'Retaliation : A Poem' by Oliver Goldsmith
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1Of old, when Scarron his companions invited,
2Each guest brought his dish, and the feast was united;
3If our landlord supplies us with beef, and with fish,
4Let each guest bring himself, and he brings the best dish:
5Our Dean shall be venison, just fresh from the plains;
6Our Burke shall be tongue, with a garnish of brains;
7Our Will shall be wild fowl, of excellent flavour,
8Our Cumberland's sweet-bread its place shall obtain,
9And Douglas is pudding, substantial and plain:
10Our Garrick's a salad, for in him we see
11Oil, vinegar, sugar, and saltness agree:
12To make out the dinner, full certain I am,
13That Ridge is an anchovy, and Reynolds is lamb;
14That Hickey's a capon, and by the same rule,
15Magnanimous Goldsmith, a gooseberry fool:
16At a dinner so various, at such a repast,
17Who'd not be a glutton, and stick to the last:
18Here, waiter, more wine, let me sit while I'm able,
19'Till all my companions sink under the table;
20Then with chaos and blunders encircling my head,
21Let me ponder, and tell what I think of the dead.
22Here lies the good Dean, re-united with earth,
23Who mixt reason with pleasure, and wisdom with mirth:
24If he had any faults, he has left us in doubt,
25At least, in six weeks, I could not find 'em out;
26Yet some have declar'd, and it can't be denied 'em,
27That sly-boots was cursedly cunning to hide 'em.
28Here lies our good Edmund, whose genius was such,
29We scarcely can praise it, or blame it too much;
30Who, born for the Universe, narrow'd his mind,
31And to party gave up, what was meant for mankind.
32Tho' fraught with all learning, yet straining his throat,
33To persuade Tommy Townsend to lend him a vote;
34Who, too deep for his hearers, still went on refining,
35And thought of convincing, while they thought of dining;
36Tho' equal to all things, for all things unfit,
37Too nice for a statesman, too proud for a wit:
38For a patriot too cool; for a drudge, disobedient,
39And too fond of the right to pursue the expedient.
40In short, 'twas his fate, unemploy'd, or in place, sir,
41To eat mutton cold, and cut blocks with a razor.
42Here lies honest William, whose heart was a mint,
43While the owner ne'er knew half the good that was in't;
44The pupil of impulse, it forc'd him along,
45His conduct still right, with his argument wrong;
46Still aiming at honour, yet fearing to roam,
47The coachman was tipsy, the chariot drove home;
48Would you ask for his merits, alas! he had none,
49What was good was spontaneous, his faults were his own.
50Here lies honest Richard, whose fate I must sigh at,
51Alas, that such frolic should now be so quiet!
52What spirits were his, what wit and what whim,
53Now breaking a jest, and now breaking a limb;
54Now wrangling and grumbling to keep up the ball,
55Now teazing and vexing, yet laughing at all?
56In short so provoking a devil was Dick,
57That we wish'd him full ten times a day at Old Nick.
58But missing his mirth and agreeable vein,
59As often we wish'd to have Dick back again.
60Here Cumberland lies having acted his parts,
61The Terence of England, the mender of hearts;
62A flattering painter, who made it his care
63To draw men as they ought to be, not as they are.
64His gallants were all faultless, his women divine,
65And comedy wonders at being so fine;
66Like a tragedy queen he has dizen'd her out,
67Or rather like tragedy giving a rout.
68His fools have their follies so lost in a crowd
69Of virtues and feelings, that folly grows proud
70And coxcombs alike in their failings alone,
71Adopting his portraits are pleas'd with their own.
72Say, where has our poet this malady caught,
73Or wherefore his characters thus without fault?
74Say was it that vainly directing his view,
75To find out men's virtues and finding them few,
76Quite sick of pursuing each troublesome elf,
77He grew lazy at last and drew from himself?
