Goldsmith, Oliver (Drama Criticism)
Oliver Goldsmith 1730?-1774
Goldsmith was one of the most important writers of the eighteenth century. Although financial necessity drove him to devote most of his time to producing translations, compilations, and popularizations of the works of others, he made notable contributions of his own to nearly every literary form that was in vogue during the period. His most important play, She Stoops to Conquer, was popular from its first performance and remains one of a very few plays from its time that is still performed. It has been credited with ushering in a new era of robust comedy to an English theater overwhelmed by sentimentalism.
Goldsmith was born in County Longford, Ireland, the fifth child of the Reverend Charles Goldsmith and his wife Ann Jones Goldsmith. The family was poor but not in serious financial straits during Goldsmith's youth. He suffered a physical misfortune, though, when around the age of eight he contracted smallpox and was left badly scarred by the disease. This, along with an already unprepossessing appearance, convinced him of his own ugliness and made him the subject of ridicule throughout his life. Goldsmith entered Trinity College, Dublin, in 1745 as a "sizar," an indigent student who Was allowed to attend college for a small fee in exchange for performing menial work at the school. Disappointed with the harshness of his situation, Goldsmith neglected his studies and spent more time carousing than attending classes. Although he left college briefly, he eventually earned a Bachelor of Arts degree in 1749.
After college Goldsmith cast about for a profession. He considered entering the ministry and also studied medicine for a time. In 1753 he embarked on a walking tour of Europe, which provided the inspiration for several of his later works, including the narrative poem The Traveller and the adventures of George Primrose in the novel The Vicar of Wakefield. After three years of travel he returned to London in 1756. During the next several years he held a variety of poorly paying jobs, but he eventually secured a position writing book reviews for the Monthly Review. This experience introduced Goldsmith to professional magazine writing, a vocation which would eventually provide most of his income. After his association with the Monthly Review ended, he obtained a proofreading job with the novelist and printer Samuel Richardson and continued to contribute essays as well as book and theater reviews to a number of journals. Goldsmith's periodical writing eventually attracted the notice of booksellers, whose sponsorship was important to aspiring writers in the eighteenth century.
From October through November of 1759 Goldsmith wrote the entire contents—essays, short fiction, and reviews—of the complete eight-issue run of the magazine the Bee. At the same time he published his first book, An Enquiry into the Present State of Polite Learning in Europe, an extended essay on European literature and culture. The following year Goldsmith began his most famous series of periodical essays, the "Chinese Letters." Purporting to be a series of letters from a Chinese philosopher visiting London, these sometimes witty, sometimes philosophical pieces provided social satire thinly veiled by fiction. They were collected and published in 1762 as The Citizen of the World. With the success of this work Goldsmith became a prominent figure in London literary society. He became associated with group of well-known intellectuals, including the painter Sir Joshua Reynolds, the actor and theater manager David Garrick, and the writers Samuel Johnson, Thomas Percy, Edmund Burke, and James Boswell. This group, known simply as The Club (later the Literary Club), met regularly in coffeehouses, taverns and one another's homes. Although he was now successful, Goldsmith was unable to handle his money, gambled, and ran up debts.
The Traveller appeared in 1764 and The Vicar of Wake-field in 1766. Goldsmith's first play, The Good Natured Man was first produced at the Theatre Royal in Covent Garden on 29 January 1768; five years later She Stoops to Conquer was staged at the same playhouse on 15 March 1773. This was followed on 8 May by a short farce, The Grumbler. Goldsmith died on 4 April 1774, after overdosing on medication he had taken for a variety of intestinal disorders.
MAJOR DRAMATIC WORKS
Aside from The Grumbler—a one-act adaptation of an adaptation of a French farce—Goldsmith produced only two works for the theater. When The Good Natured Man was first staged, it fared well with audiences, though critics were harder to please. Goldsmith's use of what appeared to be sentimental conventions was at odds with his inclusion of such "low" elements as broad comedy involving lower-class characters. So many critics censured one farcical scene that it was dropped after the first performance. She Stoops to Conquer was a greater success, and it is on this work that Goldsmith's reputation as a dramatist primarily rests. The plot is preposterous, depending on a series of highly unlikely misunderstandings, and many of the minor figures are merely types. However, several of the central characters, particularly Kate Hardcastle and Tony Lumpkin, are considered masterpieces of comic theater. The play, good humored and containing no ulterior motive other than to entertain, remains a viable work of comedy.
Critics generally attribute the difference between the successes of Goldsmith's two comedies to the author's increased confidence in his dramatic abilities. In The Good Natured Man Goldsmith attacked—not altogether successfully—the sentimental comedy that had dominated the English stage for fifty years. With She Stoops to Conquer, most critics agree, he was able to abandon all conventions of sentimental comedy and present instead a straightforward, robust, and, above all, funny play. (Some commentators, however, have contended that She Stoops to Conquer adheres to many of the conventions that it seeks to overthrow.) Throughout the centuries, the play has retained its popularity with readers and theatergoers. Audiences unconcerned with possible shades of authorial control have continued to enjoy the play as an entertaining theatrical comedy. Virginia Woolf noted that fine critical distinctions "fade out in the enjoyment of reading" She Stoops to Conquer. "When a thing is perfect of its kind," she added, "we cannot stop, under that spell, to pick our flower to pieces. There is a unity about it which forbids us to dismember it."
