Johnson, afterwards Dr.\\nJohnson, who was an autocrat among his literary com-\\npanions, and had himself known the most grinding pov-\\nerty. Goldsmith s circumstances were indeed better, but\\nhis habits still kept him in want and Dr. Johnson told\\nof receiving a message from him saying that he was in\\ngreat distress, and begging a visit as he could not come\\nto his friend. Dr. Johnson sent a guinea, and followed\\nas quickly as possible to find Goldsmith under arrest in\\nhis room for arrears of rent. A fresh bottle of Madeira\\nwine on the table showed how a portion of the guinea\\nhad already been used. Johnson promptly corked the\\nbottle and calmed his excited friend. Upon being in-\\nformed by Goldsmith that he had an unpublished manu-\\nscript by him, he at once examined it and saw its merit.\\nHe immediately sold this for \u00c2\u00a360, with which the rent\\nwas discharged, the landlady receiving an indignant lec-\\nture as well as her money. This manuscript was the copy\\nof the Vicar of Wakefield, published two years after.\\nSo much of our remembrance of Goldsmith is associ-\\nated with the immortal Club that special mention\\nmust be made of this. It was formed in 1764, and con-\\nsisted of nine members who were to sup together once a\\nweek at the Turk s Head. Some of the leading ones\\nbesides our poet were Johnson, already mentioned,\\nJoshua Eeynolds, the eminent painter, Burke, the future", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0019.jp2"}, "20": {"fulltext": "8 OLIVER GOLDSMITH.\\norator, and Beanclerc, a polished aristocrat, whose ap-\\npearance contrasted oddly with that of some others, but\\nwho had a fine literary taste and admired Johnson. To\\nthese were afterwards added Garrick, the actor, and Bos-\\nwell, the son of a Scotch laird, who worshipped the\\ngreat Johnson, sticking to him, as Goldsmith said, like a\\nburr/^ to treasure up his sayings in his memory or his\\nnote-book, and who has perpetuated the remembrance of\\nhis eminent friend and made his own otherwise insignif-\\nicant name live by leaving the most complete biography\\never issued. We gain much knowledge of Goldsmith\\nfrom these pages, always making due allowance for the\\nnarrow-mindedness and jealousy of Boswell, who could\\nnot appreciate the poet as did the great man whom he\\nfollowed.\\nThis year, 1764, was the most important one in all\\nGoldsmith s literary career. He had hitherto left all his\\nwritings without signature, but he now brought out the\\nTraveller under his own name. The effect of this\\ngreat poem on the public was immediate, bringing its\\nauthor to the notice of those who had not known him,\\nand totally changing the estimation of him in the minds\\nof those who had. His club-mates were astounded.\\nThey had recognized ability in the man, in spite of his\\nclumsiness in conversation, but now realized that he pos-\\nsessed genius, and that of the highest order. Within a\\nyear Goldsmith was called the best poet of his age. Dr.\\nJohnson pronounced the Traveller the best f ff ort in\\nverse since the days of Pope while the finest compli-", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0020.jp2"}, "21": {"fulltext": "BIOGRAPHICAL SKETCH. 9\\nment of all came from Miss Reynolds, the sister of the\\npainter, who said, AVell, I never more shall think Dr.\\nGoldsmith ngly\\nWith all this success and the attendant social advan-\\ntages that came with it. Goldsmith felt that he was\\nrising in the world, and revived some of his earlier\\npapers in a collection called Essays by Mr. Gold-\\nsmith. He also changed lodgings again and lived with\\nmore pretension, but was still, as ever, often in want.\\nNo income could have kept pace with the way in which\\nhis generous and heedless nature would have led him to\\nuse it. He always gambled more or less, as was the\\nfashion, and was rarely successful but the sweeping\\ncharges of Macaulay and others on this point cannot be\\nsustained. His disregard of expense, and habit of giving\\nat every appeal of real or pretented distress, especially\\nto needy countrymen of his own who flocked to him,\\nwere enough to account for the financial embarrassment\\nwhich followed him, even when he came to earn perhaps\\n\u00c2\u00a3400 yearly, a large sum in. those days.\\nIn 1765, when pressed for funds, he wrote, among\\nothers, the famous nursery tale of Goody Two Shoes,\\nwhich in its own field has enjoyed as much popularity\\nas any of his writings.\\nHe never yet had regarded himself as permanently\\ngiven up to writing and now his increased acquaintance\\ntempted him to the practice of medicine once more, this\\ntime in a grand way with all the gayly-colored finery of\\nthe period, but this was given up in disgust upon find-", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0021.jp2"}, "22": {"fulltext": "10 OLIVER GOLDSMITH.\\ning that the apothecary knew more about prescribing for\\na case than he did. As is so often the case, the world\\nhad settled the question of an occupation, and he never\\nagain attempted to be anything but an author.\\nThe fame of the Traveller caused the Vicar of\\nWakefield to be issued after lying in the publisher s\\nhands for two years. This added still more to his repu-\\ntation, and he was now a distinguished man. Enemies\\nhad arisen, to be sure but his social opportunities were\\nof the best, although his natural awkwardness, never\\nwholly to be overcome except in his writings, and his\\ncrude earlier life, placed him at a disadvantage.\\nHe now turned his attention to another style of writ-\\ning; and his comedy, The Good-Natured Man, was\\nproduced in 1768. Its reception was disappointing in\\nmany ways. It was a sentimental age, and true comedy\\nwas not appreciated but there was a compensation in\\nthe fact that the total profit was \u00c2\u00a3500, while the\\nTraveller, with all its fame, brought but twenty. In\\na characteristic way. Goldsmith at once used the most\\nof this money in fitting up luxurious apartments, and\\nwas really worse off than ever, as the scale of living he\\nadopted, in the hope of continuing to earn at this rate,\\nkept him plunged in debt for the remainder of his\\nlife.\\nHe was now saddened by the death of his brother\\nHenry, a careful scholar and exemplary man, who, after\\nhis university career, had abandoned thoughts of fame\\nto settle down at Lissoy as pastor, and teacher of the", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0022.jp2"}, "23": {"fulltext": "BIOGRAPHICAL SKETCH. 11\\nvillage school, passing rich, at forty pounds a year.\\nOliver loved this brother with all the warmth of his\\nheart; and when there had been an opportunity for\\npatronage from the Duke of Northumberland, he had\\nthrown away his own chances, sturdily disclaiming all\\nneed for himself, but mentioning his brother, and by\\nhis natural bungling and diffidence securing nothing for\\neither.\\nWe now come to an episode in Goldsmith s life which\\naffords the tenderest memories, and has especially ap-\\npealed to Irving and Thackeray, who of all writers upon\\nthis poet are from the gentleness of their own natures\\nthe most truly appreciative. This is his acquaintance\\nwith the Jessamy Bride, a pet name applied to Miss\\nMary Horneck, the younger of two beautiful daughters\\nof Mrs. Horneck of Devonshire. Goldsmith met this\\nfine family through his friend Reynolds, and formed\\none of the pleasantest friendships of all his restless life.\\nHe had at last met people of culture and position who\\ncould understand him rightly. Goldsmith never openly\\npaid addresses to this lady but Irving suspects that the\\nheavy tailor s charges on record for gaudy costumes\\narose from a realization of his own uncouthness, and a\\ndesire to make himself attractive in the eyes of one\\nhe adored. There is something very touching in the\\nthought of a hopeless devotion, such as may have existed\\nhere and we well may think that had Goldsmith, with\\nhis fine appreciation of home-life, always dear to him\\nand always denied, been able to win the love of such a", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0023.jp2"}, "24": {"fulltext": "12 OLIVER GOLDSMITH.\\nwoman, we miglit now write of a longer and very dif-\\nferent life. It is pleasing to know that years after, the\\nJessamy Bride, an aged but still charming woman,\\nthe widow of a distinguished general, paid a feeling\\ntribute to the memory of her friend.\\nIn 1768 the Eoyal Academy of Arts was instituted\\nunder the patronage of the king and the supervision of\\nforty leading artists. Reynolds was its president, and\\nreceived the honor of knighthood, to the great delight\\nof the Club and the next year Johnson received from\\nthis Academy the honorary title of Professor of Ancient\\nLiterature, and Goldsmith that of Professor of Ancient\\nHistory. No salary went with this, and the recipient\\nhimself wrote to his brother Maurice that such honors\\nwere to one in his situation something like ruffles to\\none wanting a shirt but it was a high mark of distinc-\\ntion, the greatest of his life.\\nIn 1770 the Deserted Village appeared, bringing\\nhim one hundred guineas and additional reputation.\\nHe had now become more at ease in polite society,\\nand we soon find him indulging in an excursion to\\nParis with the Hornecks, a journey which must ha-ve\\nseemed very different from his first vagrant ramblings\\nin France.\\nIn 1773 he scored a triumphal success with his comedy,\\nShe Stoops to Conquer and we should be glad to\\nthink of him as thoroughly happy with all these laurels,\\nbut we are forced to notice another side. After his re-\\nturn from France, he had sought retirement at a farm-", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0024.jp2"}, "25": {"fulltext": "BIOGRAPHICAL SKETCH. 13\\nhouse to catch up with the work, now fast getting\\nbeyond him, an all the more hopeless task because he\\nwas now often paid in advance, and the money would\\nbe spent as soon as he received it. His devotion to\\nwork here impaired his health, his pecuniary embarrass-\\nments increased, and there were never wanting envious\\nand ill-natured critics, and those who would mortify his\\nvanity by practical jokes at the expense of his personal\\nappearance. As a relief from all these annoyances, he\\nindulged in social excesses upon his return to town, with\\nthe result of further enfeebling himself. The end was\\ncoming.\\nHe noAV wished to repair his fortunes by a more elab-\\norate work than any he had yet attempted. His dream\\nwas of a dictionary of arts and sciences, for which Dr.\\nJohnson would write on ethics, Burke on politics, Rey-\\nnolds on painting, Garrick on acting, and others of note\\non other subjects, while Goldsmith would be editor. It\\nwas a promising undertaking if carried out, but the\\nbooksellers shrank from it. It would occupy several\\nvolumes, and they distrusted both the profit, and the-\\nprospect of completion. Then, again, work for which\\nthey had already paid would be laid aside for it. Disap-\\npointed and no longer as capable as formerly. Goldsmith\\nsettled down to forced work which was remorselessly\\ndriving him, and which was more irksome than ever.\\nOne more awakening of his former brilliancy remains in\\nhis unfinished poem, Retaliation, inspired by mock\\nepitaphs written for him by his companions, one of", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0025.jp2"}, "26": {"fulltext": "14 OLIVER GOLDSMITH.\\nwhich by Garrick was especially apt, and therefore\\nstinging\\nHere lies poet Goldsmith, for shortness called Noll,\\nWho wrote like an angel, but talked like poor Poll.\\nGarrick received one in return that fully repaid him,\\nwhile the poet s finest effort was saved for Reynolds,\\nfor whom he had only kindness\\nHere Eeynolds is laid, and to tell you my mind.\\nHe has not left a wiser or better behind.\\nHis pencil was striking, resistless, and grand;\\nHis manners were gentle, complying, and bland;\\nStill born to improve us in every part,\\nHis pencil our faces, his manners our heart.\\nTo coxcombs averse, yet most civilly steering.\\nWhen they judged without skill, he was still hard of hearing\\nWhen they talked of their Kaphaels, Correggios, and stuff.\\nHe shifted his trumpet, and only took snuff.\\nBy flattery unspoiled\\nGoldsmith s work ended. here, and worthily, with this\\nunfinished line. He sank in a fever, and died April 4,\\n1774. Burke burst into tears on hearing the news,\\nReynolds could work no more that day, and the con-\\ntemptuous amusement with which the poor fellow s\\nsocial efforts had often been regarded was lost sight of\\nin the general grief. His financial condition (he was\\nsaid to be \u00c2\u00a32,000 in debt) prevented his having a public\\nfuneral, but the Club not long after placed a medallion\\nwith his likeness in Westminster Abbey, beneath which\\nwas inscribed a noble epitaph in Latin by Dr. Johnson.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0026.jp2"}, "27": {"fulltext": "BIOGRAPHICAL SKETCH. 15\\nAs a scholar, Goldsmith was superficial and careless\\nas a nia,n, we have seen him noble-hearted, but weak and\\nerring but as a literary artist, he remains in the front\\nrank for his purity of thought, beauty of expression,\\nand power to charm. In discussing his varied life, we\\nmust not make the mistake of supposing that Goldsmith\\nstands alone. The Bohemian existence that he led was\\ncommon among literary workers, and the fact that\\nGoldsmith is often singled out as a type of irregular\\nlife among writers simply results from his being better\\nknown to us than most others of his time. We can in\\nno wise hold his life up for imitation, while, on the\\nother hand, there is no call to offer apologies for his\\nerrors. With his simplicity and native goodness, which\\nno accusations on the part of those who charge him\\nwith envy can refute, his failings are more those of\\nthe child, which we regard the more kindly for its evi-\\ndent inability to care for itself, than those of a culprit\\nwhom we would censure. Let Goldsmith stand before\\nus as he was, with no more excuse than his own frank\\nnature would have sought. Irving is to be commended,\\nwho would correct Dr. Johnson s counsel Let not his\\nfaults be remembered, he was a very great man, by\\nsaying with a truer grasp of human nature, Let them\\nbe remembered, since their tendency is to endear.