Instead of the one with the strongest voice—
Who comes and asks you how’s your liver,
And where you ache, and whether you shiver,
And as to your nerves, so apt to quiver,
As if he was hailing a boat on a river!
And then, with a shout, like Pat in a riot,
Tells you to ‘Keep yourself perfectly quiet!’”
******
In Hood’s remarkable poems of passion and imagination are to be found, perhaps, his patent of nobility in the realm of poetry. But, if it was made out there, it has had renewal in his later poems of humanity. It was in the last period of his great and restless toil that he flung off, like light fancies, some of his poems, whose stanzas will be echoed in the anthem of his undying fame. Of these are “The Lay of the Laborer,” “The Pauper’s Christmas Carol,” “The Song of the Shirt,” and “The Bridge of Sighs.” It was coincidently with the epoch of that comical and potential journal, Punch, (which has never failed to poke the heavy ribs of oppression, and to prick the great fat paunch of selfishness, in a very lively manner), that this new inspiration of brotherly kindness came to Hood. His troubled heart began to beat itself against the bars of its intellectual prison-house, and to wail out its resistless pleas for the poor, the friendless, and the desolate. “The Song of the Shirt” is one of the most extraordinary lyrics ever struck from the harp of poesy. Little thought he, however, that the lines—which, as they were written by his trembling fingers, were almost as spasmodic as if they had been literally convulsed out of his suffering frame,—little thought he that they would peal out on London’s ear, on England’s ear, and strike deep down into the national heart with a warrant for his immortality, more imperative and universal than any which his wit had framed, or his genius had wrought, from the beginning of his career down to the day on which he sang “The Song of the Shirt.”
“Now, mind, Hood, mark my words, this will tell wonderfully: it is the best thing you ever did,” said his wife, as she folded the manuscript for the pocket of Punch. And “tell” it did, for not only did England make it a household ballad, but France and Germany and Italy, even, engrafted it upon their popular anthology, while here, in the New World, we bear its odd burden,—