Chapter 13

After some lengthened correspondence between Clare and his publishers, it was arranged that the new work should be brought out in two volumes in the summer of 1821. This made it possible to give the whole of the poems, and to finish the engravings with the care desired by the author. In the meanwhile, to keep Clare before the public, specimens of the forthcoming volume were published at intervals in Mr. Taylor's periodical, and, finally, the September number of the 'London Magazine' contained at the head of the list of 'works preparing for publication,' the announcement that 'The Village Minstrel, and other Poems, by John Clare, the Northamptonshire Peasant, with a fine portrait, will be published in a few days.' The work was published accordingly, in the middle of September. In outward appearance, the two new volumes offered a great contrast to Clare's former book. The 'Poems descriptive of Rural Life and Scenery,' were dressed in more than rustic simplicity; stitched in rough cardboard and printed on coarse paper, with no artistic adornments whatever. On the other hand, the 'Village Minstrel' presented itself in beautiful type, with two fine steel engravings, the first a portrait of Clare, from the painting by William Hilton, R.A. and the latter a sketch of his cottage. Notwithstanding all these attractions, the new work met with but a cold reception. It was accounted for by the publishers in the fact that its price, 12_s_., was too high compared with the former volume, which was sold at 5_s_. 6_d_.; but the real cause undoubtedly was that the time of publication was very unfavourable. It was a period when the English book-mart was overstocked with poetry and fiction, and when the world seemed less than ever inclined to devote itself to poetry and fiction. The year 1821, in fact, formed a notable epoch in the annals of literature for the number of productions from celebrated authors. Sir Walter Scott published 'Kenilworth Castle;' Lord Byron issued his tragedy of 'Marino Faliero;' Southey, his 'Vision of Judgment;' Shelley, his 'Prometheus,' and Wordsworth a new edition of his poems. Besides these giants in the field of literature, numerous stars of the second and third magnitude sent forth their light. Charles Lamb, Hazlitt, Barry Cornwall, Tom Moore, Allan Cunningham, Leigh Hunt, and others, were busy writing and publishing, and John Keats sent his swan-song from the tombs of the Eternal City. In the midst of this galaxy of genius and fame, John Clare stood, in a sense, neglected and forlorn. The very reputation of his first book was against him, for most of his friends were unreasoning and uncritical enough to assert that the 'Poems on Rural Life and Scenery,' were less remarkable as poetic works, than as productions of a very poor and illiterate man. This statement was echoed far and wide, with the necessary result of getting 'the Northamptonshire Peasant' looked upon as but a nine-days' wonder. Quite as fatal to Clare's fame as a poet were the loud appeals made on his behalf for pecuniary assistance. There was, and, indeed, is at all times, an instinctive feeling, in the main a just one, among the public, that genius and talent are self-supporting, and that he who cannot live by the exercise of his own hand or brain, does not altogether deserve success. The feeling was even stronger than usual about this period, because of the repeated announcements of fabulous sums earned by book-makers, including the notoriously helpless poets. It was well known that Sir Walter Scott had made a large fortune by his verses and novels; that Moore got £3,000 for his 'Lalla Rookh,' and Crabbe £2,000 for his 'Tales of the Hall;' that Southey had no reason to be dissatisfied with the pecuniary result of his epics and articles, nor Mr. Millman cause to weep over the 'Fall of Jerusalem.' There were rumours even, embodied in sly newspaper paragraphs, that Mr. Murray was paying Lord Byron at the rate of a guinea a word; though this was disputed by others, who asserted that the remuneration was only five shillings a syllable. However, all these reports had led the public to the not unjust conclusion, that booksellers, on the whole, are no bad patrons of literature, and that the reward of genius might be safely left to them. As a consequence, from the moment that the begging-box was sent round for Clare--sent round, too, with a zeal far surpassing discretion--there arose a latent feeling among readers of books, that 'the Northamptonshire peasant' was not so much a poet as a talented pauper, able to string a few rhymes together. The feeling, for a time, was not outspoken; but nevertheless unmistakeable in its results.

The sale of the 'Village Minstrel and other Poems,' was not large at the commencement, and the book was scarcely noticed by the literary periodicals of the day. Though containing verses far surpassing in beauty anything previously published by Clare, the work passed over the heads of critics and public alike as unworthy of consideration. It drew passing notes of praise from a few genuine admirers of poetry; but which resulted in nothing but a couple of letters to the author, and the present of some cheap books. From one of these letters, it appears that the ballad commencing 'I love thee, sweet Mary,' printed in the first volume of the 'Village Minstrel,' was read one evening at the house of a nobleman at the West End of London, before the assembled guests. All were in raptures about the sweetness of the softly-flowing stream of verse, and all inquired eagerly after the author. But there was but one person in the room who knew anything about him; and his whole knowledge consisted in the fact, told somewhere by somebody, that Clare was a young 'peasant,' formerly very poor, but now in a state of affluence through a most liberal subscription fund, amounting to some twenty thousand pounds, which had been collected for him and invested in the Funds. The news gave universal satisfaction to the distinguished company; and though none had contributed a penny to the wonderful subscription list, every guest felt an inward pride of living in a land offering the bountiful reward of 'the Funds' to poetic genius, born in obscurity. After the applause had subsided, the portrait of Clare, prefixed to the 'Village Minstrel,' passed round the circle of noble West End visitors. All pronounced the face to be highly _distingué_, and one young lady enthusiastically declared that John Clare looked 'like a nobleman in disguise.' In which saying there was a certain amount of truth.

