Carlyle alone of all the critics was unstinted, though rather patronizing, in his praise. Writing to FitzGerald, he says:
Like yourself I have gone through Spedding, seven long long volumes, not skipping except when I had got the sense with me, and generally reading all of Bacon’s own that was there: I confess to you I found it a most creditable and even surprising Book, offering the most perfect and complete image both of Bacon and of Spedding, and distinguished as the hugest and faithfullest bit of literary navvy-work I have ever met with in this generation. Bacon is washed down to the natural skin; and truly he is not, nor ever was, unlovely to me; a man of no culpability to speak of; of an opulent and even magnificent intellect, but all in the magnificent prose vein. Nothing or almost nothing of the “melodies eternal” to be traced in him. There is a grim strength in Spedding, quietly, very quietly invincible, which I did not quite know of till this Book; and in all ways I could congratulate this indefatigably patient, placidly invincible and victorious Spedding.
But for the last eight years he had given up his rooms in Lincoln’s Inn Fields and gone to live with his nieces at 80 Westbourne Terrace, where he remained till his death. Thompson, in succession to Dr. Whewell, had been appointed Master of Trinity, and in writing to congratulate him Spedding says:
I was not unprepared for your news, having just returned from Kitlands, where the Pollocks were, and the rumour was under discussion and generally thought to be well-founded, and the thing if true very much rejoiced over. I have great pleasure in adding my own congratulations, as well to yourself as to Trinity. It was all that was wanted to make one of the last acts of Lord Russell a complete success. I should be very glad to think that I had as much to do with it as you suppose: but I was only one of many, and not by any means the most influential, and as the thing is done, no matter how it was brought about.
I am myself preparing for a shift of position, though the adventure is of a milder kind. My nephew (J. J. S.) is going to be married within a month or so: and it has been settled that he is to live at Greta Bank, and that the rest of the party now living there are to take a house in London: where I am invited to join them, with due securities for liberties and privileges. Though the exertion incident to dislodgment from quarters overgrown with so many superfetations of confusion and disorder, is formidable to contemplate, the proposed arrangement is so obviously convenient and desirable, that I am going to encounter it. And though the place is not yet settled, it seems probable that before the end of the year I shall be transferred or transferring myself and my goods to the western part of London, and preparing to remodel my manners and customs (in some respects) according to the usages of civilized society. Though I shall live among women, they will be women of my own house, and therefore not worshippers, which is a great advantage, and though there may be some danger for an obedient uncle in being where he can always be caught, I hope to be able to preserve as much independence as is good for a man.
I have four proof sheets to settle, and have just been interrupted by an engraver with a proof [of] the D. of Buccleugh’s miniature of Bacon, which will be the best portrait that has yet been done of him in black and white.
This was the miniature which was reproduced at the beginning of the third volume of the Life and Letters, and which Spedding regarded as the original of Van Somer’s portrait.
The following letter to Tennyson, written in 1870, is necessary to the full understanding of Tennyson’s reply (see Memoir by his Son):
My dear Alfred — I do not know where you are, and I want to know for three reasons: 1st, that I may thank you for your book; 2nd, that I may send you mine; 3rd, that I may let you know, if you do not know it already, that there has been a box here these many weeks, which is meant for you and comes from FitzGerald.
A copy of your new volume came early from the publisher, yet not so early but that it found me already half way through. I was happy to observe that neither years nor domestic happiness have had any demoralizing effect upon you as yet. Your touch is as delicate and vigorous and your invention as rich as ever: and I am still in hope that your greatest poem of all has not yet been written. Some years ago, when you were in want of a subject, I recommended Job. The argument of Job, to be treated as you treat the legends of Arthur, as freely and with as much light of modern thought as you find fit. As we know it now, it is only half intelligible, and must be full of blunders and passages misunderstood. Probably also the peculiar character of the oriental style would at any rate stand in the way and prevent it from producing its proper effect upon the modern and western mind. Yet we can see through all the confusion what a great argument it is, and I think it was never more wanted than now. If you would take it in hand, and tell it in verse in your own way, without any scruples about improving on Scripture, I believe it would be the greatest poem in the language. The controversy is as much alive to-day in London as it could ever have been in the place where and the time when it was composed, of which, as the author, I am altogether ignorant. And the voice out of the whirlwind may speak without fear of anachronisms.
