Photo by Green Bros., Grasmere.

DOVE COTTAGE, GRASMERE.
As it was when the Home of the Wordsworths (1799-1808)
and De Quincey (1808-1830).

Frontispiece.]

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LITERARY CELEBRITIES

OF THE

ENGLISH LAKE-DISTRICT

BY

FREDERICK SESSIONS, F.R.G.S.

AUTHOR OF 'ISAIAH, POET-PROPHET AND REFORMER'
WITH ILLUSTRATIONS

'There is scarcely anything so interesting to man as his brother man;
because there is nothing else which so acts on his sympathies; and
sympathy is perhaps the most powerful of forces. We may feel much
interest in a Thing, more in a Truth, but most of all only in a Man.'

Myers' 'Lectures on Great Men'

LONDON
ELLIOT STOCK, 62, PATERNOSTER ROW, E.C.
1905

PREFACE

THIS is neither a handbook nor a guide to the haunts of our Lake Celebrities. Yet it may, perhaps, serve in some sort the purposes of both.

It is not the result of any fresh or original research. I claim only to have condensed many biographies, and to have provided an index to the literary status of the men and women of whom I treat, some of whose works are scarce, and some too voluminous for ordinary readers.

These essays were written during leisure hours towards the close of a busy life. They were published first in two different newspapers. This will account for their form, and for the absence of either alphabetical or chronological sequence. The earlier ones were written for friends in my old home in the South; the later ones for my new friends in the North. In bringing them together into book form I have remembered the increasing number of tourists who require food for the mind as well as for the body, and I have remembered my own want, in years past, of some concise account of those whose names were perpetually before me while moving from place to place in these attractive regions.

To such tourists especially I respectfully dedicate my biographic sketches, though not without a hope that they may reach, and be of use to, a still wider circle of readers.

FREDERICK SESSIONS.

The Brant,
Kendal.

CONTENTS

LIST OF ILLUSTRATIONS

GRASMERE AND DOVE COTTAGE

'Once I absolutely went forwards from Coniston to the very verge of Hammerscar, from which the whole Vale of Grasmere suddenly breaks upon the view in a style of almost theatrical surprise, with its lovely valley stretching before the eye in the distance, the lake lying immediately below, with its solemn ark-like island of four and a half acres in size seemingly floating on its surface, and its exquisite outline on the opposite shore, revealing all its little bays and wild sylvan margins, feathered to the edge with wild flowers and ferns. In one quarter, a little wood, stretching for about half a mile towards the outlet of the lake; more directly in opposition to the spectator, a few green fields; and beyond them, just two bowshots from the water, a little white cottage gleaming from the midst of trees, with a vast and seemingly never-ending series of ascents, rising above it to the height of more than three thousand feet. That little cottage was Wordsworth's from the time of his marriage, and earlier; in fact, from the beginning of the century to the year 1808. Afterwards, for many a year it was mine.'—Thomas De Quincey: Autobiographic Sketches

THOMAS DE QUINCEY

By A. C. Lucchesi.

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I

THE ENGLISH OPIUM EATER

THOMAS DE QUINCEY

I.—THE MAN

'Oh! Mr. de Quinshy—sir, but you're a pleasant cretur—and were I ask't to gie a notion o' your mainners to them that had never seen you, I should just use twa words, Urbanity and Amenity.'—The Ettrick Shepherd in Noctes Ambrosianæ.

HAD you been in Edinburgh on a certain day of the early spring in the year 1850, you might have met a little, undersized, slight-framed man, with a somewhat stealthy tread, and shy, furtive glances—like one who dreads being watched and overtaken—stepping quickly along the streets. He is dressed in an overcoat, buttoned close to the chin, beneath which is no other coat. At first sight you think him a youth. On a nearer approach you notice his hair is turning gray, and that his fair-complexioned face and massive brow are mapped all over with the finest of fine wrinkles, denoting his age, which is actually almost sixty-five. Let us see where he goes. Presently he reaches the publishing office of Hogg's Instructor, and the weird little man is shown into the editor's office, and as he seems tired out with the ten miles' walk he says he has taken from his village home, he is kindly told to seat himself. No sooner has he done so, than he produces from one of his pockets a packet of manuscript sheets and a small handbrush from another. He tells the astonished editor that he is Thomas De Quincey, whose name by that time was known all over the English-speaking world, and that he wishes to contribute to the new periodical. As he talks, he unfolds each separate sheet, and, carefully wiping it with his brush, lays it on the desk. Editor Hogg goes to his safe and places a sufficient sum in the hands of the shy stranger, and thus begins a fast friendship and a literary connection which results in the publication of some fourteen volumes of scattered essays—essays the like of which are not to be found elsewhere in our mother tongue either for learning or for inimitable force and elegance of style. The friendship only ended with the death of De Quincey nine years later.

Now let us follow him to his home. His wife has been dead some years. On her death the eldest daughter, still a mere girl, took upon herself the care of the other children and their loving and famous, but most eccentric, father. She removed the household to the village of Lasswade, and their cottage made for them and all their visitors a bright and happy centre of attraction. It is night ere he reaches his home, but that is no matter, for he is in the habit of taking long and lonely rambles far into the night and early morning, flitting about so silently as to startle benighted travellers as if they had seen a ghost. This night he has walked enough, and retires to his own room—a room crowded with a confused mass of books, which leave only a narrow passage along which he can just screw himself into his chair by the fire. A wineglassful of laudanum is poured out by him from a decanter close at hand, and he drinks it off, though it is of strength sufficient to kill two or three ordinary people. Now, for a while, is his season of recuperation and brilliant writing, till, as daylight approaches, he turns into his simple bedroom and sleeps. Next day, probably, and for many days thereafter we should seek him in vain at these his headquarters, for he has other lodgings, two or three of them, in the City, each simply running over with books. Into one of these hiding-places we are introduced by one of his own essays, wherein he amusingly describes his efforts, aided by his daughters, to discover a manuscript which he desired to publish, and which was found at last at the bottom of a metal bath crammed with papers, receipts, letters, and folios of his own neat handwriting. He has left some other bundles of valuable books and essays at some booksellers, whose very name and address he has forgotten, for he has literally no memory at all for such mundane things, and no kind of idea of the value of money. He would sue for the loan of a few shillings in forma pauperis when scores of pounds were due to him from publishers who would have been only too glad to settle with him promptly. A bank bill or a large note would lie inside some book till its hiding-place was forgotten, simply because he had not the remotest idea how to turn it into cash. On the other hand, when it was cashed he was lavishly generous to every beggar and impostor whom he came across, being one of the most genuinely sympathetic of men, ready to talk with the unfortunates of the pavements, with no thought of sin or shame in his heart, and to do them a good turn; and so fond of little children that one of his greatest griefs—the death of Wordsworth's infant daughter—was undoubtedly amongst the acutest pains of his life. Earning money, after his early struggles were over, more freely than most literary men of the day, so careless and so simple-minded was he that he had to fly for sanctuary from his creditors within the precincts of Holyrood, from whence he was only free to come forth on Sundays, and if perchance he was decoyed into some friend's house, and stayed late unwittingly, entrancing the company with his torrents of living eloquence and unexampled knowledge, there he had to lie perdu till Sunday came round again.

Loving, and beloved of all who knew him, unsophisticated and child-like as he was in middle and later manhood, he had had as rough an experience of the dark and troublous side of the world as any man of his century.

He was born in Manchester, where his father, who died early of consumption, was a well-to-do manufacturer. His mother, who was of a socially higher grade, and of a rigid Puritan character, never understood her sensitive son, and never took him to her heart or entered his. Very touching are the autobiographic accounts he gives of his sensations on the death of a little sister; how he stole into the silent chamber and kissed the cold lips, and fell apparently into a kind of trance, which, young as he was, made his eyes fill 'with the golden fulness of life'; 'a vault,' he says, 'seemed to open in the zenith of the far blue sky, a shaft which ran up for ever. I, in spirit, rose as if on billows that also ran up the shaft for ever; and the billows seemed to pursue the throne of God; but that also ran before us and fled away for ever,' and so he goes on, 'till,' says he, 'I slept ... and when I awoke I found myself standing, as before, close to my sister's bed.' Later, too, in church, the organ music awoke within him the deep mysticism of his nature, and he beheld with inner vision, as the solemn notes pealed and sobbed, dreams and visions, and heard oracles, and had with God, as he supposed, 'communion undisturbed.' These dream-echoes haunted him more or less all his life. And it was this delicate, refined nature which was terrorized and domineered over by a rough, fighting elder brother, who forced him into conflict with town boys and victimized him incessantly at home. It was this quick-learning, preternaturally intelligent boy—who could beat all his schoolmates at Greek and other book-knowledge—who was sent to dull and cruel masters, who misused him and drove him in the end to run away and hide himself in Wales, and afterwards in London. In the great Metropolis, in a desolate old house at the corner of Greek Street and Soho Square, with only a little waif of a girl to share his misery and solitude, he spent many months, his only other acquaintances a hard old lawyer, who made him a tool, and a girl of the streets, whom he calls 'Poor Ann of Oxford Street,' who had rescued him from death when he lay famishing on a doorstep.

How he was discovered by his family; how he was sent to Oxford, and how when there his sensitiveness led him to shirk the examinations for his degree; how he went to the lakes of Westmorland to live, edited a Kendal newspaper, associated with Wordsworth, Coleridge, Southey, Professor Wilson, and many another celebrity of the day; how he married a farmer's daughter, who made him an exemplary wife; how he had contracted the terrific opium habit, and how he fought it, conquered it, and fell again before it; how he filled, even in the days of his poverty and struggling life, one cottage after another with precious volumes of ancient and modern lore; and how he migrated northward, and lived in and near Edinburgh, as he was doing when we first met him—all these things you must read for yourselves in his 'English Opium Eater,' and in his entrancing 'Autobiographic Sketches,' or else in a Life of him by Dr. Japp or by Professor Masson.

His death came not unawares to terminate a period of helpless weariness with some delirium, the after-effects of opium doses. But even in delirium his dreams, though they greatly tried him, revealed the gentle spirit of the man. Telling his daughter one of them, he said: 'You know I and the children were invited to the Great Supper—the Great Supper of Jesus Christ. So, wishing the children to have suitable dresses for such an occasion, I had them all dressed in white. They were dressed from head to foot in white. But some rough men in the streets of Edinburgh, as we passed on our way to the Supper, seeing the little things in complete white, laughed and jeered at us, and made the children much ashamed.' His daughter records: 'As the waves of death rolled faster and faster over him, suddenly out of the abyss we saw him throw up his arms, which to the last retained their strength, and he said distinctly, and as if in great surprise, "Sister, sister, sister!"' So he fell on sleep.

OF BOOKS AND CONVERSATION

'A great scholar, in the highest sense of the term, is not one who depends simply on an infinite memory, but also on an infinite and electrical power of combination, bringing together from the four winds, like the Angel of the Resurrection, what else were dust from dead men's bones, into the unity of breathing life.

'And of this let everyone be assured—that he owes to the impassioned books which he has read, many a thousand more of emotions than he can consciously trace back to them. Dim by their origination, these emotions yet arise in him, and mould him through life like the forgotten incidents of childhood.

'Books teach by one machinery, conversation by another; and if these resources were trained into correspondence to their own separate ideals, they might become reciprocally the complements of each other.'—Thomas De Quincey: Essay on Pope.

THE ENGLISH OPIUM EATER

THOMAS DE QUINCEY

II.—HIS BOOKS

'De Quincey! farewell! Many pleasing hours have we spent in the perusal of thy eloquent page, and not a few in listening to thy piercing words. Not a few tears have we given to thy early sorrows. With no little emotion have we followed the current of thy romantic narrative.'—Gilfillan's Literary Portraits.

WE have already seen that De Quincey's collected essays filled, in the edition prepared by himself, as many as fourteen volumes. How many there are in the more recent edition by Professor Masson I do not at the moment remember, but they are in most public libraries, and can be heartily commended both for their careful annotation and the excellence of their typography. This latter point is a great one for the book-lover, who believes that everything he reads should be pleasant to handle and a delight to the eyes, provided always that its price is within reach of a moderately-filled purse.

Of the quality of the contents of the fourteen volumes there are diverse critical opinions. Let me appraise a few of them before offering my own. Dr. Traill ('Social England'), while speaking highly of our author's remarkable powers of literary expression, his wit, pathos, and humour, considers him 'unequal' in merit, and is almost absurdly wrong when he talks of De Quincey dividing a certain portion of his life 'between Bohemianizing in London and lion-hunting in the Lake District.' Two more utterly unsuitable words could hardly have been found with which to describe the early experiences of our quaint, little, oversensitive 'Thomas Paperverius,' as Hill Burton calls him in 'The Book Hunter,' than 'Bohemianizing' and 'lion-hunting.' We will, however, forgive Dr. Traill, since one who was by nature an unsympathetic critic could not possibly rise above his own customary level, and also because he gives De Quincey a place of honour as the originator of the modern school of 'prose poets,' represented by Professor Wilson, his contemporary, and in later years by John Ruskin.

The Professor Wilson here named is, of course, he who is still known by his nom de plume of 'Christopher North.' Close friends were these two great walkers, great talkers, and great writers. At first sight an ill-assorted pair must they have seemed to anyone who met them together on the hills above Windermere, the Celtic giant striding along, like one of Ossian's heroes, with 'his yellow hair streaming upon the wind,' and his undersized comrade half running by his side. As they climbed the mountain they were fain to discourse of all things in heaven and on earth, for they were both eclectics of a high order, both deeply versed in German literature and metaphysics, both keenly observant of Nature and of current events, and both excellent classical and English scholars. The more Wilson knew of De Quincey the better he liked and appreciated him, even though an occasional little breeze ruffled the calmness of their intercourse. The latter owed to 'Kit' his introduction to Blackwood's Magazine, of which he was then editor-in-chief. You will also remember—you, at any rate, who are familiar with the charming 'Noctes Ambrosianæ' (though, I fear, you are in a sad minority in these days of scrappy periodicals and flimsy popular fiction)—but you of the elect few will remember the genial fun which Wilson pokes at 'The Opium Eater,' and how cleverly he imitates his all but inimitable style, and banters him on his out-of-the way bits of Attic or Teutonic lore, as well as on his habits of tagging on one idea to another till he bids fair to lay the whole universe under contribution to his analytical and illuminative conversation. You will remember, further, that he puts into the mouth of 'The Ettrick Shepherd' many such passages as the following, professing to tease pleasantly the subject of them: 'As for "The Opium Eater," he lives in a world o' his ain, where there are nae magazines o' ony sort, but o' hail and sleet, and thunder, and lichtnin', and pyramids, and Babylonian terraces, covering wi' their fallen gardens, that are now naething but roots and trunks o' trees, and bricks o' pleasure houses, the unknown tombs o' them that belonged once to the Beasts o' the Revelation,' and much more of the same sort of chaff, running into a paragraph three times the length of this quotation.