Notwithstanding many unfavourable circumstances, and the ill-considered zeal of his patrons, who continued to importune the public with demands for charitable contributions, the coldness with which Clare's new work was received at its appearance, was really very extraordinary. The greatest share of it, in all probability, was due to the period of publication, which could not well have been more ill-timed. Besides the natural anxiety of a civilized community to read, in preference to cheap rural poetry, verses paid for at the rate of 'a guinea a word,' or at the least 'five shillings a syllable,' there were many notable matters directing public attention away from village minstrelsy to other things. The book was brought out in the same month that the 'injured Queen of England' died; that the populace fought for the honour of participating in the funeral; and that royal lifeguardsmen killed the loyal people like rabbits in the streets of London. Political passions soared high, and public indignation was running still higher in newspapers and pamphlets. It was not to be expected that, at such a moment of universal excitement, there should be many people willing to withdraw to rural poetry. Thus Clare, 'piping low, in shade of lowly grove,' was condemned to pipe unheard, or very nearly so.

A copy of his 'Village Minstrel' Clare sent to Robert Bloomfield, for whose poetic genius he felt the most sincere admiration. In acknowledgment he received, about seven months afterwards, the following characteristic letter:--

'_Shefford, Beds, May 3d, 1822_.

Neighbour John,--If we were still nearer neighbours I would see you, and thank you personally for the two volumes of your poems sent me so long ago. I write with such labour and difficulty that I cannot venture to praise, or discriminate, like a critic, but must only say that you have given us great pleasure.

I beg your acceptance of my just published little volume; and, sick and ill as I continually feel, I can join you heartily in your exclamation--"What is Life?"

With best regards and wishes,

I am yours sincerely,

Robert Bloomfield.'

The above letter, as will be seen from the date, was written little more than a year before Bloomfield's death, he living at the time in great retirement, broken in mind and body. The author of the 'Farmer's Boy,' like Clare, felt a noble contempt for punctuation and spelling, and in the original note the word 'vollumn,' twice repeated, stands for volume--representing, no doubt, the way in which he used to pronounce the word.

How entirely free John Clare was from the common failing of literary jealousy, is shown by his admiration of Bloomfield. He not only freely acknowledged the high standard of Bloomfield's works; but, what was more, held him up to all his friends as a poet far greater than himself. Untrue as was this comparison, it strikingly exhibited the innate nobility of soul of the poor 'Northamptonshire Peasant.' Yet even this humility, the true sign of genius, was ill-construed by some of Clare's lukewarm patrons, who reproached him for being a flatterer when he only wanted to be just.

GLIMPSES OF JOHN CLARE AT HOME.

