Essays in English Literature, 1780-1860

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 thereIs English P – , with his mountain FairTurned into a flamingo, that shy birdThat gleams i' the Indian air. Have you not heardWhen a man marries, dies, or turns Hindoo,His best friends hear no more of him? But youWill see him, and will like him too, I hope,With his milk-white Snowdonian AntelopeMatched with his Camelopard. His fine witMakes such a wound, the knife is lost in it;A strain too learnèd for a shallow age,Too wise for selfish bigots; let his pageWhich charms the chosen spirits of his time,Fold itself up for a serener climeOf years to come, and find its recompenseIn 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.

Melincourt, published, and indeed written, very soon after Headlong Hall, is a much more ambitious attempt. It is some three times the length of its predecessor, and is, though not much longer than a single volume of some three-volume novels, the longest book that Peacock ever wrote. It is also much more ambitiously planned; the twice attempted abduction of the heiress, Anthelia Melincourt, giving something like a regular plot, while the introduction of Sir Oran Haut-ton (an orang-outang whom the eccentric hero, Forester, has domesticated and intends to introduce to parliamentary life) can only be understood as aiming at a regular satire on the whole of human life, conceived in a milder spirit than "Gulliver," but belonging in some degree to the same class. Forester himself, a disciple of Rousseau, a fervent anti-slavery man who goes to the length of refusing his guests sugar, and an ideologist in many other ways, is also an ambitious sketch; and Peacock has introduced episodes after the fashion of eighteenth-century fiction, besides a great number of satirical excursions dealing with his enemies of the Lake school, with paper money, and with many other things and persons. The whole, as a whole, has a certain heaviness. The enthusiastic Forester is a little of a prig, and a little of a bore; his friend the professorial Mr. Fax proses dreadfully; the Oran Haut-ton scenes, amusing enough of themselves, are overloaded (as is the whole book) with justificative selections from Buffon, Lord Monboddo, and other authorities. The portraits of Southey, Coleridge, Wordsworth, Canning, and others, are neither like, nor in themselves very happy, and the heroine Anthelia is sufficiently uninteresting to make us extremely indifferent whether the virtuous Forester or the roué Lord Anophel Achthar gets her. On the other hand, detached passages are in the author's very best vein; and there is a truly delightful scene between Lord Anophel and his chaplain Grovelgrub, when the athletic Sir Oran has not only foiled their attempt on Anthelia, but has mast-headed them on the top of a rock perpendicular. But the gem of the book is the election for the borough of One-Vote – a very amusing farce on the subject of rotten boroughs. Mr. Forester has bought one of the One-Vote seats for his friend the Orang, and, going to introduce him to the constituency, falls in with the purchaser of the other seat, Mr. Sarcastic, who is a practical humorist of the most accomplished kind. The satirical arguments with which Sarcastic combats Forester's enthusiastic views of life and politics, the elaborate spectacle which he gets up on the day of nomination, and the free fight which follows, are recounted with extraordinary spirit. Nor is the least of the attractions of the book an admirable drinking-song, superior to either of those in Headlong Hall, though perhaps better known to most people by certain Thackerayan reminiscences of it than in itself: —

The Ghosts In life three ghostly friars were we,And now three friendly ghosts we be.Around our shadowy table placed,The spectral bowl before us floats:With wine that none but ghosts can tasteWe wash our unsubstantial throats.Three merry ghosts – three merry ghosts – three merry ghosts are we:Let the ocean be port and we'll think it good sportTo be laid in that Red Sea.With songs that jovial spectres chaunt,Our old refectory still we haunt.The traveller hears our midnight mirth:"Oh list," he cries, "the haunted choir!The merriest ghost that walks the earthIs now the ghost of a ghostly friar."Three merry ghosts – three merry ghosts – three merry ghosts are we:Let the ocean be port and we'll think it good sportTo be laid in that Red Sea.