Crabbe Robinson, in his 'Diary,' that wonderful repertoire of chit-chat about the celebrities of his day, says 'all that De Quincey wrote is curious if not valuable; commencing with his best-known "Confessions of an English Opium Eater," and ending with his scandalous but painfully-interesting autobiography in Tait's Magazine.' Scandalous quotha! This most 'valuable' production has passed into our choicest literature, while Mr. Robinson's own memoranda are barely known, if at all, beyond a small circle of bookworms. The 'Diary' has become a mere quarry in which historians and biographers dig for their building materials, while De Quincey's life is a more enduring monument to his fame than if it had been of marble.

George Gilfillan has far more nearly hit the mark when he pens this critique: 'In all his writings we find a lavish display of learning. You see it bursting out, whether he will or no; never dragged in as by cart-ropes; and his allusions, glancing in all directions, show even more than his direct quotations that his learning is encyclopædic. His book of reference is the brain. Nor must we forget his style. It is massive, masculine, and energetic; ponderous in its construction, slow in its motion, thoroughly English, yet thickly sprinkled with archaisms and big words, peppered to just the proper degree with the condiments of simile, metaphor, and poetic quotation; select, without being fastidious; strong, without being harsh; elaborate, without being starched into formal and false precision.'

We will pass now from these critical estimates to our own mere likings and preferences among De Quincey's very voluminous 'Selections Grave and Gay.' I give the first place—the place of vantage and of honour—to the autobiography already alluded to above, for it burns and scintillates with the fire of genius, kindled by the action of unique experiences upon a unique temperament. Next must come, of course, the 'Confessions,' which made him famous in the first instance. This is a volume from which, in my limited space, I can make no typical extracts, meandering as the pages do among golden visions and uncanny dreams begotten by the hideous narcotic drug, and lingering lovingly among picturesque sketches of the men and maidens of the villages and country towns he strayed to during his flight from school and home, giving us glimpses now of 'elaborate and pompous sunsets hanging over the mountains of Wales,' and anon plunging us into the profoundest depths of German philosophy and theology. Sometimes he makes us smile at a curious and unexpected phrase, or some simile that is apt, and yet at first sight seems incongruous, with a spice of exaggeration, such as the statement that the shoulders of the porter who carried away his trunk were 'broad as Salisbury Plain.'

One of the most characteristic of his tales is that of 'The Spanish Military Nun,' a true narrative, unearthed by him from the authentic lore of Spain, of an episode in the conquest of South America, and relating to a certain Catarina (prettily called by him 'our dear Kate') who escaped from a convent in the mother country, donned armour, fought battles and duels, was beloved by marriageable girls, forced a passage across the Andes, and finally was drowned in the Western Atlantic. The story is told with humour and much feeling, and has no counterpart, except in the narrative similarly discovered and freely translated by Southey, called 'The Expedition of Orsua, and the Crimes of Aguirre.'

Perhaps the most celebrated of his essays, though, I fancy, better known by its title than actually read, is that 'On Murder considered as one of the Fine Arts.' It is an elaborate jeu d'esprit, of which the grave introduction, brimming over with fun, not a muscle of the author's face moving in the telling, commences thus: 'Most of us who read books have probably heard of a Society for the Promotion of Vice, of the Hell-fire Club, founded in the last century by Sir Francis Dashwood. At Brighton, I think it was, that a society was formed for the suppression of virtue. That society was itself suppressed; but I am sorry to say that another exists in London of a character still more atrocious. In tendency it may be denominated a Society for the Encouragement of Murder, but according to their own delicate euphemismos is styled "The Society of Connoisseurs in Murder." They profess to be curious in homicide; amateurs and dilettante in the various modes of carnage, and, in short, murder-fanciers.'

Probably to the majority of his readers his 'English Mail-Coach,' with its sub-chapters on 'The Glory of Motion,' 'The Vision of Sudden Death,' and 'Dream Fugue,' will be the most attractive of all his pieces. We who are old enough to remember 'The Arrow,' 'The Rival,' 'The Tally-Ho,' and other four-horse mail-coaches, on which we rode seventy miles to and from boarding-school, or to visit far-off country relatives, can enter into the spirit of these sketches con amore. The young folk, who have ridden only in hansom-cabs and excursion trains, have little idea of the perils and pains, and the pleasures, of old coaching days, on the old coaching roads, or at the old coaching inns, in weary winter rides, or glorious sunny jaunts in summer time. They should certainly read these essays, and learn how their parents and grandparents travelled in days antecedent to steam and electricity.

If sterner qualities are needed by more laborious readers, let me commend to their attention that marvel of historic picture-writing, 'The Revolt of the Tartars'; or 'The Essenes' may suit them, if they be biblical students, even though they may not agree with De Quincey's conclusions; or there is that painstaking, minutely-descriptive chapter on 'The Toilet of a Hebrew Lady.' If they inquire for political knowledge—and, indeed, this is sadly lacking, not only among working men, but even more by professional men, who live outside the contact and struggle with the hardships and necessities of business life—where will you find anything more convincing, anywhere any severer logic, than that in the dissertations on Political Economy? I say nothing of his other historical, philosophical, and theological writings—his theories, speculations, and researches—for I would advise none to begin the systematic study of De Quincey with these. I would recommend beginners to taste first his sketches of contemporary writers and his lighter papers, and then, if they find they acquire a liking for these, to pass on to the more recondite. I confess that, however fascinating his literary style may be, it requires some little culture to appreciate it at the outset. If a first attempt prove no success, let the 'Miscellanies' be laid aside for a while, till the man himself has become well known and companionable. Then a second attempt can hardly be a failure.

Let me finish this article by inviting my readers' perusal of that masterpiece of Jean Paul Richter's, so ably translated by our 'old man eloquent,' and forming the appendix to his essay on the system of the heavens. It begins, 'And God called up from dreams a man into the vestibule of heaven, saying, "Come thou hither, and see the glory of My house." And to His angels He said, "Take him and undress him from his robes of flesh, and put a new breath into his nostrils, and arm him with sail-broad wings for flight. Only touch not with any change his human heart—the heart that weeps and trembles." It was done, and with a mighty angel for his guide, the man stood ready for his infinite voyage, and from the terraces of heaven, without sound or farewell, at once they wheeled away into endless space.'

THE BRATHAY VALLEY, AMBLESIDE

'It is the place for the earliest flowers of the spring, and distinguished by the broom growing thickly on the bank of the river, and yellow globe-ranunculus flourishing on the rocks at the brink, or in the midst of the stream. In the autumn, the side of Loughrigg, which overhangs the valley, is splendid with flowering heather. The opposite character of this and the sister valley is striking, and led to the remark of a resident of Ambleside that if one wants a meditative walk in winter, one goes round the Brathay Valley—sure to meet nobody but the postman, whereas, if one needs recreation after a morning of study, the walk should be round the Rothay Valley, where one is sure to meet all one's acquaintances. The finest view in this valley, one of the finest in the whole district, is from Skelwith Fold.... The stranger will hardly aver that he ever saw a more perfect picture than this, with the fall (Skelwith Force) in the centre, closed in by rock and wood on either hand, and by Langdale Pikes behind.'— Harriet Martineau: Guide to the Lakes.

Photo by Herbert Bell, Ambleside.

THE KNOLL, AMBLESIDE
The Home of Harriet Martineau (1855-1876).

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II

A PIONEER OF POLITICAL REFORM

HARRIET MARTINEAU

'She was born to be a destroyer of slavery, in whatever form, in whatever place, all over the world, wherever she saw or thought of it ... in the degraded offspring of former English poor-law ... in English serfdom forty years ago ... in the fruits of any abuse—social, legislative, or administrative—or in actual slavery.'—Florence Nightingale.

PERHAPS the most instructive and reliable book ever written about the actual condition of England, and about her people's struggles for light, liberty, and better conditions of life during the first half of the nineteenth century is Miss Martineau's 'History of the Thirty Years' Peace.' It is emphatically a citizen's history as distinguished from a partizan politician's, and it ought to be read, together with her 'Introduction' to it, by every young man who desires to possess an intelligent acquaintance with the social problems of his age and country. The ignorance of the present generation of youthful electors, when compared with the knowledge of their parents at a similar time of life, often astounds me. It is probably due to two causes—first, to the fact that their fathers were, forty or fifty years ago, only just emerging from the dust and smoke of hard-fought political battles, and so had the causes of them well engrained into their minds, while they of this generation have not yet so much as 'smelt powder' in the struggle against still-existing grievances; and, secondly, that the present-day education in elementary schools practically ignores the teaching of history, while ordinary secondary schools teach English history only in 'samples,' and those seldom of the most modern periods. No other of Harriet Martineau's works will take rank with her 'Thirty Years' Peace,' yet they all had a great reputation when she was reckoned the greatest living English woman, and they nearly all had a wide sale, though, having been written for passing purposes, they naturally died out of the popular memory when their purposes were accomplished, and fresh interests had come into view. They were mostly stories—novelettes—written to illustrate such questions as the then burning ones of free trade, colonization by emigration of the pauper and the criminal, the incidence and amendment of the Poor Laws, the repression and punishment of crime, actual and ideal systems of taxation, the relationships of capital and labour, and the like. In addition to these, she wrote a few volumes of pure fiction, some reminiscences of travel in the East—through Egypt, across the Sinaitic desert, and northwards past Jerusalem to Damascus—and some others respecting her stay in the United States of America in the troublous anti-slavery times preceding the Civil War. In her earlier days she also wrote some religious and theological essays and sketches for Unitarian magazines. Of her fictions, two may be mentioned—'Deerbrook,' which she considered her masterpiece, and 'Feats on the Fjord.' The latter was favourite reading of my own boyhood. I took it to Norway with me in later days, and found it in every way a most accurate description of Scandinavian farm life, as well as of coast and mountain scenery—in fact, quite as much so as the stories of Björnstjerne Björnson himself. The extraordinary thing about this is that the authoress had never been in Norway, and took all the settings of her hero's adventures from narratives of other people's travels.

Her autobiography—written when, in advancing age, heart-disease had marked her for its victim at no distant date—with the appendix thereto, compiled by her devoted friend, Mrs. Chapman—furnishes us with all the available materials for a sketch of her life; and, indeed, it is the most valuable of all her multitudinous productions, with the exception already noted. It is the story of a noble and unceasing struggle, successfully carried through, against internal difficulties, both mental and physical of no ordinary character, and against external ones that would have beaten any commonplace person. It is, however, also a revelation of spiritual processes and of gradual abandonment of once-cherished beliefs that does not fascinate us, and leaves us with grave doubts as to the acuteness of her philosophical insight, and of her grasp of real Christian teaching. Perhaps, too, it was natural that her independence of character, and her constant overwork and overstrain, should lead her into impatience of the frailties of others, and quicken her contempt for many of the celebrities she knew personally.

Born in 1802 of Unitarian parents, in Norwich, she grew to be a shy, sensitive, but quietly-observant and clever girl. Her upbringing was on the repressive lines of a conscientious but narrow-minded mother, who was without sympathy for, or knowledge of, her 'ugly duckling's' yearnings or capacity. The last thing the mother dreamed of was that the 'ugly duckling' was in truth a cygnet, whose swan-plumage the world would one day recognise. The daughter longed inexpressibly for words and deeds of parental love which never came to her, and so she grew silent, introspective, and morbid. In mature age she became morbidly ashamed of her childhood's, perhaps inevitable, morbidness. When her literary instincts were bound to find a vent, her first venture in magazine articles had to be made in secret, and, when they were discovered, efforts were made to repress any continuation of them, and she was sternly told to stick to her sewing-needle. She was fortunate in being sent to a good day-school, which counteracted by its learned and genial atmosphere the influences of home. It was, too, a blessing in disguise when, her never robust health failing, her parents sent her to relatives in Bristol, whose joyous spirits and cultured tastes were an inspiration to her. A tendency to deafness, which became chronic, and at last compelled the habitual use of an ear-trumpet, did not, till she conquered the disadvantage by her brave fortitude, make her desirous of company or help her to make much way in it.

The one trusted friend of her youth was her beloved younger brother James, afterwards the eminent Unitarian minister and theologian. To him she confided her secret aspirations, and he encouraged her finally to proceed to London and try and find a publisher for the series of political economy stories she projected writing. Her heroic efforts to find someone who would risk putting them on the market is one of the romances of literary biography.

Her father was dead. The manufacturing firm in which her mother's monies were invested had failed. She was alone in London, and without knowledge or influence. How she 'trudged many miles through the clay of the streets, and the fog of the gloomiest December,' only to be rejected, sometimes politely, and sometimes rudely, by everyone to whom she showed her MSS. and explained her scheme; and how at last she despairingly accepted what seemed almost impossible, and certainly were unreasonable, terms, offered by a young bookseller without business connections; how a wealthy relative unexpectedly stepped in to guarantee a portion of her personal risk; and how she suddenly sprang into fame—are not all these things faithfully set forth in her autobiographical chapter headed 'Aged Twenty-nine'? From depths of discouragement that would have effectually damped most aspiring authors she at once became a 'society lion,' or rather, to retain our former metaphor, she was hailed as one of the swans of literature, and, as was said of the royal bird in Andersen's parable, 'the most beautiful of them all.' She endured a long and terrible strain, while for several years producing a story a month, which broke down her health seriously, yet she attended nearly every evening some social function, which brought her into intimacy with the most celebrated men and women of her generation.

It is in her records of this period that the most unpleasant traits in her disposition become apparent. Almost every page betokens a spirit of captious criticism of her acquaintances, and almost every one is belittled by her.

About this time, too, Unitarianism lost altogether its slackening hold of her. She saw that its dogmas were entirely contrary to Scripture revelation and teaching, but instead of rectifying her faith to the Christian standard, she abandoned the standard itself, and became an avowed Positivist. She writes herself down as a convinced 'Necessitarian,' though if anyone's life and conduct effectually belied such a creed it was hers. No one ever gave stronger proofs of a self-determined will, free from all external or internal compulsion, than she.

