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John Bartlett (1820–1905). Familiar Quotations, 10th ed. 1919.

Oliver Goldsmith 1730?-1774 John Bartlett

    Remote, unfriended, melancholy, slow,
Or by the lazy Scheld or wandering Po.
          The Traveller. Line 1.
    Where’er I roam, whatever realms to see,
My heart untravell’d fondly turns to thee;
Still to my brother turns with ceaseless pain,
And drags at each remove a lengthening chain.
          The Traveller. Line 7.
    And learn the luxury of doing good. 1
          The Traveller. Line 22.
    Some fleeting good, that mocks me with the view.
          The Traveller. Line 26.
    These little things are great to little man.
          The Traveller. Line 42.
    Creation’s heir, the world, the world is mine!
          The Traveller. Line 50.
    Such is the patriot’s boast, where’er we roam,—
His first, best country ever is at home.
          The Traveller. Line 73.
    Where wealth and freedom reign contentment fails,
And honour sinks where commerce long prevails.
          The Traveller. Line 91.
    Man seems the only growth that dwindles here.
          The Traveller. Line 126.
    The canvas glow’d beyond ev’n Nature warm,
The pregnant quarry teem’d with human form. 2
          The Traveller. Line 137.
    By sports like these are all their cares beguil’d;
The sports of children satisfy the child.
          The Traveller. Line 153.
    But winter lingering chills the lap of May.
          The Traveller. Line 172.
    Cheerful at morn, he wakes from short repose,
Breasts the keen air, and carols as he goes.
          The Traveller. Line 185.
    So the loud torrent and the whirlwind’s roar
But bind him to his native mountains more.
          The Traveller. Line 217.
    Alike all ages. Dames of ancient days
Have led their children through the mirthful maze,
And the gay grandsire, skill’d in gestic lore,
Has frisk’d beneath the burden of threescore.
          The Traveller. Line 251.
    They please, are pleas’d; they give to get esteem,
Till seeming blest, they grow to what they seem. 3
          The Traveller. Line 266.
    Embosom’d in the deep where Holland lies.
Methinks her patient sons before me stand,
Where the broad ocean leans against the land.
          The Traveller. Line 282.
    Pride in their port, defiance in their eye,
I see the lords of humankind pass by. 4
          The Traveller. Line 327.
    The land of scholars and the nurse of arms.
          The Traveller. Line 356.
    For just experience tells, in every soil,
That those that think must govern those that toil.
          The Traveller. Line 372.
    Laws grind the poor, and rich men rule the law.
          The Traveller. Line 386.
    Forc’d from their homes, a melancholy train,
To traverse climes beyond the western main;
Where wild Oswego spreads her swamps around,
And Niagara stuns with thundering sound.
          The Traveller. Line 409.
    Vain, very vain, my weary search to find
That bliss which only centres in the mind.
          The Traveller. Line 423.
    Luke’s iron crown, and Damien’s bed of steel. 5
          The Traveller. Line 436.
    Sweet Auburn! loveliest village of the plain.
          The Deserted Village. Line 1.
    The hawthorn bush, with seats beneath the shade,
For talking age and whispering lovers made.
          The Deserted Village. Line 13.
    The bashful virgin’s sidelong looks of love.
          The Deserted Village. Line 29.
    Ill fares the land, to hastening ills a prey,
Where wealth accumulates, and men decay.
Princes and lords may flourish or may fade,—
A breath can make them, as a breath has made; 6
But a bold peasantry, their country’s pride,
When once destroy’d, can never be supplied.
          The Deserted Village. Line 51.
    His best companions, innocence and health;
And his best riches, ignorance of wealth.
          The Deserted Village. Line 61.
    How blest is he who crowns in shades like these
A youth of labour with an age of ease!
          The Deserted Village. Line 99.
    While Resignation gently slopes away,
And all his prospects brightening to the last,
His heaven commences ere the world be past.
          The Deserted Village. Line 110.
    The watch-dog’s voice that bay’d the whispering wind,
And the loud laugh that spoke the vacant mind.
          The Deserted Village. Line 121.
    A man he was to all the country dear,
And passing rich with forty pounds a year.
          The Deserted Village. Line 141.
    Wept o’er his wounds, or tales of sorrow done,
Shoulder’d his crutch, and shew’d how fields were won.
          The Deserted Village. Line 157.
    Careless their merits or their faults to scan,
His pity gave ere charity began.
Thus to relieve the wretched was his pride,
And even his failings lean’d to Virtue’s side.
          The Deserted Village. Line 161.
