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more gentle Sir Joshua Reynolds. And others were Edmund Burke, David Garrick, and James Boswell, whose great biography of Dr. Johnson gives to Goldsmith's blunders and drolleries a prominence, which is second only to that which Dr. Johnson gets.


Goldsmith lived just before the dawn of the romantic period of English verse, which, beginning with the lyrics of Coleridge and Wordsworth at the very close of the eighteenth century, before its end with the death of Scott in 1832, gave to English poetry the romances of Scott and the rich outbursts of Wordsworth and Shelley and Keats. With his period, Goldsmith was more than abreast and held his reputation reputation on grounds that have become more solid with time. Thomas Moore (17791852) lived among the romantic poets, enjoyed their friendship and shared their sympathies. But his contribution to their cause was chiefly in his reflecting in his Irish Melodies the national peculiarities of temperament of the land of his birth. And as the Irish Melodies represent only an inconsiderable part of his work, and as too many of them are apologetic in their patriotism rather than faithfully sincere, Moore's reputation has waned with the passing of time. Yet a score or so of the Melodies defy the action of time and preserve the care for style, the wild undulating melancholy, and the natural magic of the original unmixed Celt.

Moore, like his friend, Byron, experienced during his life an almost marvelous popularity. When he crossed St. George's channel to

England, at the age of twenty, he had a metrical translation of the Odes of Anacreon with him. By means of his social gifts he soon had the fashionable world of London enrolled as his subscribers. He was a modern minstrel. In a letter to his mother he declared that he was surfeited with duchesses and marchionesses and would like to exchange his London fineries for Irish stew and salt pork. He was petted, caressed, and admired. Maidens sang his songs and wept over them, and he was in heaven in spite of his letter to his mother, for an obvious foible of Tom Moore's was a rather frivolous liking for the pleasures of life.

For the Irish Melodies which appeared from time to time for more than twenty-five years, Moore received nearly £13,000. And so great was the fame of these that Moore's publisher, Longmans, paid him £3,000-the largest sum which up to that time had ever been paid for a single poem-for Lalla Rookh-before it was written. Lalla Rookh is an oriental romance, mostly in verse, partly in prose. The tale does not interest, though it contains much scattered. beauty and many striking lines. It is too artificially smooth, too mawkishly sentimental. After Lalla Rookh, appeared some satires in verse and some prose, the most important of which was The Life of Byron.


'Tis the last rose of summer,
Left blooming alone;
All her lovely companions
Are faded and gone;
No flower of her kindred,
No rosebud is nigh

To reflect back her blushes,
Or give sigh for sigh.

Believe me, if all these endearing young charms,

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Says Irving:

"Many of his (Goldsmith's) most ludicrous scenes and ridiculous incidents have been drawn from his Own blunders and mischances, and he seems really to have been buffeted into almost every maxim imparted by him for the instruction of his reader."

1. What ludicrous scenes and ridiculous incidents did Goldsmith draw from his own blunders and mischances?

2. Explain the use Goldsmith made in his writings of the scenes of his boyhood.

3. Can you name some of Goldsmith's maxims into which he may have been buffeted by experience?

4. Why in your opinion was Goldsmith popular among his school mates?

5. Would Goldsmith have attained greatness if he had come to America?

6. What do you take to be the importance in Goldsmith's life of his "knack of hoping"?

7. Would Goldsmith's optimism have

flowed so freely if he had had domestic responsibilities?

8. Dr. Johnson said that Goldsmith was a plant that flowered late. Of what significance is the fact in Goldsmith's critical hack-work?

9. The most important of Goldsmith's essays were a series of papers called, The Citizen of the World, which apeared in the Public Ledger in 17601761. They consisted of observations upon English life from the point of view of a Chinaman (who was the Citizen of the World.) What is the value of such a point of view?

10. Like the periodical called the Spectator, The Citizen of the World contains fictitious characters: The Citizen himself, the Man in Black, who is supposed to be Goldsmith, Beau Tibbs, a tarnished fop, whose servant tells the Citzen and the Man in Black when they call that Mrs. Tibbs is at a neighbor's washing Mr. Tibbs's shirt because the neighbor would lend her tub no more, etc: What is the value of characters in such gossipy essays as Goldsmith's?

11. Of course it is true in general that no government can keep individuals immune from unhappiness, but do you believe that there is no relation between the form of a government and the happiness of its subjects?

12. Do you believe that commerciai activity depopulates a land?

13. Do you find the descriptions in Goldsmith's poems true in the exact detail or idealized?

14. How do you account for the fact that the Vicar of Wakefield has been translated into almost every language?

15. Goldsmith received sixty guineas for the Vicar. Would that be considered good pay at the present time for a novel reaching three editions in a few months?

16. Why did all who knew Goldsmith love him?

17. Account for Moore's popularity in society.

18. Compare Moore in society with Goldsmith.

19. Which of the two men do you take to be more thoroughly Irish?

20. Goldsmith and Moore both attended Trinity College, Dublin, and neither was rated as a good student. Do you know other famous authors who did not succeed as students?

21. Are Moore's songs musical without being sung?

22. From this point of view compare the songs of Shakespeare, Keats, Moore.

23. Are the modern songs which you know musical as you read them merely?

24. What is the difference between. Goldsmith's poetry and Moore's?



Young Woman's Journal

Vol. 17.

October, 1906.

No. 10


Emily Calhoun Clowes.

Dear Father-God, since Thou o'er me hast given.
Thine Angels tender charge-in all my ways
To keep me safe and true, lest hopeless days
My soul o'erwhelm, and some dark hour, riven
With self-destruction shut out Thee and Heaven;
Since Thou dost bid them reach far down to raise
My body up in their sweet hands lest strays

My wand'ring step from Thee; since Thou art driven

By humanest of love the way to clear

Of shadow and of mist that I may see

Thy light within my life earthbound and drear,

And know Thy pinions when they shelter me,

O, may I not forget to keep Thee near

With "Father" on my lips eternally.

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