My own book, though there is only one volume this time, is much bigger than yours. It is wrapped up ready to go by the book-post, and only wants to know to which of your many mansions it is to be directed.
Fitz’s box, which is about as large as a tailor’s box for a single suit, contains a drawing of Thackeray’s, an illustration of the “Lord of Burghley,” a pretty sketch of the landskip-painter and the village maiden. He sent it here under the vain delusion that whenever you happened to come to London I should be sure to know. And I presume he sent word to you of what he had done, for he did not ask me to communicate the fact. I was only to write to him in case the box did not arrive, and as the box did arrive I did not write. If you will let me know what you wish to be done with it, I will do with it accordingly.
There is a line in your last volume which I can’t read: the last line but one of the “flower in the crannied wall.”
In the course of the same year he edited the Conference of Pleasure, written by Bacon for some masque or festive occasion, and printed from a MS. belonging to the Duke of Northumberland which had been slightly injured by fire. FitzGerald, in a letter to me, says of it:
Spedding’s Introduction to his grilled Bacon, I call it really a beautiful little Idyll, the mechanical Job done so perfectly and so elegantly.
But while he was engaged in the great labour of his life he found time to write beautiful pieces of criticism on Shakespeare to which FitzGerald would willingly have had him devote his whole attention. “I never heard him read a page,” he writes to Sir Frederick Pollock, “but he threw some new light upon it.” In the Gentleman’s Magazine for August 1850 he contributed a paper on “Who wrote Shakespeare’s Henry VIII.?” which he discussed with characteristic thoroughness. His conclusion was that it was the work of two authors, one of whom was Fletcher, and this was confirmed by the investigations of another enquirer, who independently arrived at substantially the same result. The division of the Acts in Much Ado, Twelfth Night, Richard II., and King Lear formed the subject of other discussions, and these he considered his most valuable contribution to the restoration of Shakespeare. A criticism of Miss Kate Terry’s acting in Viola gave him the opportunity of pointing out the corruptions by which the fine comedy, Twelfth Night, has been degraded into farce.
“Spedding says,” FitzGerald writes in 1875 to Fanny Kemble, “that Irving’s Hamlet is simply — hideous — a strong expression for Spedding to use. But — (lest I should think his condemnation was only the Old Man’s fault of depreciating all that is new) he extols Miss Ellen Terry’s Portia as simply a perfect Performance: remembering (he says) all the while how fine was Fanny Kemble’s.”
Again to the same correspondent early in 1880 he says:
By far the chief incident in my life for the last month has been the reading of dear old Spedding’s Paper on the Merchant of Venice, there, at any rate, is one Question settled, and in such a b
eautiful way as only he commands. I could not help writing a few lines to tell him what I thought, but even very sincere praise is not the way to conciliate him. About Christmas I wrote him, relying on it that I should be most likely to secure an answer if I expressed dissent from some other work of his, and my expectation was justified by one of the fullest answers he had written to me for many a day and year.
The paper referred to was “The Story of the Merchant of Venice” in the Cornhill Magazine for March 1880. In sending a copy to Frederick Tennyson he says:
I now post you a paper by old Spedding — a very beautiful one, I think; settling one point, however unimportant, and in a graceful, as well as logical, way such as he is Master of.
