1759. "other gentlemen to write original pieces." The Doctor, in Et. 31. truth, had but lately left the "Bench," at the close of that

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three months' imprisonment for libel into which his spirited avowal of the authorship of a criticism on Admiral Knowles had betrayed him; and the king's patronage had probably been sought as a counterpoise to the king's prison. But the punishment had not been without its uses. In the nature of Smollett, to the last, there were not a few of the heedless impulses of boyhood; and from this three months' steady gaze on the sadder side of things, he seems to have turned with tempered and gentler thoughts. In the first number of the British Magazine was the opening of the tale which contained his most feminine heroine (Aurelia Darnel), and the most amiable and gentlemanly of his heroes (Sir Launcelot Greaves); for, though Sir Launcelot is mad, wise thoughts have made him so; and in the hope to remedy "evils which the law cannot reach, to detect fraud and treason, to abase insolence, to mortify pride, to discourage slander, to disgrace immodesty, and to stigmatise ingratitude," he stumbles through his odd adventures. There is a pleasure in connecting this alliance of Smollett and Goldsmith, with the first approach of our great humourist to that milder humanity and more genial wisdom which shed its mellow rays on Matthew Bramble.

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Nor were the services engaged from Oliver unworthy of Et. 32. his friend's Sir Launcelot. Side by side with the kindly

enthusiast, appeared some of the most agreeable of the Essays which were afterwards re-published with their writer's name; and many which were never connected with it, until half a century after the writer's death. Here Mr. Rigmarole fell into that Boar's Head reverie in Eastcheap, since so many times dreamt over, and so full of kindly rebuke to

undiscriminating praisers of the past. Here the shabby 1760. man in St. James's Park (Goldsmith, like Justice Woodcock, Et. 32. loved a vagabond) recounted his strolling adventures, with a vivacity undisturbed by poverty; and, with his MerryAndrew, Bajazet, and Wildair, laughed at Garrick in his glory. Here journey was made to the Fountain in whose waters sense and genius mingled, and by whose side, the traveller found Johnson and Gray (a pity it did not prove so!) giving and receiving fame.* And here, above all, the poor, hearty, wooden-legged beggar, first charmed the world with a philosophy of content and cheerfulness which no misfortune could subdue. This was he who had lost his leg and the use of his hand, and had a wound in his breast which was troublesome, and was obliged to beg, but with these exceptions blessed his stars for knowing no reason to complain: some had lost both legs and an eye, but thank Heaven it was not so bad with him. This was he who remarked that people might say this and that of being in gaol, but when he was found guilty of being poor, and was sent to Newgate, he found it as agreeable a place as ever he was in, in all his life who fought the French in six pitched battles, and verily believed, that, but for some good reason or other his captain would have given him promotion and made him a corporal: who was beaten cruelly by a boatswain, but the boatswain did it without considering what he was about: who

Another proof that Goldsmith had not yet surrendered his own judgment to Johnson's in the matter of Gray. The four papers enumerated will be found in Miscell. Works, i. 179, 229, 195, and ii. 461; the last having been transferred to the Citizen of the World.

"Oliberty! liberty! liberty! that is the property of every Englishman, and I "will die in its defence; I was afraid, however, that I should be indicted for a vagabond once more, so did not much care to go into the country, but kept about "town, and did little jobs when I could get them. I was very happy in this manner "for some time; till one evening, coming home from work, two men knocked me "down, and then desired me to stand still. They belonged to a press-gang.” ii. 465.

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Æt. 31.

Backed by which honest purposes may he not again venture to tell his brother that he is very near quite resolved to be a player; as he has the best judgment of the best judges, who to a man are of opinion that he shall turn out (nay, they say that already he is) not only the best tragedian. but comedian in England. "I would not," he prettily interposes here," say so much to any body else; but as this

may somewhat palliate my folly, you must excuse me. "Mr. Littleton was wth Me last Night, and took me by ye “hand and said, he never saw such playing upon ye English "Stage before." And for other more practical proofs of his success, he tells Peter that he has had great offers from Fleetwood; that they have had finer business than either Drury Lane or Covent Garden; that Mr. Giffard himself had given him yesterday twenty guineas for a ticket; and (for a climax) that next week he designed buying 2001. of his stock out of his profits of playing. So, as to the business between them, and the selling off of their joint stock in London, if his brother should want more money than his share comes to, he will supply it. In conclusion he admits that the trade is rather better than it was, but, his mind being quite turned another way, he desires to be released as soon as possible from it.

