Kitabı oku: «Essays in English Literature, 1780-1860», sayfa 12
Every now and then he had touches of something much above his usual style, as in the concluding lines of the whimsical "flyting," as the Scotch poets of the fifteenth century would have called it, between the Man and the Fish:
Man's life is warm, glad, sad, 'twixt loves and graves,
Boundless in hope, honoured with pangs austere,
Heaven-gazing; and his angel-wings he craves:
The fish is swift, small-needing, vague yet clear,
A cold, sweet, silver life, wrapped in round waves,
Quickened with touches of transporting fear.
As a rule, however, his poetry has little or nothing of this kind, and he will hold his place in the English corpus poetarum, first, because he was an associate of better poets than himself; secondly, because he invented a medium for the poetic tale which was as poetical as Crabbe's was prosaic; thirdly, because of all persons perhaps who have ever attempted English verse on their own account, he had the most genuine affection for, and the most intimate and extensive acquaintance with, the triumphs of his predecessors in poetry. Of prose he was a much less trustworthy judge, as may be instanced once for all by his pronouncing Gibbon's style to be bad; but of poetry he could tell with an extraordinary mixture of sympathy and discretion. And this will introduce us to his second faculty, the faculty of literary criticism, in which he is, with all his drawbacks, on a level with Coleridge, with Lamb, and with Hazlitt, his defects as compared with them being in each case made up by compensatory, or more than compensatory, merits.
How considerable a critic Leigh Hunt was, may be judged from the fact that he himself confesses the great critical fault of his principal poem – the selection, for amplification and paraphrase, of a subject which has once for all been treated with imperial and immortal brevity by a great poet. With equal ingenuousness and equal truth he further confesses that, at the time, he not only did not see this fault, but was critically incapable of seeing it. For there is that one comfort about this discomfortable and discredited art of ours, that age at any rate does not impair it. The first sprightly runnings of criticism are never the best; and in the case of all really great critics, from Dryden to Sainte-Beuve, the critical faculty has gone on constantly increasing. The chief examples of Leigh Hunt's critical accomplishment are to be found in the two books called respectively, Wit and Humour, and Imagination and Fancy, both being selections from the English poets, with critical remarks interspersed as a sort of running commentary. But hardly any book of his is quite barren of such examples; for he neither would, nor indeed apparently could, restrain his desultory fancy from this as from other indulgences. His criticism is very distinct in kind. It is almost purely and in the strict and proper sense æsthetic – that is to say, it does hardly anything but reproduce the sensations produced upon Hunt himself by the reading of his favourite passages. As his sense of poetry was extraordinarily keen and accurate, there is perhaps no body of "beauties" of English poetry to be found anywhere in the language which is selected with such uniform and unerring judgment as this or these. Even Lamb, in his own favourite subjects and authors, misses treasure-trove which Leigh Hunt unfailingly discovers, as in the now pretty generally acknowledged case of the character of De Flores in Middleton's "Changeling." And Lamb had a much less wide and a much more crotchety system of admissions and exclusions. Macaulay was perfectly right in fixing, at the beginning of his essay on the dramatists of the Restoration, upon this catholicity of Hunt's taste as the main merit in it; and it is really a great pity that the two volumes referred to were not, as they were intended to be, followed up by others respectively devoted to Action and Passion, Contemplation, and Song. But Leigh Hunt was sixty when he planned them, and age, infirmity, perhaps also the less pressing need which the comparative affluence of his later years brought, prevented the completion. It has also to be remarked that Hunt is much better as a taster than as a professor or expounder. He says indeed many happy things about his favourite passages, but they evidently represent rather afterthought than forethought. He is not good at generalities, and when he tries them is apt, instead of flying (as an Ariel of criticism should do), to sprawl. Yet it was impossible for a man who was so almost invariably right in particulars, to go very wrong in general; and the worst that can be said of Leigh Hunt's general critical axioms and conclusions is that they are much better than the reasons that support them. For instance, he is probably right in calling the famous "intellectual" and "henpecked you all" in "Don Juan," "the happiest triple rhyme ever written." But when he goes on to say that "the sweepingness of the assumption completes the flowing breadth of the effect," he goes very near to talking nonsense. For most people, however, a true opinion persuasively stated is of much more consequence than the most elaborate logical justification of it; and it is this that makes Leigh Hunt's criticism such excellent good reading. It is impossible not to feel that when a guide (which after all a critic should be) is recommended with cautions that, though an invaluable fellow for the most part, he is not unlikely in certain places to lead the traveller over a precipice, it is a very dubious kind of recommendation. Yet this is the way in which one has to speak of Jeffrey and Hazlitt, of Wilson and De Quincey. Of Leigh Hunt it need hardly ever be said; for in the unlucky diatribes on Dante above cited, the most unwary reader can see that his author has lost his temper and with it his head. As a rule he avoids the things that he is not qualified to judge, such as the rougher and sublimer parts of poetry. Of its sweetness and its music, of its grace and its wit, of its tenderness and its fancy, no better judge ever existed than Leigh Hunt. He jumped at such things, when he came near them, almost as involuntarily as a needle to a magnet.