A case has been got up — whether by Irving, the Stage Representative of Shylock, or by his Admirers — to prove the Jew to be a very amiable and ill-used man: insomuch that one is to come away from the theatre loving him and hating all the rest. He dresses himself up to look like the Saviour, Mrs. Kemble says. So old Jem disposes of that, besides unravelling Shakespeare’s mechanism of the Novel he draws from, in a manner (as Jem says) more distinct to us than in his treatment of any other of his Plays “not professedly historical.” And this latter point is, of course, far more interesting than the question of Irving and Co., — which is a simple attempt, both of Actor and Writer, to strike out an original idea in the teeth of common-sense and Tradition.
And now came the end, unexpected and the result of an accident, which he maintained was entirely his own fault. In writing to tell me of the fatal result, one of his dearest friends said:
I grieve to tell you that all is over with our dear old friend.... He intended to cross before two carriages — crossed before one — found there was not time to pass before the other, and instead of pausing stepped back under the hansom which he had not seen, and which had not time to alter its course. He spent more strength in exculpating the poor driver than on any personal matter during his illness as soon as he regained memory of the circumstances.
“Mowbray Donne,” says FitzGerald, when all was over, “wrote me that Laurence had been there four or five days ago, when Spedding said, that had the Cab done but a little more, it would have been a good Quietus. Socrates to the last.”
And in another letter:
Tennyson called at the Hospital, but was not allowed to see him, though Hallam did, I think. Some one calling afterwards, Spedding took the doctor’s arm, and asked, “Was it Mr. Tennyson?” Doctors and nurses all devoted to the patient man.
To Fanny Kemble he writes:
It was very, very good and kind of you to write to me about Spedding. Yes: Aldis Wright had apprised me of the matter just after it happened — he happening to be in London at the time; and but two days after the accident heard that Spedding was quite calm, and even cheerful; only anxious that Wright himself should not be kept waiting for some communication which S. had promised him! Whether to live, or to die, he will be Socrates still.
Directly that I heard from Wright I wrote to Mowbray Donne to send me just a Post Card — daily, if he or his wife could, with but one or two words on it—”Better,” “Less well,” or whatever it might be. This morning I hear that all is going on even better than could be expected, according to Miss Spedding. But I suppose the Crisis, which you tell me of, is not yet come; and I have always a terror of that French Adage—”Monsieur se porte mal — Monsieur se porte mieux — Monsieur est—” Ah, you know, or you guess, the rest.
My dear old Spedding, though I have not seen him these twenty years and more — and probably should never see him again — but he lives — his old Self — in my heart of hearts; and all I hear of him does but embellish the recollection of him — if it could be embellished — for he is but the same that he was from a Boy — all that is best in Heart and Head — a man that would be incredible had one not known him.
Again he writes of him to Professor Norton:
He was the wisest man I have known; a great sense of Humour, a Socrates in Life and in Death, which he faced with all Serenity so long as Consciousness lasted. I suppose something of him will reach America, I mean, of his Death; run over by a Cab and dying in St. George’s Hospital to which he was taken, and from which he could not be removed home alive.
“I did not know,” he says in another letter, “that I should feel Spedding’s Loss as I do, after an interval of more than twenty years [since] meeting him. But I knew that I could always get the Word I wanted of him by Letter, and also that from time to time I should meet with some of his wise and delightful Papers in some Quarter or other. He talked of Shakespeare, I am told, when his Mind wandered. I wake almost every morning feeling as if I had lost something, as one does in a Dream; and truly enough, I have lost him. ‘Matthew is in his Grave, etc.’”
