Epilogue to ‘The Good Natur’d Man’

Oliver Goldsmith (c. 1730–1774) · 1764–1774

iambic pentameter · heroic couplets · 34 lines · from Poems

As puffing quacks some caitiff wretch procureTo swear the pill, or drop, has wrought a cure;Thus on the stage, our play-wrights still dependFor Epilogues and Prologues on some friend,Who knows each art of coaxing up the town,And make full many a bitter pill go down.Conscious of this, our bard has gone about,And teas’d each rhyming friend to help him out.‘An Epilogue—things can’t go on without it;It could not fail, would you but set about it.’‘Young man,’ cries one—a bard laid up in clover—‘Alas, young man, my writing days are over;Let boys play tricks, and kick the straw; not I:Your brother Doctor there, perhaps, may try.’‘What I? dear Sir,’ the Doctor interposes‘What plant my thistle, Sir, among his roses!No, no; I’ve other contests to maintain;To-night I head our troops at Warwick Lane:Go, ask your manager.’ ‘Who, me? Your pardon;Those things are not our forte at Covent Garden.’Our Author’s friends, thus plac’d at happy distance,Give him good words indeed, but no assistance.As some unhappy wight, at some new play,At the Pit door stands elbowing a way,While oft, with many a smile, and many a shrug,He eyes the centre, where his friends sit snug;His simp’ring friends, with pleasure in their eyes,Sink as he sinks, and as he rises rise;He nods, they nod; he cringes, they grimace;But not a soul will budge to give him place.Since then, unhelp’d, our bard must now conform‘To ’bide the pelting of this pitiless storm’—Blame where you must, be candid where you can;And be each critic the Good Natur’d Man.

Words in this poem

puffing
a. & n. from Puff, v. i. & t. Puffing adder. (Zoöl.) Same as Puff adder (b), under Puff.
caitiff a.
Captive; wretched; unfortunate. [OE. caitif, cheitif, captive, miserable, OF. caitif, chaitif, captive, mean, wretched, F. chétif, fr. L. captivus captive, fr. capere to take, akin to E. heave.]
forte n.
The strong point; that in which one excels. fort"a The construction of a fable seems by no means the forte of our modern poetical writers. Jeffrey. [IT. forte: cf. F. fort. See Fort.]
covent n.
A convent or monastery. Bale. Covent Garden, a large square in London, so called because originally it was the garden of a monastery. [OF. covent, F. couvent. See Convent.]
wight n.
A whit; a bit; a jot. [OE. wight, wiht, a wight, a whit, AS. wiht, wuht, a creature, a thing; skin to D. wicht a child, OS. & OHG. wiht a creature, thing, G. wicht a creature, Icel. v]
shrug v. t.
To draw up or contract (the shoulders), especially by way of expressing dislike, dread, doubt, or the like. [Probably akin to shrink, p. p. shrunk; cf. Dan. skrugge, skrukke, to stoop, dial. Sw. skrukka, skruga, to crouch.]
centre v. i.
To be placed in a center; to be central.
budge a.
Brisk; stirring; jocund. South. [See Budge, v.]
bide v. i.
To dwell; to inhabit; to abide; to stay. [OE. biden, AS. bidan; akin to OHG. bitan, Goth. beidan, Icel. bi; perh. orig., to wait with trust, and akin to bid. See Bid, v. t., and cf. Abide.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Epilogue to ‘The Good Natur’d Man’ is in the public domain. This text is taken from The Complete Poetical Works of Oliver Goldsmith, Project Gutenberg ebook #3545; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Oliver Goldsmith, Epilogue to ‘The Good Natur’d Man’, in Poems (1764–1774), text of Project Gutenberg ebook #3545, Laurel, https://laurelpoetry.com/poem/goldsmith-poems/epilogue-to-the-good-natur-d-man.html, id L00438.

Form and metre

Epilogue to ‘The Good Natur’d Man’ is 34 lines in a single stanza. It is in rhyming couplets, 94% of the lines: heroic couplets. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 88%). 92% of its stressed syllables fall where the metre puts the beat. The lines average 10.3 syllables. 8 lines end on an unstressed syllable, a feminine ending. 12% of the lines run on without a stop at the line end.

See other poems in heroic couplets, other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 AABBCCDD--EEFFGGHHHHIIJJKKLLMMNNOO procureA · cureA · dependB · friendB · townC · downC · aboutD · outD · it · it · cloverE · overE · iF · tryF · interposesG · rosesG · maintainH · laneH · pardonH · gardenH · distanceI · assistanceI · playJ · wayJ · shrugK · snugK · eyesL · riseL · grimaceM · placeM · conformN · stormN · canO · manO
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
As puffing quacks some caitiff wretch procure10·/˘··/˘·˘/
To swear the pill, or drop, has wrought a cure;10··········
Thus on the stage, our play-wrights still depend10····/···˘/
For Epilogues and Prologues on some friend,10·/˘··/˘···
Who knows each art of coaxing up the town,10·····/˘···
And make full many a bitter pill go down.10···/·/˘···
Conscious of this, our bard has gone about,10/˘··/·····
And teas’d each rhyming friend to help him out.10···/˘·····
‘An Epilogue—things can’t go on without it;11·/˘········
It could not fail, would you but set about it.’11···········
‘Young man,’ cries one—a bard laid up in clover—11·········/˘
‘Alas, young man, my writing days are over;10˘/···/˘···
Let boys play tricks, and kick the straw; not I:10··········
Your brother Doctor there, perhaps, may try.’10·/˘/˘·˘/··
‘What I? dear Sir,’ the Doctor interposes11·····/˘·˘/˘
‘What plant my thistle, Sir, among his roses!11···/˘····/˘
No, no; I’ve other contests to maintain;10···/˘/˘·˘/
To-night I head our troops at Warwick Lane:10····/··/˘·
Go, ask your manager.’ ‘Who, me? Your pardon;11···/˘˘···/˘
Those things are not our forte at Covent Garden.’12····//˘·/˘/˘
Our Author’s friends, thus plac’d at happy distance,11//˘····/˘/˘
Give him good words indeed, but no assistance.11····˘/··˘/˘
As some unhappy wight, at some new play,10··˘/˘·····
At the Pit door stands elbowing a way,10·····/·˘··
While oft, with many a smile, and many a shrug,10···/···/··
He eyes the centre, where his friends sit snug;10···/˘·····
His simp’ring friends, with pleasure in their eyes,10·····/˘···
Sink as he sinks, and as he rises rise;10·······/˘·
He nods, they nod; he cringes, they grimace;10·····/˘·/˘
But not a soul will budge to give him place.10··········
Since then, unhelp’d, our bard must now conform10····/···˘/
‘To ’bide the pelting of this pitiless storm’—10···/˘··/˘·
Blame where you must, be candid where you can;10·····/˘···
And be each critic the Good Natur’d Man.10···/˘··/˘·

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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