The best of my unpublished MSS. of any size or consequence is perhaps my translation of Book Alpha of the Iliad, quite literal and in its original metre of hexameters: hitherto I have failed to find a publisher kind enough to lose by it; for there are already at least twelve English versions of Homer unread, perhaps unreadable. Still, some day I don't despair to gain an enterprising Sosius; for my literal and hexametrical translation is almost what Carthusians used to call "a crib," and perhaps some day the School Board or their organ, Mr. Joseph Hughes's Practical Teacher, may adopt my version. Its origin and history is this: finding winter evenings in the country wearisome to my homeflock, I used to read to them profusely and discursively. Amongst other books, a literary daughter suggested Pope's Homer; which, as I read, after a little while, I found to be so very free and incorrect a translation (if my memory served me rightly) that I resolved to see what I could do by reading from the original Greek in its own (English) metre. I soon found it quite easy to be both terse and literal; and having rhythm only to care for without the tag of rhyme, I soon pleased my hearers and in some sort myself, reading "off the reel" directly from the Greek into the English.
This version is still unblotted by printer's ink: if any compositor pleases he is welcome to work on the copy; which I can supply gratis: only I do not promise to do more than I have done, Book Alpha. Life is too short for such literary playwork.
Here followeth a sample: quite literal: line for line, almost word for word: my translation renders Homer exactly. I choose the short bit where Thetis pleads with Jove for her irate son, because I am sure Tennyson must have had this passage in his mind when he drew his word-picture of Vivien with Merlin.
Let that suffice with a cætera desunt.
I need not say that I have written innumerable other, translated pieces, from earliest days of school exercises to these present. There is scarcely a classic I have not so tampered with: and (though a poor modern linguist) I have touched—with dictionary and other help, a few bits of Petrarch, Dante, &c.; examples whereof may be seen in my "Modern Pyramid," as already mentioned.
My several publications in pamphlet shape may ask for a page or two,—the chief perhaps (and therefore I begin with it) being my "Hymn for All Nations" in thirty languages, issued at the time of the first great exhibition in 1851, due to a letter I wrote to the Bishop of London on November 22, 1850, urging such a universal psalm. Mr. Brettell, a printer, issued this curiosity of typography: for it has all the strange types which the Bible Society could lend; and several other, versions than the fifty published (some being duplicated) are in a great volume before me, unprinted because neither England, nor Germany, nor America could supply types for sundry out-of-the-way languages contributed by missionaries in the four quarters of the world. My hymn was "a simple psalm, so constructed as scarcely to exclude a truth, or to offend a prejudice; with special reference to the great event of this year, and yet so ordered that it can never be out of season." "This polyglot hymn at the lowest estimate is a philological curiosity: so many minds, with such diversity in similitude rendering literally into all the languages of the earth one plain psalm, a world-wide call to man to render thanks to God." Dr. Wesley and several others contributed the music, and the best scholars of all lands did the literature: the mere printing of so many languages was pronounced a marvel in its way; and I have a bookful of notices, of course laudatory, where it was not possible to find fault with so small a piece of literature. It may be well to give the hymn admission here, as the booklet is excessively scarce.
The title goes—"A Hymn for all Nations," 1851, translated into thirty languages (upwards of fifty versions).
Beside this, I give from memory a list of others of the pamphlet sort, perhaps imperfect:—
1. "The Desecrated Church," relating to ancient Albury,—whereof this matter is remarkable; I had protested against its demolition to Bishop Sumner, and used the expression in my letter that the man who was doing the wrong of changing the old church in his park for a new one elsewhere would "lay the foundation in his first-born and in his youngest son set up its gates" (Josh. vi. 26); and the two sons of the lord of the manor died in succession as seemingly was foretold.
2. "A Voice from the Cloister," whereof I have spoken before.