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0027.jp2"}, "28": {"fulltext": "LITERARY PRODUCTIONS\\nOF\\nOLIVER GOLDSMITH.\\nAn Inquiry into the Pkesent State of Polite Learn-\\ning IN Europe (1759). His first work of importance, and\\npublished anonymously. It was severely treated by critics, and\\nis generally considered to have little merit; but at the time it sold\\nprofitably on account of the novelty of the undertaking, and its\\nwide range.\\nThe Bee (1759). A weekly publication, of which only\\neight numbers were issued.\\nSketches from London (1760). Usually spoken of as\\nthe Chinese Letters, being a series of letters, more than a\\nhundred in number, appearing in the Public Ledger, and purport-\\ning to be written by a Chinese visitor to London. A mysterious\\nMan in Black, who gives information to the visitor is some-\\ntimes identified with Goldsmith, and sometimes with his father,\\nbut is probably not definitely intended for either. It was Gold-\\nsmith s habit to draw characters from his own knowledge rather\\nthan from imagination, and in this way family likenesses often\\nappear. These letters were collected next year under the title of\\nthe Citizen of the World. Their shrewd, yet pleasant, satire\\nupon the follies and evils of society commanded attention, and\\nsubsequent years have proven the wisdom of many of his observa-\\ntions and protests, which were unappreciated at the time.\\nHistory OF England (1763). In the form of a series of\\nletters from a nobleman to his son. A compilation of existing\\n16", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0028.jp2"}, "29": {"fulltext": "LITERARY PRODUCTIONS. 17\\nhistories, rewritten in a pleasing way. Superficial and often in-\\ncorrect, but so graceful that the letters were at first thought\\nto be those of Lord Chesterfield. It was even spoken of as the\\nmost finished and elegant summary of English history that had\\never been, or was likely to be, written.\\nThe Teaveller, or a Prospect of Society (1764).\\nSee introduction to this poem, p. 20.\\nEssays by Mr. Goldsmith (1765). A collection of earlier\\nanonymous papers made up from various periodicals.\\nThe Hermit, or Edwin and Angelina (1765). A\\nshorter poem of great power and beauty published under the\\npatronage of the Countess of Northumberland, thus having an\\nintroduction to the world which was of great advantage to Gold-\\nsmith. It was afterwards printed in the Vicar of Wakefield.\\nIt has been called the most finished of modern ballads.\\nThe Yicar of Wakefield (1766). A tale of domestic\\nlife in which the credulous simplicity of the good Yicar and his\\nfamily, together with a childish vanity and capacity for enjoying\\nthe present, regardless of past or future, reflect many traits of\\nthe Goldsmith family. It is a story of sustained sweetness\\nof character under misfortunes the most crushing that can come\\nupon a man all eventually followed by happiness. The plot\\nis strained and unnatural, and the incidents improbable; but it\\nis so beautifully expressed with its simple grace and bright\\nflashes of humor, especially in the earlier part before the clouds\\nthicken, that it has remained one of the gems of literature. As\\na tale of submission in adversity with ultimate reward, it may be\\nsaid to be second only to the Book of Job. Its success was im-\\nmediate, and it has been greatly used and admired in France\\nand Germany as an English text-book.\\nThe Good-ISTatured Man (1768). A comedy illustrating\\nmany of Goldsmith s own traits. Produced at Covent Garden\\nwith indifferent success in some respects, but a total profit of\\n\u00c2\u00a3500.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0029.jp2"}, "30": {"fulltext": "18 OLIVEK GOLDSMITH.\\nHistory of the Earth and Animated Nature (be-\\ngun in 1769). This was to be a work on natural history, pro-\\nduced for Griffin, the bookseller, in eight volumes of 400 pages\\neach. A hundred guineas were to be paid for the delivery of\\neach volume in manuscript. The series was never completed.\\nThis work is interesting, but less valuable than his other writings.\\nFacts are confused with the impossible stories of travellers. Gold-\\nsmith s credulity and lack of accurate knowledge, making him\\nan easy dupe. At the same time, it tells in a delightful way\\nmany a pleasing thing of his own observation.\\nHistory of Eome (1769). Designed for students use,\\nand not the result of original research, but drawn from ponder-\\nous books whose contents were compiled, condensed, and re-\\nwritten in his own easy style, and thus made available for the\\nyoung. In this way great service was done. Though suffering\\nmore or less from the author s carelessness and lack of thorough\\ninformation, the book had so many good points that, like his\\nHistory of England, it long continued to be a standard.\\nThe Deserted Village (1770). See introduction to\\nthis poem, p. 41.\\nHistory of England (1771). Largely a reproduction of\\nhis former one. It was well received, some critics declaring that\\nEnglish history had never before been so usefully, so elegantly,\\nand so agreeably epitomized.\\nShe Stoops to Conquer, or The Mistakes of a Night\\n(1773). A comedy based on blunders of Goldsmith s own. Its\\nproduction at Covent Garden was, after a long delay, secured\\nby the aid of Dr. Johnson, to whom the author affectionately\\ndedicated the play when put to press. It proved very successful,\\nbringing \u00c2\u00a3800, and has lived.\\nHistory of Greece (1774). Prepared in the same way\\nas his other histories.\\nRetaliation (1774). An unfinished poem, said to be his\\nlast work. See Biographical Sketch.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0030.jp2"}, "31": {"fulltext": "LITJEBARY PRODUCTIONS. 19\\nA Survey of Expeeimental Philosophy (1776). A\\nforced work under the pressure of debt, and needing no comment.\\nAs Goldsmith published nothing after 1773, the authorship of\\nthis is given on the authority of the publishers.\\nBesides these he left many lives of various persons, introduc-\\ntions to books, translations, poems, and miscellaneous articles, as\\nhe was a very prolific writer. These were mostly hack-work,\\ndone to procure the means of living, or of satisfying his creditors,\\nand need no special reviewing here.\\nHis poems were first brought out in London in two volumes, in\\n1780. His miscellaneous works were brought out in four volumes,\\nin 1801, edited by S. Eose, with a memoir by Bishop Percy.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0031.jp2"}, "32": {"fulltext": "INTEODUCTIOK TO THE TRAVELLEE.\\nThis poem may have in a measure been suggested by\\nAddison s Letters from Italy and the writer may\\nhave been influenced by a remark of the poet Thomson\\nin a letter to a friend that a poetical landscape of\\ncountries, mixed with moral observations on their char-\\nacters and people, would not be an ill-judged undertak-\\ning. However this may be, the poem is peculiarly\\nGoldsmith s own the expression of his most sincere\\nfeelings and his personal observations; and its prepara-\\ntion is identified with the author s life.\\nThe work was planned and partly composed during the\\nauthor s wandering tour on the Continent, 1754-1756\\nand a portion of it was sent in a crude form from Swit-\\nzerland to his brother Henry. It was published in 1764,\\nand was the first work to which Goldsmith placed his\\nname.\\nThe plan of the poem is grand An English wanderer\\nseated among the peaks of the Alps looks down upon\\nthe various countries spread out before him, recalls his\\ntravels, and meditates upon the distinctive features of\\nthe lands he has examined. No one offers the complete\\nhappiness he seeks, and he comes to the conclusion that\\n20", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0032.jp2"}, "33": {"fulltext": "INTRODUCTION TO THE TBAVELLEBy 21\\neach man s feelings depend mainly upon himself, and\\nthat contentment, or its opposite, must find its causes\\nwithin us, and is beyond the reach of government.\\nWhile we may find it hard to accept the reasoning that\\nopportunities for happiness are everywhere the same,\\nwe can all recognize that it is a man s privilege to be\\nmaster of his mind.\\nFew poems have been so carefully written. It is said\\nthat the poet s spare moments during the two years pre-\\nvious to its publication were spent in patiently revising\\nand retouching these lines, until the whole stands as a\\nmodel of skill and taste.\\nIt is a didactic poem in which the versifier accompa-\\nnies the moralist at every step without ever losing the\\ngrace and beauty of his own especial province.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0033.jp2"}, "34": {"fulltext": "TO THE\\nREV. HENRY GOLDSMITH.\\nDear Sir,\\nI am sensible that the friendsliip between us can\\nacquire no new force from the ceremonies of a dedica-\\ntion; and perhaps it demands an excuse thus to prefix\\nyour name to my attempts, which you decline giving\\nwith your own. But as a part of this poem was for-\\nmerly written to you from Switzerland, the whole can\\nnow with propriety be inscribed only to you. It will\\nalso throw a light upon many parts of it, when the\\nreader understands that it is addressed to a man who,\\ndespising fame and fortune, has retired early to happi-\\nness and obscurity, with an income of forty pounds a\\nyear.\\nI now perceive, my dear brother, the wisdom of your\\nhumble choice. You have entered upon a sacred office,\\nwhere the harvest is great and the laborers are but few\\nwhile you have left the field of ambition, where the\\nlaborers are many and the harvest not worth carrying\\naway. But of all kinds of ambition what from the\\nrefinement of the times, from differing systems of criti-\\ncism, and from the divisions of party that which\\npursues poetical fame is the wildest.\\n22", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0034.jp2"}, "35": {"fulltext": "DEDICATION TO THE TRAVELLER: 23\\nPoetry makes a principal amusement among unpol-\\nished nations but in a country verging to the extremes\\nof refinement, painting and music come in for a share.\\nAs these offer the feeble mind a less laborious entertain-\\nment, they at first rival poetry, and at length supplant\\nher: they engross all that favor once shown to her; and\\nthough but younger sisters, seize upon the elder s birth-\\nright.\\nYet, however this art may be neglected by the power-\\nful, it is still in greater danger from the mistaken efforts\\nof the learned to improve it. What criticisms have we\\nnot heard of late in favor of blank verse and Pindaric\\nodes, choruses, anapests, and iambics, alliterative care\\nand happy negligence Everj^ absurdity has now a\\nchampion to defend it and as he is generally much in\\nthe wrong, so he has always much to say for error is\\never talkative.\\nBut there is an enemy to this art still more danger-\\nous I mean party. Party entirely distorts the judgment,\\nand destroys the taste. When the mind is once infected\\nwith this disease, it can only find pleasure in what con-\\ntributes to increase the distemper. Like the tiger, that\\nseldom desists from pursuing man after having once\\npreyed upon human flesh, the reader who has once grati-\\nfied his appetite with calumny makes ever after the\\nmost agreeable feast upon murdered reputation. Such\\nreaders generally admire some half-witted thing who\\nwants to be thought a bold man, having lost the charac-\\nter of a wise one. Him they dignify with the name of", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0035.jp2"}, "36": {"fulltext": "24 OLIVEB GOLDSMITH.\\npoet his tawdry lampoons are called satires his tur-\\nbulence is said to be force, and his frenzy, fire.\\nWhat reception a poem may find which has neither\\nabuse, party, nor blank verse to support it I cannot tell\\nnor am I solicitous to know. My aims are right. With-\\nout espousing the cause of any part} I have attempted\\nto moderate the rage of all. I have endeavoured to\\nshow that there may be equal happiness in states that\\nare differently governed from our own that every state\\nhas a particular principle of happiness and that this\\nprinciple in each may be carried to a mischievous excess.\\nThere are few can judge better than yourself how far\\nthese positions are illustrated in this poem.\\nI am, DEAR SIR,\\nYour most affectionate brother,\\nOLIYEK GOLDSMITH.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0036.jp2"}, "37": {"fulltext": "THE TRAVELLER;\\nOB,\\nA PROSPECT OF SOCIETY.\\nEemote, unfriended, melancholy, slow,\\nOr by the lazy Scheldt, or wandering Po\\nOr onward, where the rude Carinthian boor\\nAgainst the houseless stranger shuts the door\\nOr where Campania s plain forsaken lies, 5\\nA weary waste expanding to the skies\\nWhere er I roam, whatever realms to see.\\nMy heart untravelled fondly turns to thee\\nStill to my brother turns, with ceaseless pain.\\nAnd drags at each remove a lengthening chain. 10\\nEternal blessings crown my earliest friend.\\nAnd round his dwelling guardian saints attend\\nBlest be that spot, where cheerful guests retire\\nTo pause from toil, and trim their evening fire\\nBlest that abode, where want and pain repair, 15\\nAnd every stranger finds a ready chair\\nBlest be those feasts with simple plenty crowned,\\nWhere all the ruddy family around\\nLaugh at the jests or pranks that never fail.\\nOr sigh with pity at some mournful tale\\n25\\n20", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0037.jp2"}, "38": {"fulltext": "26 OLIVER GOLDSMITH.\\nOr press the bashful stranger to his food,\\nAnd learn the luxury of doing good.\\nBut me, not destined such delights to share,\\nMy prime of life in wandering spent and care,\\nImpelled with steps unceasing to pursue 25\\nSome fleeting good, that mocks me with the view,\\nThat, like the circle bounding earth and skies,\\nAllures from far, yet, as I follow, flies.