Money as well as fame became now her well-earned portion, and she found herself able to purchase an annuity, spend some time abroad, and buy land and build a house thereon at Ambleside, by the shores of beautiful Winander. In this charming home she spent her declining years, following her favourite pursuits, advocating mesmerism, which she considered had raised her up from a long-endured nervous prostration, and playing with success the part of the Lady Bountiful to the neighbourhood. It was whilst at this place that she translated the works of Comte, and lost thereby, what she valued most in the world—the intimacy of her beloved brother James, who, like herself, a model of conscientiousness, publicly reviewed her introductions and comments with some severity. Both brother and sister had opinions, held them tenaciously, and expressed them fearlessly. On her side no sign of change from Positivism was ever given. The same dauntless spirit which bore her through the anti-slavery campaign, when in America she was threatened by the slave-owners with personal violence, upheld her now in her championship of the philosophy of altruism without a Divine Fatherhood. We believe her mistaken, but admire her unflinching adhesion to what she deemed the truth.

It was in her beautiful house, The Knoll, that she passed behind the veil, and entered into the clear seeing of eternity. She died, says her closest friend and biographer, 'in the summer sunset of her home amid the Westmorland mountains, on June 27, 1876, after twenty-one years of diligent, devoted, suffering, joyful years there, attended by the family friends she most loved, and in possession of all her mental powers up till the last expiring day, aged seventy-four years.' She lies among her kindred, descendants of French refugees, in the old cemetery at Birmingham.

In her maidenhood she had once loved, and been beloved by one of the other sex, but events occurred to prevent the consummation of her love by marriage, and it proved a happy escape. Thenceforward she lived only to endure

'Many a lofty struggle for the sake
Of duties, sternly, faithfully fulfilled,
For which the anxious mind must watch and wake,
And the strong feelings of the heart be stilled.'

THE TRUE POET

'Who wears a singing-robe is richly dight;
The Poet, he is richer than a King.
He plucks the veil from hidden loveliness;
His gusts of music stir the shadowing boughs,
To let in glory on the darkened soul.
Upon the hills of light he plants his feet
To lure the people up with heart and voice;
At humblest human hearths drops dews divine
To feed the violet virtues nestling there.
His hands adorn the poorest house of life
With rare abiding shapes of loveliness.
All things obey his soul's creative eye;
For him earth ripens fruit-like in the light;
Green April comes to him with smiling tears,
Like some sweet maiden who transfigured stands
In dewy light of first love's rosy dawn,
And yields all secret preciousness, his Bride.
He reaps the Autumn without scythe or sickle;
And in the sweet low singing of the corn
Hears Plenty hush the pining Poor.'
Gerald Massey.

BRANTWOOD, CONISTON LAKE
The Home of Harriet Martineau (1855-1876).

[Enlarge image]

III

A LOVER OF BEAUTY

GERALD MASSEY

'Like the Norseman of whom he sings, he is everywhere true, brave, generous, and free. He is before all things a patriot. He has an intense belief in the genius of England as the champion of liberty, and the pioneer of freedom.'—The Poets and the Poetry of the Century.

HE is still living, some seventy-five years of age, and it is difficult to write anything of the nature of a biography of one still amongst us. There are a few facts, however, patent to all the world, which may be fitly reproduced. Perhaps the most striking of these is that, like 'Festus Bailey,' he did his best poetical work in his young manhood, and the early promise of ripening in power and of richer fruit-bearing has not been fulfilled. Massey, writing some sweet and inspiring lyrics, and giving evidence of acute appreciation of the masters of literature in his once well-known lectures, seems to have lost himself in a maze of Egyptian and anti-Christian pseudo-philosophies even less edifying than the science evolved from the 'inner consciousness' of such holy men as Jacob Behmen, Peter Sterry, or Swedenborg, and as incomprehensible to the ordinary mind as the strange mysticism of William Blake. He has, as a poet, which was his true function in life, committed intellectual suicide, and his resurrection into mythical regions and pamphleteering on 'Luniolatry,' 'The Seven Souls of Man,' 'The Coming Religion,' and other such subjects, will not only fail to add to his fame, but in the future will be remembered merely by curiosity-hunters as the vagaries of a capable but erratic genius. Like his own Atle the Fur-Hunter in chasing the squirrel, he has lost his sledge-load of treasures. I know that he does not personally think so, and that some, at least, of his friends agree with him. He found verse-making insufficient for subsistence—as, indeed, might have been expected—and it has been written of him that in turning to his final career he began to

'Dredge the old sea-bottoms of the Past,
Lover of Beauty who gave up all for Truth.'

Still, we shall ever regret the change.

Some of his best life-work was done by Massey at Brantwood, on the shores of Coniston Water, including 'The Ballad of Babe Christabel,' 'Craig-crook Castle,' and 'War-Waits.' He had come here after a period of stress necessitated by his outward circumstances, which had been of the poorest. His father was a canal-boatman of Tring, in Hertfordshire, and for him, as for all of the wage-earners of those evil days of the Corn Laws and other oppressions, there was virtually no education. He was sent to work in a mill when eight years of age, for twelve hours a day, at 9d. to 1s. 6d. per week. It was the sorrows and sufferings of such little ones as he which inspired Mrs. Browning's never-to-be-forgotten 'Cry of the Children.' Possessed of a resolute will and an inquiring spirit, he taught himself all he could from the very few books accessible to him. While passing through years of poverty and hardship, engaged in straw-plaiting, he associated himself with like-minded youths of his own and a somewhat better social class, threw himself ardently into the progressive movements of the day, and soon found his way into print in some of the restricted and Government-worried local newspapers. When but twenty-one years old he was actually editing a serial called The Spirit of the Age. A year later he became one of the secretaries of the Christian Democratic movement headed by Maurice and Kingsley, wrote verses for various publications, and by-and-by mustered courage to issue his 'Voices of Freedom and Lyrics of Love.' This little book and his next brought him into contact or correspondence with Hepworth Dixon, W. Savage Landor, 'George Eliot,' and Tennyson. Tennyson writes him respecting the 'fine lyrical impulse, and the rich, half-Oriental imagination' he found in his poems. 'George Eliot' is said to have taken him for her model of 'Felix Holt the Radical.' She describes her hero as a somewhat eccentric-mannered young man, shaggy-headed, large-eyed, and strong-limbed, wearing neither waistcoat nor cravat, and in abrupt sentences denouncing unreality and humbug, though amenable to softening social and intellectual influences. This, at any rate, is her introduction of him to her readers. Massey's first love-story (he was happily married) was, at least, as much an idyll, it would appear, as that of Holt, and the deep home love, the consecrated affection of the wedded life, were the inspirations of some of his sweetest lyrics, just as his intense yearnings for the betterment of the common people were that of his patriotic ones. Later in life, after he had left Coniston, we find him an accepted essayist in some leading literary magazines, and a lecturer on literary subjects, living in Edinburgh. Another volume or two, with war songs and ballads among them, evoked by what England has long ago become ashamed of—the Crimean War—completed the first stage of his career, and the only one that concerns us here. He has collected into a volume—adopting a description of himself as 'the most unpublished of authors'—a few of his best poems, which one critic thinks contains everything of his worth preserving. I do not agree with this dictum. Some of his best are omitted, though we have to thank this self-same critic for preserving them for us.

Now comes for me the ungrateful task of selecting from his garden of delights, not posies, but a few blossoms and a few typical petals that may serve to show the form and hue of the blossoms. In doing so, many of the best must of necessity be passed over. Do you know 'Babe Christabel'? Is it not pathetically true to experience? Has it not set many a chord of many a mother's riven heart vibrating as she reads of

'A merry May morn,
All in the prime of that sweet time
When daisies whiten, woodbines climb,
When the dear Babe Christabel was born'?

and how, coming through the 'golden gates of morn' to what seemed a glorious destiny, and touching the earth with a fresh romance for the happy parents, she grew in loveliness only to be caught away, ere reaching womanhood, by angels who gathered her 'delighted as the children do the primrose that is first in spring.' And do you know 'Cousin Winnie'? It is almost as pathetic, and quite as true, only in a different way. It narrates a lad's love for a cousin, married, when she reached maturity, to a friend of his, who brought trouble upon her, and for whom he suffered as she suffered, unable to help, and never telling out his affection for fear of causing division and dissension.

His songs are far from being all sad. They are mostly redolent of bright fancy.

'Pleasant it is, wee wife of mine,
As by my side thou art,
To sit and see thy dear eyes shine
With bonfires of the heart!
And Young Love smiles so sweet and shy
From warm and balmy deeps,
As under-leaf the fruit may try
To hide, yet archly peeps;
Gliding along in our fairy boat,
With prospering skies above,
Over the sea of time we float
To another New World of Love.'

This lake-poet is not the Laureate of the love of courtship, but of wedded bliss.

'Oh, lay thy hand in mine, dear!
We're growing old, we're growing old!
But time hath brought no sign, dear!
That hearts grow cold, that hearts grow cold!'

begins another of what may be called the 'Darby and Joan' type.

Of the liberty songs, many are familiar to progressive politicians, or were till we got our terrible set-back at the late 'Khaki' election. They need reissuing in a popular form. Most people who read anything of this nature will remember the stanzas with the refrain:

'This world is full of beauty, as other worlds above,
And if we did our duty it might be as full of love.'

Such another is 'The People's Advent,' and the best of them 'The Earth for All,' two lines in which were often quoted in former days of agitation:

'Your Mother Earth, that gave you birth,
You only own her for a grave.'

Massey's longer poems I dare not even begin to quote from, only giving a few solitary gems of thought by way of conclusion:

'I heard Faith's low sweet singing in the night.
And groping through the darkness touch'd God's hand.'

'Ye sometimes lead my feet on the Angel-side of life.'

'Nature at heart is very pitiful,
How gentle is the hand doth gently pull
The coverlet of flowers o'er the face
Of death! and light up his dark dwelling-place!'

'Creeds, empires, systems rot with age,
But the great people's ever youthful:
And it shall write the future's page
To our humanity more truthful.'

Says Gilfillan (a half-forgotten author himself): 'Probably since Burns there has been no such instance of a strong, untaught poet rising up from the ranks by a few strides, grasping eminence by the very mane, and vaulting into a seat so commanding with such ease and perfect mastery.'

A NIGHT RAMBLE

'I can recall ... our delight in the moonlight walk from the Windermere station by the Lakeside to Ambleside, that loveliest five miles in all England; our next day's climb (the track missed) over the Stake Pass, after bathing under the fells in a pool at the head of Langdale; how we lingered, dallying with our joy, on the mountain tops till night came on, a cloudy night of late September, after a day of autumn glory, overtaking us before we could reach the Borrowdale road; how, unable even to grope our way, we lay down together on the stones to sleep, and awakened by rain, crept under an overhanging rock, and cold and hungry, smoked our pipes and talked till the dawning light enabled us to find a path to Stonethwaite; how we sat in a cottage porch to await the rising of the inmates and welcome a breakfast of bad coffee and mutton-ham so salt that it scarified our mouths. No grave-minded man was either of the pair who went laughing and singing, if somewhat limping, on their way.'—William James Linton: Memories.

IV

A POET ENGRAVER

WILLIAM JAMES LINTON

I.—THE MAN

'I would build up in my own mind
A temple unto Truth,
And on its shrine an offering bind—
My age and youth.'
W. J. Linton.

MR. LINTON succeeded Gerald Massey as occupant of Brantwood. He came there from a home at Miteside, on the west coast of Cumberland, to which he had retired from London with his first wife and their family. He had been a member of an eminent wood-engraving firm, doing virtually all the earlier pictorial work for the Illustrated London News, and when the proprietors of that journal commenced a block-making department of their own, he withdrew from his Hatton Garden business and sought to bring his other connection with him to the North. He had fallen in love with our beautiful mountainland, he tells us, while on a walking tour with a once well-known and promising young poet—the late Ebenezer Jones—too soon cut off by consumption. Of this friend Linton afterwards wrote an affectionate appreciation, extolling his 'joyous and most passionate nature'—joyous under happy influences, passionate when his quick intuitions of right and wrong were outraged by injustice. Perhaps it was due to this excursion that Jones learned to love the rain.

'More than the wind, more than the snow,
More than the sunshine, I love rain;
Whether it droppeth soft and low,
Whether it rusheth amain.'

At Miteside, near the confluence of two becks that flowed from Wast Water screes, and in which aforetime the Romans fished for pearl-mussels, and under a line of fells, Linton lived in full enjoyment of the wild beauty of the country, till the owner needing the house, he had to quit it. Just at that moment Brantwood came into the market, and, with a little of his own and some mortgage money, he purchased it. Shortly after removing into it his wife died. She was the sister of another of his many poetic and republican friends—Thomas Wade—a man who, according to his brother-in-law, should have made a great name in literature, but missed doing so! They were a nest of singing-birds those vigorous young Radicals of three-quarters of a century ago, singing not only of the better day they worked to bring in, but, as Wade did, of the circling hills and wave-swept shores and 'all the amplitude of air and sea brooding in starry vastness.' What sort of a life Mrs. Linton had lived with her husband I do not know. That he must have often tried her patience and upset her domestic arrangements and felicities goes almost without saying. He was of an ardent and impulsive nature, deeply committed to European republicanism and its leaders, such as Mazzini, the inspired conspirator, who loved God as he loved liberty and Italian unity; such as the Abbé Lamennais, that noble French soul athirst for love, who shook off the Papacy and the priesthood, and died, 'believing in God, loving the people'; such as the wealthy, University-trained Russian aristocrat, Herzen, who was imprisoned, sent to Siberia, and finally exiled under the old 'drill sergeant,' Czar Nicholas. For meeting with these in public or in private her husband would leave her continually alone with her children, after his day's work was done, and spend in feeding the poorer outlaws the money he had toiled for, and very frequently would bring some hunted refugee home to live, or even to prepare to die, in his house. Charles Stolzman, the Pole, he sheltered at Brantwood, tended through his last sad hours, sent to Millom to recruit, and when he finished his earthly career, in the little churchyard beneath the shadow of the lake mountains, Linton laid to rest the body of the one whom he revered as a true, manly, upright patriot. The very appearance of Linton while at Coniston suggests, according to the portraits preserved of him, a man of penetrating intellect, erratic and versatile genius, impulsive generosity, and little common-sense. His head was a noble one, with long, white hair and beard, belonging either to an artist or a model, as might be preferred. In his eccentricity he not only brought to Brantwood his engraving work and his friends from many nations, but printers, also, for the printing and publishing of his advanced newspaper—printers full of comradeship with their master, and getting paid when and how they could, or not at all, as things prospered or otherwise. And all this happened while the restless energy of the man set him sketching and engraving charming vignettes of this romantic district—some of the choicest we have among the thousand and one volumes about the lakes—collecting and writing about the local ferns, tramping the mountains, often having forgotten to take either food or money, and writing verses or translating them from his favourite French poets. One would have liked immensely to know the man, but certainly not to have lived with him.