In the preface to a new edition of Melincourt, which Peacock wrote nearly thirty years later, and which contains a sort of promise of Gryll Grange, there is no sign of any dissatisfaction on the author's part with the plan of the earlier book; but in his next, which came quickly, he changed that plan very decidedly. Nightmare Abbey is the shortest, as Melincourt is the longest, of his tales; and as Melincourt is the most unequal and the most clogged with heavy matter, so Nightmare Abbey contains the most unbroken tissue of farcical, though not in the least coarsely farcical, incidents and conversations. The misanthropic Scythrop (whose habit of Madeira-drinking has made some exceedingly literal people sure that he really could not be intended for the water-drinking Shelley); his yet gloomier father, Mr. Glowry; his intricate entanglements with the lovely Marionetta and the still more beautiful Celinda; his fall between the two stools; his resolve to commit suicide; the solution of that awkward resolve – are all simply delightful. Extravagant as the thing is, its brevity and the throng of incidents and jokes prevent it from becoming in the least tedious. The pessimist-fatalist Mr. Toobad, with his "innumerable proofs of the temporary supremacy of the devil," and his catchword "the devil has come among us, having great wrath," appears just enough, and not too much. The introduced sketch of Byron as Mr. Cypress would be the least happy thing of the piece if it did not give occasion for a capital serious burlesque of Byronic verse, the lines, "There is a fever of the spirit," which, as better known than most of Peacock's verse, need not be quoted. Mr. Flosky, a fresh caricature of Coleridge, is even less like the original than Mr. Mystic, but he is much more like a human being, and in himself is great fun. An approach to a more charitable view of the clergy is discoverable in the curate Mr. Larynx, who, if not extremely ghostly, is neither a sot nor a sloven. But the quarrels and reconciliations between Scythrop and Marionetta, his invincible inability to make up his mind, the mysterious advent of Marionetta's rival, and her residence in hidden chambers, the alternate sympathy and repulsion between Scythrop and those elder disciples of pessimism, his father and Mr. Toobad – all the contradictions of Shelley's character, in short, with a suspicion of the incidents of his life brought into the most ludicrous relief, must always form the great charm of the book. A tolerably rapid reader may get through it in an hour or so, and there is hardly a more delightful hour's reading of anything like the same kind in the English language, either for the incidental strokes of wit and humour, or for the easy mastery with which the whole is hit off. It contains, moreover, another drinking-catch, "Seamen Three," which, though it is, like its companion, better known than most of Peacock's songs, may perhaps find a place: —

Seamen three! What men be ye?Gotham's three wise men we be.Whither in your bowl so free?To rake the moon from out the sea.The bowl goes trim, the moon doth shine,And our ballast is old wine;And your ballast is old wine.Who art thou so fast adrift?I am he they call Old Care.Here on board we will thee lift.No: I may not enter there.Wherefore so? 'Tis Jove's decreeIn a bowl Care may not be;In a bowl Care may not be.Fear ye not the waves that roll?No: in charmèd bowl we swim.What the charm that floats the bowl?Water may not pass the brim.The bowl goes trim, the moon doth shine,And our ballast is old wine;And your ballast is old wine.

A third song sung by Marionetta, "Why are thy looks so blank, Grey Friar?" is as good in another way; nor should it be forgotten that the said Marionetta, who has been thought to have some features of the luckless Harriet Shelley, is Peacock's first lifelike study of a girl, and one of his pleasantest.

The book which came out four years after, Maid Marian, has, I believe, been much the most popular and the best known of Peacock's short romances. It owed this popularity, in great part, doubtless, to the fact that the author has altered little in the well-known and delightful old story, and has not added very much to its facts, contenting himself with illustrating the whole in his own satirical fashion. But there is also no doubt that the dramatisation of Maid Marian by Planché and Bishop as an operetta helped, if it did not make, its fame. The snatches of song through the novel are more frequent than in any other of the books, so that Mr. Planché must have had but little trouble with it. Some of these snatches are among Peacock's best verse, such as the famous "Bramble Song," the great hit of the operetta, the equally well-known "Oh, bold Robin Hood," and the charming snatch: —

For the tender beech and the sapling oak,That grow by the shadowy rill,You may cut down both at a single stroke,You may cut down which you will;But this you must know, that as long as they grow,Whatever change may be,You never can teach either oak or beechTo be aught but a greenwood tree.

This snatch, which, in its mixture of sentiment, truth, and what may be excusably called "rollick," is very characteristic of its author, and is put in the mouth of Brother Michael, practically the hero of the piece, and the happiest of the various workings up of Friar Tuck, despite his considerable indebtedness to a certain older friar, whom we must not call "of the funnels." That Peacock was a Pantagruelist to the heart's core is evident in all his work; but his following of Master Francis is nowhere clearer than in Maid Marian, and it no doubt helps us to understand why those who cannot relish Rabelais should look askance at Peacock. For the rest, no book of Peacock's requires such brief comment as this charming pastoral, which was probably little less in Thackeray's mind than Ivanhoe itself when he wrote Rebecca and Rowena. The author draws in (it would be hardly fair to say drags in) some of his stock satire on courts, the clergy, the landed gentry, and so forth; but the very nature of the subject excludes the somewhat tedious digressions which mar Melincourt, and which once or twice menace, though they never actually succeed in spoiling, the unbroken fun of Nightmare Abbey.