\\nMy fortune leads to traverse realms alone,\\nAnd find no spot of all the world my own. 30\\nE en now, where Alpine solitudes ascend,\\nI sit me down a pensive hour to spend\\nAnd, placed on high above the storm s career.\\nLook downward where an hundred realms appear\\nLakes, forests, cities, plains extending wide, 35\\nThe pomp of kings, the shepherd s humbler pride.\\nWhen thus creation s charms around combine.\\nAmidst the store should thankless pride repine\\nSay, should the philosophic mind disdain\\nThat good which makes each humbler bosom vain 40\\nLet school-taught pride dissemble all it can.\\nThese little things are great to little man\\nAnd wiser he whose sympathetic mind\\nExults in all the good of all mankind. 44\\nYe glittering crowns with wealth and splendour crowned\\nYe fields where summer spreads profusion round\\nYe lakes whose vessels catch the busy gale\\nYe bending swains that dress the flowery vale\\nEor me your tributary stores combine", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0038.jp2"}, "39": {"fulltext": "THE TBAVELLEE. 27\\nCreation s lieir, the world, the world is mine 50\\nAs some lone miser, visiting his store,\\nBends at his treasure, counts, recounts it o er\\nHoards after hoards his rising raptures fill,\\nYet still he sighs, for hoards are wanting still\\nThus to my breast alternate passions rise, 55\\nPleased with each good that Heaven to man supplies\\nYet oft a sigh prevails, and sorrows fall.\\nTo see the hoard of human bliss so small\\nAnd oft I wish, amidst the scene, to find\\nSome spot to real happiness consigned, 60\\nWhere my worn soul, each wandering hope at rest,\\nMay gather bliss, to see my fellows blest.\\nBut, where to find that happiest spot below,\\nWho can direct, when all pretend to know\\nThe shuddering tenant of the frigid zone 65\\nBoldly proclaims that happiest spot his own\\nExtols the treasures of his stormy seas.\\nAnd his long nights of revelry and ease\\nThe naked negro, panting at the line,\\nBoasts of his golden sands and palmy wine, 70\\nBasks in the glare, or stems the tepid wave.\\nAnd thanks his gods for all the good they gave.\\nSuch is the patriot s boast, where er we roam,\\nHis first, best country, ever is at home.\\nAnd yet, perhaps, if countries we compare, 75\\nAnd estimate the blessings which they share.\\nThough patriots flatter, still shall wisdom find\\nAn equal portion dealt to all mankind", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0039.jp2"}, "40": {"fulltext": "28 OLIVEB GOLDSMITH.\\nAs different good, by art or nature given,\\nTo different nations makes their blessings even. 80\\nNatnre, a mother kind alike to all.\\nStill grants her bliss at labour s earnest call\\nWith food as well the peasant is supplied\\nOn Idra s cliff as Arno s shelvy side\\nAnd though the rocky-crested summits frown, 85\\nThese rocks, by custom, turn to beds of down.\\nFrom art more various are the blessings sent\\nWealth, commerce, honour, liberty, content.\\nYet these each other s power so strong contest,\\nThat either seems destructive of the rest. 90\\nWhere wealth and freedom reign, contentment fails,\\nAnd honour sinks where commerce long prevails.\\nHence every state, to one loved blessing prone,\\nConforms and models life to that alone.\\nEach to the favourite happiness attends 5 95\\nAnd spurns the plan that aims at other ends\\nTill, carried to excess in each domain.\\nThis favourite good begets peculiar pain.\\nBut let us try these truths with closer eyes.\\nAnd trace them through the prospect as it lies l^\\nHere, for a while my proper cares resigned.\\nHere let me sit in sorrow for mankind\\nLike yon neglected shrub, at random cast.\\nThat shades the steep, and sighs at every blast.\\nFar to the right, where Apennine ascends,\\nBright as the summer, Italy extends\\nIts uplands sloping deck the mountain s side,", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0040.jp2"}, "41": {"fulltext": "THE TBAVELLEB. 29\\nWoods over woods in gay theatric pride\\nWhile oft some temple s mouldering tops between\\nWith venerable grandeur mark the scene. 110\\nCould nature s bounty satisfy the breast,\\nThe sons of Italy were surely blest.\\nWhatever fruits in different climes are found,\\nThat proudly rise, or humbly court the ground j\\nWhatever blooms in torrid tracts appear, 115\\nWhose bright succession decks the varied year\\nWhatever sweets salute the northern sky\\nWith vernal lives, that blossom but to die\\nThese here disporting own the kindred soil,\\nNor ask luxuriance from the planter s toil 120\\nWhile sea-born gales their gelid wings expand\\nTo winnow fragrance round the smiling land.\\nBut small the bliss that sense alone bestows.\\nAnd sensual bliss is all the nation knows.\\nIn florid beauty groves and fields appear, 125\\nMan seems the only growth that dwindles here.\\nContrasted faults through all his manners reign\\nThough poor, luxurious though submissive, vain\\nThough grave, yet trifling; zealous, yet untrue;\\nAnd even in penance planning sins anew. 130\\nAll evils here contaminate the mind,\\nThat opulence departed leaves behind\\nFor wealth was theirs, not far removed the date.\\nWhen commerce proudly flourished through the state\\nAt her command the palace learned to rise, 135\\nAgain the long-fallen column sought the skies.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0041.jp2"}, "42": {"fulltext": "30 OLIVER GOLDSMITH.\\nThe canvas glowed, beyond e en nature warm,\\nThe pregnant quarry teemed with human form\\nTill, more unsteady than the southern gale,\\nCommerce on other shores displayed her sail 140\\nWhile nought remained of all that riches gave,\\nBut towns unmanned and lords without a slave\\nAnd late the nation found with fruitless skill\\nIts former strength was but plethoric ill.\\nYet still the loss of wealth is here supplied 145\\nBy arts, the splendid wrecks of former pride\\nFrom these the feeble heart and long-fallen mind\\nAn easy compensation seem to find.\\nHere may be seen, in bloodless pomp arrayed,\\nThe pasteboard triumph and the cavalcade l^^\\nProcessions formed for piety and love,\\nA mistress or a saint in every grove\\nBy sports like these are all their cares beguiled\\nThe sports of children satisfy the child\\nEach nobler aim, represt by long control,\\nNow sinks at last, or feebly mans the soul;\\nWhile low delights, succeeding fast behind,\\nIn happier meanness occupy the mind\\nAs in those domes, where Caesars once bore sway.\\nDefaced by time and tottering in decay, 160\\nThere in the ruin heedless of the dead,\\nThe shelter-seeking peasant builds his shed\\nAnd, wondering man could want the larger pile,\\nExalts, and owns his cottage with a smile.\\nMy soul, turn from them, turn we to survey i^^", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0042.jp2"}, "43": {"fulltext": "THE TRAVELLER. 31\\nWhere rougher climes a nobler race display,\\nWhere the bleak Swiss their stormy mansion tread,\\nAnd force a churlish soil for scanty bread\\nNo product here the barren hills afford\\nBut man and steel, the soldier and his sword 170\\nISTo vernal blooms their torpid rocks array,\\nBut winter lingermg chills the lap of May\\nISIo zephyr fondly sues the mountain s breast.\\nBut meteors glare, and stormy glooms invest.\\nYet still, even here, content can spread a charm, 175\\nKedress the clime, and all its rage disarm.\\nThough poor the peasant s hut, his feast though small,\\nHe sees his little lot the lot of all\\nSees no contiguous palace rear its head.\\nTo shame the meanness of his humble shed 180\\nNo costly lord the sumptuous banquet deal,\\nTo make him loathe his vegetable meal\\nBut calm, and bred in ignorance and toil.\\nEach wish contracting, fits him to the soil.\\nCheerful at morn, he wakes from short repose, 185\\nBreasts the keen air, and carols as he goes\\nWith patient angle trolls the finny deep\\nOr drives his venturous ploughshare to the steep\\nOr seeks the den where snow-tracks mark the way.\\nAnd drags the struggling savage into day. 190\\nAt night returning, every labour sped.\\nHe sits him down the monarch of a shed\\nSmiles by his cheerful fire, and round surveys\\nHis children s looks, that brighten at the blaze", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0043.jp2"}, "44": {"fulltext": "32 OLIVER GOLDSMITH.\\nWhile his loved partner, boastful of her hoard, 1S5\\nDisplays her cleanly platter on the board\\nAnd haply too some pilgrim, thither led.\\nWith many a tale repays the nightly bed.\\nThus every good his native wilds impart\\nImprints the patriot passion on his heart 200\\nAnd e en those ills, that round his mansion rise.\\nEnhance the bliss his scanty fund supplies.\\nDear is that shed to which his soul conforms.\\nAnd dear that hill which lifts him to the storms\\nAnd as a child, when scaring sounds molest, 205\\nClings close and closer to the mother s breast,\\nSo the loud torrent, and the whirlwind s roar,\\nBut bind him to his native mountains more.\\nSuch are the charms to barren states assigned\\nTheir wants but few, their wishes all confined. 210\\nYet let them only share the praises due.\\nIf few their wants, their pleasures are but few\\nFor every want that stimulates the breast\\nBecomes a source of pleasure when redrest.\\nWhence from such lands each pleasing science flies, 215\\nThat first excites desires, and then supplies\\nUnknown to them when sensual pleasures cloy.\\nTo fill the languid pause with finer joy\\nUnknown those powers that raise the soul to flame.\\nCatch every nerve and vibrate through the frame. 220\\nTheir level life is but a smouldering fire,\\nUnquenched by want, unfanned by strong desire;\\nUnfit for raptures, or, if raptures cheer", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0044.jp2"}, "45": {"fulltext": "THE TRAVELLER. 33\\nOn some high festival of once a year,\\nIn wild excess the vulgar breast takes fire, 225\\nTill, buried in debauch, the bliss expire.\\nBut not their joys alone thus coarsely flow\\nTheir morals, like their pleasures, are but low\\nFor, as refinement stops, from sire to son.\\nUnaltered, unimproved, the manners run 230\\nAnd love s and friendship s finely pointed dart\\nFall, blunted, from each indurated heart.\\nSome sterner virtues o er the mountain s breast\\nMay sit, like falcons cowering on the nest\\nBut all the gentler morals, such as play 235\\nThrough life s more cultured walks, and charm the way,\\nThese, far dispersed, on timorous pinions fly,\\nTo sport and flutter in a kinder sky.\\nTo kinder skies, where gentler manners reign,\\nI turn and France dis|)lays her bright domain. 240\\nGay, sprightly land of mirth and social ease,\\nPleased with thyself, whom all the world can please,\\nHow often have I led thy sportive choir,\\nWith tuneless pipe beside the murmuring Loire\\nWhere shading elms along the margin grew, 245\\nAnd freshened from the wave the zephyr flew\\nAnd haply, though my harsh touch faltering still.\\nBut mocked all tune, and marred the dancer s skill\\nYet would the village praise my wondrous power,\\nAnd dance, forgetful of the noontide hour. 250\\nAlike all ages. Dames of ancient days\\nHave led their children through the mirthful maze.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0045.jp2"}, "46": {"fulltext": "34 OLIVER GOLUSMITH.\\nAnd the gay grandsire, skilled in gestic lore,\\nHas frisked beneath the burthen of threescore.\\nSo blest a life these thoughtless realms display 265\\nThus idly busy rolls their world away.\\nTheirs are those arts that mind to mind endear,\\nEor honour forms the social temper here\\nHonour, that praise which real merit gains.\\nOr even imaginary worth obtains, 260\\nHere passes current paid from hand to hand.\\nIt shifts in splendid traffic round the land\\nFrom courts to camps, to cottages it strays.\\nAnd all are taught an avarice of praise\\nThey please, are pleased, they give to get esteem, 265\\nTill, seeming blest, they grow to what they seem.\\nBut while this softer art their bliss supplies,\\nIt gives their follies also room to rise\\nFor praise too dearly loved, or warmly sought.\\nEnfeebles all internal strength of thought 270\\nAnd the weak soul within itself unblest.\\nLeans for all pleasure on another s breast.\\nHence, ostentation here, with tawdry art.\\nPants for the vulgar praise which fools impart\\nHere vanity assumes her pert grimace, 275\\nAnd trims her robes of frieze with copper lace\\nHere beggar pride defrauds her daily cheer.\\nTo boast one splendid banquet once a year\\nThe mind still turns where shifting fashion draws,\\nNor weighs the solid worth of self -applause. 280\\nTo men of other minds my fancy flies,", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0046.jp2"}, "47": {"fulltext": "THE TRAVELLER. 35\\nEmbosomed in the deep where Holland lies.\\nMethinks her patient sons before me stand,\\nWhere the broad ocean leans against the land\\nAnd, sedulous to stop the coming tide, 286\\nLift the tall rampire s artificial pride.\\nOnward, methinks, and diligently slow.\\nThe firm connected bulwark seems to grow.\\nSpreads its long arms amidst the watery roar.\\nScoops out an empire, and usurps the shore 290\\nWhile the pent ocean, rising o er the pile.\\nSees an amphibious world beneath him smile\\nThe slow canal, the yellow blossomed vale.\\nThe willow-tufted bank, the gliding sail.\\nThe crowded mart, the cultivated plain 295\\nA new creation rescued from his reign.\\nThus, while around the wave-subjected soil\\nImpels the native to repeated toil.\\nIndustrious habits in each bosom reign.\\nAnd industry begets a love of gain. 300\\nHence all the good from opulence that springs.\\nWith all those ills superfluous treasure brings,\\nAre here displayed. Their much-loved wealth imparts\\nConvenience, plenty, elegance, and arts\\nBut view them closer, craft and fraud appear, 305\\nEven liberty itself is bartered here.\\nAt gold s superior charms all freedom flies\\nThe needy sell it, and the rich man buys\\nA land of tyrants, and a den of slaves.\\nHere wretches seek dishonourable graves, 310", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0047.jp2"}, "48": {"fulltext": "36 oliveh goldsmith.\\nAnd, calmly bent, to servitude conform,\\nDull as their lakes that slumber in the storm.