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AIR.- A bonny young lad is my Jockey.
With Sandy, and Sawney, and Jockey,
With Sawney, and Jarvie, and Jockey.
in this woful attack;
For you're always polite and attentive,
Your hands and your voices for me.
Miss C. And that our friendship may remain unbroken, What if we leave the Epilogue unspoken ?
Mrs. B. Agreed.
Mrs. B. And now with late repentance,
INTENDED FOR MRS. BULKLEY.
[This epilogue was first printed in Percy's edition, 1801. The editor added, in a note, that the MS. was given to him by Goldsmith, but that he, Percy, had forgotten to which comedy it belonged. Later editors, however, have viewed it as being one of the several unused epilogues written for • She Stoops to Conquer,' of which Goldsmith has himself given the history in the letter quoted in the introduction to the preceding epilogue. Mr. Bolton Corney thought it was the one which Goldsmith says
Colman judged as too bad to be spoken.”—ED.]
THERE is a place—so Ariosto sings
2 A popular air of the time; also the name of a famous hornpipe dancer.-ED.
Comes here to saunter, having made his bets,
—and yet some pity fix,
SPOKEN BY MR. LEE LEWES, IN THE CHARACTER OF
HARLEQUIN, AT HIS BENEFIT.
[The“ benefit” took place at Covent Garden Theatre, May 7, 1773. Charles Lee Lewes, though famous as harlequin, was not a comedian of standing till, through the lucky refusal of the part by Smith, he became the original Young Marlow in She Stoops to Conquer.'—Ed.]
HOLD! Prompter, hold ! a word before your nonsense :
i Or Mohock, London bully.—ED. 2 In this allusion to sentimental queens, it is probable that Goldsmith glanced in particular at Mr. Murphy's tragedy of “Zenobia,' though his splenetic attack is directed generally against the comedy which was brought into fashion about this time by the great popularity of Kelly's * False Delicacy, and effectually exploded some years after by Foote’s clever satire of Piety in Pattens.'-B.
That I found humour in a pye-bald vest,
5 Or ever thought that jumping was a jest. [Takes off his mask. Whence, and what art thou, visionary birth ? Nature disowns, and reason scorns thy mirth : In thy black aspect every passion sleeps, The joy that dimples, and the woe that weeps.
10 How hast thou fill’d the scene with all thy brood Of fools pursuing, and of fools pursued ! Whose ins and outs no ray of sense discloses, Whose only plot it is to break our noses ; Whilst from below the trap-door demons rise, And from above the dangling deities : And shall I mix in this unhallow'd crew ? May rosin'd lightning blast me if I do! No I will act—I'll vindicate the stage: Shakespeare himself shall feel my tragic rage.
20 Off ! off ! vile trappings! a new passion reigns ! The madd’ning monarch revels in
veins. Oh! for a Richard's voice to catch the theme,– “Give me another horse! bind up my wounds !-soft
'twas but a dream." Ay, 'twas but a dream, for now there's no retreating, 25 If I cease Harlequin, I cease from eating. 'Twas thus that Æsop’s stag, a creature blameless, Yet something vain, like one that shall be nameless, Once on the margin of a fountain stood, And cavill’d at his image in the flood :
30 “ The deuce confound,” he cries, “ these drumstick shanks They never have my gratitude nor thanks ; They're perfectly disgraceful! strike me dead! But for a head, yes, yes, I have a head : How piercing is that eye ! how sleek that brow! 35 My horns !—I'm told horns are the fashion now.”
Whilst thus he spoke, astonish'd, to his view,
40 He quits the woods, and tries the beaten ways;
? Rosin'd lightning = stage lightning.–BOLTON CORNEY.
He starts, he pants, he takes the circling maze :
45 And at one bound he saves himself-like me.
[Taking a jump through the stage door.
VIDA'S GAME OF CHESS,
AS IT HAS BEEN FOUND TRANSCRIBED IN THE HANDWRITING OF
[The MS. of the following translation in the handwriting of Goldsmith was one of the literary treasures of Mr. Bolton Corney, and the publishers have to thank him for permission to reprint it. Mr. Corney did not become possessed of it until after he had published his own edition of the Poems, and he first gave printed publicity to this before quite unknown work through Mr. Cunningham's edition, 1854. Mr. Forster, to whom Mr. B. Corney also lent the MS., concurs in believing it to be the work of Goldsmith. He describes the MS. as follows (- Life of Goldsmith, 1854, v. ii., p. 265) :-“ It is a small quarto manuscript of thirty-four pages, containing 679 lines, to which a fly-leaf is appended, in which Goldsmith notes the differences of nomenclature between Vida's chessmen and our own. It has occasional interlineations and corrections, but rather such as would occur in transcription, than in a first or original copy. Sometimes, indeed, choice appears to have been made between two words equally suitable to the sense and verse, as 'to’ for
toward;' but the insertions and erasures refer almost wholly to words or lines accidentally omitted and replaced.” From the evidences of extra care which the MS. discloses, as well as from the apparent effort at “taking up” (as Mr. Forster says) “ the manner of the great master of translation, Dryden,” the work may be viewed as belonging to the middle-period of Goldsmith's career, that is, to the time immediately subsequent to the publication of the “ Traveller,' 1765.
Marco Vida (b. about 1480; d. 1567), the Italian poet whom Clement VII. made Bishop of Alba, was but little known in England till Alexander Pope praised his work in his juvenile • Essay on Criticism ’ (1709),
« Immortal Vida! on whose honoured brow
Essay on Criticism, 11. 705-8.