He was, however, perhaps most popular in his own time, and certainly he gained most of the not excessive share of pecuniary profit which fell to his lot, as what I have called a miscellanist. One of the things which have not yet been sufficiently done in the criticism of English literary history, is a careful review of the successive steps by which the periodical essay of Addison and his followers during the eighteenth century passed into the magazine-paper of our own days. The later examples of the eighteenth century, the "Observers" and "Connoisseurs," the "Loungers" and "Mirrors" and "Lookers-On," are fairly well worth reading in themselves, especially as the little volumes of the "British Essayists" go capitally in a travelling-bag; but the gap between them and the productions of Leigh Hunt, of Lamb, and of the Blackwood men, with Praed's schoolboy attempts not left out, is a very considerable one. Leigh Hunt is himself entitled to a high place in the new school so far as mere priority goes, and to one not low in actual merit. He relates himself, more than once, with the childishness which is the good side of his Skimpolism, how not merely his literary friends but persons of quality had special favourites among the miscellaneous papers of the Indicator, like (he would certainly have used the parallel himself if he had known it or thought of it) the Court of France with Marot's Psalms. This miscellaneous work of his extends, as it ought to do, to all manner of subjects. The pleasantest example to my fancy is the book called The Town, a gossiping description of London from St. Paul's to St. James's, which he afterwards followed up with books on the West End and Kensington, and which, though of course second-hand as to its facts, is by no means uncritical, and by far the best reading of any book of its kind. Even the Autobiography might take rank in this class; and the same kind of stuff made up the staple of the numerous periodicals which Leigh Hunt edited or wrote, and of the still more numerous books which he compounded out of the dead periodicals. It may be that a severe criticism will declare that, here as well as elsewhere, he was more original than accomplished; and that his way of treating subjects was pursued with better success by his imitators than by himself. Such a paper, for instance, as "On Beds and Bedrooms" suggests (and is dwarfed by the suggestion) Lamb's "Convalescent" and other similar work. "Jack Abbott's Breakfast," which is, or was, exceedingly popular with Hunt's admirers, is an account of the misfortunes of a luckless young man who goes to breakfast with an absent-minded pedagogue, and, being turned away empty, orders successive refreshments at different coffee-houses, each of which proves a feast of Tantalus. The idea is not bad; but the carrying out suits the stage better than the study, and is certainly far below such things as Maginn's adventures of Jack Ginger and his friends, with the tale untold that Humphries told Harlow. "A Few Remarks on the Rare Vice called Lying" is a most promising title; he must be a very good-natured judge who finds appended to it a performing article. "The Old Lady" and "The Old Gentleman" were once great favourites; they seem to have been studied from Earle's Microcosmography, not the least excellent of the books that have proceeded from foster-children of Walter de Merton, but they are over-laboured in particulars. So too are "The Adventures of Carfington Blundell" and "Inside of an Omnibus." Leigh Hunt's humour is so devoid of bitterness that it sometimes becomes insipid; his narrative so fluent and gossiping that it sometimes becomes insignificant. His enemies called him immoral, which appears to have been a gross calumny so far as his private life was concerned, and is certainly a gross exaggeration as regards his writing. But he was rather too much given to dally about voluptuous subjects with a sort of chuckling epicene triviality. He is so far from being passionate that he sometimes becomes almost offensive. He is terribly apt to labour a conceit or a prettiness till it becomes vapid; and his "Criticism on Female Beauty," though it contains some extremely sensible remarks, also contains much which is suggestive of Mr. Tupman. Yet his miscellaneous writing has one great merit (besides its gentle playfulness and its untiring variety) which might procure pardon for worse faults. With no one perhaps are those literary memories which transform and vivify life so constantly present as with Leigh Hunt. Although the world was a perfectly real thing to him, and not by any means seen only through the windows of a library, he took everywhere with him the remembrances of what he had read, and they helped him to clothe and colour what he saw and what he wrote. Between him, therefore, and readers who themselves have read a good deal, and loved what they have read not a little, there is always something in common; and yet probably no bookish writer has been less resented by his unbookish readers as a thruster of the abominable things – superior knowledge and superior scholarship – upon them. Some vices of the snob Leigh Hunt undoubtedly had, but he was never in the least a pretentious snob. He quotes his books not in the spirit of a man who is looking down on his fellows from a proper elevation, but in the spirit of a kindly host who is anxious that his guests should enjoy the good things on his table.
