Chapter 11

residence with his mother near a small sea-port (evidently Aldeburgh); and here we once more read of the boy, George Crabbe, watching and remembering every aspect of the storms, and making friends with the wives and children of the sailors and the smugglers:

"I loved to walk where none had walk'd before, About the rocks that ran along the shore; Or far beyond the sight of men to stray, And take my pleasure when I lost my way; For then 'twas mine to trace the hilly heath, And all the mossy moor that lies beneath: Here had I favourite stations, where I stood And heard the murmurs of the ocean-flood, With not a sound beside except when flew Aloft the lapwing, or the grey curlew, Who with wild notes my fancied power defied, And mock'd the dreams of solitary pride."

And as Crabbe evidently resorts gladly to personal experiences to make out the material for his work, the same also holds with regard to the incidental Tales. Crabbe refers in his Preface to two of these as not of his own invention, and his son, in the Notes, admits the same of others. One, as we have seen, happened in the Elmy family; another was sent him by a friend in Wiltshire, to which county the story belonged; while the last in the series, and perhaps the most painful of all, _Smugglers, and Poachers_ was told to Crabbe by Sir Samuel Romilly, whom he had met at Hampstead, only a few weeks before Romilly's own tragic death. Probably other tales, not referred to by Crabbe or his son, were also encountered by the poet in his intercourse with his parishioners, or submitted to him by his friends. We might infer this from the singular inequality, in interest and poetical opportunity, of the various plots of these stories. Some of them are assuredly not such as any poet would have sat down and elaborated for himself, and it is strange how little sense Crabbe seems to have possessed as to which were worth treating, or could even admit of artistic treatment at all. A striking instance is afforded by the strange and most unpleasing history, entitled _Lady Barbara: or, The Ghost_.

The story is as follows: A young and beautiful lady marries early a gentleman of good family who dies within a year of their marriage. In spite of many proposals she resolves to remain a widow; and for the sake of congenial society and occupation, she finds a home in the family of a pious clergyman, where she devotes herself to his young children, and makes herself useful in the parish. Her favourite among the children is a boy, George, still in the schoolroom. The boy grows apace; goes to boarding-school and college; and is on the point of entering the army, when he discovers that he is madly in love with the lady, still an inmate of the house, who had "mothered him" when a child. No ages are mentioned, but we may infer that the young man is then about two and twenty, and the lady something short of forty. The position is not unimaginable, though it may be uncommon. The idea of marrying one who had been to her as a favourite child, seems to the widow in the first instance repulsive and almost criminal. But it turns out that there is another reason in the background for her not re-entering the marriage state, which she discloses to the ardent youth. It appears that the widow had once had a beloved brother who had died early. Those two had been brought up by an infidel father, who had impressed on his children the absurdity of all such ideas as immortality. The children had often discussed and pondered over this subject together, and had made a compact that whichever of them died first should, if possible, appear to the survivor, and thus solve the awful problem of a future life. The brother not long after died in foreign parts. Immediately after his death, before the sister heard the news, the brother's ghost appeared in a dream, or vision, to the sister, and warned her in solemn tones against ever marrying a second time. The spirit does not appear to have given any reasons, but his manner was so impressive and so unmistakable that the lady had thus far regarded it as an injunction never to be disobeyed. On hearing this remarkable story, the young man, George, argues impatiently against the trustworthiness of dreams, and is hardly silenced by the widow showing him on her wrist the mark still remaining where the spirit had seized and pressed her hand. In fine, the impassioned suitor prevails over these superstitious terrors, as he reckons them, of the lady--and they become man and wife.

The reader is here placed in a condition of great perplexity, and his curiosity becomes breathless. The sequel is melancholy indeed. After a few months' union, the young man, whose plausible eloquence had so moved the widow, tires of his wife, ill-treats her, and breaks her heart. The Psychical Society is avenged, and the ghost's word was worth at least "a thousand pounds." It is difficult for us to take such a story seriously, but it must have interested Crabbe deeply, for he has expended upon it much of his finest power of analysis, and his most careful writing. As we have seen, the subject of dreams had always had a fascination for him, of a kind not unconnected perhaps with the opium-habit. The story, however it was to be treated, was unpromising; but as the _dénouement_ was what it proved to be, the astonishing thing is that Crabbe should not have felt the dramatic impropriety of putting into the young man's mouth passages of an impressive, and almost Shakespearian, beauty such as are rare indeed in his poetry. The following lines are not indeed placed within inverted commas, but the pronoun "I" is retained, and they are apparently intended for something passing in the young suitor's mind:

