Complete Poetical Works of Thomas Hood

by Thomas Hood

  In 1829 appeared the most famous of all his poems of a narrative character — The Dream of Eugene Aram; it was published in the Gem, an annual which the poet was then editing. Besides this amount of literary activity, Hood continued writing in periodicals, sometimes under the signature of “Theodore M.”

  His excessive and immeasurable addiction to rollicking fun, to the perpetual “cracking of jokes” (for it amounts to that more definitely than to anything else in the domain of the Comic Muse), is a somewhat curious problem, taken in connection with his remarkable genius and accomplishment as a poet, and his personal character as a solid housekeeping citizen, bent chiefly upon rearing his family in respectability, and paying his way, or, as the Church Catechism has neatly and unimprovably expressed it, upon “doing his duty in that state of life to which it had pleased God to call him.” His almost constant ill-health, and, in a minor degree, the troubles which beset him in money-matters, make the problem all the more noticeable. The influence of Charles Lamb may have had something to do with it, — probably not very much. Perhaps there was something in the literary atmosphere or the national tone of the time which gave comicality a turn of predominance after the subsiding of the great poetic wave which filled the last years of the eighteenth and the first quarter of the nineteenth century in our country, in Blake, Burns, Wordsworth, Scott, Coleridge, Landor, Byron, Keats, and, supreme among all, Shelley. Something of the same transition may be noticed in the art of design; the multifarious illustrator in the prior generation is Stothard, — in the later, Cruikshank. At any rate, in literature, Lamb, Hood, and then Dickens in his earliest works, the Sketches by Boz and Pickwick, are uncommonly characteristic and leading minds, and bent, with singular inveteracy, upon being “funny,” — though not funny and nothing else at all. But we should not force this consideration too far: Hood is a central figure in the group and the period, and the tendency of the time may be almost as much due to him as he to the tendency. Mainly, we have to fall back upon his own idiosyncrasy: he was born with a boundlessly whimsical perception, which he trained into an inimitable sleight-of-hand in the twisting of notions and of words; circumstances favored his writing for fugitive publications and skimming readers, rather than under conditions of greater permanency; and the result is as we find it in his works. His son expresses the opinion that part of Hood’s success in comic writing arose from his early reading of Humphrey Clinker, Tristram Shandy, Tom Jones, and other works of that period, and imbuing himself with their style: a remark, however, which applies to his prose rather than his poetical works. Certain it is that the appetite for all kinds of fun, verbal and other was a part of Hood’s nature. We see it in the practical jokes he was continually playing on his good-humored wife — such as altering into grotesque absurdity many of the words contained in her letters to friends: we see it — the mere animal love of jocularity, as it might be termed — in such a small point as his frequently addressing his friend Philip de Franck, in letters, by the words, “Tim, says he,” instead of any human appellative Hood reminds us very much of one of Shakespeare’s Fools (to use the word in no invidious sense) transported into the nineteenth century, — the Fool in King Lear, or Touchstone. For the occasional sallies of coarseness or ribaldry, the spirit of the time has substituted a bourgeois good-humor which respects the family circle, and haunts the kitchen-stairs; for the biting jeer, intended to make some victim uncomfortable, it gives the sarcastic or sprightly banter, not unconscious of an effort at moral amelioration; for the sententious sagacity, and humorous enjoyment of the nature of man, it gives bright thoughts and a humanitarian sympathy. But, on the whole, the intellectual personality is nearly the same: seeking by natural affinity, and enjoying to the uttermost, whatever tends to lightness of heart and to ridicule — thus dwelling indeed in the region of the commonplace and the gross, but constantly informing it with some suggestion of poetry, somewise side-meaning, or some form of sweetness and grace. These observations relate of course to Hood’s humorous poems: into his grave and pathetic poems he can import qualities still loftier than these — though even here it is not often that he utterly forswears quaintness and oddity. The risible, the fantastic, was his beacon-light; sometimes as delicate as a dell of glow-worms; sometimes as uproarious as a bonfire; sometimes, it must be said (for he had to be perpetually writing whether the inspiration came or not, or his inspiration was too liable to come from the very platitudes and pettinesses of everyday life), not much more brilliant than a rush-light, and hardly more aromatic than the snuff of a tallow candle.