Now, that this was a highly practical, business-like letter, though written by a flighty stage-player, even the obstinately unbelieving Peter appears to have felt. It went, at any rate, straight to the heart of the partnership affairs between them; and, however reluctantly, he would seem to have made up his mind to accept it as the best of a bargain that must be any way a bad one. But one matter he should like to have cleared up. Had his brother really been playing Harlequin, as reported, before he came out at Goodman's Fields?

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Here was a question to be addressed to a man whom the great and noble were delighting to honour, who was charming Et. 31. the whole town both in comedy and tragedy, nay, who had just come out as an author, and whose farce of the Lying Valet, acted (not at Drury Lane, but) at Goodman's Fields six days after the date of his last letter, was taking prodigiously, and was approved of by men of genius, and thought the most diverting farce that ever was performed. "I believe you'll "find it read pretty well," he continues, addressing Peter with somewhat more courage than usual, and sending him a copy; "and in performance 'tis a General Roar from "beginning to end; and I have got as much Reputation in ye Character of Sharp, as in any other character I "have perform'd, tho far different from ye others."

Far different, indeed! as different as Romeo from Sir John Brute, as Othello from Fondlewife, as Richard from Jack Smatter, as Shakspeare's Lear from Colley Cibber's Master Johnny, as eighty-four from fifteen.' Yet even such was the surprising versatility now displayed with consummate ease by this greatest of actors; who alone, of all performers on record, seems to have hit the consummation of the actor's art in being able to drop altogether his own personality. "All the run is now after "Garrick," writes Walpole. "The Duke of Argyll says he "is superior to Betterton."

"We are all wrong, if this

"For his benefit on the 18th of March," says Mr. Boaden, "he amazed the "town by repeating" (he had first played it on the preceding 22nd of February) "after his performance of King Lear, his Master Johnny, a lad of fifteen, in the Schoolboy. The farce was written by Colley Cibber, who was still living; and "he might, and very probably did, see that wonderful junction of eighty-four and "fifteen by the same actor." Memoir, vii, viii (Gar. Cor.) The stage" said the play bills of the night "will be formed into an amphitheatre, where servants "will be allowed to keep places." Account of the Stage, iv, 24.

+ The whole passage is too characteristic not to be given. "All the run is now "after Garrick, a wine-merchant, who is turned player, at Goodman's-fields.

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is right," said Quin, decisively. "I' faith, Bracey," said Et. 31. Cibber, taking snuff, and turning to his ancient partner in theatrical glory, Mrs. Bracegirdle, "the lad is clever!"

Justly was Garrick proud of that opinion; for only a year before, the Apology had given proof of what a masterly critic Cibber was, and all the old man's prejudices and tastes went strongly counter to the admission thus wrung from him. That it was given, however, and in still stronger terms, may fairly be inferred from what Garrick goes on to say to his brother, in this letter dated the 22nd December. "You perhaps would "be glad to know what parts I have play'd. King Rich, "Jack Smatter in Pamela, Clody Fop's Fortune, Lothario "Fair Penitent, Chamont Orphan, Ghost Hamlet, and shall soon be ready in Bays, in ye Rehearsal, and in ye part of Othello, Both which I believe will do Me and Giffard great service. I have had great success in all, and 'tis not "yet determin'd whether I play Tragedy or Comedy best. "Old Cibber has spoke with ye Greatest Commendation "of my Acting." Of course the reader has observed that the grave question as to Harlequin has not been answered. But it creeps into the letter before its close. "As to playing a Harlequin, 'tis quite false. Yates last season "was taken very ill, and was not able to begin ye Entertain"ment; so I put on ye Dress, and did two or three scenes

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*

"He plays all parts, and is a very good mimic. His acting I have seen, and may say to you, who will not tell it again here, I see nothing wonderful in it; but "it is heresy to say so the Duke of Argyll says, 'he is superior to Betterton.'" Coll. Lett. i. 189.

*Then a brother actor at Goodman's-fields, who afterwards married the cele brated actress, his second wife, for whom Goldsmith, as will hereafter be seen, had the highest admiration. The occasion was, no doubt, when Yates in the preceding March had to appear with Miss Hippisley, a Columbine, in a new pantomime called "Harlequin Student; or, the Fall of Pantomime with the Restoration of the Drama, "the whole to conclude with a representation of Shakespeare's Monument as lately erected." Some Account of the English Stage (Bath, 1832) iii. 641.