It is this sincere and unostentatious love of letters, and anxiety to spread the love of letters, that is the redeeming point of Leigh Hunt throughout: he is saved quia multum amavit. It was this which prompted that rather grandiose but still admirable palinode of Christopher North, in August 1834, – "the Animosities are mortal: but the Humanities live for ever," – an apology which naturally enough pleased Hunt very much. He is one of those persons with whom it is impossible to be angry, or at least to be angry long. "The bailiff who took him was fond of him," it is recorded of Captain Costigan; and in milder moments the same may be said of the critical bailiffs who are compelled to "take" Leigh Hunt. Even in his least happy books (such as the "Jar of Honey from Mount Hybla," where all sorts of matter, some of it by no means well known to the writer, have been hastily cobbled together) this love, and for the most part intelligent and animated love, for literature appears. If in another of his least happy attempts, the critical parts of the already mentioned Stories from the Italian Poets, he is miles below the great argument of Dante, and if he is even guilty to some extent of vulgarising the lesser but still great poets with whom he deals, he never comes, even in Dante, to any passage he can understand without exhibiting such a warmth of enthusiasm and enjoyment that it softens the stoniest readers. He can gravely call Dante's Hell "geologically speaking a most fantastical formation" (which it certainly is), and joke clumsily about the poet's putting Cunizza and Rahab in Paradise. He can write, in the true spirit of vulgarising, that "the Florentine is thought to have been less strict in his conduct in regard to the sex than might be supposed from his platonical aspirations," heedless of the great confessions implied in the swoon at Francesca's story, and the passage through the fire at the end of the seventh circle of Purgatory. But when he comes to things like "Dolce color d'oriental zaffiro," and "Era già l'ora," it is hardly possible to do more justice to the subject. The whole description of his Italian sojourn in the Autobiography is an example of the best kind of such writing. Again, of all the people who have rejoiced in Samuel Pepys, Leigh Hunt "does it most natural," being indeed a kind of nineteenth-century Pepys himself, whom the gods had made less comfortable in worldly circumstances and no man of business, but to whom as a compensation they had given the feeling for poetry which Samuel lacked. At different times Dryden, Spenser, and Chaucer were respectively his favourite English poets; and as there was nothing faithless in his inconstancy, he took up his new loves without ceasing to love the old. It is perhaps rather more surprising that he should have liked Spenser than that he should have liked the other two; and we must suppose that the profusion of beautiful pictures in the "Faerie Queen" enabled him, not to appreciate (for he never could have done that), but to tolerate or pass over the deep melancholy and the occasional philosophisings of the poet. But the attraction of Dryden and Chaucer for him is very easily understood. Both are eminently cheerful poets, Dryden with the cheerfulness born of manly sense, Chaucer with that of youth and abounding animal spirits. Leigh Hunt seems to have found this cheerfulness as akin to his own, as the vigour of both was complementary and satisfactory to his own, I shall not say weakness, but fragility. Add yet again to this that Hunt seems – a thing very rarely to be said of critics – never to have disliked a thing simply because he could not understand it. If he sometimes abused Dante, it was not merely because he could not understand him, though he certainly could not, but because Dante trod (and when Dante treads he treads heavily) on his most cherished prejudices. Now he had not very many prejudices, and so he had an advantage here also.