  We must now glance again at Hood’s domestic affairs. His first child had no mundane existence worth calling such; but has nevertheless lived longer than most human beings in the lines which Lamb wrote for the occasion, On an Infant dying as soon as born. A daughter followed, and in 1830 was born his son, the Tom Hood who became editor of the comic journal Fun, and died in 1874. At the time of his birth, the family was living at Winchmore Hill: thence they removed about 1832, to the Lake House, Wanstead, a highly picturesque dwelling, but scanty in domestic comforts. The first of the Comic Annual series was brought out at Christmas, 1830. In the following couple of years, Hood did some theatrical work; writing the libretto for an English opera which (it is believed) was performed at the Surrey Theatre. Its name is now unknown, but it had a good run in its day; a similar fate has befallen an entertainment which he wrote for Mathews. He also composed a pantomime for the Adelphi; and, along with Reynolds, dramatized Gil Blas. This play is understood to have been acted at Drury Lane. The novel of Tylney Hall, and the poem of the Epping Hunt, were written at Wanstead.

  Born in comfortable mediocrity, and early inured to narrow fortunes, Hood had no doubt entered upon the literary calling without expecting or caring to become rich. Hitherto, however, he seems to have prospered progressively, and to have had no reason to regret, even in a wordly sense, his choice of a profession. But towards the end of 1834 a disaster overtook him; and thenceforth, to the end of his days, he had nothing but tedious struggling and uphill work. To a man of his buoyant temperament, and happy in his home, this might have been of no extreme consequence, if only sound health had blessed him: unfortunately, the very reverse was the case. Sickly hitherto, he was soon to become miserably and hopelessly diseased: he worked on through everything bravely and uncomplainingly, but no doubt with keen throbs of discomfort, and not without detriment at times to the quality of his writings. The disaster adverted to was the failure of a firm with which Hood was connected, entailing severe loss upon him. With his accustomed probity, he refused to avail himself of any legal immunities, and resolved to meet his engagements in full eventually; but it became requisite that he should withdraw from England. He proposed to settle down in some one of the towns on the Rhine, and circumstances fixed his choice on Coblentz. A great storm which overtook him during the passage to Rotterdam told damagingly on his already feeble health. Coblentz, which he reached in March, 1835, pleased him at first; though it was not long before he found himself a good deal of an Englishman, and his surroundings vexatiously German. After a while he came to consider a German Jew and a Jew German nearly convertible terms; and indulged at times in considerable acrimony of comment, such as a reader of cosmopolitan temper is not inclined to approve. He had, however, at least one very agreeable acquaintance at Coblentz — Lieutenant Philip de Franck, an officer in the Prussian service, of partly English parentage: the good-fellowship which he kept up with this amiable gentleman, both in personal intercourse and by letter, was (as we have seen) even boyishly vivacious and exuberant. In the first instance Hood lived at No. 372 Castor Hof, where his family joined him in the Spring of 1835: about a year later, they removed to No. 752 Alten Graben.

  Spasms in the chest now began to be a trying and alarming symptom of his ill-health, which, towards the end of 1836, took a turn for the worse; he never afterwards rallied very effectually, though the fluctuations were numerous — (in November, 1838, for instance, he fancied that a radical improve
ment had suddenly taken place) — and at times the danger was imminent. The unfavorable change in question was nearly simultaneous with a visit which he made to Berlin, accompanying Lieutenant de Franck and his regiment, on their transfer to Bromberg: the rate of travelling was from fifteen to twenty English miles per diem, for three days consecutively, and then one day of rest. Hood liked the simple unextortionate Saxon folk whom he encountered on the route, and contrasted them with the Coblentzers, much to the disadvantage of the latter. By the beginning of December he was back in his Rhineland home; but finally quitted it towards May, 1837. Several attacks of blood-spitting occurred in the interval; at one time Hood proposed for himself the deadly-lively epitaph, “Here lies one who spat more blood and made more puns than any other man.”