\\nHeavens how unlike their Belgic sires of old\\nRough, poor, content, ungovernably bold,\\nWar in each breast, and freedom on each brow 315\\nHow much unlike the sons of Britain now\\nFired at the sound, my genius spreads her wing,\\nAnd flies where Britain courts the western spring\\nWhere lawns extend that scorn Arcadian pride,\\nAnd brighter streams than famed Hydaspes glide. 320\\nThere, all around, the gentlest breezes stray\\nThere gentlest music melts on ev ry spray\\nCreation s mildest charms are there combined\\nExtremes are only in the master s mind.\\nStern o er each bosom Eeason holds her state, 325\\nWith daring aims irregularly great.\\nPride in their port, defiance in their eye,\\nI see the lords of human kind pass by\\nIntent on high designs, a thoughtful band.\\nBy forms unfashioned, fresh from nature s hand, 330\\nFierce in their native hardiness of soul.\\nTrue to imagined rights, above control\\nWhile even the peasant boasts these rights to scan,\\nAnd learns to venerate himself as man.\\nThine, Freedom, thine the blessings pictured here, 335\\nThine are those charms that dazzle and endear;\\nToo blest, indeed, were such without alloy.\\nBut fostered e en by freedom, ills annoy\\nThat independence Britons prize too high,", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0048.jp2"}, "49": {"fulltext": "THE TBAVELLER. 37\\nKeeps man from man, and breaks the social tie 340\\nThe self-dependent lordlings stand alone,\\nAll claims that bind and sweeten life unknown.\\nHere, by the bonds of nature feebly held,\\nMinds combat minds, repelling and repelled\\nFerments arise, imprisoned factions roar, 345\\nEepressed ambition struggles round her shore,\\nTill, overwrought, the general system feels\\nIts motions stopped, or frenzy fire the wheels.\\nNor this the worst. As nature s ties decay.\\nAs duty, love, and honour fail to sway, 350\\nFictitious bonds, the bonds of wealth and law.\\nStill gather strength, and force unwilling awe.\\nHence all obedience bows to these alone.\\nAnd talent sinks, and merit weeps unknown\\nTill time may come, when, stripped of all her charms^ 355\\nThe land of scholars, and the nurse of arms.\\nWhere noble stems transmit the patriot flame.\\nWhere kings have toiled, and poets wrote for fame,\\nOne sink of level avarice shall lie.\\nAnd scholars, soldiers, kings, unhonoured die. 360\\nYet, think not, thus when freedom s ills I state,\\nI mean to flatter kings, or court the great.\\nYe powers of truth, that bid my soul aspire.\\nFar from my bosom drive the low desire\\nAnd thou, fair Freedom, taught alike to feel 365\\nThe rabble s rage, and tyrant s angry steel\\nThou transitory flower, alike undone\\nBy proud contempt or favour s fostering sun,", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0049.jp2"}, "50": {"fulltext": "38 OLIVER GOLDSMITH.\\nStill may thy blooms the changeful clime endure\\nI only would repress them to secure 370\\nFor just experience tells, in ev ry soil,\\nThat those who think, must govern those that toil\\nAnd all that freedom s highest aims can reach\\nIs but to lay proportioned loads on each.\\nHence, should one order disproportioned grow, 375\\nIts double weight must ruin all below.\\nthen how blind to all that truth requires,\\nWho think it freedom when a part aspires\\nCalm is my soul, nor apt to rise in arms,\\nExcept when fast approaching danger warms 380\\nBut, when contending chiefs blockade the throne,\\nContracting regal power to stretch their own,\\nWhen I behold a factious band agree\\nTo call it freedom when themselves are free\\nEach wanton judge new penal statutes draw, 385\\nLaws grind the poor, and rich men rule the law\\nThe wealth of climes, where savage nations roam.\\nPillaged from slaves to purchase slaves at home\\nFear, pity, justice, indignation start.\\nTear off reserve, and bare my swelling heart 390\\nTill, half a patriot half a coward grown,\\nI fly from petty tyrants to the throne.\\nYes, brother curse with me that baleful hour\\nWhen first ambition struck at regal power\\nAnd, thus polluting honour in its source, 395\\nGave wealth to sway the mind Avith double force.\\nHave we not seen, round Britain s peopled shore.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0050.jp2"}, "51": {"fulltext": "THE TRAVELLEB. 39\\nHer useful sons exchanged for useless ore\\nSeen all lier triumphs but destruction haste.\\nLike flaring tapers brightening as they waste 400\\nSeen opulence, her grandeur to maintain,\\nLead stern depopulation in her train,\\nAnd over fields where scattered hamlets rose.\\nIn barren solitary pomp repose\\nHave we not seen, at pleasure s lordly call, 405\\nThe smiling, long-frequented village fall\\nBeheld the duteous son, the sire decayed,\\nThe modest matron, and the blushing maid,\\nForced from their homes, a melancholy train.\\nTo traverse climes beyond the western main 410\\nWhere wild Oswego spreads her swamps around,\\nAnd Niagara stuns with thundering sound\\nEven now, perhaps, as there some pilgrim strays\\nThrough tangled forests and through dang rous ways.\\nWhere beasts with man divided empire claim, 415\\nAnd the brown Indian marks with murderous aim\\nThere, while above the giddy tempest flies.\\nAnd all around distressful yells arise.\\nThe pensive exile, bending with his woe,\\nTo stop too fearful, and too faint to go, 420\\nCasts a long look where England s glories shine,\\nAnd bids his bosom sympathize with mine.\\nYain, very vain my weary search to find\\nThat bliss which only centres in the mind.\\nWhy have I strayed from pleasure and repose, 425\\nTo seek a good each government bestows", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0051.jp2"}, "52": {"fulltext": "40 OLIVER GOLDSMITH.\\nIn every government, tliongli terrors reign,\\nThough tyrant kings or tyrant laws restrain,\\nHow small, of all that human hearts endure.\\nThat part which laws or kings can cause or cure 430\\nStill to ourselves in every place consigned,\\nOur own felicity we make or find.\\nWith secret course, which no loud storms annoy,\\nGlides the smooth current of domestic joy:\\nThe lifted axe, the agonizing wheel, 435\\nLuke s iron crown, and Damiens bed of steel,\\nTo men remote from power but rarely known,\\nLeave reason, faith, and conscience, all our own.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0052.jp2"}, "53": {"fulltext": "INTRODUCTION TO THE DESERTED\\nVILLAGE.\\nThis poem, publislied in 1770, is the natural com-\\npanion-piece of The Traveller, which, it resembles in\\ndrawing a political conclusion from a poetical descrip-\\ntion. It lacks the grandly conceived plan of the earlier\\npoem, but is a greater general favorite, because it comes\\nnearer the heart.\\nThe story is of the desolate remains of a country\\nvillage, which was the early home of the poet, and\\nto which he had hoped to return, contrasted with\\nmemories of its former happy condition. Reasons\\nare assigned for the change, and there follow general\\nmoralizings upon it, all closing in a graceful and digni-\\nfied manner with Si noble address to the Genius of\\nPoetry, in which is compressed the essence of the\\nwhole.\\nThe Sweet Auburn of the poet is generally identi-\\nfied with Lissoy, to which Goldsmith s father removed\\nduring the infancy of his gifted son, and where Henry\\nGoldsmith settled. It has been charged with great\\nwarmth, especially by Macaulay, that there never was\\n41", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0053.jp2"}, "54": {"fulltext": "42 OLIVER GOLDSMITH.\\nsuch a village in Ireland, and that the poet has confused\\ntwo countries but the explanation is easy. Goldsmith\\ncomposed this poem at a pleasant place in the suburbs of\\nLondon where, after reaching prominence, he was accus-\\ntomed to go in order to find relief from the confinement\\nof the city. As he worked, the neatly kept hedge-rows\\nof the soft English landscape would insensibly blend with\\nthe memories of his old home, whose harsher outlines Avere\\nrelieved by the glamour of early recollections, and the\\ngathering mist of years. It may be added that Gold-\\nsmith, while freely drawing from his own life, and the\\nscenes of his native land, alwaj^s wrote as an Englishman.\\nSo little doubt was there, that a Captain Hogan in a great\\nmeasure restored Lissoy, to preserve local features made\\nfamous by the poet and writers like Walter Scott and\\nWilliam Black are agreed that no other place could be\\nmeant.\\nGoldsmith had become possessed of the idea that the\\nincrease of wealth had a tendency to depopulate and\\nlay waste the smaller villages, and affirmed that this\\nwas established by his own observation. In line with\\nthis is the allusion made near the close of The Travel-\\nler/ which leads up to this poem\\nHave we not seen, at pleasure s lordly call,\\nThe smiling, long-frequented village fall\\nBeheld the duteous son, the sire decayed,\\nThe modest matron, and the blushing maid,\\nForced from their homes, a melancholy train,\\nTo traverse climes beyond the western main?", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0054.jp2"}, "55": {"fulltext": "INTBODUCTION TO THE DESERTED VILLAGE/ 43\\nHis reasoning has been sharply attacked as contrary\\nto the principles of political economy, and he no doubt\\nwrongly accounted for the changes wrought by emigra-\\ntion. Again, he perhaps allowed special instances that\\nhe may have known, such as Black mentions of a vil-\\nlage removed at the whim of an English landlord, to\\nstand for a general truth. It is also said by some that\\nLord Kobert Napier partially depopulated Lissoy by\\nevicting three good families with all their tenants in\\norder to fit up his estate as he wished. The report of\\nthis might be enough to account for the views taken\\nin the poem. But it is not worth while to be critical\\na poet has the right to form his own conceptions and\\nadapt his material. Moreover, it is an emphatically\\nsound idea that happy homes are a nation s strength,\\nwhile a contented and prosperous producing class is the\\ntrue basis of society.\\nAs this poem is the one by which most readers will\\nform their estimate of Goldsmith as a writer of verse,\\na few general remarks upon his poetry will be in order.\\nThe first thing to be noticed is the i nconspicuousnes s of\\nhis style. The mattp.r is of m_ore_im.pQrtance to him\\nthan^the manner and at the same time his ear for music,\\nand familiar acquaintance with good models have en-\\nabled him to go on without jarring the reader s ear with\\ncrude or false lines. Figures of speech are introduced\\nin sufficient variety, but always from well-understood\\nsources, and never expressed in such a way as to cause\\nany effort in following them or their application. We", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0055.jp2"}, "56": {"fulltext": "44 OLIVER GOLDSMITH.\\nare not challenged to stop and admire new and glittering\\nconstructions, nor ingeniously improvised words. Com-\\nmon speech affords the most of his material and thus\\nhis lines pass again into common speech, and enrich the-\\nthought of thousands who are unaffected by the more\\nambitious masters of verse. He is strikingly free from\\nforeign airs, uses no metrical variations caught from the\\nContinent, and yet, by skilfully varying his pauses,\\navoids monotony throughout. He has a poet s mastery\\nof epithet. Without startling us by unusual coinage,\\nhe arouses pathos by the rattling terrors of the venge-\\nful snake, the matted woods, and the intolerable\\nday. He understands contrasts, and, what is more,\\nknows how to harmonize their effect. We are led from\\nthe ravaged landscape to the grassy-vested green,\\nbut never lose the continuity of thought. Goldsmith\\nrequires no elaborate course of learning to understand\\nhis allusions, nor trained perception to comprehend his\\nthought. He charms all ages by his simple and tasteful\\nuse of nature; and, as Dr. Aikin says, if this be not\\nthe highest department of poetry, it has the advantage\\nof being the most universally agreeable.\\nThe Deserted Village deserves our careful attention\\nfrom the deep feeling in its thought, the music in its\\nlines, and its entire freedom from affectation. It stands\\nfor itself, a graceful example of true English literature.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0056.jp2"}, "57": {"fulltext": "TO\\nSIE JOSHUA REYNOLDS\\nDear Sir,\\nI can have no expectations, in an address of this kind,\\neither to add to your reputation or to establish my own.\\nYou can gain nothing from my admiration, as I am ig-\\nnorant of that art in which you are said to excel and I\\nmay lose much by the severity of your judgment, as few\\nhave a juster taste in poetry than you. Setting interest\\ntherefore aside, to which I never paid much attention, I\\nmust be indulged at present in following my affections.\\nThe only dedication I ever made was to my brother, be-\\ncause I loved him better than most other men. He is\\nsince dead. Permit me to inscribe this poem to you.\\nHow far you may be pleased with the versification\\nand mere mechanical parts of this attempt, I do not pre-\\ntend to inquire; but I know you will object and in-\\ndeed several of our best and wisest friends concur in the\\nopinion that the depopulation it deplores is nowhere\\nto be seen, and the disorders it laments are only to be\\nfound in the poet s own imagination. To this I scarce\\nmake any other answer than that I sincerely believe\\nwhat I have written; that I have taken all possible\\n45", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0057.jp2"}, "58": {"fulltext": "46 OLIVER GOLDSMITH.\\npains in my country excursions for these four or five\\nyears past to be certain of what I allege and that all\\nmy views and inquiries have led me to believe those\\nmiseries real which I here attempt to display. But this\\nis not the place to enter into an inquiry whether the\\ncountry be depopulating or not; the discussion would\\ntake up much room, and I should prove myself, at best,\\nan indifferent politician to tire the reader with a long\\npreface, when I want his unfatigued attention to a long\\npoem.