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 letter to the papers about the ‘licentiousness’ of the press. Goldsmith's friendship with Lord Clare is shown by a recorded visit to Clare at Bath in the winter of 1770–1, and by the admirable ‘Haunch of Venison,’ probably written in the same spring. The most vivid descriptions of Goldsmith in society are, however, to be found in Boswell. That Boswell had some prejudice against Goldsmith, partly due to jealousy of his intimacy with Johnson, talks of him with an absurd affectation of superiority, and dwells too much on his foibles, is no doubt true. The portrait may be slightly caricatured; but the substantial likeness is not doubtful. It would be as ill-judged to dispute Goldsmith's foibles as to assert that Uncle Toby was above a weakness for his hobby. Goldsmith, no doubt, often blundered in conversation; went on without knowing how he should come off (Johnson in, ii. 196), and displayed ignorance when trying to ‘get in and shine.’ Reynolds admitted the fact by explaining it as intended to diminish the awe which isolates an author (, i. 328). On such a question there can be no appeal from the unanimous judgment of contemporaries. But all this is perfectly compatible with his having frequently made the excellent hits reported by Boswell. The statements that he was jealous of the admiration excited by pretty women (cf., Johnson (Hill), i. 414; , Life of Reynolds; , ii. 290; , ii. 217) or puppet-shows (see , i. 232, iv. 280) are probably exaggerations or misunderstandings of humorous remarks. But he was clearly vain, acutely sensitive to neglect, and hostile to criticism; fond of splendid garments, as appears from the testimony of his tailors' bills, printed by Prior; and occasionally jealous, so far as jealousy can coexist with absolute guilelessness and freedom from the slightest tinge of malice. His charity seems to have been pushed beyond the limits of prudence, and all who knew him testify to the singular kindliness of his nature. According to Cradock (i. 232) he indulged in gambling. He was certainly not retentive of money; but his extravagance went naturally with an expansive and sympathetic character open to all social impulses.

In 1773 Goldsmith was much interested in a proposed ‘Dictionary of Arts and Sciences.’ He drew up a prospectus and had promises of contributions from Johnson, Burke, Reynolds, and others. Burney had actually written the article ‘Museum.’ The booksellers, however, showed a coolness which caused the scheme to drop, and depressed Goldsmith's spirits. Goldsmith was meanwhile anxious, and Cradock noticed that his gaiety was forced. He was in debt and had spent the sum received for his works in advance. His last poem, ‘Retaliation,’ was probably written in February 1774. It was an answer to some mock-epitaphs composed at a dinner of some of his friends at the St. James's Coffee-house—the exact circumstances being differently stated by Cradock (i. 228) and Cumberland (i. 370), both of whom profess to have been present. Passages of Goldsmith's poem were shown to a few of his friends, but it was not published till after his death. He had gone to Hyde, where he felt ill, returned to London, and on 25 March sent for an apothecary, William Hawes, who afterwards wrote an account of his illness. In spite of Hawes's advice, he doctored himself with James's powder. Hawes called in Dr. Fordyce and Dr. Turton. Turton, thinking that his pulse was worse than it should be, asked whether his mind was at ease. Goldsmith replied ‘It is not.’ He was, however, calm and sometimes cheerful; but grew weaker and died 4 April 1774. Burke burst into tears at the news, and Reynolds, his most beloved friend, gave up painting for the day. Johnson thought that the fever had been increased by the pressure of debt, and reports that, according to Reynolds, he ‘owed not less than 2,000l.’

A public funeral was abandoned, and he was buried in the Temple. A monument, with a medallion by Nollekens and the well-known epitaph by Johnson, was erected in Westminster Abbey at the expense of the club. The benchers of the Temple placed a tablet in their church, now removed to the triforium. A stone on the north side of the Temple Church is supposed to mark his burial-place, which is not, however, certainly known. A statue by Foley was erected in 1864 in front of Trinity College, Dublin.

The best portrait of Goldsmith, by Reynolds, is now at Knole Park, Kent. Another, painted by Reynolds for Thrale's gallery at Streatham, was bought by the Duke of Bedford. A copy is in the National Portrait Gallery. A caricature by his friend Bunbury was prefixed to the ‘Haunch of Venison.’ Another portrait is prefixed to the ‘Poetical and Dramatic Works’ (1780). A portrait attributed to Hogarth, engraved in Forster's ‘Life’ (ii. 11), was in the possession of Mr. Studley Martin of Liverpool in 1877.

Of Goldsmith's brothers and sisters (1) Catherine (Mrs. Hodson) survived to give information for the ‘Percy Memoir;’ her son, Oliver Goldsmith Hodson, came to London about 1770, and lived partly upon his uncle and partly as an apothecary, finally settling