THE ATTORNEY'S CLERK IN THE MONK'S HOOD.
"I thought of Chatterton, the marvellous boy—
The sleepless soul that perish'd in his pride."
Had the "resolution and independence" which dignify the lowly, and strengthen the unhappy, when no visible eye befriends them, been among the rich endowments of Chatterton's wonderful mind—had he possessed and cherished the courage that bears up against obloquy and neglect—had he pursued the rough tenour of his way undaunted, in spite of "solitude, pain of heart, distress, and poverty," how different must have been the fate of the inspired boy of Bristol! He might be alive yet; he would be ninety years old, graced with honour, love, obedience, troops of friends, and all that should accompany old age. He might have achieved some great epic, or some gorgeous historical dramas,—have finished the Fairy Queen, or given us a Fairy King of his own creation.
Among the lighter honours of social distinction, we can fancy his reception as a London "lion," by the fair and noble in proud places. Still pleasanter is the vision of his less public hours of idleness spent among congenial spirits. We can fancy him, the patriarch of living poets, seated as a guest at the breakfast-table of Samuel Rogers, who is about twelve years his junior, and those fine lads, Lisle Bowles, James Montgomery, and William Wordsworth, and those promising children, Tom Moore and Tom Campbell, and that braw chiel John Wilson—(palmam qui meruit ferat)—the youngest of the party something, perhaps, but not much, under seventy, except the bard of the Isle of Palms, who is no chicken; and unless the master of the feast have summoned those pretty babes from the Wood, the two Tennysons. But alas for Chatterton! the vision will not hold: he disappears from his chair at the feast, like Banquo—"and, when all's done, you look but on a stool." The ghost of the slayer of himself, after long haunting Strawberry Hill, to rebuke the senile complacency of the chronicler of royal and noble authors, repaired, after the death of that prosperous man of wit and fashion, to his native town, to prowl in Redcliff church, and about the graves of his fathers in its churchyard, and the graves which they had successively dug there during a century and a half. His bones were left to moulder among those of other pauper strangers in the burial-ground of Shoelane workhouse. We attach no credit to the story of the exhumation of his body, and its mysterious reinterment in Redcliff. His fathers were sextons; and he, too, was in some sort a sexton also—but spiritually and transcendantly. He buried his genius in the visionary grave of Rowley, "an old chest in an upper room over the chapel on the north side of Redcliff church;" and thence, most rare young conjurer, he evoked its spirit in the shape of fragments of law-parchment, quaintly inscribed with spells of verse and armorial hieroglyphics, to puzzle antiquaries and make fools of scholiasts. Puzzle them he did; and they could not forgive a clever stripling, whom hunger had tempted to don an ancient mask, and impose himself on their spectacled eyes as a reverend elder. Rogue!—vagabond! Profligate impostor! The slim, sleek, embroidered juggler of the Castle of Otranto had not a kind word for this ragged orphan of his own craft. He, whose ambition was to shine among writers who have given intellectual grace to their noble lineage—among whom assuredly he does and will shine—but whose acute consciousness of something meretricious in his metal, made him doubt if the public would accept coinage from his mint; and so caused him to wear tentative disguises, whether he elaborated a romance or a keen and playful witticism—and who really did injustice to his own powers,—not from modesty but meanness,—even he, the son of a prime minister and heir to a peerage—a man who was himself always something of a trickster, now mystifying a blind old woman at Paris; now sending open letters, privately nullified, recommending the bearers to his friend the envoy at Florence; now, with the mechanic aid of village carpenters and bricklayers, rearing a frail edifice bristling with false points, and persuading the world that it was all pure Gothic, perhaps chuckling at his assurance—even this shrewd mummer gravely shook his head at Chatterton, and frowned on him as a cheat! True; they were both cheats; Horace Walpole from apprehensive vanity; Chatterton from proud oblique humility. The Bristol boy knew his worth; but, doubting the equity as well as the sagacity of his judges, he did not venture to produce it as his own. He supposed that an obscure and penniless youth, such as he, could have little chance of attention or fair play in the world if he appeared in his proper character; so he painfully assumed another, of a nature that could not long have been supported even had he been a various linguist deeply versed in etymologies, and especially proficient in our extinct idioms, and their several dates of usage, instead of wanting even Latin enough to understand the easiest parts of Skinner's Etymology of the English tongue, one of the books that he consulted and guessed at.
Of all modern suicides this youth was the most interesting; of all literary impostors the least unpardonable, though his ways were, unhappily for himself, of indefensible crookedness. He neither ascribed his fictions to a great name as Ireland did, nor did he, like Macpherson, steal the heart out of national ballads and traditions, to stuff a Bombastes Penseroso of his own making.
Any competent, yet moderately indulgent reader, who should for the first time take up Chatterton's works, and beginning at the beginning, in Tyrwhitt's first edition, for example, peruse no more than sixty or seventy pages, would probably lay down the volume somewhat disappointed not to have found the very extraordinary merit he had expected. The compositions that this partial examination would take in are three—Eclogues, Elinour and Juga, Verses to Lydgate, with Song to Ella, Lydgate's Answer, and the Tournament.
The first Eclogue is a conversation between two fugitive shepherds, who bewail the wretched condition to which the barons' wars have reduced them. It contains some pleasing lines.
As the rustics discuss their grievances in a valley under cover of