78Here Douglas retires from his toils to relax,
79The scourge of impostors, the terror of quacks:
80Come all ye quack bards, and ye quacking divines,
81Come and dance on the spot where your tyrant reclines,
82When Satire and Censure encircl'd his throne,
83I fear'd for your safety, I fear'd for my own;
84But now he is gone, and we want a detector,
85Our Dodds shall be pious, our Kenricks shall lecture;
86Macpherson write bombast, and call it a style,
87Our Townshend make speeches, and I shall compile;
88New Lauders and Bowers the Tweed shall cross over,
89No countryman living their tricks to discover;
90Detection her taper shall quench to a spark,
91And Scotchman meet Scotchman and cheat in the dark.
92Here lies David Garrick, describe me who can,
93An abridgment of all that was pleasant in man;
94As an actor, confest without rival to shine,
95As a wit, if not first, in the very first line,
96Yet with talents like these, and an excellent heart,
97The man had his failings, a dupe to his art;
98Like an ill-judging beauty, his colours he spread,
99And beplaister'd, with rouge, his own natural red.
100On the stage he was natural, simple, affecting,
101'Twas only that, when he was off, he was acting:
102With no reason on earth to go out of his way,
103He turn'd and he varied full ten times a-day;
104Tho' secure of our hearts, yet confoundedly sick,
105If they were not his own by finessing and trick;
106He cast off his friends, as a huntsman his pack,
107For he knew when he pleas'd he could whistle them back.
108Of praise a mere glutton, he swallow'd what came,
109And the puff of a dunce, he mistook it for fame;
110'Till his relish grown callous, almost to disease,
111Who pepper'd the highest, was surest to please.
112But let us be candid, and speak out our mind,
113If dunces applauded, he paid them in kind.
114Ye Kenricks, ye Kellys, and Woodfalls so grave,
115What a commerce was yours, while you got and you gave?
116How did Grub-street re-echo the shouts that you rais'd,
117While he was beroscius'd, and you were beprais'd?
118But peace to his spirit, wherever it flies,
119To act as an angel, and mix it with skies:
120Those poets, who owe their best fame to his skill,
121Shall still be his flatterers, go where he will.
122Old Shakespeare, receive him, with praise and with love,
123And Beaumonts and Bens be his Kellys above.
124Here Hickey reclines, a most blunt, pleasant creature,
125And slander itself must allow him good-nature:
126He cherish'd his friend, and he relish'd a bumper;
127Yet one fault he had, and that one was a thumper:
128Perhaps you may ask if the man was a miser?
129I answer, no, no, for he always was wiser;
130Too courteous, perhaps, or obligingly flat;
131His very worst foe can't accuse him of that.
132Perhaps he confided in men as they go,
133And so was too foolishly honest; ah no!
134Then what was his failing? come tell it, and burn ye,
135He was, could he help it? a special attorney.
136Here Reynolds is laid, and, to tell you my mind,
137He has not left a wiser or better behind;
138His pencil was striking, resistless and grand,
139His manners were gentle, complying and bland;
140Still born to improve us in every part,
141His pencil our faces, his manners our heart:
142To coxcombs averse, yet most civilly steering,
143When they judg'd without skill he was still hard of hearing:
144When they talk'd of their Raphaels, Corregios and stuff,
145He shifted his trumpet, and only took snuff.
Editor 1 Interpretation
"Retaliation: A Poem" by Oliver Goldsmith: A Masterpiece of Satirical Poetry
Have you ever read a poem that made you laugh out loud one second, and then left you feeling deep sorrow the next? If not, then "Retaliation: A Poem" by Oliver Goldsmith is the perfect poem for you. This is a classic example of satirical poetry that combines humor, sarcasm, wit, and an acute sense of observation to depict human follies and frailties. In this essay, I will provide a detailed literary criticism and interpretation of this masterpiece of poetic art.