During the summer of 1821, Clare gave up his agricultural labours almost entirely. The greater part of the time he spent in roaming through woods and fields, planning new poems, and correcting those already made. Visits to Stamford, also, were frequent and of some duration, and he not unfrequently stayed three or four days together at the house of Mr. Gilchrist, or of Mr. Drury. The stream of visitors to Helpston had ceased, to a great extent, and the few that dropped in now and then were mostly of the better class, or at least not belonging to the vulgar-curious element. Among the number was Mr. Chauncey Hare Townsend, a dandyfied poet of some note, particularly gifted in madrigals and pastorals. He came all the way from London to see Clare, and having taken a guide from Stamford to Helpston, was utterly amazed, on his arrival, to find that the cottage, beautifully depicted in the 'Village Minstrel,' was not visible anywhere. His romantic scheme had been to seek Clare in his home, which he thought easy with the picture in his pocket; and having stepped over the flower-clad porch, to rush inside, with tenderly-dignified air, and drop into the arms of the brother poet. However, the scheme threatened to be frustrated, for though the village could easily be surveyed at a glance, such a cottage as that delineated in the 'Minstrel,' with more regard to the ideal than the real, was nowhere to be seen. In his perplexity, Mr. Chauncey Hare Townsend inquired of a passer-by the way to Clare's house. The individual whom he addressed was a short, thick-set man, and, as Mr. Hare Townsend thought, decidedly ferocious-looking; he was bespattered with mud all over, and a thick knotted stick, which he carried in his hands, gave him something of the air of a highwayman. To the intense surprise of Mr. Chauncey Hare Townsend, this very vulgar person, when addressed, declared that he himself was John Clare, and offered to show the way to his house. Of course, the gentleman from London was too shrewd to be taken in by such a palpable device for being robbed; so declining the offer with thanks, and recovering from his fright by inhaling the perfume of his pocket handkerchief, he retreated on his path, seeking refuge in the 'Blue Bell' public house. The landlord's little girl was ready to show the way to Clare's cottage, and did so, leaving the stranger at the door. Mr. Townsend, now fairly prepared to fall into the arms of the brother poet, though not liking the look of his residence, cautiously opened the door; but started back immediately on beholding the highwayman in the middle of the room, sipping a basin of broth. There seemed a horrible conspiracy for the destruction of a literary gentleman from London in this Northamptonshire village. Mrs. Clare, fortunately, intervened at the nick of time to keep Mr. Townsend from fainting. Patty, always neatly dressed--save and except on washing days,--approached the visitor; and her gentle looks re-assured Mr. Chauncey Hare Townsend. He wiped his hot brow with his scented handkerchief, and, not without emotion, introduced himself to the owner of the house and the neat little wife. The conversation which followed was short, and somewhat unsatisfactory on both sides, and the London poet, in the course of a short half an hour, quitted the Helpston minstrel, leaving a sonnet, wrapped in a one-pound note, behind him. Clare frowned when discovering the nature of the envelope; but he liked the sonnet, and for the sake of it, and on Patty's petition, consented not to send it back to the giver.

Shortly after this curious visit, there came another, which gave Clare much more pleasure. Mr. John Taylor, of London, having been on an excursion to his native place, Retford, in Nottinghamshire, on his return spent a few days at Stamford, with Mr. Drury; and, while here, could not help looking-in at the home of his 'Northamptonshire Peasant.' His survey of Helpston, Mr. Taylor described in the 'London Magazine' of November, 1821, in a letter 'to the Editor,'--that is, to himself. The sketch thus given furnishes an interesting glimpse of the poet and his quiet home life at this period. Mr. Taylor's letter, dated Oct. 12, 1821, set out as follows:--'I have just returned from visiting your friend Clare at Helpston, and one of the pleasantest days I ever spent, was passed in wandering with him among the scenes which are the subject of his poems. A flatter country than the immediate neighbourhood can scarcely be imagined, but the grounds rise in the distance clothed with woods, and their gently swelling summits are crowned with village churches; nor can it be called an uninteresting country, even without the poetic spirit which now breathes about the names of many of its most prominent objects, for the ground bears all the traces of having been the residence of some famous people in early days. "The deep sunk moat, the stony mound," are visible in places where modern taste would shrink at erecting a temporary cottage, much less a castellated mansion; fragments of Roman brick are readily found on ridges which still hint the unrecorded history of a far distant period, and the Saxon rampart and the Roman camp are in some places seen mingled together in one common ruin. On the line of a Roman road, which passes within a few hundred yards of the village of Helpston, I met Clare, about a mile from home. He was going to receive his quarter's salary from the steward of the Marquis of Exeter. His wife Patty, and her sister were with him, and it was the intention of the party, I learned, to proceed to their father's house at Casterton, there to meet such of the family as were out in service, on their annual re-assembling together at Michaelmas. I was very unwilling to disturb this arrangement, but Clare insisted on remaining with me, and the two cheerful girls left their companion with a "good bye, John!" which made the plains echo again.'

Walking along the road, Mr. Taylor, under the guidance of Clare, came to Lolham Brigs, a place sketched in the second volume of the 'Village Minstrel,' in a poem entitled 'The last of March.' The curious publisher and editor, anxious to gather facts for his 'London Magazine,' wanted to know the origin of the poem, and got a full account of it, which, accompanied by some lofty criticisms, he communicated to his readers. 'John Clare,' Mr. Taylor reported, 'was walking in this direction on the last day of March, 1821, when he saw an old acquaintance fishing on the lee side of the bridge. He went to the nearest place for a bottle of ale, and they then sat beneath the screen which the parapet afforded, while a hasty storm passed over, refreshing themselves with the liquor, and moralizing somewhat in the strain of the poem. I question whether Wordsworth's pedlar could have spoken more to the purpose. But all these excitations would, I confess, have spent their artillery in vain against the woolpack of my imagination; and after well considering the scene, I could not help looking at my companion with surprise: to me, the triumph of true genius seemed never more conspicuous, than in the construction of so interesting a poem out of such common-place materials. With your own eyes you see nothing but a dull line of ponds, or rather one continued marsh, over which a succession of arches carries the narrow highway: look again, with the poem in your mind, and the wand of a necromancer seems to have been employed in conjuring up a host of beautiful accompaniments, making the whole waste populous with life, and shedding all around the rich image of a grand and appropriate sentiment. Imagination has, in my opinion, done wonders here.'

