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to one guinea." This is one of the cuts at poor Goldsmith in which Johnson went contrary to head and heart in his love for saying what is called a "good thing." No one knew better than himself the comparative superiority of the writings of Goldsmith; but the jingle of the sixpences and the guinea was not to be resisted.

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

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

Goldsmith had known Voltaire in early life; he had been his admirer and his biographer; he grieved to find him receiving such an insult from the classic pencil of his friend. "It is unworthy of you," said he to Sir Joshua, "to debase so high a genius as Voltaire before

so mean a writer as Beattie. Beattie and his book will be forgotten in ten years, while Voltaire's fame will last forever. Take care it does not perpetuate this picture to the shame of such a man as you." This noble and highminded rebuke is the only instance on record of any reproachful words between the poet and the painter; and we are happy to find that it did not destroy the harmony of their intercourse.

CHAPTER XLIII.

TOIL WITHOUT HOPE. -THE POET IN THE GREEN-ROOM; IN THE FLOWERGARDEN; AT VAUXHALL; DISSIPATION WITHOUT GAYETY.-CRADOCK IN TOWN; FRIENDLY SYMPATHY; A PARTING SCENE; AN INVITATION TO PLEASURE.

HWARTED in the plans and disappointed in the hopes which had recently cheered and ani

mated him, Goldsmith found the labor at his half-finished tasks doubly irksome from the consciousness that the completion of them could not relieve him from his pecuniary embarrassments. His impaired health, also, rendered him less capable than formerly of sedentary application, and continual perplexities disturbed the flow of thought necessary for original composition. He lost his usual gayety and good-humor, and became, at times, peevish and irritable. Too proud of spirit to seek sympathy or relief from his friends, for the pecuniary difficulties he had brought upon himself by his errors and extravagance, and unwilling, perhaps, to make known their amount, he buried his cares and anxieties in his own bosom, and endeavored in company to keep up his usual air of gayety and unconcern. This gave his conduct an appearance of fitfulness and caprice,

varying suddenly from moodiness to mirth, and from silent gravity to shallow laughter; causing surprise and ridicule in those who were not aware of the sickness of heart which lay beneath.

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

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

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visit to a country-seat, much to the detriment of the flower-beds and the despair of the gardener.

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

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

* Citizen of the World. Let. LXXI.