^{page 1038 note 1} Years of first performance are, throughout, after Professor Nicoll's period histories.

^{page 1038 note 2} See his review of Macaulay's Life and Writings of Addison in Quarterly Review, xcvi (1854–55), 502.

^{page 1038 note 3} i, 109.

^{page 1038 note 4} Ibid., n. 3.

^{page 1038 note 5} See, e.g., Felix Schelling, English Drama (London: Dent, 1914), p. 286; G. H. Nettleton, English Drama of the Restoration and Eighteenth Century (New York: Macmillan, 1914), p. 162; F. W. Bateson, English Comic Drama, 1700–50 (Oxford: Clarendon Press, 1929), p. 51.

^{page 1038 note 6} By T. H. Dickinson, in edition of She Stoops (Cambridge: Houghton Mifflin, 1908), p. xviii.

^{page 1038 note 7} JEGP, xi, 104.

^{page 1039 note 8} Some of the similarities incorporated into the sketches which follow are noted by Forsythe.

^{page 1039 note 9} Arthur Lytton Sells, Les Sources Françaises de Goldsmith (Paris, 1925), p. 156 ff. Interestingly enough, the motif of the lady changing roles with the maid is found in an English comedy of a date earlier than Marivaux' play—William Taverner's The Maids the Mistress (1708). In the same author's 'Tis Well if It Takes (1719) one of the disguises assumed by the madcap heroine Corinna in her project to capture the libertine Loveless is that of a maid in the service of a lady to whom Loveless has been paying attentions.

^{page 1040 note 10} Shadwell, Works, ed. Summers, iv, 125.

^{page 1040 note 11} The scene in The Tender Husband, i, ii, in which the testy Sir Harry Gubbin presents Humphry to Mr. Tipkin is closely imitated upon that in the first act of D'Urfey‘s Madam Fickle (1676), in which Mr. Tilbury presents his son Toby to Mr. Jollyman. Humphry's out-of-fashion suit—his father, in bringing him up to town, had dressed him in “the very suit I had on at my own wedding; ‘tis a most becoming apparel”—suggests Sir Credulous Easy, in Mrs. Behn's Sir Patient Fancy (1678). And when, in iii, i, Steele makes Humphry dance and caper for Mrs. Clerimont's approval, he is remembering Sir Mannerly Shallow and his aunt Lady Faddle, in act IV of Crowne's The Country Wit (1676).

^{page 1041 note 12} His inspiration, of course, is the Ben-Prue scene in Love for Love. Steele's is just as good, and entirely in his own manner.

^{page 1041 note 13} End of Act iii.

^{page 1041 note 14} iv, ii, Mermaid ed., p. 247.

^{page 1042 note 15} Article cited, p. 106.

^{page 1042 note 16} Dryden's Dramatic Works, ed. Summers, i, 92.

^{page 1043 note 17} Ibid., p. 95.

^17a However, one must admit that Tony's literacy-handicap would have been common enough in life in Goldsmith's day—and, for that matter, perennially. Cf. Etickleberry Finn, ch. xvii, where Sophia Grangerford “asked me if I could read writing, and I told her ‘no, only coarse-hand’.” (That “coarse-hand” here means print-writing is made certain by a later passage, ch. xxviii, Huck to Mary Jane: “I don't want no better book than what your face is. A body can set down and read it off like coarse print”).

^{page 1043 note 18} None come to mind except those discussed from this point in this paper. Squire Sullen in Beaux' Stratagem (a play mentioned by name in She Stoops, iii, i) has a mother, but Sullen is married, which at once eliminates him from Tony's class.

^{page 1044 note 19} Cibber's version of it in farce form under the title The Schoolboy, or the Comical Rivals was printed four times between 1704 and ?1780, and was acted pretty consistently until after the date of She Stoops. I have checked the text of the comic scenes of Woman's Wit, in Cibber's Works (1760), vol. i, with the last edition of the farce. Cibber did a characteristically skillful job, making as few changes as possible. As I think Goldsmith more likely to have seen the comedy, I quote from it rather than the farce. In the passages quoted there is no material difference between the two.

^{page 1044 note 20} Cibber, Works (1760), i, 168–169.

^{page 1045 note 21} iii, 228.

^{page 1045 note 22} It is true that in Steele's play, Humphry is encouraged to return Biddy's scorn by Peter Pounce's promise of a brilliant match to be provided—one which is more attractive to Humphry because not of his father's choosing. But this female, whom Humphry finally marries, is Pounce's not-respectable sister, so that Humphry is the dupe here, as well as in his assistance of his rival. In contrast, Tim Matchall and Tony agree in that they are duped in neither of these two respects.

^{page 1045 note 23} Cf. Tender Husband, i, ii, Mermaid ed., p. 211. Sir Harry Gubbin to Tipkin: “Look ye, brother, two foot and a-half in the shoulders.”

^{page 1046 note 24} Cf. ibid., p. 210. Humphry to Sir Harry: “You are a pure fellow for a father. This is always your tricks, to make a great fool of one before company.”

^{page 1046 note 25} Cf. ibid., p. 237. Humphry to Biddy Tipkin: “It happens very well if you hate me ... for to tell you truly ... there is another fine woman, as I am informed, that is in some hopes of having me.”

^{page 1047 note 26} For example: Some details and perhaps the idea for the group portrait of the Primrose family in The Vicar, ch. xvi, would appear to have come from The Tender Husband, iv, ii. Goldsmith's interest in witchcraft, exhibited in The Bee no. viii (Nov. 24, 1759), may either have grown from, or led him to, Shadwell's play. And I suggest that the famous bailiff scene in The Good Natur'd Man may be a much “cleaned-up” version of iv, i, in The Wild Gallant, where Constance and Isabelle, happening in at Justice Trice's, catch Loveby in bad company which the embarrassed hero is compelled to try to pass off as “Persons of Quality of my acquaintance.” In Dryden they are “Lady” DuLake and a trio of whores, so that Loveby has about as little chance of concealing the true character of the company as has Honeywood with his bailiffs. However, Goldsmith may also have had in mind an anecdote about Steele's having once put some bailiffs into livery in order to conceal his financial straits from his guests. (See Austin Dobson, Richard Steele, English Worthies Series, 1886, p. 222). Did Goldsmith get the bailiffs from the anecdote about Steele, the mold of his comic scene from the Dryden play?

^{page 1049 note 27} Mermaid ed., p. 210.

^{page 1049 note 28} ii. i.