After the death of his wife—the Miss Wade spoken of—he was left with young children on his hands, and shortly afterwards he married Eliza Lynn, the novelist, better known as Mrs. Lynn Linton, whose birthplace was Crosthwaite Rectory, at Keswick. This marriage was anything but satisfactory, as any onlooker would have foretold in regard to a union between two such unusual and pronounced characters. After a while, Brantwood being let, London was tried, the wife mingling in intellectual and sparkling society, and trying to induce her husband to appreciate it, the husband working fitfully at his art—in which he excelled—and living uneconomically among his beloved European republicans, editing magazines and papers that did not pay, and getting his letters opened with Mazzini's and others by the British Post Office, under the orders of Sir James Graham, M.P. for Carlisle, and Home Secretary. Men of my age remember well the storm of indignation that raged through the country at this flagrant violation of English liberties, and the 'anti-Graham' wafers we fastened our envelopes with by way of 'passive resistance' to the outrage.

'Incompatibility of temperament' is, I believe, in some of the United States considered a just ground for divorce. It led to separation, by mutual consent, between the Lintons, their selling Brantwood to Ruskin, W. J. going to America, where he ended his days, and Eliza residing mostly in London, the centre of an attached circle, and making herself notorious for essays we shall have to speak of in another article. Yet husband and wife continued to correspond on most affectionate terms till death separated them finally.

Linton maintained himself by his craft to which he had been apprenticed, and which he loved too well to abandon, and occupied much of his time in literary pursuits, becoming, like Carlyle, Kingsley, and many another youthful reformer, timid in old age, and desiring, as John Bright said of Earl Russell, to 'rest and be thankful'—and as John Bright himself did when such new movements as Irish self-government in Irish affairs came inevitably to the front.

He was born in London in 1812. A biographer wrote of him, after he was eighty years of age: 'Mr. Linton is one of those who never grow old. His notes are sweeter and clearer to-day than they were fifty years ago.' He died at eighty-six, in 1898; I can say nothing of his latter end. He, like his second wife, held 'advanced,' or—as some of us hold—retrogressive views on religion. Yet, to judge by expressions in his works, God and another world still kept a hold upon his thoughts. Few men succeed, after all, in making themselves atheists or believers in soullessness or annihilation. Latent thoughts will out, in some way or other, in imaginative literature, or in passionate, profane swearing, or in ejaculatory prayer wrung from the heart by adversity.

Victor Hugo closes a song translated by Linton with: 'The tomb said—

"Of the souls come in my power
I fashion the angels fair."'

THE SILENCED SINGER

'The nest is built, the song hath ceased:
The minstrel joineth in the feast,
So singeth not. The poet's verse,
Crippled by Hymen's household curse,
Follows no more its hungry quest.
Well if love's feathers line the nest.
'Yet blame not that beside the fire
Love hangeth up his unstrung lyre!
How sing of hope when Hope hath fled,
Joy whispering lip to lip instead?
Or how repeat the tuneful moan
When the Obdurate's all my own?
'Love, like the lark, while soaring sings:
Wouldst have him spread again his wings?
What careth he for higher skies
Who on the heart of harvest lies,
And finds both sun and firmament
Closed in the round of his content?'
William James Linton.

A POET ENGRAVER

WILLIAM JAMES LINTON

II.—HIS BOOKS AND HIS ART

'Poets are all who love, who feel, great truths,
And tell them;—and the truth of truths is love.'
Bailey's Festus.

WE have seen how various were Linton's tastes and sympathies. Drawing and engraving, poetry, Nature-study to some small extent, biography, magazine editing, and extreme politics—extreme for the age—relating not only to England, but to most of Europe: all these occupied his attention, not in turn, but continuously.

Dealing with his published volumes, we must give first place to his autobiographical 'Memories.' They are of ever-increasing value to the student of the evolution of the nineteenth century, for they are crammed with recollections and estimations of its makers, and with illustrations of the old 'condition of England' question. One of the earliest things that impressed him was the tolling of George III.'s 'passing bell.' Another was the trial of Queen Caroline and the popular excitement consequent thereon, and somewhat later the sordid funeral permitted her, 'the shabbiest notable funeral I ever saw,' he says. 'The demoralizing craze for State lotteries,' the wild debauchery of the Court, press-gangs and fights between these and butchers armed with long knives, Government terrorism over the Press and the right of public speech, riots in Wales for the purpose of demolishing turnpikes, and many more such things are recorded; and they unquestionably impelled him to take the side of the people against their despotic rulers. Concurrently with these, however, he records the progressive movements and struggles of the working-classes for social and political emancipation, and for education and for such equality of opportunity as wise laws can secure. In the course of his narrative we meet, in addition to the continental agitators and ultra-Radicals and Chartists of England, and the Duffys, Mitchells, O'Connells, O'Connors, and O'Briens of Ireland, galaxies of literary celebrities, and men in the foremost ranks of Art and Science.

He shows himself to have had strong prejudices for or against people, and he never scruples to record his opinions quite frankly. Of Thornton Hunt and his relations to the pretty wife of G. H. Lewes and to Lewes himself, he remarks that the legal husband 'asserted his belief in Communistic principles,' the two men only quarrelling over the expense of the double family! This Lewes is that historian of philosophy, be it remembered, with whom 'George Eliot' lived, though he was undivorced. For some reason or other, Samuel Carter Hall, author and editor of the Art Journal, was Linton's pet aversion. He asserts—I know not with what truth—that Charles Dickens made him sit for the portrait of 'Pecksniff.' Robert Owen, the founder of 'New Harmony' and of other socialistic and co-operative enterprises, he stigmatizes as impracticable, and 'a dry and unimaginative creature.' On the other hand, he has many pleasant and generous things to say about Ruskin, 'the poet beyond all verse-makers of his time,' and 'a man of the noblest nature'; Derwent Coleridge, with whom he rambled around Keswick, and who appeared to him to be 'a sensible, well-informed, genial and liberal clergyman'; Harriet Martineau, who lived near enough to be on visiting terms, 'a good-looking, comely, interesting old lady, very deaf, but cheerful and eager for news which she did not always catch correctly'; and many another, including the Americans, Whittier (of whom he wrote a life), Longfellow, and Emerson.

Linton's biographies of 'European Republicans'—mostly reprints of magazine articles—are graphic and sympathetic. His sketch of Mazzini's career I cannot say is the best extant, but it is good, and is the result of a warm and life-long personal friendship. His great work—for such it truly is—'The Masters of Wood-Engraving,' is not only the best of a series of publications he issued on the history and technique of his own art, but is, and always will be, the text-book of the subject. Wood-engraving is now almost entirely superseded by the various photographic 'processes.'

His other purely literary productions ranged from a volume of children's stories, 'The Flower and the Star,' to 'Poems and Translations.' The children of days of long ago, when really good books for them were scarce, must have hung delighted over the apparently impromptu fairy-tales about the flowers of the sky and the stars of the earth commingling; and how the dear little boy Dreamy Eyes, and his sisters Softcheek and Brightface, sought and found them 'under the golden oak-buds of the great oak,' and under the bushes clothed with delicate young leaves of the honeysuckle, or in the evening glow, where the great red sun went down, like a ball of fire, behind the sea. Linton was a true poet. His muse was a lyric rather than an epic or dramatic one.

'Youth came: I lay at beauty's feet;
She smiled, and said my song was sweet.'

His first volume of poetry was entitled 'The Plaint of Freedom,' and one of its themes evoked a tribute in verse from W. S. Landor. 'Claribel,' seldom quoted now, was his second venture. 'Grenville's Last Fight,' published in this collection, is a spirited ballad of a sea-fight in the Western Main, when the Spanish fleet attacked the solitary English man-of-war, 'drove on us like so many hornets' nests, thinking their multitudes would bear us down,' and yet failed to conquer her, because her captain sank her rather than surrender.

Other pieces, too long to include here, are short enough to be set to music, and would be worth more than the sentimental or garish theatre stuff too many young ladies indulge in nowadays; such as—

'Oh, happy days of innocence and song,
When Love was ever welcome, never wrong,
When words were from the heart, when folk were fain
To answer truth with truthfulness again;
Oh, happy days of innocence and song.'

And again, 'The Silenced Singer'—silenced on account of the consummation of his hope in the winning of his mate, when the nest was built, and he had 'closed in the round of his content.'

And, once again, 'Mind Your Knitting,' after the style of Beranger, relating how the blind old mother heard the soft footfall of a lover, and noted the cessation of her daughter's clicking needles' task. 'Tis the cat that you hear moving!'

'You speak false to me;
I'd like Robert better, loving
You more openly.
Lucy! mind your knitting.'

It is right to say a few words about Linton as an artist. He was engaged upon much better work than the illustrated weekly papers which were at first his sheet-anchor. He was, for instance, employed by Alexander Gilchrist to reproduce the quaint and exquisitely-coloured designs of William Blake. These beautiful reproductions are before me as I write, and they have not only the necessary accuracy of copied design, but also delicacy of touch sufficient to make them virtually indistinguishable from the master's own work. His own etchings adorn the fine volume on the Lake Country, written by his wife, Mrs. Lynn Linton. There are few such drawings done nowadays. Photography has, in some respects, greater accuracy, yet there is accuracy of insight illuminated by the artist-mind in Linton's wood-cuts, whether these be of some pouring torrent on the river Duddon, a view of the 'Old Man' from Brantwood, a group of castellated boulders on the 'sad seashore,' a jutting crag upon Great Gable, or only a fallen pine on the fell-side, or a banner-like mist clinging to a mountain peak. He had a pretty fashion of illustrating his own writings, which has increased their value in the eyes of collectors. 'Claribel' is thus brightened, and some may even prefer the pencilled pictures to the written drama. 'The Flower and the Star' has its landscapes, too, and its representations of Jack climbing the beanstalk in the full moonlight, of the three people who cooked an egg, and of other items that make the stories what they are. Even his 'Ferns of the English Lake Country' have his own copies of the fronds he gathered. My edition is coloured by hand, though whether by himself or not I cannot say. 'He is a wood-engraver first, and a poet afterwards,' says one friendly critic. The same critic adds, 'As a translator, Mr. Linton has few equals'; and yet, on the whole, heretical as it may seem, I prefer his own utterances to his translations, and like best to have them decorated by his own pencil, for his draughtmanship and his poetic fancies are as the two edges of one sword with which he fought his way to a place in our literary Valhalla. They both belonged to his love-service of humanity as he understood that service. His own prayer may be appropriately quoted:

'I am not worthy, Love! to claim a place
In thy close sanctuary; but of thy grace
Admit me to the outer courts, and so
In time that inner worship I may learn,
And on thy Altar burn
The sacrifice of woe!'

He loved his race—too often at the cost of his own home happiness—and most of what trials and troubles he had were the fruits of his unselfishness.

CONISTON

'Coniston Lake, that long and narrow sheet of water stretching its six miles of blue between the fells, deserves a more generous appreciation than what it has met with, and a more popular acceptance. And now that it has a railroad probing its very heart, it is likely that lovers will come round it as thickly as round Windermere and Derwentwater. Take the circuit round the lake, beginning at the Waterhead on the west side, and going southwards towards Furness, past the islands and by Brantwood on the east, as one example of the sweetness and the richness of the place. There is first that grand Old Man, at the foot of which you reverently walk, overshadowed by his huge crags as you pass through the ancient village of Church Coniston—one of those quaint villages with the flavour of old times about them, and the generous beautifying of Nature around, so characteristic of our lake country. The old deer-park, where once the lord held his high days of sport and revelry, and which has still the inheritance of richer foliage and nobler growth than belong elsewhere, is one of those flavourings; so is that ivied and venerable house, Coniston Hall, where the Flemings used to live, and which was the residence for a time of the Countess of Pembroke—"Sidney's sister, Pembroke's mother"—but which is now only a farmhouse famous for its sheep-clipping.'—Eliza Lynn Linton; The Lake Country.

V

A SUCCESSFUL NOVELIST

ELIZA LYNN LINTON

I.—THE WOMAN

'She was one of the bravest of the morally brave, for she suffered from that kind of local ostracism, consequent on her unorthodox opinions, which in a manner isolated her and reduced her society to a few—fit, if you will, but few all the same—yet she never relaxed her propagandism.'—E. Lynn Linton: Free Shooting.

THE little dare-devil girl,' as Canon Rawnsley, not without justification, calls her, was born in 1822, at Crosthwaite Vicarage, Keswick. All that remains of her on earth lies beneath the shadow of Crosthwaite Church—'the Lake Cathedral,' as she herself has styled it—an edifice oft 'restored' since St. Kentigern from his wattled preaching-house sounded forth the Gospel of Christ among the pagan dalesmen thirteen centuries ago. Her father was the Vicar. He was left with a large family of children on his hands at the death of his wife, five months after Eliza was born. Mr. Lynn was an educated man, and, according to his lights, a respectable minister. By contrast with the carousing, wrestling, boxing parsons of Cumberland in his day—as they are so graphically described by our authoress in more than one of her novels—he was a gentleman and a Christian. When his father-in-law (the Bishop of Carlisle) asked him what he would do about the serious charge of so many motherless sons and daughters, his reply was, 'I shall sit in my study and smoke my pipe, and commit them to Providence.' This he did, breaking the monotony of his secluded life by wielding the rod among his rude tribe of passionate lads and high-spirited girls, and spending the nights in prayer for them. The topsy-turveyest book that ever was written is Mrs. Linton's 'Christopher Kirkland.' It must be alluded to—somewhat out of place—because it is autobiographical, and is used as such by Mr. Layard, her historian. It is her life-story, with the sexes of the characters transposed. This transformation of men into women and women into men makes the book most grotesque in places, and quite incomprehensible to readers who have not the key. Read it, however, inside out, or upside down, as it were, and it is then not only understandable, but interesting and informing. It is, in reality, the mine from which almost all important facts about her have been quarried. She seems to have been a 'naughty boy' kind of girl, holding her own bravely in a household which she likens to 'a farmyard full of cockerels and pullets for ever pecking and sparring at one another.' Yet she had her fits of moodiness and day-dreaming. Her short sight helped to make her enjoy solitariness, and induced a habit of lonely study and thought. From such books as she could get hold of she taught herself languages, and obtained a fair knowledge of literature. Unable, however, to accommodate herself to the strange government of her father and the waywardness of her brothers and sisters, she (twenty-three years of age, with a twelvemonth's allowance in her pocket) went up to London to try her fortunes. Henceforth we may unite her lively and interesting booklet,'My Literary Life,' with 'Christopher Kirkland.' She obtained work on the Morning Chronicle, just purchased by the 'Peelite' party, and edited by the redoubtable John Douglas Cook. Her description of her first introduction to the terrible presence of her impatient, irascible commander-in-chief is graphic.