In apologizing to Fanny Kemble for not writing to her as usual, he says:
I have let the Full Moon pass because you had written to me so lately, and so kindly, about our lost Spedding, that I could not call on you too soon again. Of him I will say nothing except that his Death has made me recall very many passages in his Life in which I was partly concerned. In particular, staying at his Cumberland Home along with Tennyson in the May of 1835.... His Father and Mother were both alive — he a wise man, who mounted his Cob after Breakfast, and was at his Farm till Dinner at two — then away again till Tea: after which he sat reading by a shaded lamp: saying very little, but always courteous and quite content with any company his Son might bring to the house, so long as they let him go his way: which indeed he would have gone whether they let him or no. But he had seen enough of Poets not to like them or their Trade: Shelley for a time living among the Lakes: Coleridge at Southey’s (whom perhaps he had a respect for — Southey, I mean); and Wordsworth, whom I do not think he valued. He was rather jealous of “Jem,” who might have done available service in the world, he thought, giving himself up to such Dreamers; and sitting up with Tennyson conning over the “Morte d’Arthur,” “Lord of Burleigh,” and other things which helped to make up the two Volumes of 1842. So I always associate that Arthur Idyll with Basanthwaite Lake, under Skiddaw. Mrs. Spedding was a sensible, motherly Lady, with whom I used to play Chess of a Night. And there was an old Friend of hers, Miss Bristowe, who always reminded me of Miss La Creevy, if you know of such a Person in Nickleby.
We will conclude with what his old friend, Sir Henry Taylor, wrote of him after his death:
As he will not read what I write I may allow myself to say something more. He was always master of himself and of his emotions; but underlying a somewhat melancholy composure and aspect there were depths of tenderness known only to those who knew his whole nature and his inward life, and it is well for those by whom he is mourned if they can find what he has described in a letter to be his great consolation in all his experiences of the death of those he loved (experiences which had begun early and had not been few), “that the past is sacred and sanctified; nothing can happen hereafter to disturb or obliterate it; nor need the recollection have any bitterness if a man does not, out of a false and morbid sentiment, make it so for himself.”
And he adds:
To me there are no companions more welcome, cordial, consolatory or cheerful than my dead friends.
ARTHUR HENRY HALLAM
Arthur Hallam reading “Walter Scott” aloud on board the “Leeds,” bound from Bordeaux to Dublin, Sept. 9, 1830.
After Tennyson’s and Hallam’s memorable journey to the Pyrenees in aid of the revolutionary movement
against King Ferdinand of Spain, vividly described by Carlyle in his Life of John Sterling.
Alfred Tennyson (in profile), John Harden and Mrs. Harden (on the left), and the Miss Hardens.
ARTHUR HENRY HALLAM by Dr. John Brown
[The following article, containing the Memoir of Arthur Hallam by his father, Henry Hallam, is reprinted from Horae Subsecivae. — Ed.]
Praesens imperfectum, — perfectum, plusquam perfectum Futurum. — Grotius.
<
br /> The idea of thy life shall sweetly creep
Into my study of imagination;
And every lovely organ of thy life
Shall come apparelled in more precious habit —
More moving delicate, and full of life,
Into the eye and prospect of my soul,
Than when thou livedst indeed.
Much Ado about Nothing.
In the chancel of Clevedon Church, Somersetshire, rest the mortal remains of Arthur Henry Hallam, eldest son of our great philosophic historian and critic, — and the friend to whom “In Memoriam” is sacred. This place was selected by his father, not only from the connection of kindred, being the burial-place of his maternal grandfather, Sir Abraham Elton, but likewise “on account of its still and sequestered situation, on a lone hill that overhangs the Bristol Channel.” That lone hill, with its humble old church, its outlook over the waste of waters, where “the stately ships go on,” was, we doubt not, in Tennyson’s mind when the poem, “Break, break, break,” which contains the burden of that volume in which are enshrined so much of the deepest affection, poetry, philosophy, and godliness, rose into his “study of imagination”—”into the eye and prospect of his soul.”
Break, break, break,
On thy cold gray stones, O Sea!
And I would that my tongue could utter
The thoughts that arise in me.
O well for the fisherman’s boy,
That he shouts with his sister at play!
O well for the sailor lad,
That he sings in his boat on the bay!
And the stately ships go on
To their haven under the hill;
But O for the touch of a vanish’d hand,
Alfred, Lord Tennyson - Delphi Poets Series Page 224