“OLIVER GOLDSMITH.”
Colman returned the manuscript with the blank sides of the leaves scored with disparaging comments and suggested alterations, but with the intimation that the faith of the theater should be kept, and the play acted notwithstanding. Goldsmith submitted the criticisms to some of his friends, who pronounced them trivial, unfair, and contemptible, and intimated that Colman, being a dramatic writer himself, might be actuated by jealousy. The play was then sent, with Colman’s comments written on it, to Garrick; but he had scarce sent it when Johnson interfered, represented the evil that might result from an apparent rejection of it by Covent Garden, and undertook to go forthwith to Colman, and have a talk with him on the subject. Goldsmith, therefore, penned the following note to Garrick:
“DEAR SIR—I ask many pardons for the trouble I gave you yesterday. Upon more mature deliberation, and the advice of a sensible friend, I began to think it indelicate in me to throw upon you the odium of confirming Mr. Colman’s sentence. I therefore request you will send my play back by my servant; for, having been assured of having it acted at the other house, though I confess yours in every respect more to my wish, yet it would be folly in me to forego an advantage which lies in my power of appealing from Mr. Colman’s opinion to the judgment of the town. I entreat, if not too late, you will keep this affair a secret for some time.
“I am, dear sir, your very humble servant,
“OLIVER GOLDSMITH.”
The negotiation of Johnson with the manager of Covent Garden was effective. “Colman,” he says, “was prevailed on at last, by much solicitation, nay, a kind of force,” to bring forward the comedy. Still the manager was ungenerous; or, at least, indiscreet enough to express his opinion, that it would not reach a second representation. The plot, he said, was bad, and the interest not sustained; “it dwindled, and dwindled, and at last went out like the snuff of a candle.” The effect of his croaking was soon apparent within the walls of the theater. Two of the most popular actors, Woodward and Gentleman Smith, to whom the parts of Tony Lumpkin and Young Marlow were assigned, refused to act them; one of them alleging, in excuse, the evil predictions of the manager. Goldsmith was advised to postpone the performance of his play until he could get these important parts well supplied. “No,” said he, “I would sooner that my play were damned by bad players than merely saved by good acting.”
Quick was substituted for Woodward in Tony Lumpkin, and Lee Lewis, the harlequin of the theater, for Gentleman Smith in Young Marlow; and both did justice to their parts.
Great interest was taken by Goldsmith’s friends in the success of his piece. The rehearsals were attended by Johnson, Cradock, Murphy, Reynolds and his sister, and the whole Horneck connection, including, of course, the “Jessamy Bride,” whose presence may have contributed to flutter the anxious heart of the author. The rehearsals went off with great applause, but that Colman attributed to the partiality of friends. He continued to croak, and refused to risk any expense in new scenery or dresses on a play which he was sure would prove a failure.
The time was at hand for the first representation, and as yet the comedy was without a title. “We are all in labor for a name for Goldy’s play,” said Johnson, who, as usual, took a kind of fatherly protecting interest in poor Goldsmith’s affairs. The Old House a New Inn was thought of for a time, but still did not please. Sir Joshua Reynolds proposed The Belle’s Stratagem, an elegant title, but not considered applicable, the perplexities of the comedy being produced by the mistake of the hero, not the stratagem of the heroine. The name was afterward adopted by Mrs. Cowley for one of her comedies. The Mistakes of a Night was the title at length fixed upon, to which Goldsmith prefixed the words She Stoops to Conquer.
The evil bodings of Colman still continued; they were even communicated in the box office to the servant of the Duke of Gloucester, who was sent to engage a box. Never did the play of a popular writer struggle into existence through more difficulties.