The Poet and The Poem
First, let's take a brief look at the poet and the poem. Oliver Goldsmith was an Irish writer, poet, and playwright of the eighteenth century. He was a master of satire and wrote some of the most memorable poems and plays of his time. "Retaliation: A Poem" was published in 1774, a few months before his death. The poem is a satirical account of a dinner party hosted by Goldsmith's friend, Sir Joshua Reynolds, where some of the most famous men of letters of the time were present. The poem is a blend of fact and fiction, as Goldsmith uses his poetic license to exaggerate and distort some of the events and characters for the sake of humor and satire.
The Structure and Style
The poem is written in rhymed couplets, with each stanza focusing on a different character or incident. The language is simple and direct, with a touch of irony and sarcasm. The poem is full of puns, wordplay, and clever allusions to literary and cultural icons of the time. The structure of the poem reflects the social hierarchy of the period, with the most prominent and respected guests given the longest stanzas and the most attention, while the lesser-known guests are given shorter and more perfunctory stanzas.
The Characters
The poem is a veritable who's who of eighteenth-century British literature and society. Each character is portrayed with a unique blend of humor, respect, and satire. Let's take a closer look at some of the key characters in the poem.
Sir Joshua Reynolds
Sir Joshua Reynolds was a famous painter and a close friend of Goldsmith. He is the host of the dinner party and is portrayed as a gracious and generous host. Goldsmith praises him for his artistic skills and his ability to bring together such a diverse and talented group of men. However, Goldsmith also pokes fun at Reynolds, portraying him as a bit of a social climber who is always eager to please his guests and curry favor with the rich and powerful.
Edmund Burke
Edmund Burke was a famous philosopher, statesman, and writer. He is portrayed as the most learned and intellectual guest at the party, with a deep knowledge of history, politics, and philosophy. Goldsmith praises him for his eloquence and wit, but also pokes fun at him for his verbosity and tendency to pontificate.
David Garrick
David Garrick was a famous actor and theater manager. He is portrayed as a flamboyant and theatrical guest, always eager to entertain and be the center of attention. Goldsmith praises him for his acting skills and his ability to charm the ladies, but also pokes fun at him for his vanity and his tendency to exaggerate.
Oliver Goldsmith
Oliver Goldsmith himself is also a character in the poem. He is portrayed as a witty and affable guest, always ready with a joke or a clever remark. Goldsmith praises himself for his literary skills and his ability to entertain, but also pokes fun at himself for his poverty and his tendency to exaggerate his own accomplishments.
The Themes
The poem explores a number of themes that are still relevant today. One of the main themes is the nature of friendship and social interaction. Goldsmith shows how even the most eminent and accomplished men can still be petty, jealous, and insecure. He also shows how social rank and wealth can be both a blessing and a curse, as they bring both adulation and envy. Another theme is the nature of art and creativity. Goldsmith celebrates the creative genius of his guests, but also shows how art and literature can be both inspiring and pretentious. He also shows how art can be a means of social advancement and how it can be used to impress and manipulate others.
The Interpretation
So, what is the deeper meaning of "Retaliation: A Poem"? On the surface, it is a witty and entertaining satire of a dinner party. But beneath the surface, it is a profound commentary on human nature, society, and creativity. Goldsmith shows us how even the most accomplished and celebrated men can still be vain, petty, and insecure. He also shows us how art and literature can be both inspiring and pretentious, and how they can be used to gain social status and manipulate others. Ultimately, the poem is a reminder that fame and fortune are fleeting, while true friendship and creativity endure.
Conclusion
In conclusion, "Retaliation: A Poem" by Oliver Goldsmith is a masterpiece of satirical poetry that combines humor, wit, and observation to depict human follies and frailties. It is a witty and entertaining account of a dinner party, but it is also a profound commentary on human nature, society, and creativity. It reminds us that even the most celebrated and accomplished men are still subject to the same petty jealousies and vanities as the rest of us. It also reminds us that true friendship and creativity endure, even in the face of fame and fortune. So, read this poem, enjoy its wit and humor, but also take its deeper message to heart.
