There was much fluctuating advice among Clare's friends as to the propriety of his turning poetical bagman. Mrs. Emmerson at first was greatly opposed to the scheme, but afterwards changed her opinion, on the ground that the exercise and change of air might prove beneficial to his health. Allan Cunningham, however, would not hear of Mr. Taylor's scheme for a moment. He said it was disgraceful that such a proposal should have been made, and exhorted his friend not to think for a moment of accepting it. 'God knows,' Allan exclaimed passionately, 'poetry has sunk low enough already; but do not you haul it lower still by dragging the muse along the muddy roads in a pedlar's bag.' Clare was much impressed by these words, and promised further reflection, which, however, tended only to lead him in an opposite direction to that proposed by his noble friend Allan. The thought of being able to acquire a little capital; of getting out of debt; of purchasing a small farm; and of giving his children a good education, carried everything before it, and he finally resolved to risk all else, even obloquy, to gain these ends. Talking the subject over once more with. Mrs. Emmerson, as happily ignorant as himself in the matter, the conclusion was arrived at that it would be easy to gain five hundred a year by the sale of his books. It seemed not necessary, therefore, that he should continue his new occupation longer than a few years, when he would be enabled to retire from business and spend the rest of his days in comfort and ease. Thus the poet kept on building his castles in the air, until they reached to the very clouds. When meeting Mr. Taylor at the appointed time, Clare told him that he accepted his kind offer, and would do his best to carry out the scheme with all possible energy. Thereupon the poet and his publisher parted-parted never to meet again, although to each life had scarce run half its course.
Clare remained in London till towards the end of March, lionising a little and making a few new acquaintances. Frequently, when walking along the streets, he found himself addressed by strangers, who recognised him at once from Hilton's exceedingly faithful picture, which hung in Mr. Taylor's parlour, and was reproduced in the portrait prefixed to the 'Village Minstrel.' Thus he ran one day in Russell Square against Alaric Watts, who, though never having met him before, addressed him without hesitation as a brother poet, and insisted upon remaining in his company for some time. In the same manner, too, he met Henry Behnes, the sculptor, who showed himself so delighted with his acquaintance that he would not let him go till he had promised to sit for his bust. Clare did sit, and Behnes produced an admirable work of art, which, like Hilton's picture, was paid for and kept by Mr. Taylor.[1] Mrs. Emmerson took advantage of the modelling of the bust by celebrating it as a notable event, and inviting to her house a distinguished party of artists and patrons of art, to whom she wished to present her poet, together with 'his painter,' and 'his sculptor.' As always on such occasions, Clare felt exceedingly uncomfortable, and had no sooner entered the brilliantly lighted-up saloon when he resolved to run away. He communicated his intention to the other two heroes of the evening, who at once expressed their wish to be the companions of his flight. William Hilton, like Clare, was averse to lionship, and glad enough to escape from any crowd, whether in satin or rags; and as for Henry Behnes, he had become so fond of his 'Northamptonshire Peasant,' that he declared himself ready to travel with him to the ends of the world. The friends did not go quite as far on this occasion, but only to a neighbouring tavern. Here the happy trio, poet, painter, and sculptor, sat down to a supper of bread and cheese, seasoned with pale ale, and the flow of unrestrained thought. They talked of all the noblest subjects that stir the human breast; of all the unutterable longings that fill the heart of genius. At last they talked of each other, their hopes, aims, and aspirations, building golden castles high up into the clouds. They saw fame before them with outstretched arms; wealth following in its course; and of love and happiness a bountiful reward. These were lofty dreams: too lofty, alas! for the flight of helpless genius—genius not understanding the first of all earthly arts, that of making money. William Hilton, though a famous painter and Royal Academician, was left to die in poverty, the greater part of his pictures remaining on his hands unsold. Henry Behnes, noblest of sculptors, went to perish in an hospital; and John Clare…. The reader may fill the blank.
[1] Both, the bust by Behnes, and Hilton's oil-painting of Clare, remained in Mr. Taylor's hands during his lifetime, and after his death (1864) were sold by public auction, at Messrs. Christie, Manson, and Woods, March 17, 1865, when they came into the possession of the author of this work.
Mrs. Emmerson was very angry with her guest when he came back to her house a little after midnight, having been kept so long in the delightful interchange of thoughts with his two artist friends. Clare took very little notice of the remarks of his fair host about want of courtesy and the disappointment of distinguished visitors, his mind being full of reflections engendered by the evening's conversation. He inwardly resolved to enjoy, if possible, many more such evenings; but changed his determination the next day. It was a beautiful day of spring, the warm sunlit air wafting in soft breezes from over the green fields with its first blossoms, into the crowded streets of the town. Clare took a long walk through Regent's Park and past Primrose Hill towards Hampstead, on the slopes of which he discovered some early violets. The sight fairly made him home-sick. He ran back to Stratford Place, and quite startled Mrs. Emmerson by crying, 'I must go!' And go he did, twenty hours after; in such a haste as not even to find time to bid farewell to Allan Cunningham, warmest of friends. But he left a letter for Allan, 'a shake of the hand on paper,' which, coming down to the present time, may be found still interesting. The letter ran:—
'Stratford Place, March 21, 1828.
My Dear Cunningham—I wholly intended to see you, but now I fear I cannot, as my stay is grown so short; so, if I cannot, here is a "good bye," and God bless you, and as you are aware of my ignorance in travelling about your great Babel, being insufficient to do so in most cases without a guide, which is not always to be procured, you must allow me to make up for the omission by a shake of the hand on paper, as hearty as your imagination can feel it. If you had not been a poet I would not have made such a bull, but it is an English one; it has not a cold meaning. Therefore accept it in lieu of a better. Pray give my kind remembrances to Mrs. Cunningham, and if I could utter compliments as well as I feel gratification in the society of kind and warm-hearted people, I should grow eloquent in her praise. But you well know I am not Ovid, and I as well know I am no orator, so if I am unable to pay ladies deserving compliments, if she will accept the plain respects of a plain fellow, and allow them as nothing more, it will please me much better. Once again, "good bye."
Now I am going to say last what would have been a compliment to have said first, perhaps, and that is that Mrs. Emmerson feels much gratified at your commendation of her poem ["The Return," in Allan Cunningham's Annual, "The Anniversary">[, and much more so, as that commendation came from a poet. Now comes the cut to my vanity, a sad confession, but perhaps better "in the breach than the performance." (Allow me to misquote to suit my purpose.) You ask me for a prose tale, and you imagine I have written one. Good faith, my dear Allan, I have not, neither dare I, for I know not what to say; excuses I might have for writing it badly, but whether I could find excuses for writing it at all I cannot say. I should be somewhat in the case of the lady, who excused her faulty book before the rude Dr. Johnson by saying that she had so many irons in the fire that she had not time to write it better. You may know his reply from my inability in the like. "Then I advise you, madam," said he, "to put your book where your irons are." Such I fear would be the deserving meed of a prose composition of mine, though your proposition goes a good way to urge me, if I dare.—Farewell, my dear Allan, and believe me your sincere friend and highly gratified brother in the muses,
John Clare.'
The day after writing this letter, Clare was on his way back to Helpston. He rejoiced inwardly when passing the bill of Highgate, looking back over the vast world of bricks and smoke behind, and beholding the sunny fields, fragrant with the first blossoms of spring, in front. More than ever he felt that he could not exist within the big metropolis, even its large intellectual life offering no compensation for the bounteous joys of nature. He almost shuddered when glancing at the huge black vault for the last time, at the turn of the Highgate Road. But he did not know it was the last time that his eyes rested upon London.