3. "A Prophetic Ode,"—happily hindered from proving true, only because the Rifle movement drove away those vultures, Louis Napoleon's hungry colonels, from our unprotected shores. There are also in the poem some curious thoughts about the Arctic Circle, its magnetic heat, and possible habitability; also others about thought-reading and the like; all this being long in advance of the age, for that ode was published by Bosworth in 1852. Also, I anticipated then as now—
With plenty of other curious matter. That ode is extinct, but will revive.
4. So also with "A Creed, &c.," which bears the imprint of Simpkin & Marshall, and the date 1870. Its chief peculiarities are summed up in the concluding lines:—
For I believe in some future life for the lower animals as well as for their unworthier lord; and in the immortality of all creation. Some other poems and hymns also are in this pamphlet.
5. My "Fifty Protestant Ballads," published, by Ridgeway, will be mentioned hereafter.
6. "Ten Letters on the Female Martyrs of the Reformation," published by the Protestant Mission.
7 and 8. "Hactenus" and "A Thousand Lines," most whereof are in my "Cithara" and Miscellaneous Poems.
9. A pamphlet about Canada, and its closer union to us by dint of imperialism and honours, dated several years before these have come to pass.
10. Sundry shorter pamphlets on Rhyme, Model Colonisation, Druidism, Household Servants, My Newspaper, Easter Island, False Schooling, &c. &c. Not to mention some serial letters long ago in the Times about the Coronation, Ireland, and divers other topics. Every author writes to the Times.
11. As a matter of course I have written both with my name and without it (according to editorial rule) in many magazines and reviews, from the Quarterly of Lockhart's time to the Rock of this, not to count numerous reviews of books passim, besides innumerable fly-leaves, essayettes, sermonettes, &c. &c., in the Rock and elsewhere.
12. I was editor for about two years of an extinct three-monthly, the Anglo-Saxon: in one of which I wrote nine articles, as the contributions received were inappropriate. I never worked harder in my life; but the magazine failed, the chief reason being that the monied man who kept it alive insisted upon acceptance when rejection was inevitable.
13. Some printed letters of mine on Grammar, issued in small pamphlet form at the Practical Teacher office; and sundry others unpublished, called "Talks about Science," still in MS.
14. "America Revisited," a lecture, in three numbers, of Golden Hours.
15. Separate bundles of ballads in pamphlet form about Australia, New Zealand, Church Abuses, The War, &c. &c.
Besides possibly some other like booklets forgotten.
When I returned in the autumn of 1855 from my principal continental tour, wherein for three months I had conducted my whole family of eleven (servants inclusive) all through the usual route of French and Swiss travel,—I committed my journal to Hatchard, who forthwith published it; but not to any signal success,—for it was anonymous, which was a mistake: however, I did not care to make public by name all the daily details of my homeflock pilgrimage. The pretty little book with its fine print of the Pass of Gondo as a frontispiece, nevertheless made its way, and has been inserted in Mr. Gregory's list of guide-books as a convenience if not a necessity to travellers on the same roads, though in these days of little practical use: indeed, wherever we stopped, I contrived to exhaust, on the spot all that was to be seen or done, with the advantages of personal inspection, and therefore of graphic and true description. The book has been praised for its interest and includes divers accidents, happily surmounted, divers exploits in the milder form of Alpine climbing (as the Mauvais Pas, which I touch experimentally at the end of Life's Lessons, in "Proverbial Philosophy," Series IV.), divers grand sights, as the Great Exhibition, close to which we lived for some weeks in the Champs Élysées, and many pleasant incidents, as greetings with friends, old and new, and other usual memorabilia. Among these let me mention the honest kindliness of Courier Pierre,—always called Pere by my children, with whom he was a great favourite—the more readily because he has long gone to "the bourne whence no traveller returns," so he needs no recommendation from his late employer. This, then, I say is memorable. At Lucerne, as my remittance from Herries failed to reach me, I seemed obliged to make a stop and to return; but Pierre objected, saying it was "great pity not to pass the Simplon and see Milan,—and, if Monsieur would permit him, he could lend whatever was needful, and could be paid again." Certainly I said this was very kind, and so I borrowed at his solicitation:—it was £100, as I find by the journal; our travel was costing us £40 a week. Well, to recount briefly, when, after having placed in our repertoire Bellinzona, Como, Milan, &c. &c., I found myself at Geneva, and with remittances awaiting me, my first act was to place in Pierre's hands £105,—and when he counted the notes, he said, "Sare, there is one five-pound too many."