\\nIn regretting the depopulation of the country, I in-\\nveigh against the increase of our luxuries and here, also,\\nI expect the shout of modern politicians against me.\\nFor twenty or thirty years past it has been th-e fashion\\nto consider luxury as one of the greatest national advan-\\ntages and all the wisdom of antiquity, in that particu-\\nlar, as erroneous. Still, however, I must remain a\\nprofessed ancient on that head, and continue to think\\nthose luxuries prejudicial to states, by which so many\\nvices are introduced, and so many kingdoms have been\\nundone. Indeed, so much has been poured out of late\\non the other side of the question, that merely for the\\nsake of novelty and variety one would sometimes wish\\nto be in the right.\\nI am. Dear Sir,\\nYour sincere friend and ardent admirer,\\nOLIVER GOLDSMITH.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0058.jp2"}, "59": {"fulltext": "THE DESERTED VILLAGE.\\nSweet Auburn loveliest village of the plain,\\nWhere health and plenty cheered the labouring swain,\\nWhere smiling spring its earliest visit paid,\\nAnd parting summer s lingering blooms delayed\\nDear lovely bowers of innocence and ease, 5\\nSeats of my youth, when every sport could please.\\nHow often have I loitered o er thy green,\\nWhere humble happiness endeared each scene\\nHow often have I paused on every charm,\\nThe sheltered cot, the cultivated farm, 10\\nThe never-failing brook, the busy mill.\\nThe decent church that topt the neighbouring hill,\\nThe hawthorn bush, with seats beneath the shade.\\nFor. talking age and whispering lovers made\\nHow often have I blest the coming day, 15\\nW^hen toil remitting lent its turn to play.\\nAnd all the village train, from labour free,\\nLed up their sports beneath the spreading tree,\\nWhile many a pastime circled in the shade,\\nThe young contending as the old surveyed 20\\nAnd many a gambol frolicked o er the ground.\\nAnd sleights of art and feats of strength went round\\n47", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0059.jp2"}, "60": {"fulltext": "48 OLIVER GOLDSMITH.\\nAnd still; as each repeated pleasure tired,\\nSucceeding sports tlie mirthful band inspired\\nThe dancing pair that simply sought renown 25\\nBy holding out to tire each other down\\nThe swain mistrustless of his smutted face,\\nWhile secret laughter tittered round the place\\nThe bashful virgin s sidelong looks of love,\\nThe matron s glance that would those looks reprove. 30\\nThese were thy charms, sweet village sports like these.\\nWith sweet succession, taught even toil to please\\nThese round thy bowers their cheerful influence shed\\nThese were thy charms but all these charms are fled.\\nSweet smiling village, loveliest of the lawn, 35\\nThy sports are fled, and all thy charms withdrawn\\nAmidst thy bowers the tyrant s hand is seen,\\nAnd desolation saddens all thy green\\nOne only master grasps the whole domain,\\nAnd half a tillage stints thy smiling plain. 40\\nNo more thy glassy brook reflects the day.\\nBut choked with sedges, works its weedy way;\\nAlong thy glades, a solitary guest.\\nThe hollow-sounding bittern guards its nest\\nAmidst thy desert walks the lapwing flies, 45\\nAnd tires their echoes with unvaried cries.\\nSunk are thy bowers in shapeless ruin all.\\nAnd the long grass o ertops the mouldering wall\\nAnd, trembling, shrinking from the spoiler s hand,\\nFar, far away, thy children leave the land. 50\\n111 fares the land, to hastening ills a prey,", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0060.jp2"}, "61": {"fulltext": "THE DESERTED VILLAGE. 49\\nWhere wealth accumulates, and men decay\\nPrinces and lords may flourish, or may fade\\nA breath can make them, as a breath has made\\nBut a bold peasantry, their country s pride, 55\\nWhen once destroyed, can never be supplied.\\nA time there was, ere England s griefs began.\\nWhen every rood of ground maintained its man\\nFor him light labour spread her wholesome store,\\nJust gave what life required, but gave no more 60\\nHis best companions, innocence and health.\\nAnd his best riches ignorance of wealth.\\nBut times are altered trade s unfeeling train\\nUsurp the land, and dispossess the swain\\nAlong the lawn, where scattered hamlets rose, 65\\nUnwieldy wealth and cumbrous pomp repose\\nAnd every want to luxury allied.\\nAnd every pang that folly pays to pride.\\nThose gentle hours that plenty bade to bloom,\\nThose calm desires that asked but little room, 70\\nThose healthful sports that graced the peaceful scene.\\nLived in each look, and brightened all the green\\nThese, far departing, seek a kinder shore,\\nAnd rural mirth and manners are no more.\\nSweet Auburn parent of the blissful hour, 75\\nThy glades forlorn confess the tyrant s power.\\nHere, as I take my solitary rounds.\\nAmidst thy tangling walks and ruined grounds.\\nAnd, many a year elapsed, return to view\\nWhere once the cottage stood, the hawthorn grew, 80", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0061.jp2"}, "62": {"fulltext": "50 OLIVER GOLDSMITH.\\nEemembrance wakes with all her busy train,\\nSwells at my breast, and turns the past to pain.\\nIn all my wand rings round this world of care.\\nIn all my griefs and God has given my share\\nI still had hopes, my latest hours to crown, 85\\nAmidst these humble bowers to lay me down\\nTo husband out life s taper at the close.\\nAnd keep the flame from wasting by repose.\\nI still had hopes, for pride attends us still.\\nAmidst the swains to show my book-learned skill, 90\\nAround my fire an evening group to draw,\\nAnd tell of all I felt, and all I saw\\nAnd, as an hare, whom hounds and horns pursue.\\nPants to the place from whence at first he flew,\\nI still had hopes, my long vexations past, 95\\nHere to return and die at home at last.\\nblest retirement, friend to life s decline,\\nEetreats from care, that never must be mine.\\nHow blest is he who crowns, in shades like these,\\nA youth of labour with an age of ease i^\\nWho quits a world where strong temptations try.\\nAnd, since tis hard to combat, learns to fly\\nFor him no wretches, born to work and weep,\\nExplore the mine, or tempt the dangerous deep\\nNor surly porter stands, in guilty state, l^^\\nTo turn imploring famine from the gate\\nBut on he moves to meet his latter end,\\nAngels around befriending virtue s friend\\nSinks to the grave with unperceived decay.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0062.jp2"}, "63": {"fulltext": "THE DESERTED VILLAGE. 51\\nWhile resignation gently slopes the way HO\\nAnd, all his prospects brightening to the last,\\nHis heaven commences, ere the world be past\\nSweet was the sound, when oft at evening s close\\nUp yonder hill the village murmur rose\\nThere, as I passed with careless steps and slow, H^\\nThe mingling notes came softened from below\\nThe swain responsive as the milk-maid sung.\\nThe sober herd that lowed to meet their young\\nThe noisy geese that gabbled o er the pool.\\nThe playful children just let loose from school 120\\nThe watch-dog s voice that bayed the whispering wind.\\nAnd the loud laugh that spoke the vacant mind\\nThese all in sweet confusion sought the shade.\\nAnd filled each pause the nightingale had made\\nBut now the sounds of population fail, 125\\nNo cheerful murmurs fluctuate in the gale,\\nNo busy steps the grass-grown footway tread.\\nFor all the blooming flush of life is fled.\\nAll but yon widowed, solitary thing.\\nThat feebly bends beside the plashy spring 130\\nShe, wretched matron forced in age, for bread.\\nTo strip the brook with mantling cresses spread.\\nTo pick her wintry faggot from the thorn.\\nTo seek her nightly shed, and weep till morn\\nShe only left of all the harmless train, 135\\nThe sad historian of the pensive plain\\nNear yonder copse, where once the garden smiled.\\nAnd still where many a garden flower grows wild", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0063.jp2"}, "64": {"fulltext": "52 OLIVER GOLDSMITH.\\nThere, where a few torn shrubs the place disclose,\\nThe village preacher s modest mansion rose. 140\\nA man he was to all the country dear,\\nAnd passing rich with forty pounds a year\\nRemote from towns he ran his godly race,\\nNor e er had changed, nor wished to change his place\\nUnpractised he to fawn, or seek for power, 145\\nBy doctrines fashioned to the varying hour\\nFar other aims his heart had learned to prize.\\nMore skilled to raise the wretched than to rise.\\nHis house was known to all the vagrant train.\\nHe chid their wanderings, but relieved their pain iso\\nThe long-remembered beggar was his guest,\\nWhose beard descending swept his aged breast\\nThe ruined spendthrift, now no longer proud.\\nClaimed kindred there, and had his claims allowed\\nThe broken soldier, kindly bade to stay, 155\\nSat by his fire, and talked the night away.\\nWept o er his wounds, or, tales of sorrow done,\\nShouldered his crutch and showed how fields were won.\\nPleased with his guests, the good man learned to glow.\\nAnd quite forgot their vices in their woe; 160\\nCareless their merits or their faults to scan,\\nHis pity gave ere charity began.\\nThus to relieve the wretched was his pride.\\nAnd e en his failings leaned to virtue s side\\nBut in his duty, prompt at every call, 165\\nHe watched and wept, he prayed and felt for all\\nAnd, as a bird each fond endearment tries", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0064.jp2"}, "65": {"fulltext": "THE DESERTED VILLAGE. 53\\nTo tempt its new-fledged offspring to the skies,\\nHe tried each art, reproved each dull delay.\\nAllured to brighter worlds, and led the way. 170\\nBeside the bed where parting life was laid,\\nAnd sorrow, guilt, and pain, by turns dismayed.\\nThe reverend champion stood. At his control\\nDespair and anguish fled the struggling soul\\nComfort came down the trembling wretch to raise, 175\\nAnd his last faltering accents whispered praise.\\nAt church, with meek and unaffected grace.\\nHis looks adorned the venerable place\\nTruth from his lips prevailed with double sway.\\nAnd fools, who came to scoff, remained to pray. 180\\nThe service past, around the pious man.\\nWith ready zeal, each honest rustic ran\\nE en children followed, with endearing wile,\\nAnd plucked his gown, to share the good man s smile\\nHis ready smile a parent s warmth expressed, 185\\nTheir welfare pleased him, and their cares distressed\\nTo them his heart, his love, his griefs were given.\\nBut all his serious thoughts had rest in heaven.\\nAs some tall cliff that lifts its awful form,\\nSwells from the vale, and midway leaves the storm, 190\\nThough round its breast the rolling clouds are spread,\\nEternal sunshine settles on its head.\\nBeside yon straggling fence that skirts the way\\nWith blossomed furze unprofitably gay\\nThere, in his noisy mansion, skilled to rule, 195\\nThe village master taught his little school", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0065.jp2"}, "66": {"fulltext": "54 OLIVER GOLDSMITH.\\nA man severe lie was, and stern to view,\\nI knew Mm well, and every truant knew\\nWell had the boding tremblers learned to trace\\nThe day s disasters in his morning face 200\\nFull well they laughed with counterfeited glee\\nAt all his jokes, for many a joke had he\\nFull well the busy whisper, circling round,\\nConveyed the dismal tidings when he frowned\\nYet he was kind, or if severe in aught, 205\\nThe love he bore to learning was in fault.\\nThe village all declared how much he knew\\nTwas certain he could write, and cipher too\\nLands he could measure, terms and tides presage,\\nAnd even the story ran that he could gauge. 210\\nIn arguing, too, the parson owned his skill,\\nFor e en though vanquished, he could argue still\\nWhile words of learned length and thund ring sound\\nAmazed the gazing rustics ranged around.\\nAnd still they gazed, and still the v/onder grew 215\\nThat one small head should carry all he knew.\\nBut past is all his fame. The very spot.\\nWhere many a time he triumphed, is forgot.\\nNear yonder thorn that lifts its head on high,\\nWhere once the sign-post caught the passing eye, 220\\nLow lies that house where nut-brown draughts inspired.\\nWhere gray-beard mirth and smiling toil retired,\\nWhere village statesmen talked with looks profound,\\nAnd news much older than their ale went round.\\nImagination fondly stoops to trace 225", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0066.jp2"}, "67": {"fulltext": "THE DESERTED VILLAGE. 55\\nThe parlour splendours of that festive place 5\\nThe white-washed wall, the nicely sanded floor,\\nThe varnished clock that clicked behind the door\\nThe chest contrived a double debt to pay,\\nA bed by night, a chest of drawers by day 230\\nThe pictures placed for ornament and use.\\nThe twelve good rules, the royal game of goose\\nThe hearth, except when winter chilled the day.\\nWith aspen boughs, and flowers and fennel gay\\nWhile broken tea-cups, wisely kept for show, 235\\nRanged o er the chimney, glistened in a row.\\nYain transitory splendours could not all\\nReprieve the tottering mansion from its fall\\nObscure it sinks, nor shall it more impart\\nAn hour s importance to the poor man s heart 240\\nThither no more the peasant shall repair\\nTo sweet oblivion of his daily care\\nNo more the farmer s news, the barber s tale,\\nNo more the woodman s ballad shall prevail\\nNo more the smith his dusky brow shall clear, 245\\nRelax his ponderous strength and lean to hear\\nThe host himself no longer shall be found\\nCareful to see the mantling bliss go round\\nNor the coy maid, half-willing to be pressed,\\nShall kiss the cup to pass it to the rest. 250\\nYes let the rich deride, the proud disdain,\\nThese simple blessings of the lowly train.\\nTo me more dear, congenial to my heart,\\nOne na,tive charm, than all the gloss of art", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0067.jp2"}, "68": {"fulltext": "56 OLIVER GOLDSMITH.\\nSpontaneous joys, where nature has its play, 255\\nThe soul adopts, and owns their first-born sway\\nLightly they frolic o er the vacant mind,\\nUnenvied, unmolested, unconfined.\\nBut the long pomp, the midnight masquerade,.\\nWith all the freaks of wanton wealth arrayed, 260\\nIn these, ere triflers half their wish obtain.