"O! tell me not of years,--can she be old? Those eyes, those lips, can man unmoved behold? Has time that bosom chill'd? are cheeks so rosy cold? No, she is young, or I her love t'engage Will grow discreet, and that will seem like age: But speak it not; Death's equalising age Levels not surer than Love's stronger charm, That bids all inequalities be gone, That laughs at rank, that mocks comparison. There is not young or old, if Love decrees; He levels orders, he confounds degrees: There is not fair, or dark, or short, or tall, Or grave, or sprightly--Love reduces all; He makes unite the pensive and the gay, Gives something here, takes something there away; From each abundant good a portion takes, And for each want a compensation makes; Then tell me not of years--Love, power divine, Takes, as he wills, from hers, and gives to mine."

In those fine lines it is no doubt Crabbe himself that speaks, and not the young lover, who was to turn out in the sequel an unparalleled "cad." But then, what becomes of dramatic consistency, and the imperative claims of art?

In the letter to Mrs. Leadbeater already cited Crabbe writes as to his forthcoming collection of Tales: "I do not know, on a general view, whether my tragic or lighter Tales, etc., are most in number. Of those equally well executed the tragic will, I suppose, make the greater impression." Crabbe was right in this forecast. Whether more or less in number, the "tragic" Tales far surpass the "lighter" in their effect on the reader, in the intensity of their gloom. Such stories as that of _Lady Barbara, Delay has Danger, The Sisters, Ellen, Smugglers and Poachers_, Richard's story of _Ruth_, and the elder brother's account of his own early attachment, with its miserable sequel--all these are of a poignant painfulness. Human crime, error, or selfishness working life-long misery to others--this is the theme to which Crabbe turns again and again, and on which he bestows a really marvellous power of analysis. There is never wanting, side by side with these, what Crabbe doubtless believed to be the compensating presence of much that is lovable in human character, patience, resignation, forgiveness. But the resultant effect, it must be confessed, is often the reverse of cheering. The fine lines of Wordsworth as to

"Sorrow that is not sorrow, but delight; And miserable love, that is not pain To hear of, for the glory that redounds Therefrom to human kind, and what we are,"

fail to console us as we read these later stories of Crabbe. We part from too many of them not, on the whole, with a livelier faith in human nature. We are crushed by the exhibition of so much that is abnormally base and sordid.

The _Tales of the Hall_ are full of surprises even to those familiar with Crabbe's earlier poems. He can still allow couplets to stand which are perilously near to doggerel; and, on the other hand, when his deepest interest in the fortunes of his characters is aroused, he rises at times to real eloquence, if never to poetry's supremest heights. Moreover, the poems contain passages of description which, for truth to Nature, touched by real imagination, are finer than anything he had yet achieved. The story entitled _Delay has Danger_ contains the fine picture of an autumn landscape seen through the eyes of the miserable lover--the picture which dwelt so firmly in the memory of Tennyson:

"That evening all in fond discourse was spent, When the sad lover to his chamber went, To think on what had pass'd, to grieve, and to repent: Early he rose, and looked with many a sigh On the red light that fill'd the eastern sky: Oft had he stood before, alert and gay, To hail the glories of the new-born day; But now dejected, languid, listless, low, He saw the wind upon the water blow, And the cold stream curl'd onward as the gale From the pine-hill blew harshly down the dale; On the right side the youth a wood survey'd, With all its dark intensity of shade; Where the rough wind alone was heard to move, In this, the pause of nature and of love, When now the young are rear'd, and when the old, Lost to the tie, grow negligent and cold-- Far to the left he saw the huts of men, Half hid in mist that hung upon the fen; Before him swallows, gathering for the sea, Took their short flights, and twitter'd on the lea; And near the bean-sheaf stood, the harvest done, And slowly blacken'd in the sickly sun; All these were sad in nature, or they took Sadness from him, the likeness of his look, And of his mind--he ponder'd for a while, Then met his Fanny with a borrow'd smile."