Editor 2 Analysis and Explanation
Poetry Retaliation: A Poem by Oliver Goldsmith
Poetry Retaliation is a classic poem written by Oliver Goldsmith, a renowned Irish poet, playwright, and novelist. The poem is a satirical response to the attacks made by critics on Goldsmith's earlier works. It is a witty and humorous piece of literature that showcases Goldsmith's mastery of language and his ability to turn criticism into art.
The poem was first published in 1774, and it quickly became popular among readers and critics alike. It is a long poem, consisting of 158 lines, divided into ten stanzas. Each stanza is composed of four lines, and the rhyme scheme is ABAB. The poem is written in heroic couplets, a form of poetry that was popular in the eighteenth century.
The poem begins with Goldsmith's response to the critics who had attacked his earlier works. He acknowledges their criticism but also defends his work, stating that he writes for the pleasure of his readers and not for the approval of the critics. He then goes on to say that he will retaliate against his critics by writing a poem that will expose their flaws and shortcomings.
Goldsmith then proceeds to describe the various types of critics he has encountered in his career. He describes the "pedant," who is more concerned with grammar and syntax than with the content of the work. He also describes the "dunce," who is unable to understand the work and therefore criticizes it unfairly. He then goes on to describe the "critic," who is knowledgeable about the subject but lacks the creativity to produce anything of his own.
In the second stanza, Goldsmith turns his attention to the critics' lack of originality. He accuses them of copying each other's opinions and of being afraid to express their own views. He then goes on to say that he will not be deterred by their criticism and that he will continue to write what he pleases.
In the third stanza, Goldsmith takes aim at the critics' lack of empathy. He accuses them of being unable to understand the emotions and experiences of the characters in his works. He then goes on to say that he will continue to write about the human condition, regardless of the critics' opinions.
In the fourth stanza, Goldsmith turns his attention to the critics' lack of humor. He accuses them of being unable to appreciate the comedic elements of his works and of taking themselves too seriously. He then goes on to say that he will continue to write with humor and wit, regardless of the critics' opinions.
In the fifth stanza, Goldsmith takes aim at the critics' lack of imagination. He accuses them of being unable to see beyond the surface of his works and of being unable to appreciate the deeper meanings and themes. He then goes on to say that he will continue to write with imagination and creativity, regardless of the critics' opinions.
In the sixth stanza, Goldsmith turns his attention to the critics' lack of morality. He accuses them of being more concerned with their own reputations than with the moral lessons that his works impart. He then goes on to say that he will continue to write with a moral purpose, regardless of the critics' opinions.
In the seventh stanza, Goldsmith takes aim at the critics' lack of taste. He accuses them of being unable to appreciate the beauty and elegance of his works and of being more concerned with their own preferences than with the quality of the work. He then goes on to say that he will continue to write with taste and refinement, regardless of the critics' opinions.
In the eighth stanza, Goldsmith turns his attention to the critics' lack of humility. He accuses them of being arrogant and self-important, and of thinking that their opinions are the only ones that matter. He then goes on to say that he will continue to write with humility and respect for his readers, regardless of the critics' opinions.
In the ninth stanza, Goldsmith takes aim at the critics' lack of gratitude. He accuses them of being ungrateful for the opportunities that his works have given them and of being more concerned with their own egos than with the success of the work. He then goes on to say that he will continue to write with gratitude and appreciation for his readers, regardless of the critics' opinions.
In the final stanza, Goldsmith concludes the poem by stating that he has retaliated against his critics by writing this poem. He acknowledges that the critics will continue to attack his works, but he is not deterred. He ends the poem with a defiant statement, declaring that he will continue to write what he pleases, regardless of the critics' opinions.
In conclusion, Poetry Retaliation is a classic poem that showcases Oliver Goldsmith's mastery of language and his ability to turn criticism into art. The poem is a witty and humorous response to the attacks made by critics on Goldsmith's earlier works. It is a testament to Goldsmith's resilience and determination, and it serves as a reminder that true artists write for the pleasure of their readers, not for the approval of the critics.
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