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been ascertained from contemporary statements, that the
daughter of the actual Vicar of Wakefield, the Rev. Dr. W.,
married about this period a Captain M., of the militia, without,
it is said, having obtained the parental sanction; hence rumour
induced a suspicion, unfounded no doubt, that with such additions
as imagination supplied he had touched upon circumstances in
real life.' Life of Goldsmith (1837) ii. 116. See Appendix, p. 508.

WALLER, EDMUND (1605–1687), the poet. Good-Naturd
Man, 29.

WALL-EYED, having an eye the iris of which is streaked, parti-
coloured, or different in hue from the other eye; squinting.
Vicar, 245.

WAR. 'Like one of those instruments used in the art of war,
which, however thrown, still presents a point to receive the
enemy Vicar, 348. The implement called a caltrop is here
intended. Caltrap, M.E. calk-, kalketrappe ; also O.E. colte-
træppe, &c. Orig. perhaps chauche-trappe (Littré); possibly in
calcitrappe an association with calcare, to tread. The word
presents many difficulties.

WARM, in comfortable circumstances, well-to-do, moderately
wealthy. A warm man, Vicar, 268, 281; a warm fortune, ib. 280.

WARWICK-LANE. "To-night I head our troops in Warwick-
lane.' Good-Naturd Man, 82. A reference to a dispute between
the Fellows and Licentiates of the College of Physicians. See
notes to Poetical Works, 215.

Wash, a liquid used for toilet purposes. Vicar, 219, 241.
WASTE, UPON THE, extravagant. Good-Natur'd Man, 10.

Water Parted, a song in Arne's opera of Artaxerxes, produced
in 1762. She Stoops, 99.

WAUNS, a contracted form of God's wounds ’, used as an
oath or exclamation. She Stoops, 105. See Wound, English
Dialect Dict.

WEALTH, ACCUMULATION OF, Dr. Primrose on. Vicar, 301-2.
Cp. The Deserted Village, 11. 51-2, “Ill fares the land, to hast’ning ills
a prey, Where wealth accumulates, and men cay. Goldsmith
expresses an opposite view in the Citizen of the World, Letter 11.

WEASEL-SKIN PURSE, as token of good luck. Vicar, 255.
This belief is said to be current in King's Co. and Westmeath,
Ireland.

WELBRIDGE FAIR: Moses's bargain at, Vicar, 254-6; Dr.
Primrose's sale of his horse at, ib. 264 seq., 354. Mr. Edward
Ford, in the National Review for May, 1883, has sought to identify
this place with Welburn.

WELL-KNIT. See Knit.

WELLS, THE. Vicar, 293. Mr. Edward Ford (National
Review, May, 1883) suggests that Harrogate is no doubt intended.

WESTMINSTER-HALL, the old Hall of the Palace at Westminster,
originally built in the reign of William Rufus. She Stoops, 111.
Our early Parliaments were held in this Hall, and the Law Courts'
met here until the opening of the present buildings in 1882. The
Hall is said to be the largest apartment not supported by pillars
in England.

WHISTLE-JACKET, the name of a famous racehorse. She
Stoops, 146.

WHISTON, THE Rev. WILLIAM (1667-1772), monogamist.
Vicar, 193, 265. See Appendix, Note 16.

Whitehall Evening, i.e. The Whitehall Evening Post, or London
Intelligencer. Vicar, 299.

Why, used as a call or exclamation. Constance, why Con-
stance, I say.' She Stoops, 152. Cp. Merchant of Venice, II.
v. 6–7, Shylock. Why, Jessica, I say! Launcelot. Why, Jessica !
Shylock. Who bids thee call ?'

Wig. ‘He fastened my wig to the back of my chair,' &c.
She Stoops, 92. The trick here played by Tony Lumpkin on
Mr. Hardcastle was one played on Goldsmith by the daughter of
Lord Clare on his last visit to Gosfield (Forster, Life, Book IV,
chap. xv).

WILDMAN's, a coffee-house in Bedford Street, under the Piazza
in Covent Garden. Good-Natur'd Man, 78.

WILD NOTES, i.e. produced without culture or training. She
Stoops, 123. Mrs. Hardcastle may have had a confused remem-
brance of Milton's lines, ‘Or sweetest Shakespeare, Fancy's
child, Warble his native wood-notes wild’ (L'Allegro, lines
133–4).

WILMOT, Mr., his controversy with Dr. Primrose on Mono-
gamy. Vicar, 195-6.

WINDGALL, a soft tumour on the fetlock joints of a horse.
Vicar, 264.

WINE. '1.. asked for the landlord's company over a pint
of wine.' Vicar, 327. A pint of wine was a common measure.

WIVES, markets for. Vicar, 288. See Fontarabia, Ranelagh.

WOODEN SHOES. 'What! give up liberty, property, and, as
the Gazetteer says, lie down to be saddled with wooden shoes!'
Vicar, 304. 'Wooden shoes 'were objects of ridicule and dislike
at the time of the story. Goldsmith, by this mixed metaphor,
was probably ridiculing the general style of the Gazetteer.

