It is almost needless to say that the style is lucid, graceful and pure, with that “polished want of polish” in the selection of the words, which indicates a master in diction. The spirit breathed over the work is genial and sympathetic, and while it throws a charm around Goldsmith, makes the reader in love with Irving. The selections from Goldsmith’s letters and writings, introduced as illustrations of events in his life, and qualities of his character, do not stand apart from the biographer’s text, but rather seem to melt into it, and form a vital portion of the work. Irving has avoided the fault of the other biographers, in not admitting extraneous matter, and rejecting every thing which does not strictly relate to Goldsmith. The sketches of men, and descriptions of English life and manners, which he introduces, are all illustrative of the circumstances and position of his author. Among these, the remarks on Johnson, Langton and Topham Beauclerc, and the account of the Literary Club, are the most felicitous. In the last chapter of the volume, Irving sums up, with great delicacy and discrimination, the various qualities of Goldsmith, and presents, with a loving pen, his claims upon the reader’s esteem. We cannot refrain from quoting the concluding remarks, both for their beauty and justice. “From the general tone of Goldsmith’s biography, it is evident that his faults, at the worst, were but negative, while his merits were great and decided. He was no one’s enemy but his own; his errors, in the main, inflicted evil on none but himself, and were so blended with humorous, and even affecting circumstances, as to disarm anger and conciliate kindness. Where eminent talent is united to spotless virtue, we are awed and dazzled into admiration, but our admiration is apt to be cold and reverential; while there is something in the harmless infirmities of a good and great, but erring individual, that pleads touchingly to our nature; and we turn more kindly toward the object of our idolatry, when we find that, like ourselves, he is mortal and frail. The epithet so often heard, and in such kindly tones, of ‘poor Goldsmith,’ speaks volumes. Few, who consider the real compound of admirable and whimsical qualities which form his character, would wish to prune away its eccentricities, trim its grotesque luxuriance, and clip it down to the decent formalities of rigid virtue. ‘Let not his frailties be remembered,’ said Johnson, ‘for he was a very great man.’ But, for our part, we rather say, ‘let them be remembered,’ since their tendency is to endear; and we question whether he himself would not feel gratified in hearing his reader, after dwelling with admiration on the proofs of his greatness, close the volume with the kind-hearted phrase, so fondly and so familiarly ejaculated, of Poor Goldsmith.” * * * * *