\\nThe toiling pleasure sickens into pain\\nAnd, even while fashion s brightest arts decoy,\\nThe heart distrusting asks, if this be joy\\nYe friends to truth, ye statesmen who survey 265\\nThe rich man s power increase, the poor s decay,\\nTis yours to judge how wide the limits stand\\nBetween a splendid and a happy land.\\nProud swells the tide with loads of freighted ore.\\nAnd shouting Folly hails them from her shore 270\\nHoards even beyond the miser s wish abound,\\nAnd rich men flock from all the world around.\\nYet count our gains. This wealth is but a name\\nThat leaves our useful products still the same.\\nISTot so the loss. The man of wealth and pride 275\\nTakes up a place that many poor supplied\\nSpace for his lake, his park s extended bounds.\\nSpace for his horses, equipage, and hounds\\nThe robe that wraps his limbs in silken sloth\\nHas robbed the neighbouring fields of half their growth\\nHis seat where solitary spots are seen, 281\\nIndignant spurns the cottage from the green\\nAround the world each needful product flies,", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0068.jp2"}, "69": {"fulltext": "THE DESERTED VILLAGE. 57\\nFor all the luxuries the world supplies\\nWhile thus the laud, adorned for pleasure, all 285\\nIn barren splendour feebly waits the fall.\\nAs some fair female, unadorned and plain,\\nSecure to please while youth confirms her reign,\\nSlights every borrowed charm that dress supplies,\\nNor shares with art the triumph of her eyes 290\\nBut when those charms are past, for charms are frail.\\nWhen time advances, and when lovers fail.\\nShe then shines forth, solicitous to bless,\\nIn all the glaring impotence of dress\\nThus fares the land, by luxury betrayed 295\\nIn nature s simplest charms at first arrayed,\\nBut verging to decline, its splendours rise,\\nIts vistas strike, its palaces surprise\\nWhile, scourged by famine, from the smiling land\\nThe mournful peasant leads his humble band 300\\nAnd while he sinks, without one arm to save.\\nThe country blooms a garden and a grave.\\nWhere then, ah where shall poverty reside,\\nTo scape the pressure of contiguous pride\\nIf to some common s fenceless limits strayed 305\\nHe drives his flocks to pick the scanty blade.\\nThose fenceless fields the sons of wealth divide,\\nAnd e en the bare-worn common is denied.\\nIf to the city sped what waits him there\\nTo see profusion that he must not share 310\\nTo see ten thousand baneful arts combined\\nTo pamper luxury and thin mankind", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0069.jp2"}, "70": {"fulltext": "58 OLIVER GOLDSMITH.\\nTo see each joy the sons of pleasure know,\\nExtorted from his fellow-creature s woe\\nHere, while the courtier glitters in brocade, 315\\nThere, the pale artist plies the sickly trade;\\nHere, while the proud their long-drawn pomps display,\\nThere, the black gibbet glooms beside the way.\\nThe dome where pleasure holds her midnight reign,\\nHere, richly decked, admits the gorgeous train 320\\nTumultuous grandeur crowds the blazing square.\\nThe rattling chariots clash, the torches glare.\\nSure scenes like these no troubles e er annoy\\nSure these denote one universal joy\\nAre these thy serious thoughts Ah turn thine\\neyes 326\\nWhere the poor houseless shivering female lies.\\nShe once, perhaps, in village plenty blessed.\\nHas wept at tales of innocence distressed\\nHer modest looks the cottage might adorn.\\nSweet as the primrose peeps beneath the thorn 330\\nNow lost to all her friends, her virtue fled,\\nNear her betrayer s door she lays her head\\nAnd, pinched with cold, and shrinking from the shower.\\nWith heavy heart deplores that luckless hour.\\nWhen idly first, ambitious of the town, 335\\nShe left her wheel and robes of country brown.\\nDo thine, sweet Auburn thine the loveliest train.\\nDo thy fair tribes participate her pain\\nE en now, perhaps, by cold and hunger led.\\nAt proud men s doors they ask a little bread. 340", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0070.jp2"}, "71": {"fulltext": "THE DESERTED VILLAGE. 59\\nAh, no To distant climes, a dreary scene,\\nWhere half the convex world intrudes between,\\nThrough torrid tracts with fainting steps they go,\\nWhere wild Altama murmurs to their woe.\\nFar different there from all that charmed before, 345\\nThe various terrors of that horrid shore\\nThose blazing suns that dart a downward ray.\\nAnd fiercely shed intolerable day\\nThose matted woods where birds forget to sing\\nBut silent bats in drowsy clusters cling 350\\nThose poisonous fields with rank luxuriance crowned.\\nWhere the dark scorpion gathers death around\\nWhere at each step the stranger fears to wake\\nThe rattling terrors of the vengeful snake\\nWhere crouching tigers wait their hapless prey, 355\\nAnd savage men more murderous still than they\\nWhile oft in whirls the mad tornado flies,\\nMingling the ravaged landscape with the skies.\\nFar different these from every former scene.\\nThe cooling brook, the grassy-vested green, 360\\nThe breezy covert of the warbling grove,\\nThat only sheltered thefts of harmless love.\\nGood Heaven! what sorrows gloomed that parting\\nday,\\nThat called them from their native walks away\\nWhen the poor exiles, every pleasure past, 365\\nHung round the bowers, and fondly looked their\\nlast\\nAnd took a long farewell, and wished in vain", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0071.jp2"}, "72": {"fulltext": "60 OLIVER GOLDSMITH.\\nFor seats like these beyond the western main\\nAnd, shuddering still to face the distant deep,\\nE-etnrned and wept, and still returned to weep. 370\\nThe good old sire the first prepared to go\\nTo new-found worlds, and wept for others woe\\nBut for himself, in conscious virtue brave,\\nHe only wished for worlds beyond the grave.\\nHis lovely daughter, lovelier in her tears, ^75\\nThe fond companion of his helpless years.\\nSilent went next, neglectful of her charms.\\nAnd left a lover s for a father s arms.\\nWith louder plaints the mother spoke her woes.\\nAnd blessed the cot where every pleasure rose, 380\\nAnd kissed her thoughtless babes with many a tear,\\nAnd clasped them close, in sorrow doubly dear\\nWhilst her fond husband strove to lend relief\\nIn all the silent manliness of grief.\\nO luxury thou curst by Heaven s decree, 385\\nHow ill exchanged are things like these for thee\\nHow do thy potions, with insidious joy.\\nDiffuse their pleasures only to destroy\\nKingdoms, by thee to sickly greatness grown,\\nBoast of a florid vigour not their own 390\\nAt every draught more large and large they grow,\\nA bloated mass of rank unwieldy woe\\nTill, sapped their strength, and every part unsound,\\nDown, down they sink, and spread a ruin round.\\nEven now the devastation is begun, 395\\nAnd half the business of destruction done", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0072.jp2"}, "73": {"fulltext": "THE DESERTED VILLAGE. 61\\nEven now, methinks, as pondering liere I stand,\\nI see the rural virtues leave the land.\\nDown where yon anchoring vessel spreads the sail\\nThat idly waiting flaps with every gale, 400\\nDownward they move, a melancholy band,\\nPass from the shore, and darken all the strand.\\nContented toil, and hospitable care.\\nAnd kind connubial tenderness are there,\\nAnd piety with wishes placed above, 405\\nAnd steady loyalty, and faithful love.\\nAnd thou, sweet Poetry, thou loveliest maid.\\nStill first to fly where sensual joys invade\\nUnfit, in these degenerate times of shame.\\nTo catch the heart, or strike for honest fame 410\\nDear charming nymph, neglected and decried.\\nMy shame in crowds, my solitary pride\\nThou source of all my bliss, and all my woe.\\nThou found st me poor at first, and keep st me so\\nThou guide, by which the noble arts excel, 415\\nThou nurse of every virtue, fare thee well\\nFarewell and oh where er thy voice be tried,\\nOn Torno s cliffs, or Pambamarca s side.\\nWhether where equinoctial fervours glow.\\nOr winter wraps the polar world in snow, 420\\nStill let thy voice, prevailing over time,\\nEedress the rigours of the inclement clime\\nAid slighted truth with thy persuasive strain\\nTeach erring man to spurn the rage of gain\\nTeach him, that states of native strength possessed, 425", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0073.jp2"}, "74": {"fulltext": "62 OZIVEB GOLDSMITH.\\nThough very poor, may still be very blest\\nThat trade s proud empire hastes to swift decay,\\nAs ocean sweeps the laboured mole away\\nWhile self-dependent power can time defy,\\nAs rocks resist the billows and the sky. 430", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0074.jp2"}, "75": {"fulltext": "INTRODUCTION TO NOTES.\\nThe thought in the Spanish proverb, that the view\\nof a forest may be obscured by calling attention to the\\ntrees, has been borne in mind in preparing these notes.\\nThey are arranged with the design of securing an appre-\\nciation of these poems, rather than making an exhaus-\\ntive study of word-derivation and grammatical points,\\nthough such matters are not neglected when deemed ne-\\ncessary to bring out the meaning. It is not considered\\nadvisable to enable the student to dispense with his\\ndictionary, nor to dwell upon points that should have\\nbeen instilled at an earlier period. When the time is\\nreached at which this book is expected to be used in\\nschools, the literary spirit should not be surrendered too\\nmuch to the pedagogic.\\nIn class-work, it is suggested that the accompanying\\noutlines be followed. They can be elaborated with\\nminor points according to the amount of time to be\\ngiven to each poem. Then if each student takes a por-\\ntion of the syllabus to speak upon, the result will be\\na satisfaction to all, as the writer can testify from his\\nown work. The memorizing of choice portions is of\\nthe greatest value, and should be much employed here,\\n63", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0075.jp2"}, "76": {"fulltext": "64 OLIVER GOLDSMITH.\\nas these poems are so well fitted for it. Finally, each\\none should read them carefully, with no other thought\\nthan that of enjoyment and if this be not fully se-\\ncured, there is something wrong. The essence of litera-\\nture is that it must entertain poetry is its highest\\nform, and these are among the best specimens of poetry.\\nIf these poems are read with the author s own feeling\\nin mind, that innocently to amuse the imagination in\\nthis dream of life is wisdom, they will achieve their\\ntrue and kindly purpose, and linger delightfully in the\\nmemory.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0076.jp2"}, "77": {"fulltext": "NOTES ON THE TRAVELLER.\\nStructure of the Poem. Both these poems are written in\\niambic pentameter, often called heroic verse a metrical form which\\nis to the English, German, and Italian Languages what the hex-\\nameter is to Greek and Latin. Ruskin says: The tetrameter and\\npentameter, which require the full breath, but do not exhaust it, con-\\nstitute the entire body of the chief poetry of energetic nations the\\nhexameter, which fully exhausts the breath, is only used by nations\\nwhose pleasure was in repose. Iambic pentameter is scanned\\nthus\\na\\nfA\\nt f t _t\\nWhere er 1 1 roam, whatev- er lands to see,\\nMy heart untrav- elled fond- ly turns to thee.\\nTlie Traveller.\\nThe haw- thorn bush, with seats beneath the shade.\\nFor talk- ing age and whis- pering \\\\6y- ers made.\\nThe Deserted Village.\\nThe caesura, or natural pause, indicated thus 1|, which is needed\\nin most lines longer than the tetrameter verse, may in this form come\\nanywhere in the line, but is found most frequently after the fourth\\nor sixth syllable.\\nThe lines are arranged in rhymed couplets, a system fully de-\\nveloped in the polished verse of Pope. The rules governing this\\nwere that there should be a pause, a comma at least, at the end of\\nerery couplet, and no sentence should close except with tlie end of a\\nline. An extra syllable was guarded against. Such couplets lend\\nthemselves readily to quotation, and hence live in our language; but\\nthe artificial nature of the whole arrangement caused poets, later on,\\nto turn to more varying and less mechanical forms.\\n65", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0077.jp2"}, "78": {"fulltext": "(j6 OLIVER GOLDSMITH.\\nOutline of the Poem.\\nLiNBS 1-22. A tender address to the poet s brother Henry, in\\nhis quiet and useful life.\\n23-30. The Poet s own restless and wandering condition is placed\\nin contrast.\\n31-50. The panorama of a hundred realms, seen from the\\nAlpine summits, invites consideration.\\n51-62. A wish for a spot of real happiness.\\n63-72. The claim by the dweller in each region that his own\\nhome is best.\\n73-98. The patriot s boast is called in question.\\n99-104. A proposition is made to try the truth by observation of\\ndifferent countries.\\n105-164. Italy is surveyed and discussed.\\n165-238. Switzerland and her people receive attention.\\n239-280. France, with her people, passes in review.\\n281-316. Holland is examined in the same manner, and also\\nfails to satisfy.\\n317-334. Britain is taken under consideration.\\n335-422. A discussion of freedom, suggested by the proud inde-\\npendence of the British character, and the abuses thlat arise even\\nfrom this.\\n423-438. The conclusion is reached that happiness centres in\\nthe mind, independent of location or government, and is not to be\\ngained by travelling in search of it.\\nPage 25, Line 1. Remote,etc. Cf. Ovid s Metam., xiv. 217:\\nSolus, inops, exspes leto poenisque relictis.\\nHopeless, unaided, alone; the pains of death now await him.\\nP. 25, 1. 1. Slow. It is said that a fellow-member of the Club\\nasked: Mr. Goldsmith, what do you mean by the last word in the\\nfirst line of your Traveller Do you mean tardiness of locomo-\\ntion? Goldsmith, who habitually spoke unthinkingly, answered,\\nYes. Dr. Johnson, the autocrat of the company, who was sitting\\nnear, at once broke out with, No, sir; 5 ou did not mean tardiness of\\nlocomotion you mean that sluggishness of mind that conies upon a\\nman in solitude. Ah said Goldsmith, abashed, that was what", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0078.jp2"}, "79": {"fulltext": "NOTES ON THE TRAVELLER. 