    And as a bird each fond endearment tries
To tempt its new-fledg’d offspring to the skies,
He tried each art, reprov’d each dull delay,
Allur’d to brighter worlds, and led the way.
          The Deserted Village. Line 167.
    Truth from his lips prevail’d with double sway,
And fools who came to scoff, remain’d to pray. 7
          The Deserted Village. Line 179.
    Even children follow’d with endearing wile,
And pluck’d his gown, to share the good man’s smile.
          The Deserted Village. Line 183.
    As some tall cliff that lifts its awful form,
Swells from the vale, and midway leaves the storm,—
Though round its breast the rolling clouds are spread,
Eternal sunshine settles on its head.
          The Deserted Village. Line 189.
    Well had the boding tremblers learn’d to trace
The day’s disasters in his morning face;
Full well they laugh’d with counterfeited glee
At all his jokes, for many a joke had he;
Full well the busy whisper circling round
Convey’d the dismal tidings when he frown’d.
Yet was he kind, or if severe in aught,
The love he bore to learning was in fault;
The village all declar’d how much he knew,
’T was certain he could write and cipher too.
          The Deserted Village. Line 199.
    In arguing too, the parson own’d his skill,
For e’en though vanquish’d he could argue still;
While words of learned length and thundering sound
Amaz’d the gazing rustics rang’d around;
And still they gaz’d, and still the wonder grew
That one small head could carry all he knew.
          The Deserted Village. Line 209.
    Where village statesmen talk’d with looks profound,
And news much older than their ale went round.
          The Deserted Village. Line 223.
    The whitewash’d wall, the nicely sanded floor,
The varnish’d clock that click’d behind the door;
The chest, contriv’d a double debt to pay,—
A bed by night, a chest of drawers by day. 8
          The Deserted Village. Line 227.
    The twelve good rules, the royal game of goose. 9
          The Deserted Village. Line 232.
    To me more dear, congenial to my heart,
One native charm, than all the gloss of art.
          The Deserted Village. Line 253.
    And e’en while fashion’s brightest arts decoy,
The heart distrusting asks if this be joy.
          The Deserted Village. Line 263.
    Her modest looks the cottage might adorn,
Sweet as the primrose peeps beneath the thorn.
          The Deserted Village. Line 329.
    Through torrid tracts with fainting steps they go,
Where wild Altama murmurs to their woe.
          The Deserted Village. Line 344.
    In all the silent manliness of grief.
          The Deserted Village. Line 384.
    O Luxury! thou curst by Heaven’s decree!
          The Deserted Village. Line 385.
    Thou source of all my bliss and all my woe,
That found’st me poor at first, and keep’st me so.
          The Deserted Village. Line 413.
    Such dainties to them, their health it might hurt;
It ’s like sending them ruffles when wanting a shirt. 10
          The Haunch of Venison.
    As aromatic plants bestow
No spicy fragrance while they grow;
But crush’d or trodden to the ground,
Diffuse their balmy sweets around. 11
          The Captivity. Act i.
    To the last moment of his breath,
  On hope the wretch relies;
And even the pang preceding death
  Bids expectation rise. 12
          The Captivity. Act ii.
    Hope, like the gleaming taper’s light,
  Adorns and cheers our way; 13
And still, as darker grows the night,
  Emits a brighter ray.
          The Captivity. Act ii.
    Our Garrick ’s a salad; for in him we see
Oil, vinegar, sugar, and saltness agree!
          Retaliation. Line 11.
    Who mix’d reason with pleasure, and wisdom with mirth:
If he had any faults, he has left us in doubt.
          Retaliation. Line 24.
    Who, born for the universe, narrow’d his mind,
And to party gave up what was meant for mankind;
Though fraught with all learning, yet straining his throat
To persuade Tommy Townshend to lend him a vote.
Who too deep for his hearers still went on refining,
And thought of convincing while they thought of dining:
Though equal to all things, for all things unfit;
Too nice for a statesman, too proud for a wit.
          Retaliation. Line 31.
    His conduct still right, with his argument wrong.
          Retaliation. Line 46.
    A flattering painter, who made it his care
To draw men as they ought to be, not as they are.
          Retaliation. Line 63.
    Here lies David Garrick, describe me who can,
An abridgment of all that was pleasant in man.
          Retaliation. Line 93.
    As a wit, if not first, in the very first line.
          Retaliation. Line 96.
    On the stage he was natural, simple, affecting;
’T was only that when he was off he was acting.
          Retaliation. Line 101.
    He cast off his friends as a huntsman his pack,
For he knew when he pleas’d he could whistle them back.
          Retaliation. Line 107.