Lastly, as he may be read with pleasure, so he may be skipped without shame. There are some writers whom to skip may seem to a conscientious devotee of letters both wicked and unwise – wicked because it is disrespectful to them, unwise because it is quite likely to inflict loss on the reader. Now nobody can ever think of respecting Leigh Hunt; he is not unfrequently amiable, but never in the least venerable. Even at his best he seldom or never affects the reader with admiration, only with a mild pleasure. It is at once a penalty for his sins and a compliment to his good qualities, that to make any kind of fuss over him would be absurd. Nor is there any selfish risk run by treating him, in the literary sense, in an unceremonious manner. His writing of all kinds carries desultoriness to the height, and may be begun at the beginning, or at the end, or in the middle, and left off at any place, without the least risk of serious loss. He is excellent good company for half an hour, sometimes for much longer; but the reader rarely thinks very much of what he has said when the interview is over, and never experiences any violent hunger or thirst for its renewal, though such renewal is agreeable enough in its way. Such an author is a convenient possession on the shelves: a possession so convenient that occasionally a blush of shame may suggest itself at the thought that he should be treated so cavalierly. But this is quixotic. The very best things that he has done hardly deserve more respectful treatment, for they are little more than a faithful and fairly lively description of his own enjoyments; the worst things deserve treatment much less respectful. Yet let us not leave him with a harsh mouth; for, as has been said, he loved the good literature of others very much, and he wrote not a little that was good literature of his own.
VIII
PEACOCK
In the year 1875 Mr. Bentley conferred no small favour upon lovers of English literature by reprinting, in compact form and good print, the works of Thomas Love Peacock, up to that time scattered and in some cases not easily obtainable. So far as the publisher was concerned, nothing more could reasonably have been demanded; it is not easy to say quite so much of the editor, the late Sir Henry Cole. His editorial labours were indeed considerably lightened by assistance from other hands. Lord Houghton contributed a critical preface, which has the ease, point, and grasp of all his critical monographs. Miss Edith Nicolls, the novelist's granddaughter, supplied a short biography, written with much simplicity and excellent good taste. But as to editing in the proper sense – introduction, comment, illustration, explanation – there is next to none of it in the book. The principal thing, however, was to have Peacock's delightful work conveniently accessible, and that the issue of 1875 accomplished. The author is still by no means universally or even generally known; though he has been something of a critic's favourite. Almost the only dissenter, as far as I know, among critics, is Mrs. Oliphant, who has not merely confessed herself, in her book on the literary history of Peacock's time, unable to comprehend the admiration expressed by certain critics for Headlong Hall and its fellows, but is even, if I do not mistake her, somewhat sceptical of the complete sincerity of that admiration. There is no need to argue the point with this agreeable practitioner of Peacock's own art. A certain well-known passage of Thackeray, about ladies and Jonathan Wild, will sufficiently explain her own inability to taste Peacock's persiflage. As for the genuineness of the relish of those who can taste him there is no way that I know to convince sceptics. For my own part I can only say that, putting aside scattered readings of his work in earlier days, I think I have read the novels through on an average once a year ever since their combined appearance. Indeed, with Scott, Thackeray, Borrow, and Christopher North, Peacock composes my own private Paradise of Dainty Devices, wherein I walk continually when I have need of rest and refreshment. This is a fact of no public importance, and is only mentioned as a kind of justification for recommending him to others.
Peacock was born at Weymouth on 18th October 1785. His father (who died a year or two after his birth) was a London merchant; his mother was the daughter of a naval officer. He seems during his childhood to have done very much what he pleased, though, as it happened, study always pleased him; and his gibes in later life at public schools and universities lose something of their point when it is remembered that he was at no university, at no school save a private one, and that he left even that private school when he was thirteen. He seems, however, to have been very well grounded there, and on leaving it he conducted his education and his life at his own pleasure for many years. He published poems before he was twenty, and he fell in love shortly after he was twenty-two. The course of this love did not run smooth, and the lady, marrying some one else, died shortly afterwards. She lived in Peacock's memory till his death, sixty years later, which event is said to have been heralded (in accordance with not the least poetical of the many poetical superstitions of dreaming) by frequent visions of this shadowy love of the past. Probably to distract himself, Peacock, who had hitherto attempted no profession, accepted the rather unpromising post of under-secretary to Admiral Sir Home Popham on board ship. His mother, in her widowhood, and he himself had lived much with his sailor grandfather, and he was always fond of naval matters. But it is not surprising to find that his occupation, though he kept it for something like a year, was not to his taste. He gave it up in the spring of 1809, and returned to leisure, poetry, and pedestrianism. The "Genius of the Thames," a sufficiently remarkable poem, was the result of the two latter fancies. A year later he went to Wales and met his future wife, Jane Griffith, though he did not marry her for ten years more. He returned frequently to the principality, and in 1812 made, at Nant Gwillt, the acquaintance of Shelley and his wife Harriet. This was the foundation of a well-known friendship, which has supplied by far the most solid and trustworthy materials existing for the poet's biography. It was Wales, too, that furnished the scene of his first and far from worst novel Headlong Hall, which was published in 1816. From 1815 to 1819 Peacock lived at Marlow, where his intercourse with Shelley was resumed, and where he produced not merely Headlong Hall but Melincourt (the most unequal, notwithstanding many charming sketches, of his works), the delightful Nightmare Abbey (with a caricature, as genius caricatures, of Shelley for the hero), and the long and remarkable poem of "Rhododaphne."