  About this time he was engaged in writing Up the Rhine; performing, as was his wont, the greater part of the work during the night-hours. The sojourn at Coblentz was succeeded by a sojourn at Ostend; in which city — besides the sea, which Hood always supremely delighted in — he found at first more comfort in the ordinary mode of living, including the general readiness at speaking or understanding English. Gradually, however, the climate, extremely damp and often cold, proved highly unsuitable to him; and, when he quitted Ostend in the Spring of 1840, at the close of nearly three years’ residence there, it was apparent that his stay had already lasted too long. Within this period the publication of Hood’s Own had occurred, and put to a severe trial even his unrivalled fertility in jest: one of his letters speaks of the difficulty of being perfectly original in the jocose vein, more especially with reference to the concurrent demands of Hood’s Own, and of the Comic Annual of the year. At the beginning of 1839 he paid a visit of about three weeks to his often-regretted England, staying with one of his oldest and most intimate friends, Mr. Dilke, then editor of the Athen�um. Another of his best friends — one indeed who continued to the end roost unwearied and affectionate in his professional and other attentions, Dr. Elliot — now made a medical examination of Hood’s condition. He pronounced the lungs to be organically sound; the chief seat of disease being the liver, and the heart, which was placed lower down than usual. At a later stage of the disease, enlargement of the heart is mentioned, along with h�morrhage from the lungs consequent on that malady, and recurring with terrible frequency: to these dropsy, arising from extreme weakness, was eventually superadded. Indeed, the catalogue of the illnesses of the unconquerably hilarious Hood, and the details of his sufferings, are painful to read. They have at least the merit of giving a touch of adventitious but intimate pathos even to some of his wildest extravagances of verbal fence, — and of enhancing our sympathy and admiration for the force and beauty of his personal character, which could produce work such as this out of a torture of body and spirit such as that. During this visit to London, Hood scrutinized his publishing and other accounts, and found them sufficiently encouraging. The first edition of Up the Rhine, consisting of 1500 copies, sold off In a fortnight. Soon, however, some vexations with publishers ensued: Hood felt it requisite to take legal proceedings, and the action lingered on throughout and beyond the brief remainder of his life. Thus his prospects were again blighted, and his means crippled when most they needed to be unembarrassed.

  The poet was back in England from Ostend in April 1840; and, under medical advice, he determined to prolong his visit into a permanent re-settlement in his native London. Here therefore he remained and returned, no more to the Continent. He took a house, with his family, in Camberwell, not far from the Green; removing afterwards to St. John’s Wood, and finally to another house in the same district, Devonshire Lodge, Finchley Road. He wrote in the New Monthly Magazine, then edited by Theodore Hook: his Rhymes for the Times, the celebrated Miss Kilmansegg, and other compositions, first appeared here. Hook dying in August 1841, Hood was invited to succeed him as editor, and closed with the offer: this gave him an annual salary of �300, besides the separate payments for any articles that he wrote. The Song of the Shirt, which it would be futile to praise or even to characterize, came out, anonymously of course, in the Christmas number of Punch for 1843: it ran like wildfire, and rang like a tocsin, through the land. Immediately afterwards, in January 1844, Hood’s connection with the New Monthly closed, and he started a publication of his own, Hood’s Magazine, which was a considerable success: more than half the first number was the actual handiwork of the editor. Many troubles and cross-purposes, however, beset the new periodical; difficulties with which Hood was ill fitted, by his now rapidly and fatally worsening health, to cope. They pestered him when he was most in need of rest; and he was in need of rest when most he was wanted to control the enterprise. The Haunted House, and various other excellent poems by Hood, were published in this magazine.