'So you are the little girl who has written that queer book, and you want to be one of the press-gang, do you?' was his salutation. 'Yes, I am the woman.' 'Woman you call yourself?' and more rough-mannered, but not unkindly, words of the same sort followed. For two years she was 'handy man' on the paper—the first woman on a newspaper staff to draw a salary. Then she visited Italy, and afterwards lived in Paris as correspondent for an English paper. Her London home was near the British Museum, where she kept up her reading. During her studies and her press employment she had found time to write and publish several novels, and contributed to All the Year Round, edited by Charles Dickens. Her first story brought forth a sonnet in her praise from Walter Savage Landor, and her association with Dickens introduced her to many other well-known literary men and women. She had inherited Gad's Hill, Kent, from her father, and this property she sold to Charles Dickens. Dickens had fallen in love with the place when a boy, and had even then resolved to buy it if ever he was able. Thackeray she knew, too, and he called upon her while she was in Paris, climbing five toilsome flights of stairs to reach the little rooms she shared with another young Anglo-French woman—bed and sitting-rooms combined. Landor she first met in Bath, where he then lived, and she was visiting. She was in a shop, 'when in there came an old man, still sturdy, vigorous, upright, alert,' dressed in brown, but negligently, and unbrushed. The keen eyes, lofty brow, and sweet smile attracted her. When she heard his name—she knew some of his 'Imaginary Conversations' by heart—she expressed her joy. 'And who is this little girl who is so glad to see an old man?' The question and answer made them friends on the spot, and they remained so for many years afterwards, she paying long visits to his house, and becoming his 'dear daughter,' while she always spoke and wrote to the old lion as 'father.'

It was in 1858 that her marriage with W. J. Linton took place. She had had a love episode in earlier life which probably left its mark upon her character; but this marriage can hardly claim any romance as its inspiration. It is even said that she agreed to wed the artist partly from pity and partly to test her educational theories upon his six children. The secluded life at Brantwood became irksome to her, and the Lintons moved to Leinster Square, Bayswater, where the City life became equally irksome to her husband. Then came the separation, and Linton's departure for America, Mrs. Lynn Linton occupying various quarters in London, working on the Saturday Review, writing more novels, patronizing and generously helping young lady aspirants for literary successes, and making herself the centre of charming circles of friends and guests. In the lofty Queen Anne's Mansions, rising like a hill-summit above the flat plains and lake of St. James's Park, she had an upper chamber—airy, quiet, and virtually inaccessible to all except the privileged and welcomed of her choice. She had her turn, as so many of her generation had, at the fashionable spiritualism of Home and other tricksters, and with theosophists like Sinnett, but was not entrapped by either, for, though her views were 'free' and 'advanced,' her struggles and her environments secured her the saving grace of common-sense. She was more nearly allied in thought to Voysey and Professor Clifford than to the more mystical unbelievers. She was a hard worker, and lived comfortably by her pen. Idleness for her would have meant 'suicidal vacancy.'

Failing somewhat in health, she tried change of air at Malvern with little avail, and her eyesight failed her, so that writing became difficult. She realized that the end was approaching. It arrived in 1898, when she was seventy-six years old. 'She faced the inevitable' with more of the resignation of the stoic than the assurance of the Christian. Canon Rawnsley preached her funeral sermon, and placed her mental attitude in the most favourable light, and 'with a sure and certain hope' in his own heart of her 'resurrection to eternal life.' So let us also leave her in God's all-just, all-merciful keeping. Her own belief was in 'Nirvana.' Her remains were cremated, and the ashes conveyed to Crosthwaite, where Robert Southey also is buried. Landor concludes his ode to her with 'Pure heart, and lofty soul, Eliza Lynn.' I think (let me say it reverently) that God Himself might thus speak of her, for I find these words in one of her later letters: 'We are all, all, all His children, and He does not speak to us apart, but to us all in our own language, equally according to our age—that is, our knowledge and civilization. To Him I live, and in Him I believe, but all the rest is dark.'

WOMEN AND POLITICS

'We do not find that European homes are made wretched, or that husbands are set at nought, because our women may choose their own religion, their own priest, and have unchecked intercourse with the family physician.

'Is it impossible to imagine a woman sweet and yet strong, high-minded and yet modest, tender if self-reliant, womanly if well-educated? Would a fine political conscience necessarily deaden-or depress the domestic one? Surely not! A fine political conscience would be only so much added—it would take nothing away. If women thought worthily about politics, as about smuggling and other things of the same class, they would be all the grander in every relation, because having so much clearer perception of baseness, and so much higher standard of nobleness.

'At all events, the phase of women's rights has to be worked through to its ultimate. If found impracticable, delusive, subversive, in the working, it will have to be put down again. It is all a question of power, both in the getting and the using.'—Eliza Lynn Linton: Ourselves.

A SUCCESSFUL NOVELIST

ELIZA LYNN LINTON

II.—HER BOOKS

'My dear friend, Mrs. Lynn Linton, had lived through a long and eventful career, known all the interesting people of her day, and carried on intimate correspondence with all sorts and conditions of minds and characters. Her sympathies did not begin and end with literature; they strayed into many and wider regions of thought and activity.'—Beatrice Harraden.

SEVERAL of her novels were written at Brantwood—'Lizzie Lorton,' 'Sowing the Wind,' and 'Grasp Your Nettle,' certainly, and some others probably. I like to fancy the buxom, spectacled lady of strongly-defined, yet cheery, features sitting in the window of the study, and pausing in the midst of her composition to gaze at the magnificent prospect of woods, waters, and towering mountain summits. But to fancy her one must first dispossess the study of everything Ruskinesque. Ruskin's Delia Robbia treasure, his paintings from Italy, and by Burne Jones, bookcases with illuminated missals, polished agates of rare striations and burning colours—all these must go, and plain furniture, worn and faded, replace them, with, perhaps, some examples of her husband's art and craft littered about. Her enforced quietude made her literary output regular while living here. The extraordinary topsy-turvy autobiographical piece of 'fiction' called 'Stephen Kirkland'—already alluded to, and drawn upon for details of her life—belongs to a later date. So also does 'The Second Youth of Theodora Desanges,' another curious medley of impossibilities. It is the story of a woman who, at eighty years of age, had an illness which left her prostrate, but which led to her physical renewal—fresh, dark, rippling hair, blooming cheeks, rounded form and limbs, in fact, to ripe, desirable girlhood—while leaving her, of course, with the experience and world-wisdom of a knowing old grandmother. The metamorphosis brings her into a tissue of difficulties with those who were in the secret of it, and counted her as one of the most perverse and wilful of frauds, and into another tissue of another sort with those, especially young men, who, seeing only the goddess and worshipping her, thought she was playing upon them with wicked sarcasm when she tried seriously to explain what she really was. Her social adventures have a certain coherency in the telling; but a sense of unreality, and, in fact, of ridiculous impossibility, haunts you all through the narrative. The real value of the book (published posthumously), according to her friend and editor, G. S. Layard, lies in the fact that it contains her last message to the world—a gloomy gospel of humanity—'good news, if you will, to the race, but disaster for the individual.' Her farewell words are like a mingled evening of sunshine and passing cloud. The whole book is full of petty 'isms,' and soured comments, of pessimism overlying golden truths, which, however, have to be dug for, and some deserved satire of undesirable men and things. To use a crude simile, the whole volume reminds one of the celebrated American road which began and continued for a while as a 'turnpike,' but finished in a 'coon-track' running up a tree! 'Lizzie Lorton' is a book of different character. The one link it has with most, if not all, Mrs. Linton's books is the vein of mingled passion and tragedy that traverses it. The one charm it has beyond most others is the fresh breeze from the hills that seems to blow through it when the authoress condescends to be simply descriptive of places and people in the region of Wastwater and the Langdales. Her pen-pictures will do not only for her imaginary 'Greyrigg,' but for a hundred other dales and hillsides, lakes, tarns, and waters, and her portraits for a score of other country-folk and rural parsons to be found hereaway half a century ago, besides those she names. It is, if a tragic, yet a common story of love misplaced and at cross-purposes. Like many others of hers, this novel has been reproduced in the modern one-volume form—unfortunately in the badly-printed 'yellow-backs,' once the chief form in which light literature was obtainable at railway bookstalls.

'Through the Long Night,' written later than the Brantwood period, has, I cannot but feel convinced, been largely drawn from Coniston surroundings and Coniston society, as she knew the latter. It is not, I believe, considered one of her best productions. Nevertheless, it seems to me that the plot is more carefully elaborated, the characters are much more powerfully and convincingly conceived, and the interest is better sustained than in any other I know, though I do not profess to have read every one of her novels. The tragic element is strongly present, and the intentionally humorous entirely absent. There are melodramatic incidents that were not needed, and there is something that 'puts one's back up' when the angelic Lady Elizabeth condescends at last to marry the selfish despot who had broken her rival's heart, after driving her from home by his complicity with falsehood and forgery. The book by which she is best known to many of our generation (published in a sixpenny paper edition) is 'Joshua Davidson.' Issued at first anonymously, just after the close of the Franco-German war, and while the doings of the Paris Communists were fresh in everybody's mind, it took mighty hold of a certain class of reader, and will continue to do so. It ventilates her peculiar views of some of the sayings of Jesus our Lord, 'Great David's Greater Son.' The simple-souled Cornish peasant is represented as taking the Master's parabolic sayings as so many literal commands to be implicitly and literally obeyed by all men, reasonably and unreasonably. Thus he prays for the removal of a mountain, and gets a shock to his religious sense when the mountain moves not. Perhaps he was—or Mrs. Linton was, if she is recording any past experiences of her own—like the old lady who offered prayer for the same thing, and who, on awaking in the morning to find the hill she objected to still blotting out her view, cried: 'I never expected it would go!' Or, if Joshua is intended to have had faith, perhaps his literary creator might have corrected the absurd conclusions she lands him in had she read John Bunyan's account of his own actual experiences as recorded in 'Grace Abounding.' This work, from the episode I thus criticise, to the implied parallel between the priests' Gethsemane-mob of hired scoundrels and the poor blind 'common people' of Paris, seems to me now, on re-perusing it, as it did decades ago—just a poor, catchy sort of playing up to the shallow wits in the gallery of popular literature, to whom Christianity is not sufficiently exciting to be worth serious study. Another of her writings which made much stir was her celebrated magazine article, 'The Girl of the Period,' which appeared in the Saturday Review in its slashing days (The Saturday Reviler John Bright christened it). If unscrupulous, it was a power then—a poor, third-rate affair to-day, as little thought of as are the ancient lucubrations of the Quarterly or Old Ebony of our fathers. How well we remember the sensation she made by this tirade on the younger members of her sex. She certainly had 'changed sides' on the woman question of the hour, and, rightly or wrongly, she suffered inevitably for doing so. Such stinging phrases as she flung at her quondam friends—'sexless tribe,' 'shrieking sisterhood'—were expected from the Saturday, but to find the hand that formed and hurled them was one of their own was too much for those by whom they were hit! When the modern mother was shown to be no better than she should be, and the modern virgin represented as envying the demi-monde, no wonder the feminine world was set on fire! There are many other of her writings remaining unnoticed. Only two earlier ones—her first endeavours, the now quite forgotten 'Azeth the Egyptian' and 'Anymone'—and her 'Witch Stories' can be alluded to. The last is still read by the curious in occult lore, and is a compilation made from researches in the British Museum during the time of her girlhood, when she lodged near it, and was struggling to get her foot on the bottom rung of the ladder to literary fame. Some degree of fame and emolument we have seen that she attained to. Whether she will be known after the last of her readers of her own generation is dead is a very doubtful question. It is one that can be best answered by publishers. If they deem her worth republishing in cheap and creditable editions, she may hit the public taste a little longer, but only thus.

A MOUNTAIN CRAG AT CONISTON

'The principal flank of Yewdale is formed by a steep range of crag, thrown out from the greater mass of Wetherlam, and known as Yewdale Crag.

'It is almost entirely composed of basalt, or hard volcanic ash, and is of supreme interest among the southern hills of the Lake District, as being practically the first rise of the great mountains of England out of the lowlands of England.

'And it chances that my own study window being just opposite this crag, and not more than a mile from it as the bird flies, I have it always staring me, as it were, in the face, and asking again and again, when I look up from writing any of my books: "How did I come here?"

* * * * *

'But as I regain my collected thought, the mocking question ceases, and the divine one forms itself, in the voice of vale and streamlet, and in the shadowy lettering of the engraven rock.

'"Where wast thou when I laid the foundation of the earth? Declare, if thou hast understanding."'—John Ruskin: Yewdale and its Streamlets.

Photo by Hills & Saunders, Oxford.

JOHN RUSKIN IN OLD AGE.

[Enlarge image]

VI

THE PHILOSOPHER OF BRANTWOOD

JOHN RUSKIN

I.—THE MAN

'Alas! there was in John Ruskin a strain of the Knight of La Mancha, and he, too, had to learn that in this world and in our age Knight-errantry, however chivalrous in spirit, medieval romance, however beautiful as poetry, will not avail to reform the world with nothing but a rusty lance and a spavined charger. It is magnificent, it may be war, but it is not a real social philosophy, nor is it a possible religion.'—Frederic Harrison.