During the whole of this long time, that is to say up to his thirty-fourth year, with the exception of his year of secretaryship, Peacock had been his own master. He now, in 1819, owed curtailment of his liberty but considerable increase of fortune to a long-disused practice on the part of the managers of public institutions, of which Sir Henry Taylor gave another interesting example. The directors of the East India Company offered him a clerkship because he was a clever novelist and a good Greek scholar. He retained his place ("a precious good place too," as Thackeray with good-humoured envy says of it in "The Hoggarty Diamond") with due promotion for thirty-seven years, and retired from it in 1856 with a large pension. He had married Miss Griffith very shortly after his appointment; in 1822 Maid Marian appeared, and in 1823 Peacock took a cottage, which became after a time his chief and latterly his only residence, at Halliford, near his beloved river. For some years he published nothing, but 1829 and 1831 saw the production of perhaps his two best books, The Misfortunes of Elphin and Crotchet Castle. After Crotchet Castle, official duties and perhaps domestic troubles (for his wife was a helpless invalid) interrupted his literary work for more than twenty years, an almost unexampled break in the literary activity of a man so fond of letters. In 1852 he began to write again as a contributor to Fraser's Magazine. It is rather unfortunate that no complete republication, nor even any complete list of these articles, has been made. The papers on Shelley and the charming story of Gryll Grange were the chief of them. The author was an old man when he wrote this last, but he survived it six years, and died on 23d January 1866, having latterly lived very much alone. Indeed, after Shelley's death he seems never to have had any very intimate friend except Lord Broughton, with whose papers most of Peacock's correspondence is for the present locked up.
There is a passage in Shelley's "Letter to Maria Gisborne" which has been often quoted before, but which must necessarily be quoted again whenever Peacock's life and literary character are discussed: —
And there
Is English P – , with his mountain Fair
Turned into a flamingo, that shy bird
That gleams i' the Indian air. Have you not heard
When a man marries, dies, or turns Hindoo,
His best friends hear no more of him? But you
Will see him, and will like him too, I hope,
With his milk-white Snowdonian Antelope
Matched with his Camelopard. His fine wit
Makes such a wound, the knife is lost in it;
A strain too learnèd for a shallow age,
Too wise for selfish bigots; let his page
Which charms the chosen spirits of his time,
Fold itself up for a serener clime
Of years to come, and find its recompense
In that just expectation.