The entire story, from which this is an extract, is finely told, and the fitness of the passage is beyond dispute. At other times the description is either so much above the level of the narrative, or below it, as to be almost startling. In the very first pages of _Tales of the Hall_, in the account of the elder brother's early retirement from business, occur the following musical lines:

"He chose his native village, and the hill He climb'd a boy had its attraction still; With that small brook beneath, where he would stand And stooping fill the hollow of his hand To quench th' impatient thirst--then stop awhile To see the sun upon the waters smile, In that sweet weariness, when, long denied, We drink and view the fountain that supplied The sparkling bliss--and feel, if not express, Our perfect ease in that sweet weariness."

Yet it is only a hundred lines further on that, to indicate the elder brother's increasing interest in the graver concerns of human thought, Crabbe can write:

"He then proceeded, not so much intent, But still in earnest, and to church he went Although they found some difference in their creed, He and his pastor cordially agreed; Convinced that they who would the truth obtain By disputation, find their efforts vain; The church he view'd as liberal minds will view, And there he fix'd his principles and pew."

Among those surprises to which I have referred is the apparently recent development in the poet of a lyrical gift, the like of which he had not exhibited before. Crabbe had already written two notable poems in stanzas, _Sir Eustace Grey_ and that other painful but exceedingly powerful drama in monologue, _The Hall of Justice_. But since the appearance of his last volumes, Crabbe had formed some quite novel poetical friendships, and it would seem likely that association with Rogers, though he saw and felt that elegant poet's deficiencies as a painter of human life, had encouraged him to try an experiment in his friend's special vein. One of the most depressing stories in the series is that of the elder brother's ill-fated passion for a beautiful girl, to whom he had been the accidental means of rendering a vital service in rescuing her and a companion from the "rude uncivil kine" in a meadow. To the image of this girl, though he never set eyes on her again for many years, he had remained faithful. The next meeting, when at last it came, brought the most terrible of disillusions. Sent by his chief to transact certain business with a wealthy banker ("Clutterbuck & Co."), the young merchant calls at a villa where the banker at times resided, and finds that the object of his old love and his fondest dreams is there installed as the banker's mistress. She is greatly moved at the sight of the youthful lover of old days, who, with more chivalry than prudence, offers forgiveness if she will break off this degrading alliance. She cannot resolve to take the step. She has become used to luxury and continuous amusement, and she cannot face the return to a duller domesticity. Finally, however, she dies penitent, and it is the contemplation of her life and death that works a life-long change in the ambitions and aims of the old lover. He wearies of money-making, and retires to lead a country life, where he may be of some good to his neighbours, and turn to some worthy use the time that may be still allowed him. The story is told with real pathos and impressive force. But the picture is spoiled by the tasteless interpolation of a song which the unhappy girl sings to her lover, at the very moment apparently when she has resolved that she can never be his:

"My Damon was the first to wake The gentle flame that cannot die; My Damon is the last to take The faithful bosom's softest sigh; The life between is nothing worth, O! cast it from thy thought away; Think of the day that gave it birth, And this its sweet returning day.

"Buried be all that has been done, Or say that nought is done amiss; For who the dangerous path can shun In such bewildering world as this? But love can every fault forgive, Or with a tender look reprove; And now let nought in memory live, But that we meet, and that we love."

The lines are pretty enough, and may be described as a blend of Tom Moore and Rogers. A similar lyric, in the story called _The Sisters_, might have come straight from the pen which has given us "Mine be a cot beside a hill," and is not so wholly irrelevant to its context as the one just cited.