67\\nI meant. Instances like this gave rise to the charge that Johnson\\nhirgely aided in the preparation of the poem, when, in fact, he con-\\ntributed but nine lines, of inferior quality compared with Goldsmith s\\nown.\\nP. 25, 1. 2. Scheldt, Po. The Scheldt flows from France through\\nBelgium and Holland to the North Sea. The Po is the largest river\\nof Italy, flowing from west to east across the upper part to the Adri-\\natic Sea. Thus these two rivers represent the extreme points of the\\ntravels described.\\nP. 25, 1. 3. Carinthian. The inhabitants of Carinthia, a moun-\\ntainous province of south-western Austria, were called rough and\\ninhospitable.\\nP. 25, 1. 5. Campania. The Campagna di Roma, a low plain\\nsurrounding the city of Rome.\\nP. 25, 1. 9. My brother. Henry Goldsmith, to whom the poem\\nwas dedicated.\\nP. 25, 1. 10. A lengthening chain. Cf. Gibber s Com. Lover,\\np. 249\\nWhen I am with Florimel, it [my heart] is still your prisoner, it only\\ndraws a longer chain after it.\\nP. 26, 1. 23. Me. The object of the transitive verb leads in line 29.\\nP. 26, 1. 32. I sit me down. This reflexive use of the personal\\npronoun is common in earlier English.\\nP. 26, 1. 33. Above the storm s career. The poet is repre-\\nsented as sitting on a crag of the Alps, at an elevation above that of\\nordinary rain-clouds.\\nP. 26, 1. 34. An hundred realms. Poetical use of the numeral.\\nNotice, also, the use of an before the sounded h. This was\\nalways done by Goldsmith.\\nP. 28, 1. 84. Idra s cliff. Probably Idria, a mining-town of Aus-\\ntro-Hungary.\\nP. 28, 1. 84. Arno s shelvy side. The Arno, a river of Tuscany,\\nflows through the most fertile land in Italy. Hence the thought is\\nthat there are means of livelihood for those living in the most sterile\\nplaces, as well as for those in the most productive. Shelvy is\\nshelving or sloping.\\nP. 28, 1. 101. Proper cares. Those strictly belonging to himself.\\nLatin Proprius, -a, -um, one s own.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0079.jp2"}, "80": {"fulltext": "68 OLIVER GOLDSMITH.\\nP. 28, 1. 105. Apennine. The Apennines mountains running\\nfrom the Alps through the Italian peninsula.\\nP. 29, 1. 111. Could. Verb with if understood. The conclusion\\nof the condition is the subjunctive loere, line 112. The form is that\\nof a Latin condition contrary to fact in present time.\\nP. 29, 1. 123. Small the bliss, etc. Pleasure given by the ani-\\nmal senses is by the poet viewed as far below the enjoyment obtained\\nby the intellect.\\nP. 29, 1. 134. When Commerce flourished. Venice and Genoa\\ncontrolled a large part of European commerce during the Middle\\nAges. As Italy weakened, other nations secured this.\\nP. 29, 1. 135. At her command, etc. Referring to the Italian\\nrenaissance, or revival of art in the fifteenth century.\\nP. 30, 1. 144. Plethoric ill. In short, the state resembles one\\nof those bodies bloated with disease, whose bulk is only a symptom of\\nits wretchedness: their former opulence only rendered them more\\nimpotent. Citizen of the World, i. 98.\\nP. 30, 1. 150. The pasteboard triumph. Instead of the tri-\\numph of Roman times, when a commander entered the city in state,\\nafter a decisive victory, the mummery of the Carnival is seen.\\nP. 31. 1. 170. Man and steel. In earlier times the Swiss were\\nin great demand as hired soldiers, and often secured money for their\\nfamilies in this way.\\nP. 31, 1. 186. Breasts. Often incorrectly given as breathes,\\nwith a sad loss of poetic vigor.\\nP. 31, 1. 190. Savage. A savage beast.\\n\u00e2\u0080\u00a2Drive the reluctant savage into the toils. Citizen of the World, i. 112.\\nP. 32, 1. 205. As a child, etc. No feature of Goldsmith s poems\\nimpresses the mind more than his fine similes, of which this is a\\nbeautiful example.\\nP. 32, 1. 213. For every vrant, etc. In a pessimistic way we\\nmay say that civilization is but an increase of wants. The brighter\\nside of this view is here brought out. Cf, Animated Nature, ii.\\n123.\\nEvery want becomes a means of pleasure in the redressing.\\nP. 32, 1. 217. Unknovrn to them, etc. Poetical contraction of\\nstatement. In prose: When sensual pleasures cloy, how to fill the\\nlanguid pause with finer joy is unknown to them.\\nP. 33, 1. 243. Choir. The choral dance.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0080.jp2"}, "81": {"fulltext": "NOTES OJSr THE TRAVELLER. 69\\nP. 33, 1. 249. Yet would the village praise, etc. The adven-\\ntures of George Primrose in The Vicar of Wakefield are regarded\\nas being those of Goldsmith himself, allowing for the flourishes inci-\\ndent to story-telling. He says I passed among the harmless peas-\\nants of Flanders, and among such of the French as were poor enough\\nto be very merry for I ever found them sprightly in proportion to\\ntheir wants. Whenever I approached a peasant s house towards\\nnightfall, I played one of my most merry tunes, and that procured\\nme not only lodging but subsistence for the next day.\\nP. 34, 1. 262. From courts to camps, to cottages. Instances\\nof apt alliteration s artful aid are frequent in these poems.\\nP. 34, 1. 280. Self-applause. Legitimate self-satisfaction, and\\nnot vanity or conceit.\\nP. 35, 1. 284. The broad ocean, etc. Cf\\nAnd view the ocean leaning on the sky. Dryden.\\nP. 35, 1. 290. Scoops out. A striking instance of the power of\\na filjy-chosen simple word to call up an entire image.\\nP. 35, 1. 296. A new creation, etc.\\nHolland seems to be a conquest upon the sea, and in a manner rescued\\nfrom its bosom. Goldsmith.\\nP. 35, 1. 306. Even liberty, etc. Slavery was permitted in Hol-\\nland, and children could be sold by their parents for a certain number\\nof years.\\nP. 36, 1. 313, Their Belgic sires. The time-honored expression\\nof Caesar s Commentaries, The bravest of all these are the Bel-\\ngians, must have been in Goldsmith s mind.\\nP. 36, 1. 319. Where lawns, etc. Goldsmith s residence in Eng-\\nland had so far been one of squalor and wretchedness, but it is\\nthe England of beauty of which he writes. Cf. his Citizen of the\\nWorld, ii. 196:\\nYet from the vernal softness of the air, the verdure of the fields, the\\ntransparency of the streams, and the beauty of the women; here love might\\nsport among the painted lawns and warbling groves, and carol upon gales\\nwafting at once both fragrance and harmony.\\nP. 36, 1. 319. Arcadian. Arcadia, an exceedingly fertile state in\\nthe south of ancient Greece, is the traditional type of rural simplicity\\nand happiness.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0081.jp2"}, "82": {"fulltext": "70 OLIVEB GOLDSMITH,\\nP. 36, 1. 320. Hydaspes. A river of India, now called Jhylora or\\nJelum. On its banks Alexander the Great defeated Porns. It is\\ncelebrated by Lucan, the elder Pliny, Arrian, and other Latin wri-\\nters of whose works Goldsmith was fond.\\nP. 37, 1. 345. Ferments arise, etc.\\n**It is extremely difficult to induce a number of free beings to co-operate\\nfor their mutual benefit every possible advantage will necessarily be sought,\\nand every attempt to procure it must be attended with a new fermentation.\\nCitizen of the World, ii. 228.\\nOur own country is well illustrating in its social and political life\\nthe sageness of Goldsmith s views on this .point.\\nP. 37, 1. 348. Frenzy fire the wheels. An infinitive phrase,\\nthe object of the verb feels, line 347.\\nP. 37, 1. 357. Stems. Offspring.\\nA rod out of the stem of Jesse. Jsa. xi. 1.\\nP. 37, 1. 361. Yet think not, etc.\\nIn the things I have hitherto written, I have neither allured the vanity\\nof the great by flattery, nor satisfied the malignity of the vulgar by scandal\\nbut have endeavored to get an honest reputation by liberal pursuits.\\nPreface to History of England.\\nP. 38, 1. 382. Contracting regal power, etc.\\nIt is in the interest of the great to diminish kingly power as much as\\npossible. Vicar of Wakefield, p. 101.\\nP. 38, 1. 392. Petty tyrants. Cf. Pope s Epistle to Mrs.\\nBlount:\\nMarriage may all these petty tyrants chase.\\nP. 39, 1. 405. Have we not seen, etc. These lines are evidently\\nthe starting-point of The Deserted Village.\\nP. 39, 11. 411, 412. Osw^ego Niagara. Goldsmith was the\\nfirst to introduce sonorous Indian names into English poetry. It is\\ntrue that the metrical accent here calls for Niagara, but other good\\npoets have made worse slips on names belonging even to their own\\nland.\\nP. 39, 1. 412. With thundering sound. Burke had applied this\\nepithet to the falls.\\nP. 39, 1. 420. This philosophical line was contributed by Dr.\\nJohnson.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0082.jp2"}, "83": {"fulltext": "NOTES ON THE TRAVELLER. 71\\nP. 40, 11. 429-438. These lines are also Dr. Johnson s, with the\\nexception of lines 435, 436. Their weighty nature shows a marked\\ncontrast to the easy flow of the rest of the poem, and the two simple\\nlines of Goldsmith s own are worth more than all his friend s well-\\nmeant contribution.\\nP. 40, 1. 435. The agonizing wheel. In France and Germany,\\nthose deemed worthy of especial punishment were sometimes bound\\nupon wheels, which were made to revolve while the executioner broke\\neach limb with a bar of iron as it came up.\\nP. 40, 1. 436. Luke s iron crown. George and Luke Zeck,\\nbrothers, headed an insurrection in Hungary in 1514. George, who\\nattempted to seize the sovereignty, was punished by having a red-hot\\niron crown placed upon his head. The name of his brother Luke is\\ntaken here, evidently for metrical reasons.\\nP. 40, 1. 436. Damien s bed of steel. Robert Fran9ois Damiens,\\nfor attempting to assassinate Louis XV. of France, in 1757, was kept\\nfor two months upon a heated bed of steel, in order to wring from him\\nthe names of supposed confederates. As there appeared to be none,\\nhe was finally torn limb from limb by horses. Goldsmith had, when\\nabroad, been much moved by the tyrannical and luxurious lives of the\\nFrench kings, and had shrewdly predicted If they have but three\\nweak monarchs more successively on the throne, the mask will be\\nlaid aside, and the country will certainly once more be free.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0083.jp2"}, "84": {"fulltext": "NOTES ON THE DESERTED VILLAGE.\\nN. B. Read the Introduction to Notes, p. 63, and the note\\non poetical structure, p. 65, as these apply equally to both poems.\\nOUTLINE OF THE POEM.\\nLines 1-34. Sketch of Auburn, a happy country village.\\n35-50. Contrasting sketch of th6 same reduced to desolation by\\nthe usurpation of a rich landlord.\\n51-56. The moral of the change.\\n57-62. England in simpler, happier times.\\n63-74. The contrast shown by England s existing condition,\\nbeing an extended application of the comparison drawn from the two\\npictures of the village.\\n75-82. Auburn as the parent of memories.\\n83-96. The expression of a cherished wish on the part of the\\npoet to return home for his declining years.\\n97-113. Tribute to the privilege of closing one s life in peace and\\nretirement.\\n113-136. The bright memories of the past, with their contrast\\nagain in the disappointing desolation of the present.\\n137-192. Passing to the interior life of the village, the first of\\na series of local word-pictures is given in that of the village preacher.\\n193-218. The village master.\\n219-236. The village inn.\\n237-250. Regret for the village life that is gone.\\n251-264. A preference expressed for rural pleasures over those of\\nfashionable society.\\n265-286. An appeal to statesmen against the appropriation of\\nhomes to make pleasure-grounds for the wealthy.\\n72", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0084.jp2"}, "85": {"fulltext": "NOTES ON THE DESERTED VILLAGE. 73\\n303-336. The hopeless efforts of outcast poverty to find a place\\nfor itself.\\n337-362. The fortunes of Auburn s exiled inhabitants.\\n363-384. The sadness of expulsion from home.\\n385-394. A reproach against luxury.\\n395-430. The displacement by luxury of the rural virtues, and\\nwith them the Genius of Poetry. To her the poet appeals that she\\nteach erring men the truth through all time.\\nPage 47, Line 2. Swain. A favorite word among eighteenth-\\ncentury poets. Originally meaning a servant, it came to be used for\\na young man in the country, a husbandman, as here, a shepherd\\nand, from the pastoral sentiment of the times, a lover.\\nP. 47, 1. 4. Parting. Departing. Cf. line 1 of Gray s Elegy:\\nThe curfew tolls the knell of parting day.\\nP. 47, 1. 5. Bowers. Poetically used for dwellings.\\nP. 47, 1. 13. The haw^thorn bush. A large hawthorn (hedge-\\nthorn) bush in Lissoy was carried away piecemeal by relic-hunters.\\nP. 47, 1. 14. Talking age.\\nAnd narrative old age. Pope.\\nP. 47, 1. 15. The coming day. Some saint s day, which would\\nbe a festal occasion, celebrated on the village green.\\nP. 47, 1. 17. Train. Often used by Goldsmith, and occurring\\nsorae ten times in this poem coming from the Latin traho, to draw,\\nit means here a long-drawn line.\\nP. 47, 1. 21. Gambol. A general joining in play.\\nP. 48, 1. 35. Lawn. Equivalent to plain in line 1.\\nP. 48, 1. 39. Only. Perhaps the hardest word in our language to\\nuse properly. Here, as an adjective, it is given an especial force by\\nits position. Cf.\\nNow is it Rome indeed, and room enough,\\nWhen there is in it but one only man.\\nJulius Ccesar, Act I. Scene ii.\\nP. 48, 1. 42. Works its weedy w^ay. A noticeable instance of\\nthe alliteration often used by Goldsmith and other poets of his time.\\nCf. lines 53, 74, 82, 93, 102, 123, 214, and 281 as examples. As a strik-\\ning illustration which this line suggests, notice the following from\\nBoker s Ivory Carver", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0085.jp2"}, "86": {"fulltext": "74 OLIVER GOLDSMITH.\\nSilently sat the artist alone,\\nCarving a Christ from the ivory bone.\\nLittle by little, v\\\\rith toil and pain.\\nHe won his way through the sightless grain,\\nThat held and yet hid the thing he sought,\\nTill the work stood up, a growing thought.