was over, according to my old custom, I requested that the table might be taken away, to have the pleasure of seeing all my family assembled once more by a cheerful fireside. My two little ones sat upon each knee, the rest of the company by their partners. I had nothing now on this side of the grave to wish for; all my cares were over; my pleasure was unspeakable. It now only remained that my gratitude in good fortune should exceed my former submission in adversity.

SUGGESTIONS FOR STUDY.

"I ... showed her that books were sweet unreproaching companions to the miserable, and that if they could not bring us to enjoy life, they would at least teach us to endure it."—The Vicar of Wakefield.

I. Preparation. To come to know something of the material and method employed in the creation of this novel of domestic life it will be of advantage to become familiar with Oliver Goldsmith's birthplace, his early home, his childhood, his family, his education, his professional training, his travels, his friends, and his literary career in London. In this connection it may be well to remember that the novel was a comparatively new literary form and that to the masters of fiction Richardson, Fielding, and Smollett, Goldsmith owed nothing except for their having created a demand for extended prose narrative. The literature most nearly akin to The Vicar of Wakefield is to be found in the Sir Roger de Coverley" and other papers of the

Spectator.

II. Classification.-"A prose Idyll."-H. A. Taine, History of English Literature.

Why is it so called?

than

"It is more like an extended episode in the Spectator manner, a story."-E. Gosse, A History of Eighteenth Century Literature. "It can hardly be claimed that Goldsmith has a greater imagination than Richardson; but he certainly was a greater artist. He had the instinct of reticence, which Richardson had not, and it is not going much too far to say that the nineteenth century English novel, as we understand it now, with its admirable limitations, was invented by Oliver Goldsmith. The novel that respects the right of innocence to pleasure in a true picture of manners, and honors the claim of inexperience to be amused and edified without being abashed, was his creation."-W. D. Howells, Harper's Bazaar, Vol. 33, pp. 3–8.

III. Character.—1. For what purpose is the Vicar's description of the members of his family given in the first chapter?

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2. Are we made familiar with the physical appearances of the personages?

3. Are the characters types?

4. Are they true to life?

5. Do the characters develop?

6. Does the author reveal his characters by his own statements; by what they say and do themselves; by what they say of each other; or by all of these methods?

7. Point out the advantage of having the Vicar and his wife, the Squire and George, and Olivia and Sophia such decided contrasts. 8. What traits of the Vicar's character are brought out during the dispute on monogamy in chapter II?

9. Make note of the different traits of character exhibited by the Vicar in chapters IV, V, VI, and VIII.

10. Is the Vicar deceived as to the real character of the ladies of distinction from the town in chapter IX? Give reasons for your

answer.

11. Why did Mrs. Primrose and her daughters so readily fall into the snare set for them by the Squire?

12. Did the Vicar consent to the schemes of Mrs. Primrose for securing the marriage of the Squire to Olivia? Why?

13. Can you justify Mrs. Primrose for sending away Mr. Burchell in chapter XIII?

14. What are the Vicar's two or three specious reasons for being secretly glad?

do

15. What contrast in the characters of Mr. Burchell and the Vicar you observe in chapter XV?

16. Does the Vicar recall to your mind any great characters in history or literature?

17. What information is gained through the Vicar's acceptance of the Squire's commission for George in chapter XXI?

18. What do you learn about the Vicar through his respect for Olivia's oath of secrecy?

19. What quality of character appears most prominently in chapter XXIV?

20. Is the Vicar an ideal character?

21. Has the practical side of the Vicar's nature, shown in the work of prison reform, ever before been in evidence?

22. Is the Squire a thoroughly bad man? Name some of his virtues. 23. Select the Squire's chief traits of character from chapters V, VI, VII, IX, XVII, XXI, XXIV, XXVIII, XXXI.

24. Are the Squire's methods of winning favor among men and of securing advantage new?

25. What traits of character become apparent when the family endeavor to cope with their betters? when they have the family portrait made? when the young ladies visit the fortune teller?

26. What is your opinion of Mrs. Primrose's reception of Olivia upon her return home?

27. Are certain qualities of character ever exaggerated thereby producing caricatures?

28. Does Goldsmith portray men and women equally well? Is he successful in the revelation of child characters?

29. Are his characters consistent, or do they sometimes do things you do not expect them to do?

30. Are the characters of the Vicar and his family improved by the humiliations and calamities suffered?

31. Why from the time of the first appearance of this story have its readers always been charmed by the character of the Vicar?

IV. Plot.—1. What is the proposition of this story?

2. When do you come to know the forces which are to be opposed to one another in the plot?

3. Is the plot simple or complex?

4. What has the dispute on monogamy to do with the plot?

5. Why is George sent away in chapter III? Is there a compensation for his loss?

6. Between chapter IV and IX how much has been gained by the aggressive party?

7. What is the purpose of introducing the ballad in chapter VIII?

8. How does Mr. Thornhill gain ground in chapter XI? Does the opposition also attain added strength?

9. What do you note regarding the humorous situations as the main plot approaches the climax?

10. What does the incident concerning Moses at the fair have to do with the story development?

II. Why is the fable of the Giant and the Dwarf told?

12. What is the purpose of having the Vicar swindled by Mr. Jenkinson?

13. Point out why the management of the proposed trip to London and its hindrance is so effective.

14. What prevents the Vicar from seeing matters in their true light in relation to the letter addressed to Thornhill Castle?

15. Are there now any obstacles in the way of the aggressive party? 16. Is the Elegy on the Death of a Mad Dog given as a hint of the plot resolution? If not, what was the author's purpose in using it? 17. Has the Vicar any reasons for his suspicions in regard to Mr. Burchell?

18. How does the Squire mislead and delay the Vicar in his quest? 19. Does the Vicar prosecute his search for Olivia with vigor? 20. Why is the main action delayed? the Vicar confined by illness for three weeks? and George and his father entertained at the home of Mr. Arnold for one week?

21. Does the discussion of plays and playwrights in chapter XVIII, the speech on kings in chapter XIX, and the discourse on prison reform and the revision of the criminal law in chapter XXVII in any way assist the author in telling his story? How?

22. How are we prepared for George's reappearance in chapter XIX?

23. Is the story of the philosophic vagabond interesting? Why? 24. Is its introduction justifiable on other grounds?

25. Why is it necessary to take George Primrose out of the way again in chapter XXI?

26. Can you justify the introduction of the story of "Matilda"? 27. Why does the author have Dr. Primrose meet Mr. Jenkinson in the prison?

28. Do you find increasing evidence in chapters XXV and XXVI of the probable assistance of Mr. Jenkinson in the solution of the plot?

29. Point out in chapter XXVIII the means by which the Vicar's situation is made utterly miserable.

30. Why does the sermon of chapter XXIX appear in the book? 31. What is accomplished toward the solution of the plot in chapter XXX?

32. Is there justice in the rendering of rewards and punishments?