Since Crabbe's death in 1832, though he has never been without a small and loyal band of admirers, no single influence has probably had so much effect in reviving interest in his poetry as that of Edward FitzGerald, the translator of Omar Khayyam. FitzGerald was born and lived the greater part of his life in Suffolk, and Crabbe was a native of Aldeburgh, and lived in the neighbourhood till he was grown to manhood. This circumstance alone might not have specially interested FitzGerald in the poet, but for the fact that the temperament of the two men was somewhat the same, and that both dwelt naturally on the depressing sides of human life. But there were other coincidences to create a strong tie between FitzGerald and the poet's family. When FitzGerald's father went to live at Boulge Hall, near Woodbridge, in 1835, Crabbe's son George had recently been presented to the vicarage of the adjoining parish of Bredfield (FitzGerald's native village), which he continued to hold until his death in 1857. During these two and twenty years, FitzGerald and George Crabbe remained on the closest terms of friendship, which was continued with George Crabbe's son (a third George), who became ultimately rector of Merton in Norfolk. It was at his house, it will be remembered, that FitzGerald died suddenly in the summer of 1883. Through this long association with the family FitzGerald was gradually acquiring information concerning the poet, which even the son's _Biography_ had not supplied. Readers of FitzGerald's delightful _Letters_ will remember that there is no name more constantly referred to than that of Crabbe. Whether writing to Fanny Kemble, or Frederick Tennyson, or Lowell, he is constantly quoting him, and recommending him. During the thirty years that followed Crabbe's death his fame had been on the decline, and poets of different and greater gifts had taken his place. FitzGerald had noted this fact with ever-increasing regret, and longed to revive the taste for a poet of whose merits he had himself no doubt. He discerned moreover that even those who had read in their youth _The Village_ and _The Borough_ had been repelled by the length, and perhaps by the monotonous sadness, of the _Tales of the Hall_. It was for this reason apparently (and not because he assigned a higher place to the later poetry than to the earlier) that he was led, after some years of misgiving, to prepare a volume of selections from this latest work of Crabbe's which might have the effect of tempting the reader to master it as a whole. Owing to the length and uniformity of Crabbe's verse, what was ordinarily called an "anthology" was out of the question. FitzGerald was restricted to a single method. He found that readers were impatient of Crabbe's _longueurs_. It occurred to him that while making large omissions he might preserve the story in each case, by substituting brief prose abstracts of the portions omitted. This process he applied to the Tales that pleased him most, leaving what he considered Crabbe's best passages untouched. As early as 1876 he refers to the selection as already made, and he printed it for private circulation in 1879. Finally, in 1882, he added a preface of his own, and published it with Quaritch in Piccadilly.

In his preface FitzGerald claims for Crabbe's latest work that the net impression left by it upon the reader is less sombre and painful than that left by his earlier poems. "It contains," he urges, "scarce anything of that brutal or sordid villainy of which one has more than enough in the poet's earlier work." Perhaps there is not so much of the "brutal or sordid," but then in _The_ _Parish Register_ or _The Borough_, the reader is in a way prepared for that ingredient, because the personages are the lawless and neglected poor of a lonely seaport. It is because, when he moves no longer among these, he yet finds vice and misery quite as abundant in "a village with its tidy homestead, and well-to-do tenants, within easy reach of a thriving country-town," that a certain shock is given to the reader. He discovers that all the evil passions intrude (like pale Death) into the comfortable villa as impartially as into the hovels at Aldeburgh. But FitzGerald had found a sufficient alleviation of the gloom in the framework of the Tales. The growing affection of the two brothers, as they come to know and understand each other better, is one of the consistently pleasant passages in Crabbe's writings. The concluding words of FitzGerald's preface, as the little volume is out of print and very scarce, I may be allowed to quote:--

"Is Crabbe then, whatever shape he may take, worth making room for in our over-crowded heads and libraries? If the verdict of such critics as Jeffrey and Wilson be set down to contemporary partiality or inferior 'culture,' there is Miss Austen, who is now so great an authority in the representation of genteel humanity, so unaccountably smitten with Crabbe in his worsted hose that she is said to have pleasantly declared he was the only man whom she would care to marry. If Sir Walter Scott and Byron are but unaesthetic judges of the poet, there is Wordsworth who was sufficiently exclusive in admitting any to the sacred brotherhood in which he still reigns, and far too honest to make any exception out of compliment to any one on any occasion--he did nevertheless thus write to the poet's son and biographer in 1834: 'Any testimony to the merit of your revered father's works would, I feel, be superfluous, if not impertinent. They will last from their combined merits as poetry and truth, full as long as anything that has been expressed in verse since they first made their appearance'--a period which, be it noted, includes all Wordsworth's own volumes except _Yarrow Revisited_, _The Prelude_, and _The Borderers_. And Wordsworth's living successor to the laurel no less participates with him in his appreciation of their forgotten brother. Almost the last time I met him he was quoting from memory that fine passage in _Delay has Danger_, where the late autumn landscape seems to borrow from the conscience-stricken lover who gazes on it the gloom which it reflects upon him; and in the course of further conversation on the subject Mr. Tennyson added, 'Crabbe has a world of his own'; by virtue of that original genius, I suppose, which is said to entitle and carry the possessor to what we call immortality."