The Misfortunes of Elphin, which followed after an interval of seven years, is, I believe, the least generally popular of Peacock's works, though (not at all for that reason) it happens to be my own favourite. The most curious instance of this general unpopularity is the entire omission, as far as I am aware, of any reference to it in any of the popular guide-books to Wales. One piece of verse, indeed, the "War-song of Dinas Vawr," a triumph of easy verse and covert sarcasm, has had some vogue, but the rest is only known to Peacockians. The abundance of Welsh lore which, at any rate in appearance, it contains, may have had something to do with this; though the translations or adaptations, whether faithful or not, are the best literary renderings of Welsh known to me. Something also, and probably more, is due to the saturation of the whole from beginning to end with Peacock's driest humour. Not only is the account of the sapping and destruction of the embankment of Gwaelod an open and continuous satire on the opposition to Reform, but the whole book is written in the spirit and manner of Candide– a spirit and manner which Englishmen have generally been readier to relish, when they relish them at all, in another language than in their own. The respectable domestic virtues of Elphin and his wife Angharad, the blameless loves of Taliesin and the Princess Melanghel, hardly serve even as a foil to the satiric treatment of the other characters. The careless incompetence of the poetical King Gwythno, the coarser vices of other Welsh princes, the marital toleration or blindness of Arthur, the cynical frankness of the robber King Melvas, above all, the drunkenness of the immortal Seithenyn, give the humorist themes which he caresses with inexhaustible affection, but in a manner no doubt very puzzling, if not shocking, to matter-of-fact readers. Seithenyn, the drunken prince and dyke-warden, whose carelessness lets in the inundation, is by far Peacock's most original creation (for Scythrop, as has been said, is rather a humorous distortion of the actual than a creation). His complete self-satisfaction, his utter fearlessness of consequences, his ready adaptation to whatever part, be it prince or butler, presents itself to him, and above all, the splendid topsy-turviness of his fashion of argument, make Seithenyn one of the happiest, if not one of the greatest, results of whimsical imagination and study of human nature. "They have not" – says the somewhile prince, now King Melvas's butler, when Taliesin discovers him twenty years after his supposed death – "they have not made it [his death] known to me, for the best of all reasons, that one can only know the truth. For if that which we think we know is not truth, it is something which we do not know. A man cannot know his own death. For while he knows anything he is alive; at least, I never heard of a dead man who knew anything, or pretended to know anything: if he had so pretended I should have told him to his face that he was no dead man." How nobly consistent is this with his other argument in the days of his princedom and his neglect of the embankment! Elphin has just reproached him with the proverb, "Wine speaks in the silence of reason." "I am very sorry," said Seithenyn, "that you see things in a wrong light. But we will not quarrel, for three reasons: first, because you are the son of the king, and may do and say what you please without any one having a right to be displeased; second, because I never quarrel with a guest, even if he grows riotous in his cups; third, because there is nothing to quarrel about. And perhaps that is the best reason of the three; or rather the first is the best, because you are the son of the king; and the third is the second, that is the second best, because there is nothing to quarrel about; and the second is nothing to the purpose, because, though guests will grow riotous in their cups in spite of my good orderly example, God forbid that I should say that is the case with you. And I completely agree in the truth of your remark that reason speaks in the silence of wine."

Crotchet Castle, the last but one of the series, which was published two years after Elphin and nearly thirty before Gryll Grange, has been already called the best; and the statement is not inconsistent with the description already given of Nightmare Abbey and of Elphin. For Nightmare Abbey is chiefly farce, and The Misfortunes of Elphin is chiefly sardonic persiflage. Crotchet Castle is comedy of a high and varied kind. Peacock has returned in it to the machinery of a country house with its visitors, each of whom is more or less of a crotcheteer; and has thrown in a little romantic interest in the suit of a certain unmoneyed Captain Fitzchrome to a noble damsel who is expected to marry money, as well as in the desertion and subsequent rescue of Susannah Touchandgo, daughter of a levanting financier. The charm of the book, however, which distinguishes it from all its predecessors, is the introduction of characters neither ridiculous nor simply good in the persons of the Rev. Dr. Folliott and Lady Clarinda Bossnowl, Fitzchrome's beloved. "Lady Clarinda," says the captain, when the said Lady Clarinda has been playing off a certain not unladylike practical joke on him, "is a very pleasant young lady;" and most assuredly she is, a young lady (in the nineteenth century and in prose) of the tribe of Beatrice, if not even of Rosalind. As for Dr. Folliott, the author is said to have described him as his amends for his earlier clerical sketches, and the amends are ample. A stout Tory, a fellow of infinite jest, a lover of good living, an inveterate paradoxer, a pitiless exposer of current cants and fallacies, and, lastly, a tall man of his hands, Dr. Folliott is always delightful, whether he is knocking down thieves, or annihilating, in a rather Johnsonian manner, the economist, Mr. McQuedy, and the journalist, Mr. Eavesdrop, or laying down the law as to the composition of breakfast and supper, or using strong language as to "the learned friend" (Brougham), or bringing out, partly by opposition and partly by irony, the follies of the transcendentalists, the fops, the doctrinaires, and the mediævalists of the party. The book, moreover, contains the last and not the least of Peacock's admirable drinking-songs: —