WOODWARD, HENRY (1717-1777), actor. Good-Natur'd Man,
6; She Stoops, 88. Woodward, who took the part of Lofty in
The Good-Natur'd Man, refused the part of Tony Lumpkin in She
Stoops to Conquer, but spoke the Prologue to that play ; as to
which Horace Walpole wrote, “Woodward speaks a poor prologue,
written by Garrick, admirably' (Letters, viii. 260–1). According
to the Dictionary of National Biography ‘he has had few equals
in comedy. His figure was admirably formed, and his expression
so composed that he seemed qualified rather for tragedy or fine
gentlemen than the brisk fops and pert coxcombs he ordinarily
played.' See vol. lxii, p. 419. He is in the Rosciad.

WOUNDILY, wondrously, excessively, very. “They look
woundily like Frenchmen.' She Stoops, 100. Recorded as
obsolescent in the English Dialect Dict. Cp. Roby, Traditions of
Lancashire (1829) ii. 301, ed. 1872, ‘Body o' me, but you're
grown woundily humoursome.'

YEATING, dialect form of “ eating'. She Stoops, 104.

Your, used indefinitely. 'I detest your three chairs and a
bolster.' She Stoops, 103. Cp. As You Like It, v. i. 47, ‘All
your writers do consent that ipse is he.'

ZOUNDS, an expletive, 'God's wounds!' Good-Naturd Man,
71 and passim.

APPENDIX

THE GOOD-NATUR’D MAN

This play was originally intended for Covent Garden Theatre, but at the time when it was ready for representation the affairs of that theatre had been thrown into temporary confusion by the death of Rich, the manager. Goldsmith thereupon decided to try the rival house, Drury Lane, which was under the management of Garrick. Financial pressure doubtless forced Goldsmith to seek a favour at Garrick's hands, for the two had not been on good terms for some time; but Sir Joshua Reynolds acted as an intermediary and brought them together. The interview was not altogether successful: sensitive pride on one side, and the arrogance of a successful man on the other, nearly wrecked the negotiations at the outset. However, the manuscript was placed in Garrick’s hands for consideration, only to be followed by excuses and delays on the part of the manager. Privately, he was giving his opinion to Johnson and Reynolds that the play could not possibly succeed ; to the dramatist himself he suggested several alterations, which Goldsmith indignantly refused to adopt. Mr. Whitehead (the Poet Laureate) was thereupon suggested as an arbitrator : this proposal was declined, Goldsmith believing that condemnation of the play was already decided in that quarter. Another name was suggested, only to be rejected with warmth ; and in this spirit manager and dramatist parted. Goldsmith, however, fully realized the defects of his play, and, writing in a chastened spirit to the manager of Drury Lane, undertook to give him a new character in his comedy, “and knock out Lofty, which does not do, and will make such other alterations as you direct.' This letter was cruelly endorsed by Garrick ‘Goldsmith's Parlaver '.

Certain events in the interval had occurred at Covent Garden which resulted in renewed negotiations with that house, now under the management of George Colman, and eventually the

manuscript was withdrawn from Garrick and handed over to his rival. Dissensions arising among the new proprietors of Covent Garden Theatre the production of the comedy was again retarded. In the meantime Garrick, in opposition to Goldsmith, had brought out a play at Drury Lane, written by Hugh Kelly, entitled False Delicacy, which belonged to the then prevailing school of 'sentimental' comedy, and was likely to have an adverse effect on a play constructed on opposite lines and out of harmony with current taste. 'It was with Steele the unlucky notion began,' writes Forster, ‘of setting comedy to reform the morals instead of imitating the manners of the age.' Kelly continued this tradition, and in this play ‘sounded the depths of sentimentalism'.

The play was produced for the first time on Saturday, January 23, 1768, six nights before The Good-Natur’d Man was brought out at Covent Garden. Johnson pronounced it a play of 'no character', but it had a great stage success.

It was backed by the remaining adherents of the 'sentimental' school of comedy, and Garrick used all his influence to ensure the success of the piece. Through his intervention, False Delicacy was received with 'singular favour', and a great number of copies of the book was sold, Kelly's profits amounting to above £700.

Whilst success was thus attending Kelly's play, affairs at Covent Garden were not proceeding smoothly. The actors were squabbling over their parts : Powell protested he could make nothing of Mr. Honeywood, and the actors generally thought but little of the play's chance of success—with the possible exception of Shuter. The manager himself had lost all faith, and under the circumstances it is not surprising that Goldsmith should have become down-hearted and despondent. Johnson, however, was steadfast in support, attending a rehearsal, and promising to furnish a prologue.

At last, on Friday, the 29th of January, 1768, the comedy was produced. The majority of the members of the Literary Clubincluding Johnson, Burke, and Reynolds-attended the first performance, to cheer and encourage their fellow member. The opening was not altogether promising : Johnson's prologue proved somewhat ponderous; and Powell, with his preconceived

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