Besides the stories selected for abridgment in the volume there were passages, from Tales not there included, which FitzGerald was never weary of citing in his letters, to show his friends how true a poet was lying neglected of men. One he specially loved is the description of an autumn day in _The Maid's Story_:--

"There was a day, ere yet the autumn closed, When, ere her wintry wars, the earth reposed; When from the yellow weed the feathery crown, Light as the curling smoke, fell slowly down; When the winged insect settled in our sight, And waited wind to recommence her flight; When the wide river was a silver sheet, And on the ocean slept th' unanchor'd fleet, When from our garden, as we looked above, There was no cloud, and nothing seemed to move."

Another passage, also in Crabbe's sweeter vein, forms the conclusion of the whole poem. It is where the elder brother hands over to the younger the country house that is to form the future home of his wife and children:--

"It is thy wife's, and will thy children's be, Earth, wood, and water! all for thine and thee. * * * * * There wilt thou soon thy own Matilda view, She knows our deed, and she approves it too; Before her all our views and plans were laid, And Jacques was there to explain and to persuade. Here on this lawn thy boys and girls shall run, And play their gambols when their tasks are done, There, from that window shall their mother view The happy tribe, and smile at all they do; While thou, more gravely, hiding thy delight Shalt cry, 'O! childish!' and enjoy the sight."

FitzGerald's selections are made with the skill and judgment we should expect from a critic of so fine a taste, but it may be doubted whether any degree of skill could have quite atoned for one radical flaw in his method. He seems to have had his own misgivings as to whether he was not, by that method, giving up one real secret of Crabbe's power. After quoting Sir Leslie Stephen's most true remark that "with all its short-and long-comings Crabbe's better work leaves its mark on the reader's mind and memory as only the work of genius can, while so many a more splendid vision of the fancy slips away, leaving scarce a mark behind." FitzGerald adds: "If this abiding impression result (as perhaps in the case of Richardson or Wordsworth) from being, as it were, soaked in through the longer process by which the man's peculiar genius works, any abridgement, whether of omission or epitome, will diminish from the effect of the whole." FitzGerald is unquestionably in sight of a truth here. The parallel with Wordsworth is indeed not exact, for the best of Wordsworth's poetry neither requires nor admits of condensation. _The Excursion_ might benefit by omission and compression, but not _The Solitary Reaper_, nor _The Daffodils_. But the example of Richardson is fairly in point. Abridgments of _Clarissa Harlowe_ have been attempted, but probably without any effect on the number of its readers. The power of Richardson's method does actually lie in the "soaking process" to which FitzGerald refers. Nor is it otherwise with Crabbe. The fascination which his readers find in him--readers not perhaps found in the ranks of those who prefer their poetry on "hand-made paper"--is really the result of the slow and patient dissection of motive and temptation, the workings of conscience, the gradual development of character. These processes are slow, and Crabbe's method of presenting them is slow, but he attains his end. A distinction has lately been drawn between "literary Poetry," and "Poetry which is Literature." Crabbe's is rarely indeed that of the former class. It cannot be denied that it has taken its place in the latter.

The apology for Crabbe's lengthiness might almost be extended to the singular inequalities of his verse. FitzGerald joins all other critics in regretting his carelessness, and indeed the charge can hardly be called harsh. A poet who habitually insists on producing thirty lines a day, whether or no the muse is willing, can hardly escape temptations to carelessness. Crabbe's friends and other contemporaries noted it, and expressed surprise at the absence in Crabbe of the artistic conscience. Wordsworth spoke to him on the subject, and ventured to express regret that he did not take more pains with the workmanship of his verse, and reports that Crabbe's only answer was "it does not matter." Samuel Rogers had related to Wordsworth a similar experience. "Mr. Rogers once told me that he expressed his regret to Crabbe that he wrote in his later works so much less correctly than in his earlier. 'Yes,' replied he, 'but then I had a reputation to make; now I can afford to relax.'" This is of course very sad, and, as has already been urged, Crabbe's earlier works had the advantage of much criticism, and even correction from his friends. But however this may be, it may fairly be urged that in a "downright" painter of human life, with that passion for realism which Crabbe was one of the first to bring back into our literature, mere "polish" would have hindered, not helped, the effects he was bent on producing. It is difficult in polishing the heroic couplet not to produce the impression of seeking epigrammatic point. In Crabbe's strenuous and merciless analyses of human character his power would have been often weakened, had attention been diverted from the whole to the parts, and from the matter to the manner. The "finish" of Gray, Goldsmith, and Rogers suited exquisitely with their pensive musings on Human Life. It was otherwise with the stern presentment of such stories of human sin and misery as _Edward Shore_ or _Delay has Danger._