\\nP. 48, 1. M. The hollow-sounding bittern, etc. A species of\\nheron, locally known in this country as stake-driver, from the\\nsound of its cry. Goldsmith, in his Animated Nature, observes\\nthat there is no note so dismally hollow as the booming of the\\nbittern. The name is used in the Scriptures with melancholy sug-\\ngestiveness\\nI will also make it a possession for the bittern, and pools of water.\\nIsa. xiv. 23.\\nBut the cormorant and the bittern shall possess it; the owl also and the\\nraven shall dwell in it. Ibid, xxxiv. 11.\\nP. 48, 1. 51. Ill fares the land, etc. Almost the only line of\\nGoldsmith s that has been criticised as inartistic exception being\\ntaken to the repetition of sound in ill and ills.\\nP. 48, 1. 52. Decay. Lessen in number.\\nP.49, 1. 55. A breath, etc. Cf.:\\nPrinces and lords are but the breath ofkings. Burns.\\nP. 49, 1. 66. Wealth pomp. Goldsmith is much addicted\\nto this form of personij cation, often using a quality, condition, or\\noccupation for those whom it represents.\\nP. 49, 1. 70. Manners. Customs. An evident choice of words\\nfor the sake of alliteration.\\nP. 49, 1. 75. Sweet Auburn, etc. An example of apostrophe.\\nP. 50, 11. 87, 88. These lines form an excellent metaphor.\\nP. 50, 1. 93. As an hare, etc. Goldsmith, with good taste, re-\\nfrains from overloading his lines with figures of speech, and when\\nintroduced they are exceedingly effective, like ,the simile here. For\\nthe use of an before the aspirated h, Cf. The Traveller, line 34.\\nP. 50, 1. 107. His latter end. Extreme old age. Cf. the biblical\\nuse:\\nHear counsel, and receive instruction, that thou mayest be wise in thy\\nlatter end. Prov. xix. 20.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0086.jp2"}, "87": {"fulltext": "NOTES ON THE DESERTED VILLAGE. 75\\nP. 51, 1. 110. While resignation, etc. Sir Joshua Keynolds, to\\nwhom this poem was dedicated, appreciated the fine tribute, and soon\\npainted his picture of Resignation, inscribed, This attempt to ex-\\npress a character in The Deserted Village (lines 109-112) is dedicated\\nto Dr. Goldsmith by his sincere friend and admirer, Joshua Rey-\\nnolds.\\nP. 51, 1. 121. Bayed. Barked at.\\nI had rather be a dog, and bay the moon,\\nThan such a Roman. Julius Ccesar, Act IV., Scene iii.\\nP. 51, 1. 121. The whispering -wind. Wind is regularly to be\\npronounced wind in poetry.\\nP. 51, 1. 122. The loud laugh, etc. Mr. Swinton makes a good\\npoint here by observing that this does not mean that every loud laugh\\nbetokens an empty mind.\\nP. 51, 1. 124. The nightingale. Those whose delight it is to pick\\nflaws in greatness say here that the nightingale is not found in Ire-\\nland. This is true but, as said before, it was perfectly natural for\\nthe poet to mingle his surroundings, while writing the poem, with his\\nrecollections of childhood.\\nP. 51, 1. 129. Yon widowed, solitary thing. The general ab-\\nsence of life in the village is made far more impressive by a special\\ninstance of its presence in a forlorn condition, as a feeble sound\\nemphasizes a profound silence.\\nPp. 51-53, 11. 137-192. The sketch of the village preacher seems\\nto be drawn from the poet s father, and his brother, Henry Goldsmith,\\ncombined. The literary idea may come from the parish priest of\\nDryden, who, in turn, improved the Character from Chaucer.\\nP. 51, 1. 137. Copse. A field of brushwood which is cut for fuel.\\nFrench couper, to cut.\\nP. 51, 1. 138. Still. Adverbial modifier of grows. Placed\\nwhere it is on account of the metre.\\nP. 52, 1. 142. Passing. Surpassingly. Exceedingly.\\nP. 52, 1. 155. Broken. Broken down.\\nP. 52, 1. 159. Glow^. Become animated, with face flushed with\\ninterest.\\nP. 52, 1. 167. And as a bird, etc. This beautiful simile is be-\\nlieved to be strictly original, having thus an advantage over the\\nloftier one in lines 189-192. The thought may come from Deut. xxxii.\\n11, 12 but there is no parallel to it in poetic literature.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0087.jp2"}, "88": {"fulltext": "76 OLIVER GOLDSMITH.\\nP. 53, 1, 173. Champion. One who combats singly for himself or\\nanother. Here, the defender of the departing soul against the powers\\nof evil. From the Latin campus, a field, hence a place for contests.\\nP. 53, 1. 181. The service past When the service was finished.\\nNominative absolute.\\nP. 53, 1. 189. As some tall cliff, etc. No sublimer simile is to be\\nfound, and this should never leave the mind of the reader. It is\\nprobably adapted from the following passage from Young s Night\\nThoughts, but gains greatly upon it:\\nAs some tall tower, or lofty mountain s brow,\\nDetains the sun, illustrious from its height.\\nWhite rising vapors and descending shades,\\nWith damps and darkness drown the spacious vale.\\nPhilander thus augustly rears his head.\\nPp. 53, 54, 11. 193-216. The character of the village school-\\nmaster recalls Goldsmith s old teacher, Thomas, commonly called\\nPaddy Byrne, a veteran whose tales seem to have suggested the\\nbroken soldier of the previous description.\\nP. 53, 1. 194. Furze. An evergreen shrub, often called gorse.\\nP. 53, 1. 195. Skilled to rule. A trace of Latin infinitive con-\\nstruction. Cf. line 145.\\nP. 54, 1. 209. Terms and tides presage. Foretell seasons, and\\ntimes of high and low water.\\nP. 54, 1. 210. Gauge. Estimate the capacity of casks from their\\ndimensions.\\nP. 54, 1. 219. Thorn. Thorn-tree.\\nP. 54, 1. 221. That house. The village inn.\\nP. 55, 1. 232. The twelve good rules. These were attributed to\\nCharles I., and were commonly hung in public-houses. They were:\\n1. Urge no healths [the drinking of healths to each other].\\n2. Profane no divine ordinances. 3. Touch no state matters. 4. Reveal\\nno secrets. 5. Pick no quarrels. 6. Make no comparisons. 7. Main-\\ntain no ill opinions. 8. Keep no bad company. 9. Encourage no vice.\\n10. Make no long meals. 11. Repeat no grievances. 12. Lay no\\nwagers.\\nP. 55, 1. 232. The royal game of goose. A f ox-and-geese board.\\nP. 55, 1. 234. Fennel. An aromatic garden plant.\\nP. 55, 1. 244. The Woodman s ballad. Some song of Robin\\nHood, the hero of forestry.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0088.jp2"}, "89": {"fulltext": "NOTES ON THE BESEBTEB VILLAGE. 7T\\nP. 56, 1. 248. The mantling bliss. Happiness that included or\\ninfolded all Used by metonymy for the ale which was the cause.\\nP. 55, 1. 250. Shall kiss the cup, etc. Cf. the song:\\nDrink to me only with thine eyes,\\nAnd I will pledge with mine\\nOr leave a kiss but in the cup,\\nAnd I ll not look for wine.\\nTo Celia. Ben Jonson.\\nP. 56, 1. 258. Unenvied, unmolested, unconflned. The prefix\\nun- has elsewhere been effectively used in poetry. Cf.\\nUnwept, unhonored, and unsung. Scott.\\nUnknelled, uncoffined, and unknown. Byron.\\nP. 56, 1. 264. The heart distrusting asks if this be joy. One\\nof the most powerful lines in the poem, or in our language.\\nP. 56, 1. 278. Equipage. Carriages and attendants. Fr. ^quiper,\\nto attire.\\nP. 57, 1. 284. For. In exchange for.\\nP. 57, 1. 287. Plain. Not meaning devoid of beauty, which\\nwould be a contradiction, but simple and modest.\\nP. 57, 1. 293. Solicitous to bless. By giving her hand in mar-\\nriage.\\nP. 57, 1. 298. Vistas. Extended prospects. Especially applied to\\nviews through avenues of trees.\\nP. 58, 1. 316. Artist. In the sense of artisan, or workman.\\nP. 58, 1. 317. Pomps. Here meaning processions. From the\\nGreek pempo, to send.\\nP. 58, 1. 319. Dome. Here used by synecdoche for the entire\\npalace.\\nP. 58, 1. 322. The torches glare. Before the lighting of streets,\\npeople of fashion were attended in the streets at night by torch-bear-\\ners or link-boys.\\nP. 58, 1. 330. Sweet as the primrose peeps beneath the thorn.\\nSo good a judge as William Black declares that the sentiment which\\na poetic imagination can infuse into surrounding objects never re-\\nceived happier expression than in this line. It truly represents that\\nmysterious something in a combination of words which we call\\npoetry.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0089.jp2"}, "90": {"fulltext": "78 OLIVEB GOLDSMITH.\\nP. 59, 1. 344. The -wild Altama. The Altamaha; one of the\\nboundaries of Georgia. This colony was settled in 1732 by General\\nOglethorpe, whom Goldsmith knew.\\nP. 59, 1. 355. Crouching tigers. Goldsmith s ideas of American\\nnatural history were somewhat mixed. By tiger, he is here sup-\\nposed to mean the jaguar, which does not make it much better, as this\\nis a South American animal. It is possible that he may have heard\\nof the panther.\\nPp. 59, 60, 11. 363-384. The pathos of emigration has, perhaps,\\nnever been so effectively set forth as in these lines.\\nP. 60, 1. 368. Seats. Sites, abodes.\\nP. 60, 1. 392. A bloated mass, etc. Cf his discussion of Italy,\\nThe Traveller, line 144.\\nP. 61, 1. 400. Flaps. One of the class of onomatopoetic, or sound-\\nimitative words. From their nature they are often effective in poetry,\\nsince they call up an image to the mind, as here. Other examples of\\nsuch words in this poem are gabbled, plashy, clock, mur-\\nmur, etc.\\nP. 61, 1. 411. Dear charming nymph. Still referring to poetry\\npersonified. The nymphs were female divinities of lesser rank than\\nthe commonly-known goddesses.\\nP. 61, 1. 413. Thou source, etc. Wither s lines to his muse, in\\nhis poem of The Shepherd s Hunting, are often quoted in com-\\nparison with this\\nAnd though for her sake I m crest,\\nThough my best hopes I have lost,\\nAnd knew she would make me trouble,\\nTen times more than ten times double,\\nI should love and keep her too\\nSpite of all the world could do.\\nShe doth tell me where to borrow\\nComfort in the midst of sorrow,\\nMakes the desolatest place\\nTo her presence be a grace.\\nP. 61, 1. 418. Torno s Cliff s, or Pamhamarca s side. The\\nriver Tornea flows through a mountainous region in Sweden, and\\nPambamarca is a peak of the Andes in Ecuador. Thus the wish is\\nexpressed that the influence of poetry may be world-wide.\\nP. 61, 1. 419. Equinoctial. Equatorial.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0090.jp2"}, "91": {"fulltext": "NOTES ON THE DESEBTED VILLAGE. 79\\nPp. 61, 62, 11. 427-130. These lines were added by Dr. Johnson,\\nwho was nothing if not profound, and who thought the poem ended\\ntoo tamely. His heavy lines do not well accord with the graceful\\nflow of Goldsmith s verse, and we can but wish, as in The Traveller,\\nthat he had saved his ponderous assistance until it was more needed.\\nThe final thought, as the author would have left it, was the natural\\nconclusion of a poem whose surpassing sweetness has rendered its\\npopularity independent of all changes in literary style.", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0091.jp2"}, "92": {"fulltext": "", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0092.jp2"}, "93": {"fulltext": "Prices larg^ely reduced.\\nSDlje Stutients Series; of lEnglfelj Classics.\\nColeridge s -Ancient Mariner, 25 cts\\nA Ballad Book 50\\nThe Merchant of Venice 35\\nEdited by Katharine Lee Bates, Wellesley College.\\nMatthew Arnold s Sohrab and Rustum 25\\nWebster s First Bunker Hill Oration .25\\nMilton, Lyrics 25\\nEdited by LouiSE Manning Hodgkins.\\nIntroduction to the Writings of John Ruskin .50\\nMacaulay s Essay on Lord Clive 35\\nEdited by ViDA D. SCUDDER, Wellesley College.\\nGeorge Eliot s Silas Mamer 35\\nScott s Mannion .35\\nEdited by MARY Harriott Norris, Instructor, New York.\\nSir Roger de Coverley Papers from The Spectator .35\\nEdited by A. S. ROE, Worcester, Mass.\\nMacaulay s Second Essay on the Earl of Chatham .35\\nEdited by W. W. Curtis, High School, Pawtucket, R.I.\\nJohnson s History of Rasselas 35\\nEdited by FRED N. ScoTT, University of Michigan.\\nJoan of Arc and Other Selections from De Quincey .35\\nEdited by Henry H. Belfield, Chicago Manual Training\\nSchool;", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0093.jp2"}, "94": {"fulltext": "2 THE STUDENTS SERIES OF ENGLISH CLASSICS,\\nCarlyle s The Diamond Necklace 35 cts.\\nEdited by W. F. MOZIER, High School, Ottawa, 111.\\nSlacaulay s Essays on Milton and Addison 35\\nEdited by JAMKS CHALMERS, Ohio State University.\\nSelections from Washington Irving 50\\nEdited by ISAAC THOMAS, High School, New Haven, Conn.\\nScott s Lady of the Lake\\nEdited by JAMES ARTHUR Tufts, Phillips Exeter Academy.\\nSelected Orations and Speeches\\nEdited by C. A. Whiting, University of Utah.\\nLays of Ancient Rome\\nEdited by D. D. Pratt, High School, Portsmouth, Ohio.\\nGoldsmith s Traveller and Deserted Village 25\\nEdited by W. F. GREGORY, High School, Hartford, Conn.\\nBurke s Speech on Conciliation with America\\nEdited by L. Du PONT Syle, University of California.\\nMacaulay Life of Samuel Johnson Essay on Byron\\nEdited by GAMALIEL BRADFORD, Jr., Instructor in Literature,\\nWellesley and Boston.\\nWordsworth s White Doe of Rylstone\\nEdited by MARY HARRIOTT NORRIS, Professor of English\\nLiterature.\\nTennyson s Elaine 25\\nEdited by FANNIE More McCauley, Instructor in English\\nLiterature, Winchester School, Baltimore.\\nAll are substantially bound in cloth. The usual discount will be made\\nfor these books in quantities.\\nLEACH, SHEWELL, SANBORN, Publishers.\\nBOSTON. NEW YORK. CHICAGO.", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0094.jp2"}, "95": {"fulltext": "", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0095.jp2"}, "96": {"fulltext": "", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0096.jp2"}, "97": {"fulltext": "", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0097.jp2"}, "98": {"fulltext": "Deacidified using the Bookkeeper process.\\nNeutralizing agent: Magnesium Oxide\\nTreatment Date: March 2009\\nPreservationlechnologies\\nA WORLD LEADER IN COLLECTIONS PRESERVATION\\n111 Thomson Park Drive\\nCranberry Township, PA 16066", "height": "3017", "width": "2051", "jp2-path": "olivergoldsmiths01gold_0098.jp2"}, "99": {"fulltext": "", "height": "2979", "width": "2013", "jp2-path": "olivergoldsmiths01gold_0099.jp2"}, "100": {"fulltext": "", "height": "3160", "width": "2161", "jp2-path": "olivergoldsmiths01gold_0100.jp2"}}