—"Of course, my worthy Pierre, I hope you will accept that as interest."—"Non, Monsieur, pardon; I could not, I always bring money to help my families:"—and he would not. Now, if that was not a model courier, worthy to be commemorated thus,—well, I hope there are some others of his brethren on the office-books of Bury Street, St. James's, who are equally duteous and disinterested. "Some people are heroes to their valets; my worthy help is a hero to me:" so saith my journal. Here's another extract, after two slight earthquakes at Brieg, and Turtman (Turris Magna);—"Again a bad accident. One of our spirited wheelers got his hind leg over the pole in going down a hill: at once there was a chaos of fallen horses and entangled harness, and but for the screw machine drag locking both hind-wheels we must have been upset and smashed,—as it was, the scrambling and kicking at first was frightful; but Paterfamilias dragged the younger children out into the road, and other help was nigh at hand, and the providential calm that comes over fallen horses after their initiatory struggle was at hand too, and in due time matters were righted: that those two fiery stallions did not kick everything to pieces, and that all four steeds did not gallop us to destruction, was due, under Providence, to the skill and courage of our good Pierre and the patient Muscatelli."—Railways have since superseded all this peril, and cost, and care: and trains now go through the Simplon, instead of "good horses, six to the heavy carriage, four to the light one," pulling us steadily and slowly over it: thus losing the splendid scenery climaxed by the Devil's Bridge: but let moderns be thankful. "Paterfamilias's Diary" has long been out of print, and its author is glad that he made at the time a full record of the happy past, and recommends its perusal to any one who can find a copy anywhere. My friend, the late Major Hely, who claimed an Irish peerage, was very fond of this "Diary," and thought it "the best book of travels he had ever read."
Guernsey is another of the spots where your author has lived and written, though neither long nor much. He comes, as is well known, of an ancient Sarnian family, as mentioned before. As to any writings of mine about insular matters while sojourning there occasionally, they are confined to some druidical verses about certain cromlechs, a few other poems, as one given below—"A Night-Sail in the Race of Alderney,"—and in chief that in which I "Raised the Haro," which saved the most picturesque part of Castle Cornet from destruction by some artillery engineer. Here is the poem, supposing some may wish to see it: especially as it does not appear in my only extant volume of poems, Gall & Inglis. It occurs (I think solely) in Hall & Virtue's extinct edition of my Ballads and Poems, 1853, and is there headed "'The Clameur de Haro,' an old Norman appeal to the Sovereign, 1850":—
When my antiquarian cousin Ferdinand, the historian of "Sarnia" and our "Family Records," saw these lines, he positively made serious objection—while generally approving them—against my saying "six hundred years," whereas, according to him, it was only five hundred and ninety-three! he actually wanted me to alter it, or at all events insert "almost,"—so difficult is it to reconcile literal accuracy with poetical rhyme and rhythm. I seem to remember that he wrote to the local papers about this. However, it is some consolation to know that these heartfelt verses forced the War Office to spare Castle Cornet: the Norman appeal by Haro being a privilege of Channel-Islanders to bring their grievances direct to the Queen in council. As I have continually the honour "Monstrari digito prætereuntium" in the rôle of a "Fidicen," I suppose that poetries in such a self-record as this are not positive bores—they can always be skipped if they are—so I will even give here a cheerful bit of rhyme which I jotted down at midnight on the deck of a yacht in a half-gale off Cherbourg, when going with a deputation from Guernsey to meet the French President in 1850:—
A few more words as to my Sarnian literaria. Victor Hugo, when resident in Guernsey, had greatly offended my cousin (the chief of our clan) by stealing for his hired abode the title of our ancestral mansion, Haute Ville House: and so, when I called on him, the equally offended Frenchman would not see me, though I was indulged with a sight of the bric-à-brac wherewith he had filled his residence, albeit deprived of access to its inmate. Hugo was not popular among the sixties at that time. Since then, Mr. Sullivan of Jersey published on his decease some splendid stanzas in French, which by request I versified in English: so that our spirits are now manifestly en rapport.
