sliding were also very {163}fine? To such a picture the “Deserted Village” bears a great resemblance. It is made up of incongruous parts. The village in its happy days is a true English village. The village in its decay is an Irish village. The felicity and the misery which Goldsmith has brought close together belong to two different countries, and to two different stages in the progress of society. He had assuredly never seen in his native island such a rural paradise, such a seat of plenty, content, and tranquillity, as his “Auburn.” He had assuredly never seen in England all the inhabitants of such a paradise turned out of their homes in one day and forced to emigrate in a body to America. The hamlet he had probably seen in Kent; the ejectment he had probably seen in Minister: but, by joining the two, he has produced something which never was and never will be seen in any part of the world. In 1773 Goldsmith tried his chance at Covent Garden with a second play, “She Stoops to Conquer.” The manager was not without great difficulty induced to bring this piece out. The sentimental comedy still reigned: and Goldsmith’s comedies were not sentimental. The “Goodnatured Man” had been too funny to succeed; yet the mirth of the “Goodnatured? Man” was sober when compared with the rich drollery of “She Stoops to Conquer,” which is, in truth, an incomparable farce in five acts. On this occasion, however, genius triumphed. Pit, boxes, and galleries, were in a constant roar of laughter. If any bigoted admirer of Kelly and Cumberland ventured to hiss or groan, he was speedily silenced by a general cry of “turn him out,” or “throw him over.” Two generations have since confirmed the verdict which was pronounced on that night.