The Good Natur'd Man 1768
She Stoops to Conquer; or, The Mistakes of a Night 1773
The Grumbler: A Farce [adaptor; from Charles Sedley's translation of David Augustin de Brueys' Le Grondeur] 1773
OTHER MAJOR WORKS
An Enquiry into the Present State of Polite Learning in Europe (essay) 1759
The Citizen of the World; or, Letters from a Chinese Philosopher Residing in London to His Friends in the East. 2 vols. (essays) 1762
The Life of Richard Mash, of Bath, Esq. Extracted Principally from His Original Papers (biography) 1762
The Traveller; or, A Prospect of Society (poetry) 1764
The Vicar of Wakefield: A Tale (novel) 1766
The Deserted Village: A Poem (poetry) 1770
The History of England, from the Earliest Times to the Death of George II. 4 vols. (history) 1771
The Retaliation: A Poem (poetry) 1774
(The entire section is 125 words.)
Remarks on Our Theatres (6 October 1759)
SOURCE: "Remarks on Our Theatres," reprinted in The Bee and Other Essays by Oliver Goldsmith, Oxford University Press, 1914, pp. 3-7.
[In the following, which was first published in the first number of the journal The Bee in 1759, Goldsmith censures the artificiality of the acting style prevalent on the London stage of his time.]
Our theatres are now opened, and all Grub Street is preparing its advice to the managers; we shall undoubtedly hear learned disquisitions on the structure of one actor's legs, and another's eyebrows. We shall be told much of enunciations, tones, and attitudes, and shall have our lightest pleasures commented upon by didactic dullness. We shall, it is feared, be told, that Garrick is a fine actor, but then, as a manager, so avaricious! That Palmer is a most promising genius, and Holland likely to do well, in a particular cast of character. We shall have them giving Shuter instructions to amuse us by rule, and deploring over the ruins of desolated majesty in Covent Garden. As I love to be advising too, for advice is easily given, and bears a show of wisdom and superiority, I must be permitted to offer a few observations upon our theatres and actors, without, on this trivial occasion, throwing my thoughts into the formality of method.
There is something in the deportment of all our players...
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Overviews And General Studies
Ricardo Quintana (essay date 1965)
SOURCE: "Goldsmith's Achievement as Dramatist," in University of Toronto Quarterly, Vol. XXXIV, No. 2, January, 1965, pp. 159-77.
[In the essay below, Quintana provides a comprehensive survey of Goldsmith's theatrical activities.]
Despite the fact that Goldsmith occupies a secure place among eighteenth-century dramatists, the precise nature of his achievement as a playwright has yet to be explored with the care which the subject deserves. Since this is a matter which concerns Georgian comedy in a broad sense as well as Goldsmith's own comic artistry, it is one of no little importance. Goldsmith came to the drama fairly late in his career, being thirty-seven—if we accept 1730 as the year of his birth—when his first play was produced. He had already established himself as one of the notable literary men of the period. He had behind him the Enquiry into the Present State of Polite Learning, a multitude of essays, including the highly successful series of "Chinese Letters" (published by themselves as The Citizen of the World), the poem The Traveller, and The Vicar of Wakefield. Is it possible to make out any sort of relationship between his earlier writings and his plays? How did he accommodate himself to the established tradition of Georgian comedy, and if he...
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She Stoops To Conquer
Stephen Gwynn (essay date 1935)
SOURCE: "She Stoops to Conquer," in Oliver Goldsmith, Henry Holt and Company, 1935, pp. 263-289.
[In the excerpt below, Gwynn traces the initial production and reception of She Stoops to Conquer.]
In Lloyd's Evening Post of March 15-17 … there appeared this "Theatrical Intelligence":
The characters of the new Comedy, called "She Stoops to Conquer, or the Mistakes of a Night," performed on Monday night at Covent Garden Theatre for the first time were as follows:
Hardcastle Mr. Shuter.
Mr. Marlow Mr. Lewes.
Squire Tony Lumpkin Mr. Quick.
Mr. Hastings Mr. du Bellamy.
Sir Charles Marlow Mr. Gardner.
Landlord and Drunken Servant Mr. Thompson.
Dancing Bear-Leader and Hardcastle's Servant Mr. Saunders.
Companions to the Squire Mr. Bates, Mr. Holtom and Mr. Davis.
Mrs. Dorothy Hardcastle Mrs. Green.
Miss Constantia Hardcastle Mrs. Bulkeley.
Miss Neville Mrs. Kniveton.
Pimper Mrs. Willems.
The Comedy is written by...
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OVERVIEWS AND GENERAL STUDIES
Bevis, Richard. "True-Born Irishmen." In The Laughing Tradition: Stage Comedy in Garrick's Day, pp. 205-14. Athens: The University of Georgia Press, 1980.
Investigates The Good-Natured Gentleman and She Stoops to Conquer within the context of British theatrical history.
Donoghue, Frank."'He Never Gives Us Nothing that's Low': Goldsmith's Plays and the Reviewers." ELH 55, No. 3 (Fall 1988): 665-84.
Contends that through his essays on the theater Goldsmith attempted to influence the reviewers of his own plays "by instructing them how to judge him."
Fitz-Simon, Christopher. "A Very Great Man: Oliver Goldsmith." In The Irish Theatre, pp. 51-8. London: Thames and Hudson, 1983.
Biographical and historical portrait of Goldsmith. Includes a number of illustrations and photographs of his plays in production.
Golden, Morris. "Goldsmith's Reputation in His Day." Papers on Language and Literature 16, No. 2 (Spring 1980): 213-38.
Examines the journalistic press of Goldsmith's day and finds that the writer was perceived by the public as "an independent Augustan scorning fads [and] an artist who served his society and earned its good will."
Harris, Bernard. "Goldsmith in the Theatre." In The Art of Oliver Goldsmith,...
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