From Lolham Brigs, the poet and his publisher turned towards Helpston, passing by 'Langley Bush,' also sung in the 'Village Minstrel.' The Bush furnished an opportunity for some moralizings on the part of Mr. Taylor, interesting as giving the impressions of an eye-witness as to Clare's character and the working of his mind. Says Mr. Taylor:--'The discretion which makes Clare hesitate to receive as canonical all the accounts he has heard of the former honours of Langley Bush, is in singular contrast with the enthusiasm of his poetical faith. As a man, he cannot bear to be imposed upon,--his good sense revolts at the least attempt to abuse it;--but as a poet, he surrenders his imagination with most happy ease to the allusions which crowd upon it from stories of fairies and ghosts. The effect of this distinction is soon felt in a conversation with him. From not considering it, many persons express their surprise that Clare should be so weak on some topics and so wise on others. But a willing indulgence of what they deem weakness is the evidence of a strong mind. He feels safe there, and luxuriates in the abandonment of his sober sense for a time, to be the sport of all the tricks and fantasies that have been attributed to preternatural agency. Let them address him on other subjects, and unless they entrench themselves in forms of language to which he is unaccustomed, or take no pains to understand him according to the sense rather than the letter of his speech, they will confess, that to keep fairly on a level with him in the depth and tenour of their remarks, is an exercise requiring more than common effort. He may not have read the books which they are familiar with, but let them try him on such as he has read,--and the number is not few, especially of the modern poets,--and they will find no reason to undervalue his judgment. His language, it is true, is provincial, and his choice of words in ordinary conversation is indifferent, because Clare is an unpretending man, and he speaks in the idiom of his neighbours, who would ridicule and despise him for using more or better terms than they are familiar with. But the philosophic mind will strive to read his thoughts, rather than catch at the manner of their utterance; and will delight to trace the native nobleness, strength, and beauty of his conceptions, under the tattered garb of what may, perhaps, be deemed uncouth and scanty expressions.'

Arrived at Helpston with his companion, Mr. Taylor was somewhat surprised at the outer aspect of Clare's humble home. Of the inside, he furnished the following neat sketch:--'On a projecting wall in the inside of the cottage, which is white-washed, are hung some well engraved portraits, in gilt frames, with a neat drawing of Helpston Church, and a sketch of Clare's head which Hilton copied in water colours, from the large painting, and sent as a present to Clare's father. I think that no act of kindness ever touched him more than this; and I have remarked, on several occasions, that the thought of what would be his father's feelings on any fortunate circumstance occurring, has given him more visible satisfaction, than all the commendations which have been bestowed on his genius. I believe we must go into low life to know how very much parents can be beloved by their children. Perhaps it may be that they do more for them, or that the affection of the child is concentrated on them the more, from having no other friend on whom it may fall. I saw Clare's father in the garden: it was a fine day, and his rheumatism allowed him just to move about, but with the aid of two sticks, he could scarcely drag his feet along; he can neither kneel nor stoop. The father, though so infirm, is only fifty-six years of age; the mother is about seven years older. While I was talking to the old man, Clare had prepared some refreshment within, and with the appetite of a thresher we went to our luncheon of bread and cheese, and capital beer from the Bell. In the midst of our operations, his little girl awoke: a fine lively pretty creature, with a forehead like her father's, of ample promise. She tottered along the floor, and her father looked after her with the fondest affection, and with a careful twitch of his eyebrow when she seemed in danger. Our meal ended, Clare opened an old oak bookcase, and showed me his library. It contains a very good collection of modern poems, chiefly presents made him since the publication of his first volume; among them the works of Burns, Cowper, Wordsworth, Coleridge, Keats, Crabbe, and other poets. To see so many books handsomely bound, and "flash'd about with golden letters," as he describes it, in so poor a place as Clare's cottage, gave it almost a romantic air, for, except in cleanliness, it is no whit superior to the habitations of the poorest of the peasantry. The hearth has no fire-place on it, which to one accustomed to coal fires looked comfortless, but Clare found it otherwise.'

The idea of a man being happy without a regular fire-place evidently staggered Mr. John Taylor. However, he recovered from his surprise, and having sent his servant--a stately domestic from town, introduced as 'my man'--in front, to prepare the way, the great publisher of Fleet Street solemnly took farewell from his poet, accompanied a proper distance along the road. This duty fulfilled, Clare buttoned up his smock-frock, and trotted away in great haste to meet Patty, and 'such of the family as were out on service.' Very likely, in the company of these 'cheerful girls,' John, for the rest of the evening, felt a great deal more at ease than in the presence of the learned and inquisitive gentleman, his editor and publisher.

SECOND VISIT TO LONDON.