TO write of the Lake celebrities without including the greatest of them all would be like mapping our mountains and omitting Scawfell, or the waters and forgetting Windermere. Yet to add anything to the countless essays and biographies seems presumptuous. For the filling in of this merest outline of one aspect of a noble life readers must become diligent students of John Ruskin, and his books, and his exponents. There are lives of him, appreciations of him and of his teachings, monographs on his personality, on his relation to the Lake District, on his views about Art, on his social politics and religion, on his Bible references, and on every other light-reflecting facet of this many-sided soul. In fact, no other man has lived in recent years whose innermost being has been so extensively and so deeply probed, so exposed to the universal gaze, or who has been so worshipfully followed, and, at the same time, by another set, so resolutely opposed. When we turn to a bibliography we stand amazed, not only that any author should be so prolific, or even that he should possess so much first-hand knowledge of so many matters, but that he should have done so much about such a variety of things so marvellously well. A juvenile verse-maker of promise developing into an unrivalled prose-poet and word-painter; a draftsman of capacity from his youth up, if not naturally a colourist, and an insistent teacher of style, yet an art critic with sympathetic feelings, who knew what he was talking about (which, it is to be feared, the majority do not); a mineralogist who wrote about stones and dust and ores, both scientifically and poetically, as if he were in love with their intrinsic and extrinsic beauties, and no less so with the unseen rythmic dances of their molecules during crystallization; a geologist who sought to explain by ice-gougings and water-chisellings, and by the crushings and infoldings of volcanic pressure, the outlines of the vales and hills whose forms and many-hued draperies his cultured eye delighted in; the champion of a great artist who had been attacked without insight by Blackwood, and in his championship evolving a classic—the classic for ages to come—on 'Modern Painters'; an investigator of the ultimate principles of architecture and sculpture, whose steps being led to Venice, is impelled to write about her stones, thus to become nothing less than a historian of that wonderful oligarchy; an observer of all winged creatures about him, who sees in the swallow's circling flight, and in the robin's cheery presence, eternal laws of art and mechanism from which he can teach great truths to half-fledged undergraduates of Oxford; a lover of the independent peasantry of Lakeland, who for their sakes learns road-making, and sets them to cultivate home-industries, and who writes strange, and frequently unpractical, suggestions for the betterment of their condition, and for making the whole world sweeter; how can such a man, intellectual giant and gladiator though he be, remain always victor over so wide an area? He is often spoken of as 'The Master.' Doubtless most of us have so styled him in relation to one excursus of his or another that has specially captivated us. But it seems to me that Mr. Frederic Harrison, his latest biographer and personal intimate, is right when he says: 'The author of more than eighty distinct works upon so miscellaneous a field, of masses of poetry, lectures, letters, as well as substantial treatises, was of necessity rather a stimulus than an authority, an influence rather than a master.' Any claim on his behalf to speak the mot d'ordre on any given topic challenges the thoughtful reader, and lays upon him the duty of closely looking at every emphatic statement, every unsupported opinion, every clever aphorism put forth as an axiom. The recognition that he is merely a force, though a mighty one, an impulsion and an inspiration rather than a revealer and spokesman of the final word, allows the mind to be swept along by the impetuous current of his eloquence, rejoicing and untrammelled, and suffers it to be braced and helped by him. The danger in this case may be, however, that the young and inexperienced, lost in admiration at the marvellous beauty of his language, and the obvious truth of so much that he says—intoxicated by the wine of the kingdom which he so unrestrainedly pours forth—are unable to notice how often the elixir tastes of the earthen amphora containing it. The dogmatism of his precocious boyhood never left him in afterlife. Indeed, disappointment at the non-acceptance of so many of his views by the world at large accentuated it. His delighted outlook on Nature, his abiding joy in all things pure and lovely, his intense hatred of moral ugliness and deformity, caused him too often to forget that others had high and holy aspirations, and abhorrences of wrong, who did not see through glasses made after the pattern that suited his own peculiar vision. His complete, almost child-like, absorption in the humour of the passing moment sometimes made him mistake a swift impulse for the discovery of a new philosophic or scientific law, and placed him in inconsistent and contradictory positions, and made his arguments so full of inconsequences as to provoke no little amusement among logicians. So, then, let us be content to take him for just what he is, and no more—an erratic genius, but a genius of the very first order; a discursive preacher, but a preacher who arouses, and thrills, and sends you back into the world to live a better life; a prophet who exaggerates, and is often incoherent with needless fury, but exhibiting in his mission and messages to England a veritable commingling of Carmel's Prophet of Fire, with Jerusalem's 'Evangelical' poet-prophet; a Reformer who fails to see the standpoint of many whom he denounces in social politics and economics, but a reformer, nevertheless, who foreknows a bright to-morrow for the peoples, and who labours to hasten its coming. Take him for all this, and you will accompany him a long way, cautiously, yet reverently and lovingly, and find in him a rare comrade, an unfailing and candid interpreter of your own soul, as well as of many old enigmas that confront it.

John Ruskin's connection with the Lakes dates from his childhood, when he visited the locality with his parents. 'I remember Friar's Crag at Derwentwater when I was four years old.' He received an inspiration for his muse from Skiddaw when only nine:

'Skiddaw, upon thy heights the sun shines bright,
But only for a moment; then gives place
Unto a playful cloud, which on thy brow
Sports wantonly.'

And again, a year later, he contrasts it with the Egyptian Pyramids:

'The touch of man,
Raised pigmy mountains, but gigantic tombs,
The touch of Nature raised the mountain's brow.'

At twelve he saw Scawfell

'So haughty and proud,
While its battlements lofty looked down on the cloud.'

Frequent visits at later periods kept his heart aglow with the romance of these three counties vying so earnestly with each other for supremacy in the glory of mountain-fell, and garrulous beck, dale and dingle, and thunderous force. It was in 1871, when he was nearly fifty-three years old, that he bought from W. J. Linton, the engraver-poet, that Coniston cottage, as it then was, so closely associated with his name for some thirty years thereafter. He gave £1,500 for the property, without seeing it, while lying ill at Matlock. To everybody who knows English literature Brantwood is a household name. On the steep slope of the eastern hills, wood-embowered, with moorland above, and a green field below the highroad, washed by the ripples of the lake on which his boats rocked—one of which, The Jumping Jenny, he had designed, painted 'a bright blue with a Greek scroll pattern round the gunwale'—it is in all respects a true poet's paradise. The opinion of Wordsworth was that it commanded the finest view of Coniston 'Old Man' that was to be had anywhere. Linton was not a very practical man, choosing his gardener, not for his skill, but for his shining blue eyes, and letting his demesne go wild, and his abode to rack and ruin. Ruskin created order and beauty out of the wilderness, with a rose-garden and a garden for wild flowers, greatly enlarged the house, made a little harbour on the shore, and a water-works on the fell, all at considerable outlay, evidencing by the construction of his reservoir and conduits that hydraulics and engineering are not best done by untrained enthusiastic amateurs. In this exquisite retreat began what Mr. Harrison speaks of as the second period of his career—the period when, except for his Slade Professorship, he gave himself up, not to the study, for he never can be said to have studied them—the promulgation of theories about social economics. The Slade Professorship was an epoch in University life, and in the history of British art. His classes were crowded. 'That singular voice of his,' writes a pupil long afterwards, 'which would often hold all the theatre breathless, haunts me still.' His Oxford lectures were reprinted as books by Mr. George Allen, formerly a scholar of his at the Working Man's College, and now become manager of his publishing business (which, by-the-by, Mr. Allen managed so well as to bring Mr. Ruskin in some £4,000 a year at a time it was greatly needed). During the intervals of his professorial duties, and especially after ill-health compelled their relinquishment, he wrote those invaluable autobiographic reminiscences contained in 'Præterita' and 'Fors Clavigera'—books the world will never spare, albeit they are so full of petulant denunciations, and quaint extravagances, and inconsequent satires. We forgive all these for the value of the self-revelations of a unique soul, and for the literary gold-mine they present to the commonwealth of the English-speaking races. When retired altogether to this Arcadia he would ramble along the lakeside path, and up the mountain, to the happy valley of Tarn Hows, or round the water-head to Yewdale, 'my little nested dale of the Yew,' with its streamlets wandering through the fern, and its deep water-pockets over which he would stand musing and questioning them—'How came you to be?' or perchance up Tilberthwaite Ghyll, with its zigzagging wooden bridges after the fashion of a Swiss river-gorge. As he strolled, he would stop to pet some children who, seeing him coming, would await his kindly greeting, or to chat with some ancient shepherd, or some housewife at her cottage door, or possibly he would enter a wayside school-house to puzzle the youngsters with a division sum respecting the sovereign he would leave for them in the schoolmaster's hand. The old 'Professor,' as they called him, was beloved by all, and in his broken years was devotedly cared for and tended by his cousin and adopted daughter, Mrs. Arthur Severn, who lived at Brantwood, and who now with her husband owns the estate. We must remember what he had suffered during his long life, as well as what he had accomplished. 'As we pass beneath the hills,' says he in 'Modern Painters,' 'which have been shaken by earthquake and torn by convulsion, we find periods of perfect repose succeed those of destruction.' He had married unsuitably to satisfy his parents, and the marriage had been nullified. Thrice he was passionately in love, and each disappointment left him sick and despondent, however tenderly remembered and naïvely talked of in old age. His generous money gifts to relatives, and to causes like the Guild of St. George, which lay deep in his affections, as well as, doubtless, some serious lack of lawful 'world-wisdom,' had virtually dissipated the large fortune left him by his father. He was at bay, too, with the rest of the world as to his schemes for its reformation. He had had many serious illnesses, brain fevers included.

At Brantwood, the scenery from his study window, so imposing yet so tranquillizing, his art collections in every room, his admiring and sympathetic neighbours, his own inward assurance of right guidance, combined to give him peace. Among his friends were the Miss Beevers, of The Thwaite—the house at the far end of the lake, nearly opposite the one in which Tennyson spent his honeymoon—with whom the good old man corresponded, and whom he loved with an old-world platonic love honourable to both sides. They must have an article to themselves, these 'sources and loadstones of all good to the village,' worthy as they are of remembrance, with their brother, among our literary celebrities.

During the last ten years of his life he gradually grew more and more feeble, till at length, succumbing to influenza, 'he sank softly asleep,' when near his eighty-first birthday, with his dearest friends around him. He was buried in the God's acre of Coniston, without funereal pomp of black. The pall was of crimson silk embroidered with wild roses, bearing the motto 'Unto this last.' Later the beautifully-artistic cross, designed by his secretary, friend, and authorized biographer, Mr. Collingwood, was erected over the grave. It has allegorical carvings on it of his book-titles. A medallion likeness in bronze by Onslow Ford, R.A., was placed in Westminster Abbey.

I have said nothing of Ruskin's ancestry, nothing even of the 'honourable and distinguished merchant,' his father, nor of his loving, pious, over-careful mother. Neither have I spoken of his education, of his wanderings and residences in Switzerland and Italy, nor of his royal gifts of museums and the like for the benefit primarily of artizans. I have no space to tell of the impulse he gave to art, or to educating wage-earners through Ruskin colleges and in other ways. His physical appearance, his personal habits, his daily dealings with his kind, must be discovered by my readers for themselves. Mr. Collingwood's Life of him has recently been issued at 2s. 6d., and Mr. Harrison's in 'English Men of Letters' at 2s. Acquaintance with these should be the duty and privilege of every educated man and woman.

MOSSES

'The woods, the blossoms, the gift-bearing grasses, have done their parts for a time, but these do service for ever. Trees for the builder's yard, flowers for the bride's chamber, corn for the granary, moss for the grave.

'Yet as in one sense the humblest, in another they are the most honoured of the earth-children. Unfading, as motionless, the worm frets them not, and the autumn wastes not. Strong in lowliness, they neither blanch in heat nor pine in frost. To them, slow-fingered, constant-hearted, is entrusted the weaving of the dark, eternal tapestries of the hills, to them, slow-pencilled, iris-dyed, the tender framing of their endless imagery. Sharing the stillness of the unimpassioned rock, they share also its endurance; and while the winds of departing spring scatter the white hawthorn blossom like drifted snow, and summer dims on the parched meadow the drooping of its cowslip-gold, far above, among the mountains, the silver lichen-spots rest, star-like, on the stone, and the gathering orange-stain upon the edge of yonder western peak reflects the sunset of a thousand years.'—John Ruskin: Modern Painters.

Photo by Hills & Saunders, Oxford.

THE HOUSE AT HERNE HILL IN WHICH RUSKIN WAS BORN IN 1819.

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THE PHILOSOPHER OF BRANTWOOD

JOHN RUSKIN

II.—HIS ART-TEACHING AND HIS BOOKS

'To crib, cabin, and confine in a dull array of formal propositions the rich exuberance of Mr. Ruskin's thought would be a needless injury.'—J. A. Hobson.

'IS there a gospel (of Art) according to Ruskin?' It is Mr. E. T. Cook, an art-pupil and disciple of his, who asks and answers this question. He, in 'Studies in Ruskin,' and another Oxford pupil, Mr. W. G. Collingwood, in 'The Art Teaching of John Ruskin,' agree that their great teacher did not formulate a creed, though he had definite fundamental principles to explain to the world, which—however much overlaid and obscured by eloquent language and elaborate illustration—were never lost sight of by him, but impregnated all his writings. As in the New Testament there is a revelation from God through Jesus Christ, though it contains nothing akin to a Church Catechism or Westminster Confession of Faith, so in Ruskin there is 'a complete philosophy of Art' without a concise and formulated system that can be packed into one's waistcoat pocket. We must find and arrange our canons for ourselves. The Ruskin 'Gospel of Art'—Mr. Cook's word—or his 'Philosophy of Art'—Mr. Collingwood's word—is merely an old gospel, with a new application—a philosophy of the position of Art with regard to God, and the world, and the soul. 'Truth, sincerity, and nobleness' are essentials of right living, and Art is the outcome and evidence of the right living of the artist. It is the expression of man's rational, disciplined delight in the forms and laws of the creation of which he is a part. The origin of Art is 'imitation touched with delight'—delight, that is to say, in God's work, and not in a man's own. Beauty, no less than reality, strength, and morality, is characteristic of true Art as 'an expression of the Creating Spirit of the universe,' whose handiwork is to be copied. Art is an interpreter of the Divine beauty in things seen; for the inner life of it is religion, its food is the ocular and passionate love of Nature, its health is the humility of its artists. Art looks into the innermost core and centre of phenomena. The true artist sees and makes others see. The greatest Art is that which conveys the greatest number of greatest ideas. It is the declaration of the mind of God-made great men. Fine Art is that in which hand, and head, and heart have worked equally together. In outline, colour, and shade an artist is to discipline himself, that he may become skilful in the seeing of things accurately, and representing them with absolute fidelity. What he sees accurately, however, he is to represent imaginatively, so as to arouse the faculty of imagination and a feeling of praise in others, and to cultivate their nobler instincts, and call forth and feed their souls. Beauty is of two kinds—typical and vital—the first lying in those external qualities of bodies which in some sort represent the Divine attributes; the second in 'the felicitous fulfilment of function in living things.' Ruskin agrees with Hogarth that 'all forms of acknowledged beauty are composed exclusively of curves.' Except in crystals, certain mountain forms, levels of calm water, and alluvial land, there are no lines nor surfaces of Nature without curvature. He adds that what curvature is to lines, so is gradation to shades and colours. He made himself conversant with these truths by independent study, minute investigation, inexhaustible industry in sketching.