The enigmas in this passage (where it is undisputed that "English P – " is Peacock) have much exercised the commentators. That Miss Griffith, after her marriage, while still remaining a Snowdonian antelope, should also have been a flamingo, is odd enough; but this as well as the "camelopard" (probably turning on some private jest then intelligible enough to the persons concerned, but dark to others) is not particularly worth illuminating. The italicised words describing Peacock's wit are more legitimate subjects of discussion. They seem to me, though not perhaps literally explicable after the fashion of the duller kind of commentator, to contain both a very happy description of Peacock's peculiar humour, and a very sufficient explanation of the causes which have, both then and since, made that humour palatable rather to the few than to the many. Not only is Peacock peculiarly liable to the charge of being too clever, but he uses his cleverness in a way peculiarly bewildering to those who like to have "This is a horse" writ large under the presentation of the animal. His "rascally comparative" fancy, and the abundant stores of material with which his reading provided it, lead him perpetually to widen "the wound," till it is not surprising that "the knife" (the particular satirical or polemical point that he is urging) gets "lost in it." This weakness, if it be one, has in its different ways of operation all sorts of curious results. One is, that his personal portraits are perhaps farther removed from faithful representations of the originals than the personal sketches of any other writer, even among the most deliberate misrepresenters. There is, indeed, a droll topsy-turvy resemblance to Shelley throughout the Scythrop of Nightmare Abbey, but there Peacock was hardly using the knife at all. When he satirises persons, he goes so far away from their real personalities that the libel ceases to be libellous. It is difficult to say whether Mr. Mystic, Mr. Flosky, or Mr. Skionar is least like Coleridge; and Southey, intensely sensitive as he was to criticism, need not have lost his equanimity over Mr. Feathernest. A single point suggested itself to Peacock, that point suggested another, and so on and so on, till he was miles away from the start. The inconsistency of his political views has been justly, if somewhat plaintively, reflected on by Lord Houghton in the words, "the intimate friends of Mr. Peacock may have understood his political sentiments, but it is extremely difficult to discover them from his works." I should, however, myself say that, though it may be extremely difficult to deduce any definite political sentiments from Peacock's works, it is very easy to see in them a general and not inconsistent political attitude – that of intolerance of the vulgar and the stupid. Stupidity and vulgarity not being (fortunately or unfortunately) monopolised by any political party, and being (no doubt unfortunately) often condescended to by both, it is not surprising to find Peacock – especially with his noble disregard of apparent consistency and the inveterate habit of pillar-to-post joking, which has been commented on – distributing his shafts with great impartiality on Trojan and Greek; on the opponents of reform in his earlier manhood, and on the believers in progress during his later; on virtual representation and the telegraph; on barouche-driving as a gentleman's profession, and lecturing as a gentleman's profession. But this impartiality (or, if anybody prefers it, inconsistency) has naturally added to the difficulties of some readers with his works. It is time, however, to endeavour to give some idea of the gay variety of those works themselves.
Although there are few novelists who observe plot less than Peacock, there are few also who are more regular in the particular fashion in which they disdain plot. Peacock is in fiction what the dramatists of the school of Ben Jonson down to Shadwell are in comedy – he works in "humours." It ought not to be, but perhaps is, necessary to remind the reader that this is by no means the same thing in essence, though accidentally it very often is the same, as being a humourist. The dealer in humours takes some fad or craze in his characters, some minor ruling passion, and makes his profit out of it. Generally (and almost always in Peacock's case) he takes if he can one or more of these humours as a central point, and lets the others play and revolve in a more or less eccentric fashion round it. In almost every book of Peacock's there is a host who is possessed by the cheerful mania for collecting other maniacs round him. Harry Headlong of Headlong Hall, Esquire, a young Welsh gentleman of means, and of generous though rather unchastened taste, finding, as Peacock says, in the earliest of his gibes at the universities, that there are no such things as men of taste and philosophy in Oxford, assembles a motley host in London, and asks them down to his place at Llanberis. The adventures of the visit (ending up with several weddings) form the scheme of the book, as indeed repetitions of something very little different form the scheme of all the other books, with the exception of The Misfortunes of Elphin, and perhaps Maid Marian. Of books so simple in one way, and so complex in others, it is impossible and unnecessary to give any detailed analysis. But each contains characteristics which contribute too much to the knowledge of Peacock's idiosyncrasy to pass altogether unnoticed. The contrasts in Headlong Hall between the pessimist Mr. Escot, the optimist Mr. Foster, and the happy-mean man Mr. Jenkison (who inclines to both in turn, but on the whole rather to optimism), are much less amusing than the sketches of Welsh scenery and habits, the passages of arms with representatives of the Edinburgh and Quarterly Reviews (which Peacock always hated), and the satire on "improving," craniology, and other passing fancies of the day. The book also contains the first and most unfriendly of those sketches of clergymen of the Church of England which Peacock gradually softened till, in Dr. Folliott and Dr. Opimian, his curses became blessings altogether. The Reverend Dr. Gaster is an ignoble brute, though not quite life-like enough to be really offensive. But the most charming part of the book by far (for its women are mere lay figures) is to be found in the convivial scenes. Headlong Hall contains, besides other occasional verse of merit, two drinking-songs – "Hail to the Headlong," and the still better "A Heel-tap! a heel-tap! I never could bear it" – songs not quite so good as those in the subsequent books, but good enough to make any reader think with a gentle sigh of the departure of good fellowship from the earth. Undergraduates and Scotchmen (and even in their case the fashion is said to be dying) alone practise at the present day the full rites of Comus.