    Who pepper’d the highest was surest to please.
          Retaliation. Line 112.
    When they talk’d of their Raphaels, Correggios, and stuff,
He shifted his trumpet and only took snuff.
          Retaliation. Line 145.
    The best-humour’d man, with the worst-humour’d Muse. 14
          Retaliation. Postscript.
    Good people all, with one accord,
  Lament for Madam Blaize,
Who never wanted a good word
  From those who spoke her praise.
          Elegy on Mrs. Mary Blaize. 15
    The king himself has followed her
  When she has walk’d before.
          Elegy on Mrs. Mary Blaize. 16
    A kind and gentle heart he had,
  To comfort friends and foes;
The naked every day he clad
  When he put on his clothes.
          Elegy on the Death of a Mad Dog.
    And in that town a dog was found,
  As many dogs there be,
Both mongrel, puppy, whelp, and hound,
  And curs of low degree.
          Elegy on the Death of a Mad Dog.
    The dog, to gain his private ends,
  Went mad, and bit the man.
          Elegy on the Death of a Mad Dog.
    The man recovered of the bite,
  The dog it was that died. 17
          Elegy on the Death of a Mad Dog.
    A night-cap deck’d his brows instead of bay,—
A cap by night, a stocking all the day. 18
          Description of an Author’s Bed-chamber.
    This same philosophy is a good horse in the stable, but an arrant jade on a journey. 19
          The Good-Natured Man. Act i.
    All his faults are such that one loves him still the better for them.
          The Good-Natured Man. Act i.
    Silence gives consent. 20
          The Good-Natured Man. Act ii.
    Measures, not men, have always been my mark. 21
          The Good-Natured Man. Act ii.
    I love everything that’s old: old friends, old times, old manners, old books, old wine. 22
          She Stoops to Conquer. Act i.
    The very pink of perfection.
          She Stoops to Conquer. Act i.
    The genteel thing is the genteel thing any time, if as be that a gentleman bees in a concatenation accordingly.
          She Stoops to Conquer. Act i.
    I ’ll be with you in the squeezing of a lemon.
          She Stoops to Conquer. Act i.
    Ask me no questions, and I ’ll tell you no fibs.
          She Stoops to Conquer. Act iii.
    We sometimes had those little rubs which Providence sends to enhance the value of its favours.
          Vicar of Wakefield. Chap. i.
    Handsome is that handsome does. 23
          Vicar of Wakefield. Chap. i.
    The premises being thus settled, I proceed to observe that the concatenation of self-existence, proceeding in a reciprocal duplicate ratio, naturally produces a problematical dialogism, which in some measure proves that the essence of spirituality may be referred to the second predicable.
          Vicar of Wakefield. Chap. vii.
    I find you want me to furnish you with argument and intellect too.
          Vicar of Wakefield. Chap. vii.
    Turn, gentle Hermit of the Dale,
  And guide my lonely way
To where yon taper cheers the vale
  With hospitable ray.
          The Hermit. Chap. viii. Stanza 1.
    Taught by that Power that pities me,
  I learn to pity them. 24
          The Hermit. Chap. viii. Stanza 6.
    Man wants but little here below,
  Nor wants that little long. 25
          The Hermit. Chap. viii. Stanza 8.
    And what is friendship but a name,
  A charm that lulls to sleep,
A shade that follows wealth or fame,
  And leaves the wretch to weep?
          The Hermit. Chap. viii. Stanza 19.
    The sigh that rends thy constant heart
  Shall break thy Edwin’s too.
          The Hermit. Chap. viii. Stanza 33.
    By the living jingo, she was all of a muck of sweat.
          The Hermit. Chap. ix.
    They would talk of nothing but high life, and high-lived company, with other fashionable topics, such as pictures, taste, Shakespeare, and the musical glasses.
          The Hermit. Chap. ix.
    It has been a thousand times observed, and I must observe it once more, that the hours we pass with happy prospects in view are more pleasing than those crowned with fruition. 26
          The Hermit. Chap. x.
    To what happy accident 27 is it that we owe so unexpected a visit?
          The Hermit. Chap. xix.
    When lovely woman stoops to folly,
  And finds too late that men betray,
What charm can soothe her melancholy?
  What art can wash her guilt away?
          On Woman. Chap. xxiv.
    The only art her guilt to cover,
  To hide her shame from every eye,
To give repentance to her lover,
  And wring his bosom, is—to die.
          On Woman. Chap. xxiv.
    To what fortuitous occurrence do we not owe every pleasure and convenience of our lives.
          On Woman. Chap. xxi.