Architecture, though subject to different rules and modes of handicraft, is governed also by the same general and spiritual principles. Its 'Seven Lamps' are Sacrifice,—the offering of all that is most costly of material, intention, execution; Truth,—which demands imagination, but will not tolerate deception; Power,—realized through observation of mountain buttresses and domes, cloistered woodland glades, and the rock-walls of the sea; Beauty,—not as mere mask or covering, but gracefully fitted to the conditions and uses of the object to be attained; Life,—expressive of the workman's love of his work, and knowledge of his ends; Memory,—which haunts the workman with shapes and colours he has once noted, and which inspires him with ever fresh ideals; Obedience,—which involves 'chastisement of the passions, discipline of the intellect, subjection of the will.'

It is in his 'Seven Lamps of Architecture' that the pæan on Giotto's Campanile occurs, wherein he tells us how, as a boy, he despised it, and how since then he lived beside it many a day and looked upon it from his window 'by sunlight and moonlight, noting the bright, smooth, sunny surface and glowing jasper, those spiral shafts and fairy traceries, so white, so faint, so crystalline, that their slight shapes are hardly traced in darkness on the eastern sky, that serene height of mountain alabaster, coloured like a morning cloud, and chased like a sea-shell.' His minute observation of form and colour in mountain gloom and mountain glory, in rushing torrents, and in feathered songster, and his unrivalled powers of description, must be an inspiration to all right-minded artists, notwithstanding his unsparing and incisive criticisms in his 'Notes on Pictures.' His scientific knowledge, too, stood him in good stead. His words on mountain sculpture, with an illustration from the Aiguilles or needle-pointed Alpine peaks, too long for full quotation, may well be cited. 'Nature gives us in these mountains a clear demonstration of her will. She is here driven to make fracture the law of being. She cannot tuft the rock-edges with moss, or round them by water, or hide them with leaves and roots. She is bound to produce a form, admirable to human beings, by continual breaking away of substances. And behold—so soon as she is compelled to do this, she changes the law of fracture itself. "Growth," she seems to say, "is not essential to my work, nor concealment, nor softness; but curvature is; and if I must produce my forms by breaking, then the fracture shall be in curves. If, instead of dew and sunshine, the only instruments I am to use are the lightning and the frost, then the forked tongues and crystal wedges shall still work out my laws of tender line. Devastation instead of nurture may be the task of all my elements, and age after age may only prolong the renovated ruin; but the appointments of typical beauty which have been made over all creatures shall not therefore be abandoned, and the rocks shall be ruled in their perpetual perishing, by the same ordinances that direct the bending of the reed, and the blushing of the rose." The cloud, the currents of trickling water, an interior knot of quartz, help the work of shaping, and the dew "with a touch more tender than a child's finger—as silent and slight as the fall of a half-checked tear on a maiden's cheek" help to fix for ever the form of peak and precipice, and hew the leagues of lifted granite, into shapes that divide the earth and its kingdoms. Then the colouring of the mountains is not done only by the chemical constituents of their rocks, but by the jewellery of the flowers—the dark bell-gentian, the light blue star-gentian, the alpine rose, the highland heather, the many-hued blossom-masses, and the golden softness of deep, warm, amber-coloured mosses.'

It is not always easy to follow Ruskin's own canons of Art in his exaltation of Turner—as, for instance, in the article of 'Truth touched with Imagination'—in such a picture as Whitby. There the painter's cliffs are unnatural and impossible, reminding us more of a straight-cut pound of cheese than anything ever seen in Nature—specially at Whitby! We are tempted to praise Turner more for revealing Ruskin than Ruskin for discovering Turner! Thus, in describing Heysham, it is Ruskin who in 'Harbours of England' gives us the true and very graphic painting, and Turner a glorified and unrecognisable one. 'A simple, north-country village on the shore of Morecambe Bay, not in the common sense a picturesque village; there are no pretty bow-windows, or red roofs, or rocky steps of entrance to the rustic doors, or quaint gables; nothing but a single street of thatched and chiefly clay-built cottages ranged in a somewhat monotonous line, the roofs so green with moss that at first we hardly discern the houses from the fields and trees. The village street is closed at the end by a wooden gate, indicating the little traffic there is on the road through it, giving it the look of a large farmstead, in which a right of way lies through the yard.' The rutty roads, the decayed fencing—haystacks and pigstyes—the parsonage—the church—the craggy limestone rocks amid the brushwood, and the pleasant turf upon their brows, the gleams of shallow water on the sandy shore, the fisher-boat on the beach—all help us to see old Heysham rather through the eyes of the prose-poet than those of the painter he is lauding.

Opening other—excluding his more voluminous—books, 'Love's Meinie' or 'Proserpina' to wit—the one of birds and the other of flowers—what exquisite passages meet us on every page! What Ruskinite does not revel in such as those contrasting the flight of the eagle and the seagull with that of the swallow, or as that speaking of 'the beauty of the bird that lives with you in your own houses, and which purifies for you, from its insect pestilence, the air that you breathe. Thus the sweet domestic thing has done, for men, at least, these four thousand years. She has been their companion, not of the home merely, but of the hearth, and the threshold; companion only endeared by departure, and showing better her loving-kindness by her faithful return.' She is a type of the stranger, or the supplicant, herald of our summer, 'who glances through our days of gladness'—and he gives us much more of the same sweet poetry about her. Then there are sentences like that outburst of joy at the discovery of the blue asphodel in the fields beyond Monte Mario—'a spire two feet high, of more than two hundred stars, the stalks of them all deep blue as well as the flowers. Heaven send all honest people the gathering of the like, in Elysian fields, some day!'

Ruskin confessed ignorance of the writings of political economists, of which he had read none but Adam Smith's—twenty years before—and his continual travesty of them as though 'buying in the cheapest market and selling in the dearest'—labour included—was their sole message to the world, makes it difficult to quote from his more philosophical or social science works. It must be remembered that Smith had forestalled Ruskin in stating that wage-earners had a right to a living wage, and that others, like Jeremy Bentham, had forestalled him in the doctrine of the 'greatest good of the greatest number' underlying his own strictures on our land system.

In his usual contradictory way he sometimes tells us the sword must still be whetted to settle international disputes. At others he calls war the mother of all evils, and writes paragraphs worthy of Carlyle on the French and English villagers from their respective Drumdrudges, pitying the peasantry upon whom the losses and cruelties fall, and denouncing the squires who officer them and lead them to death. Women he calls upon to exercise their influence in favour of peace, because they can, if they will, put an end to all wars for ever. The idleness of the upper classes, and the seeking of outlets for their capital by financial speculators are, he says, its chief causes, and ill-accumulated moneys are spent on it. In all this an ever-increasing multitude of Christians agree with him, as well as in his denunciation of the inhumanity of mere mercenary commerce uncontrolled by consideration for others, and in his pleadings for purer and happier homes, equal opportunities of education, and the glory and grace of honest labour. When a man who has done much for the good of his fellows can write of Ruskin in the second phase of his literary career, 'to him I owe the guidance of my life, all its best impulses, and its worthiest efforts,' we may be sure his later books were really great, notwithstanding their blemishes.

JOHN RUSKIN'S HANDWRITING IN ADVANCED LIFE

MEDALLION ON THE RUSKIN MEMORIAL, DERWENTWATER

By A.C. Lucchesi

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VIEWS FROM GRETA HALL

'This Greta Hall is a house on a small eminence, a furlong from Keswick, in the county of Cumberland. Yes, my dear Sir, here I am, with Skiddaw at my back—on my right hand the Bassenthwaite Water, with its majestic case of mountains, all of simplest outline. Looking slant, direct over the feather of this infamous pen, I see the sun setting. My God! what a scene! Right before me is a great camp of single mountains—each in shape resembles a giant's tent—and to the left, but closer to it far than the Bassenthwaite Water to my right, is the Lake of Keswick, with its islands and white sails, and glossy lights of evening,—crowned with green meadows; but the three remaining sides are encircled by the most fantastic mountains that ever earthquakes made in sport, as fantastic as if Nature had laughed herself into the convulsion in which they were made. Close behind me flows the Greta; I hear its murmuring distinctly. Then it curves round, almost in a semicircle, and is now catching the purple lights of the scattered clouds above it directly before me.'—A letter of Samuel Taylor Coleridge's.

SAMUAL TAYLOR COLERIDGE.

From a Painting by G. Dage, R.A.

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VII

A GREAT LIFE MARRED

SAMUEL TAYLOR COLERIDGE

'This illustrious man, the largest and most spacious intellect, the subtlest and most comprehensive, in my judgment, that has yet existed among men.'—De Quincey.

IN him we have another of our intellectual giants, a many-sided man, a poet, a theologian, a politician, or, in Charles Lamb's well-known phrase, a logician, a metaphysician, a bard. He was a fortunate man in so far as he has attained literary immortality. He was a singularly unfortunate man in so far as his natural character was deficient in will-power, and lacking in that subtle but invaluable property known as common-sense. His story, once you begin it, holds you, like the story of his own 'long, lank, brown, and ancient Mariner's,' captive to the end, it is so full of pathetic romance.

Garrulous, kind-hearted old Bookseller Cottle, of Bristol, very minor poet himself, yet devoted to letters, and staunch friend in their utmost need to an afterwards famous band of young men, tells us how Robert Lovell, an inexperienced and sanguine Quaker, was carried away by a Socialistic colonization scheme to be tested on the banks of the Susquehannah—the community to be called a Pantisocracy—from which injustice, wrath, anger, clamour, and evil-speaking, were to be excluded, thereby setting an example of human perfectability. Four young men, Lovell said, had joined the movement, who were to embark at Bristol for the American colonies—Samuel Taylor Coleridge, from Cambridge with whom the idea was supposed to have originated, Robert Southey and George Burnett from Oxford, and himself. In due time he introduced his friends—Southey, 'tall, dignified, possessing great suavity of manners, an eye piercing, with a countenance full of genius, kindliness, and intelligence'; Burnett, son of a Somersetshire farmer, who soon vanished from sight—never, indeed, comes fairly into it; and Coleridge, with 'an eye, a brow, and a forehead indicative of commanding genius.' The last soon applied on behalf of the fraternity for a loan, not to pay for the emigrants' sea passage, but their lodgings bill! The good man lent £5, and afterwards advanced Coleridge £30, taking the value back in MSS. as he could secure them. Meanwhile, Coleridge lectured to small audiences on somewhat abstruse subjects for a Bristol population, and managed to fall in love with a sister of his friend Lovell's wife, a third of these Miss Frickers becoming engaged to and marrying Southey, though he had not the remotest prospect of supporting a family. Lecturing and literature had not paid, Pantisocracy had perished in the bud, and Coleridge had not in any other direction shown the least capacity for dealing with every-day affairs. His antecedents both proved, and had intensified, his want of sagacity.

Born in 1772, into the large family of a learned Devonshire clergyman, who was also Head Master of a Grammar School—'a gentle and kindly eccentric'—he lost his father when only nine years of age, and was sent to the Blue Coat School (Christ's Hospital) in London. Here Charles Lamb was his schoolfellow. He grew, ere he left it, to be a tall lad of striking presence, with long black hair. At nineteen he was sent to Cambridge University. From Cambridge—owing, it is now generally believed, to some disappointment in a love affair, though others will have it that it was owing to debts recklessly contracted—he went up to London with little money in his pocket, and enlisted as a private in a regiment of light cavalry, under the assumed name of Silas Titus Comberback. In this regiment he remained only four months, proving 'an execrable rider, a negligent groom of his horse, and generally a slack and slovenly trooper.' Here a Latin quotation scribbled on a whitewashed wall discovered him, and led to his discharge, a visit to Oxford and an introduction to Lovell and Southey, then students, made him a more decided Pantisocratist, then a Bristolian, a protégé of Cottle and Charles Lloyd, and a benedict. In 1795 he was married at St. Mary de Redcliffe Church, and the thriftless pair set up housekeeping forthwith in a rose-covered cottage at Clevedon, then a village on the shores of the Severn Sea, though now a fashionable watering-place. Little furniture, no cash, no income beyond a promise of a guinea and a half for every hundred lines of copy, whether in rhyme or blank verse, offered a poor matrimonial prospect. Two days after the wedding, however, Cottle sent him 'with the aid of the grocer, and the shoemaker, and the brewer, and the tin-man, and the glass-man, and the brazier,' all he required—and more. In this retreat Coleridge did some necessary bread-winning with his pen, but still more planning and projecting of great world-astonishing magazines. Combined with his fancy for projecting big schemes was an unconquerable habit of procrastination. 'His strongest intentions were but feebly supported after his first paroxysm of resolve.' Such a man was unlikely to launch a serial on the world successfully. He issued circulars of a paper to be called The Watchman, travelled through the Midlands into Lancashire and Yorkshire to obtain subscribers, and issued a few numbers, and then it collapsed. In his travels he made the acquaintance of Lloyd, afterwards of Ambleside, who found him in books, and made a home for him at Nether Stowey. Wordsworth was then at Alfoxden, a close adjoining village. It was during a walk taken by the two poets over the Quantock Hills that their joint volume 'Lyrical Ballads,' was conceived, and that the 'Ancient Mariner' was partly written. 'Christabel' is another product of this period of Coleridge's life, and what has been aptly called the dream-poem of 'Kubla-Khan.' It was also now that he avowed himself a Unitarian, and commenced to preach in the chapels of that sect. Travelling to Shropshire in this ministry he captivated young William Hazlitt by his extraordinary discourses in public and in private, who records how it seemed to him poetry and philosophy were met together in the preacher, truth and genius had embraced under the eye and sanction of religion. At this time, he adds, Coleridge's personal appearance was of one above the middle height, inclining to be corpulent, with hair still raven-black, forehead broad and high, light as if built of ivory, projecting brows, with rolling, bright eyes beneath them, and a mouth 'gross, voluptuous, open, eloquent.' His preaching, too, brought him into contact with the generous De Quincey, and with the two Wedgwoods, the eminent Staffordshire potters, who defrayed the expenses of himself and William and Dorothy Wordsworth to Germany, and granted Coleridge a pension to enable him to devote his life to literature. On their return, Coleridge went to London on the staff of the Morning Post, in the columns of which he did first-class work.