  His last days and final agonies were a little cheered by the granting of a Government pension of �100, dating from June 1844, which, with kindly but ominous foresight, was conferred upon Mrs. Hood, as likely to prove the survivor. This was during the ministry of Sir Robert Peel, whose courteous communications to the poet, and expressions of direct personal interest in his writings, made the boon all the more acceptable. Hood, indeed, had not been directly concerned in soliciting it. At a somewhat earlier date, January 1841, the Literary Society had, similarly unasked, voted him a sum of �50; but this he returned, although his circumstances were such as might have made it by no means unwelcome. From Christmas 1844 he was compelled to take to his bed, and was fated never to leave his room again. The ensuing Spring, throughout which the poet lay seemingly almost at the last gasp day by day, was a lovely one. At times he was delirious; but mostly quite clear in mind, and full of gentleness and resignation. “Dying, dying,” were his last words; and shortly before, “Lord, say ‘Arise, take up thy cross, and follow me.’” On the 3d of May 1845 he lay dead.

  Hood’s funeral took place in Kensal Green Cemetery: it was a quiet one, but many friends attended. His faithful and loving wife would not be long divided from him. Eighteen months later she was laid beside him, dying of an illness first contracted from her constant tendance on his sick-bed. In the closing period of his life, Hood could hardly bear her being out of his sight, or even write when she was away. Some years afterwards, a public subscription was got up, and a monument erected to mark the grave of the good man and true poet who “sang the Song of the Shirt.”

  The face of Hood is best known by two busts and an oil-portrait which have both been engraved from. It is a sort of face to which apparently a bust does more than justice, yet less than right. The features, being mostly by no means bad ones, look better, when thus reduced to the mere simple and abstract contour, than they probably showed in reality, for no one supposed Hood to be a fine-looking man; on the other hand, the value of the face must have been in its shifting expression — keen, playful, or subtle — and this can be but barely suggested by the sculptor. The poet’s visage was pallid, his figure slight, his voice feeble; he always dressed in black, and is spoken of as presenting a generally clerical aspect. He was remarkably deficient in ear for music — not certainly for the true chime and varied resources of verse. His aptitude for the art of design was probably greater than might be inferred from the many comic woodcut-drawings which he has left. These are irresistibly ludicrous — (who would not laugh over “The Spoiled Child”— “What next? as the Frog said when his tail fell off” — and a host of others?) — and all the more ludicrous and effective for being drawn more childishly and less artistically than was within Hood’s compass. One may occasionally see some water-color landscape-bit or the like from his hands pleasantly done; and during his final residence in England he acted upon an idea he had long entertained, and produced some little in the way of oil-painting. He was also ingenious in any sort of light fancy-work — such, for instance, as carving the scenery for a child’s theatre which formed the delight of his little son and daughter. His religious faith was, according to the writers of the Memorials, deep and sincere, though his opposition to sectar
ian narrowness and spite of all sorts was vigorous, and caused him sometimes to be regarded as anti-religious. A letter of his to a tract-giving and piously censorious lady who had troubled him (published in the same book) is absolutely fierce, and indeed hardly to be reconciled with the courtesy due to a woman, as a mere question of sex. It would be convenient, I may observe, to know more plainly what the biographers mean by such expressions as “religious faith,” “Christian gentleman,” and the like. They are not explained, for instance, by adding that Hood honored the Bible too much to make it a task-book for his children. “Religious faith” covers many very serious differences of sentiment and conviction, between natural theology and historical Christianity; and, on hearing that a man possessed religious faith, one would like to learn which of the two extremes this faith was more nearly conversant with. In respect of political or social opinion, Hood appears to have been rather humane and philanthropic than democratic, or “liberal” in the distinct technical sense. His favorite theory of government, as he said in a letter to Peel, was “an angel from heaven, and a despotism.” He loved neither whigs nor tories, but was on the side of a national policy: war was his abhorrence, and so were the wicked corn-laws — an oligarchical device which survived him, but not for long. His private generosity, not the less true or hearty for the limits which a precarious and very moderate income necessarily imposed on it, was in accordance with the general sentiments of kindness which he was wont to express both in public and private: if he preached, he did not forget to practise.