    For he who fights and runs away
May live to fight another day;
But he who is in battle slain
Can never rise and fight again. 28
          The Art of Poetry on a New Plan (1761). Vol. ii. p. 147.
    One writer, for instance, excels at a plan or a title-page, another works away the body of the book, and a third is a dab at an index. 29
          The Bee. No. 1, Oct. 6, 1759.
    The true use of speech is not so much to express our wants as to conceal them. 30
          The Bee. No. iii. Oct. 20, 1759.
Note 1.
See Garth, Quotation 3.

George Crabbe: Tales of the Hall, book iii. Graves: The Epicure. [back]
Note 2.
See Pope, Quotation 173. [back]
Note 3.
The character of the French. [back]
Note 4.
See Dryden, Quotation 96. [back]
Note 5.
When Davies asked for an explanation of “Luke’s iron crown,” Goldsmith referred him to a book called “Géographie Curieuse,” and added that by “Damien’s bed of-steel” he meant the rack.—Granger: Letters, (1805), p. 52. [back]
Note 6.
See Pope, Quotation 177.

C’est un verre qui luit,
Qu’un souffle peut détruire, et qu’un souffle a produit
(It is a shining glass, which a breath may destroy, and which a breath has produced).—De Caux (comparing the world to his hour-glass). [back]
Note 7.
See Dryden, Quotation 27. [back]
Note 8.
A cap by night, a stocking all the day—Oliver Goldsmith: A Description of an Author’s Bed-Chamber. [back]
Note 9.
The twelve good rules were ascribed to King Charles I.: 1. Urge no healths. 2. Profane no divine ordinances. 3. Touch no state matters. 4. Reveal no secrets. 5. Pick no quarrels. 6. Make no comparisons. 7. Maintain no ill opinions. 8. Keep no bad company. 9. Encourage no vice. 10. Make no long meals. 11. Repent no grievances. 12. Lay no wagers. [back]
Note 10.
See Tom Brown, Quotation 2. [back]
Note 11.
See Bacon, Quotation 10. [back]
Note 12.
The wretch condemn’d with life to part
Still, still on hope relies;
And every pang that rends the heart
Bids expectation rise.
Original MS. [back]
Note 13.
Hope, like the taper’s gleamy light,
Adorns the wretch’s way.
Original MS. [back]
Note 14.
See Rochester, Quotation 4. [back]
Note 15.
Written in imitation of “Chanson sur le fameux La Palisse,” which is attributed to Bernard de la Monnoye:—

On dit que dans se amours
Il fut caressé des belles,
Qui le suivirent toujours,
Tant qu’il marcha devant elles
(They say that in his love affairs he was petted by beauties, who always followed him as long as he walked before them). [back]
Note 16.
Written in imitation of “Chanson sur le fameux La Palisse,” which is attributed to Bernard de la Monnoye:—

On dit que dans se amours
Il fut caressé des belles,
Qui le suivirent toujours,
Tant qu’il marcha devant elles
(They say that in his love affairs he was petted by beauties, who always followed him as long as he walked before them). [back]
Note 17.
While Fell was reposing himself in the hay,
A reptile concealed bit his leg as he lay;
But, venom himself, of the wound he made light,
And got well, while the scorpion died of the bite.
Lessing: Paraphrase of a Greek Epigram by Demodocus. [back]
Note 18.
See page Quotation 43. [back]
Note 19.
Philosophy triumphs easily over past evils and future evils, but present evils triumph over it.—Francis, Duc de La Rochefoucauld: Maxim 22. [back]
Note 20.
Ray: Proverbs. Thomas Fuller: Wise Sentences. [greek]—Euripides: Iph. Aul., 1142. [back]
Note 21.
Measures, not men.—Earl of Chesterfield: Letter, Mar. 6, 1742. Not men, but measures.—Edmund Burke: Present Discontents. [back]
Note 22.
See Bacon, Quotation 57. [back]
Note 23.
See Chaucer, Quotation 32. [back]
Note 24.
See Burton, Quotation 2. [back]
Note 25.
See Young, Quotation 33. [back]
Note 26.
An object in possession seldom retains the same charm that it had in pursuit.—Pliny the Younger: Letters, book ii. letter xv. 1. [back]
Note 27.
See Middleton, Quotation 29. [back]
Note 28.
See Butler, Quotation 68. [back]
Note 29.
There are two things which I am confident I can do very well: one is an introduction to any literary work, stating what it is to contain, and how it should be executed in the most perfect manner.
Boswell: Life of Johnson, An. 1775. [back]
Note 30.
See Young, Quotation 64. [back]