We have seen here a translation of some scenes, and indeed the most remarkable ones, accompanying those astonishing etchings which have been published in England from a German master. It is not bad—and faithful enough—but how weak! how incompetent to represent Faust! I have only attempted the scenes omitted in this translation, and would send you that of the Walpurgisnacht, if I thought Ollier would place the postage to my account. What etchings those are! I am never satiated with looking at them; and, I fear, it is the only sort of translation of which Faust is susceptible. I never perfectly understood the Hartz Mountain scene, until I saw the etching; and then, Margaret in the summer-house with Faust! The artist makes one envy his happiness that he can sketch such things with calmness, which I only dared look upon once, and which made my brain swim round only to touch the leaf on the opposite side of which I knew that it was figured. Whether it is that the artist has surpassed Faust, or that the pencil surpasses language in some subjects, I know not, or that I am more affected by a visible image, but the etching certainly excited me far more than the poem it illustrated. Do you remember the fifty-fourth letter of the first part of the “Nouvelle Héloïse”? Goethe, in a subsequent scene, evidently had that letter in his mind, and this etching is an idealism of it. So much for the world of shadows!
What think you of Lord Byron’s last volume? In my opinion it contains finer poetry than has appeared in England since the publication of “Paradise Regained.” Cain is apocalyptic—it is a revelation not before communicated to man. I write nothing but by fits. I have done some of “Charles the First,” but although the poetry succeeded very well, I cannot seize on the conception of the subject as a whole, and seldom now touch the canvas. You know I don’t think much about Reviews, nor of the fame they give, nor that they take away. It is absurd in any Review to criticise Adonais, and still more to pretend that the verses are bad. “Prometheus” was never intended for more than five or six persons.
And how are you getting on? Do your plans still want success? Do you regret Italy? or anything that Italy contains? And in case of an entire failure in your expectations, do you think of returning here? You see the first blow has been made at funded-property:—do you intend to confide and invite a second? You would already have saved something per cent., if you had invested your property in Tuscan land. The next best thing would be to invest it in English, and reside upon it. I tremble for the consequences, to you personally, from a prolonged confidence in the funds. Justice, policy, the hopes of the nation and renewed institutions, demand your ruin, and I, for one, cannot bring myself to desire what is in itself desirable, till you are free. You see how liberal I am of advice; but you know the motives that suggest it. What is Henry about, and how are his prospects? Tell him that some adventurers are engaged upon a steam-boat at Leghorn, to make the trajet we projected. I hope he is charitable enough to pray that they may succeed better than we did.
Remember me most affectionately to Mrs. Gisborne, to whom, as well as to yourself, I consider that this letter is written. How is she, and how are you all in health? And pray tell me, what are your plans of life, and how Henry succeeds, and whether he is married or not? How can I send you such small sums as you may want for postages, &c., for I do not mean to tax with my unreasonable letters both your purse and your patience? We go this summer to Spezzia; but direct as ever to Pisa,—Mrs. —— will forward our letters. If you see anything which you think would particularly interest me, pray make Ollier pay for sending it out by post. Give my best and affectionate regards to H——, to whom I do not write at present, imagining that you will give him a piece of this letter.
Ever most faithfully yours,
P. B. S.
TO ——[39]
Pisa, April 11th, 1822.
My dear ——,
I have, as yet, received neither the * * *, nor his metaphysical companions—Time, my Lord, has a wallet on his back, and I suppose he has bagged them by the way. As he has had a good deal of “alms for oblivion” out of me, I think he might as well have favoured me this once; I have, indeed, just dropped another mite into his treasury, called Hellas, which I know not how to send to you; but I dare say, some fury of the Hades of authors will bring one to Paris. It is a poem written on the Greek cause last summer—a sort of lyrical, dramatic, nondescript piece of business.