In 1800 he removed his family to Keswick. He came to that town in many respects a changed man. The torrents of revolutionary talk he indulged in during his undergraduate days had lapsed into ultra-Toryism under the reaction from the disappointed hopes excited by the upheaval in France, but chiefly from his connection with the London Tory organ, although, as his German biographer somewhat grimly remarks, 'a trace of his partiality for the community of goods lingered in his blood; he never ceased to live upon his friends'! The Church of England doctrines he was intended to imbibe at school and college had given way before Unitarianism and the mysticism and pantheism of the Continent. Goethe, Kant, and Lessing had become his masters. He came, too, in broken health. At Keswick dwelt a good man in Greta Hall, or rather in the smaller of the two houses now known by that name. Mr. Jackson, who started as a common carrier, was a well-to-do man, and had accumulated a library. He charged Coleridge half the proper rent for the other cottage, and gave him access to his books. There seemed no reason why our poet-philosopher should not have been happier here than ever before. But the end of his poetical career was at hand. 'Opium,' says De Quincey, himself a victim to the drug, 'killed Coleridge as a poet.' He began taking the deadly poison to allay the pains of gout, to which he was a martyr. His 'Ode to Dejection' is undoubtedly his dirge over the grave of his muse. In his hours of awakening he gave himself afresh to philosophy to compel mental activity. He found the study an alleviation, but by no means a cure. An artist friend took him a voyage up the Mediterranean. On returning to his care-worn wife he found himself without sufficient means for the support of a growing family, though Sir George Beaumont, of Coleorton, and the ever-faithful Cottle and Sir Humphry Davy, helped him and interested themselves on his behalf, to enable him to earn something by lecturing in London. Returning again to the Lake Country, he started another weekly paper, which he called The Friend. It failed to capture the public, and ceased at the twenty-seventh number. He had magazine and review work, and published something. The opium habit still increased till these Kendal Black Drops (he probably so calls them because he first procured them as a quack medicine from this town) were at last taken in doses amounting to two quarts of laudanum in a week. Yet he was visited by the Lambs, the Wordsworths, Hazlitt, Professor Wilson, and many another who admired and loved him for his genius and his unique personality. In four years' time his brother-in-law, Robert Southey, and his family joined him at Greta Hall. On the other hand, the Wedgwood annual allowance was withdrawn, on the ground that his side of the agreement was not being fulfilled. More and more he drifted about from place to place, leaving his wife and children to the care of their relatives. One while he stayed with the Wordsworths at Grasmere, and another with a benevolent friend at Calne (he was three years there), till his generous host's means being much reduced he was compelled to withdraw his hospitality. Here he had been partly weaned from opium, but on going up to London in search of a livelihood he fell back under its complete tyranny. In a kind of desperation he carried his case to a Dr. Gillman, of Highgate. This gentleman, an able physician and a man of standing and culture, was happily married, and needed no 'paying guest,' but as Professor Brandle puts it, 'the spell of his talk, and the repute of his name, vanquished the Gillmans at once, and from that time he became the inmate and friend of the family, and remained so till his end.' Here in this beautiful home—beautiful in its then countrified surroundings, beautiful in its moral atmosphere—he was once again happy, and for no fewer than sixteen years. No opium was permitted within the walls. His wife and children, and friendly visitors like Irving, Hallam, Maurice, Hare, and T. H. Green, were welcomed. He became an undoubted Christian, and a powerful advocate of a form of orthodoxy commoner now than it was then—an attractive Anglican theology impregnated with the German type of platonic philosophy. His utter simplicity of character was never lost, and, unfortunately, his endeavours after pecuniary recovery were thwarted by a scoundrelly publisher cheating him of large sums he had fairly earned by hard work and genius. It was at this time he issued 'Aids to Reflection,' 'Lay Sermons,' and other memorable books.

Towards the end of his days he suffered much, notably from an affection of the heart, which 'bent his figure, furrowed his face, and hindered his work.' Finding death within sight, he settled what outward affairs he had to settle, ordered mourning rings for his friends, composed an epitaph for his tombstone, and in a marvellous calm, not begotten of narcotics, but of a living faith, he passed away into the fulness of light, in the year of our Lord 1834, and the sixty-second of his age.

What is the true estimate of his character? His was empathically a self-marred life. With a steady, reliable temperament and will he might have achieved one of the very highest positions among England's greatest men. 'Frailty,' cries a modern essayist, 'thy name is Genius.' His conversational powers were unequalled, and attracted eminent people from afar to hear him pour forth his brilliant scientific knowledge, philosophic speculations, and wealth of illustration. It is true that Charles Lamb adjudged him too great a monopolist of the situation. 'Lamb,' was the response, 'did you ever hear me preach?' 'I never heard you do anything else,' retorted Lamb. His talks were really spontaneous orations which electrified his hearers. That ineffectual outward life of his, so full of latent possibilities, has not, happily, been altogether thrown away. Both the pre-opium-drinking days and the post-opium-drinking were long enough for him to influence the thoughts and teaching of his own and future ages, and he still leavens the literature of the pulpit and the desk. His poetry yet delights young and old. It is comforting to know that one whom the 'Circean Chalice' had driven to wish for annihilation, and created in him a desire to place himself in a madhouse, could write from his death-bed to a 'dear god-son' that on the brink of the grave he had proved Christ to be an Almighty Redeemer, who had reconciled God, and given him, under all pains and infirmities, 'the peace that passeth understanding.'

His literary output I will neither expound nor criticise, tempting as it is to do both. His poems are on the shelves of every well-selected library, however small. His more solid works are not for the general public. They are too profound, and go far too deeply into the secret springs of life and thought, too far afield into the Divine and human undercurrents of motive and action; are too theological, too speculative, to lay hold of any but those who themselves are, in their spheres, and to some extent, at least, guides and moulders of other men's emotions and duties. They are essentially books for the patiently reflective, who learn that they may teach. If spiritual things are only spiritually discerned, so also are philosophical theories, methods, and categories appreciated only by those who have a natural leaning towards them, and some degree of training. Nine-tenths of my readers will be 'practical' men and women, to whom his revelations will seem guess-work and his intuitions dreams. But if any want a delicate and subtle analysis of Coleridge's mind, and whatsoever was in it, they may read the late Walter Pater's 'Appreciation' of him.

TO BE READ AT HIS GRAVESIDE

'I have no particular choice of a churchyard, but I would repose, if possible, where there were no proud monuments, no new-fangled obelisks or mausoleums, heathen in everything but taste, and not Christian in that. Nothing that betokened aristocracy, unless it were the venerable memorial of some old family long extinct. If the village school adjoined the churchyard, so much the better. But all this must be as He will. I am greatly pleased with the fancy of Anaxagoras, whose sole request of the people of Lampsacus was, that the children might have a holiday on the anniversary of his death. But I would have the holiday on the day of my funeral. I would connect the happiness of childhood with the peace of the dead, not with the struggles of the dying.'—Written on a book-margin by Hartley Coleridge.

Photo by Herbert Bell, Ambleside.

NAB COTTAGE, RYDAL.

The Home of De Quincey's Father-in-law (see [p.8]), and afterwards of
Hartley Coleridge.

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VIII

A LIFE TO PITY

HARTLEY COLERIDGE

'Hartley Coleridge has come much nearer us, and probably you might see as much of him as you liked. Of genius he has not a little, and talent enough for fifty.'—Wordsworth.

'Dined at Mrs. Fletcher's. H. Coleridge behaved very well. He read some verses on Dr. Arnold which I could not comprehend, he read them so unpleasantly; and he sang a comic song that kept me very grave. He left us quite early.'—Crabbe Robinson's Diary.

POOR 'Lile Hartley'—little Hartley, as the neighbours called him—is one of the most pathetic figures in English literature. Undersized in body, of promising intellect from childhood, of child-like simplicity in character, devoid of self-control, and overmastered by the alcoholic habit, as his father was by the opium habit, he is at once pitiable, excusable, and lovable. As you ride from Ambleside to Grasmere you pass a low cottage on your right, just beneath Nab Scarr, where the young farmer and his wife lived who cared so unselfishly for him and for his comfort and welfare. It is locally known as 'Coleridge's Cottage.' Here he lived in later manhood, followed and brought home tenderly, when he had wandered away, by his kind-hearted caretakers, and writing prose essays and sweet sonnets in hours of freedom from his besetment.

By birth Hartley Coleridge belongs to the West Country, having come into the world while his parents lived on Redcliffe Hill, Bristol, shortly after their return from their little flower-covered, poverty-stricken Clevedon Cottage. The National Dictionary of Biography is in error in giving Rose Cottage as his birthplace. It was beyond all doubt Bristol, and he was born during the autumn of 1796. 'A pretty and engaging child,' his brother Derwent says he was. There must have been something attractive about the babe, for it is given to few to be apostrophized by two poets at so early an age, especially by two such as his own father and his father's friend, William Wordsworth. Great things were anticipated for him in the future by both the seers. He was taken to London for a visit when three years old, and, after being mystified by the street lamps, he suddenly exclaimed: 'Oh! now I know what the stars are: they are lamps that have been good upon earth, and have gone up into heaven!' At six years of age he was removed with the family to Keswick. Here for a season the two households of Coleridge and Southey dwelt at Greta Hall, an occurrence which seems in many ways to have remarkably influenced his career. Those who came in contact with him at this place speak of him as pouring forth, with flashing eyes, strange speculations far beyond his years, and weaving wild inventions. His dreamy boyhood was varied by another stay in London and a visit to Bristol, in both which places further mundane knowledge was acquired, only to be forthwith transmuted into the visions which filled his mental life. His very play related to the history of a kind of Utopia, its populations, its geography, its constitution, its wars, its politics. 'Ejuxria' was the name he gave his island kingdom, and he prolonged the existence of it for himself and his playmates beyond the length of the famous thousand and one nights of the Eastern story-teller. Everything he saw, everything he read, became forthwith 'Ejuxrian.' This habit of introversion and lack of practicality changed its forms as he grew older, but never left him. When at length he went to a boarding-school at Ambleside—or, rather, was placed in a clergyman's house near it with a few other boys for private tuition—his power of improvization was encouraged by his companions demanding long-drawn-out romances from him, while his morbid tendencies and consciousness of his small stature induced the habit of lonely wanderings and musing.

Desultory reading and frequent intercourse with his father's friends—Southey, Wordsworth, Professor Wilson, De Quincey, and Charles Lloyd—formed the chief part of his early education. He seems to have been as a schoolboy truthful, dutiful, and thoughtful, but with great infirmity of will and subject to paroxysms of passion and heartbroken repentance. From school to Oxford University was a natural and proper advance. Unfortunately, his rare conversational qualities made him much sought after for students' wine parties. The result of this was that, although he passed his exams. creditably, and won an Oriel Fellowship, he was judged to have forfeited this Fellowship by his intemperance. The authorities were inexorable. No expostulation or influence could save him. It is probable some freedom of speech offensive to the narrow-minded dons of his day had something to do with their hardness. Sympathy and kindly common-sense might have recovered him just then from his snare. As it was, he tried for literary employment in London with little success, though his tarriance there resulted in a further development of his alcoholic tendency. Thence he drifted back to Ambleside, where he tried school-keeping, but in vain. He had no disciplinary power, and one by one his pupils were removed, till the school collapsed. From there he went to the Grasmere Cottage, already spoken of, facing the lovely little lake of Rydal, a blue island-dotted gem framed in with lofty green mountains. Everybody loved the lonely, affectionate man—a keen observer of Nature, an inspired writer of poetry—and everybody grieved when the end came one winter's day of 1849, and his remains were buried in Grasmere Churchyard. There a little group of us stood but a while ago, reverently uncovered, beneath the yews that overshadow his grave and the graves of the Wordsworth family. That he knew his weakness and lamented it, and at seasons valiantly struggled to overcome it, is certain, and one cannot help wondering whether he would not have triumphed ultimately had he lived in a teetotal age, when he could have been surrounded by abstaining companions, who would have sheltered him and kept him out of perpetually recurrent temptations. Some of his more personal verses are sadly suggestive both of his struggle and his need:

'A woeful thing it is to find
No trust secure in weak mankind,
But tenfold woe betide the elf
Who knows not how to trust himself.'

And again he writes:

'Oh woeful impotence of weak resolve,
Recorded rashly to the writer's shame,
Days pass away, and Time's large orbs revolve,
And every day behold me still the same,
Till oft-neglected purpose loses aim,
And hope becomes a flat, unheeded lie,
And conscience, weary with the work of blame,
In seeming slumber droops her wistful eye,
As if she would resign her unregarded ministry.'

Passing lightly over his 'Northern Worthies,' some dozen or so of biographic sketches, good and capable 'pot-boilers'—yet 'pot-boilers' essentially—one comes to his essays, written for Blackwood and other magazines and papers, and his marginalia written in his books and published after his death. We cannot but be struck with the immense variety of subjects dealt with in his essays. Many of them are signed by a pseudonym, such as 'Thersites' if on 'Heathen Mythology'—or 'Tom Thumb the Great' if 'Brief Observations upon Brevity'—or 'Ignoramus' if a series on the 'Fine Arts'—and very few were issued in his own name. Some are full of quaint humour, such as 'Thoughts on Horsemanship, by a Pedestrian,' 'A Nursery Lecture delivered by an Old Bachelor.' Others have a fine literary flavour, as, for example, 'Shakespeare, a Tory and a Gentleman,' or 'On the Character of Hamlet.' It is, however, as a sonnetteer he will be longest remembered, and as a writer of miscellaneous verses. When rowing round Grasmere Lake the other day we recalled his lines, beginning:

'Within the compass of a little vale
There lies a lake unknown in fairy tale,
Which not a poet knew in ancient days,
When all the world believed in ghosts and fays;
Yet on that lake I have beheld a boat
That seemed a fairy pinnace all afloat,
On some blest mission to a distant isle
To do meet worship in some ruined pile,
Where long of yore the Fairies used to meet
And haply hallow with their last retreat.'

Sometimes, too, when religious controversies grow warm around the good old revelation those verses of his come to remembrance, called 'The Word of God':

'In holy books we read how God hath spoken
To holy men in many different ways;
But hath the present work'd no sign or token?
Is God quite silent in these latter days?
'And hath our Heavenly Sire departed quite,
And left His poor babes in this world alone,
And only left for blind belief—not sight—
Some quaint old riddles in a tongue unknown?'

Hartley Coleridge's longer and more ambitious pieces do not commend themselves to the public as do his shorter ones. His forte was in—

'Singing of the little rills
That trickle down the yellow hills
To drive the Fairies' water-mills;'

of children whom he doted upon,—of 'the merry lark that bids a blithe good-morrow,'—of 'summer rain'—of 'rose, and violet, and pansy, each with its tale of love'—of poor Mary Magdalene. From his own soul, as from Mary's, it may be the Lord has 'wiped off the soiling of despair.' May we find it has been so when we ourselves reach the great hereafter.

KESWICK IN WINTER