I wrote also (as I am reminded) an ode on the consecration of St. Anne's, Alderney, when I accompanied the Bishop to the ceremony: and some memorable stanzas about the decent expediency of the Bailiff and Jurats being robed for official uniform, since ornamentally adopted; but before I wrote they wore mean and undistinguished "mufti."
I had also much to do on behalf of my friend Durham, the sculptor, in the matter of his bronze statue to Prince Albert,—advocating it both in prose and verse, and being instrumental in getting royal permission to take a duplicate of the great work now at South Kensington. My cousin the Bailiff, the late Sir Stafford Carey, dated his knighthood from the inauguration of the statue, now one of the chief ornaments of St. Peter's Port,—the other being the Victoria Tower, also a Sarnian exploit.
Under such a title as this, "My Life as an Author," that author being chiefly known for his poetry, though he has also written plenty of prose, it is (as I have indeed just said) not to be reasonably objected that the volume is spotted with small poems. Still, I must do it, if I wish to illustrate by verse, or other extracts from my writings (published or unprinted), certain places where the said author has had his temporary habitat: now one of these is the Isle of Man,—where I and mine made a long summer stay at Castle Mona. The chief literary productions of mine in that modern Trinacria, whose heraldic emblem, like that of ancient Sicily, is the Three legs of Three promontories, are some antiquarian pieces, principally one on the sepulchral mound of Orry the Dane:—
It was at Castle Mona that I first met Walter Montgomery, who read these very lines to great effect at one of his Recitations, and thereafter produced at Manchester my play of "Alfred." He was, amongst other accomplishments, a capital horseman, and when he galloped over the sands on his white horse, he would jump benches with their sitters, calling out "Don't stir, we shall clear you!" It would have required no small coolness and courage to have abided his charge, and though I saw him do this once, I question if he was allowed to repeat the exploit.
In Douglas was also my artist-friend Corbould, visiting at the romantic place of his relatives the Wilsons, who had to show numerous paintings and relics of John Martin, with whom in old days I had pleasant acquaintance at Chelsea and elsewhere. I remember that on one occasion when I asked him which picture of his own he considered his chef-d'œuvre I was astonished at his reply, "Sardanapalus's death,—and therein his jewels." Martin's Chelsea garden had its walls frescoed by him to look like views and avenues,—certainly effective, but rather in the style of Grimaldi's garden made gay by artificial flowers and Aladdin's gems, à la mode Cockayne. At Bishop's Court too we had a very friendly reception from Bishop Powys, and in fact everywhere as usual your confessor found a cordial author's welcome in Mona.
Sundry of my short lyrics have gained a great popularity: in particular "Never give up," whereof there are extant—or were—no fewer than eight musical settings. Of this ballad, three stanzas, I have a strange story to tell. When I went to Philadelphia, on my first American tour in 1851, I was taken everywhere to see everything; amongst others to Dr. Kirkland's vast institute for the insane: let me first state that he was not previously told of my coming visit. When I went over the various wards of the convalescents, I noticed that on each door was a printed placard with my "Never give up" upon it in full. Naturally I thought it was done so out of compliment. But on inquiry, Dr. Kirkland didn't know who the author was, and little suspected it was myself. He had seen the verses, anonymous, in a newspaper, and judging them a good moral dose of hopefulness even for the half insane, placed them on every door to excellent effect. When to his astonishment he found the unknown author before him, greatly pleased, he asked if I would allow the patients to thank me; of course I complied, and soon was surrounded by kneeling and weeping and kissing folks, grateful for the good hope my verses had helped them to. And twenty-five years after, in 1876, I, again without notice, visited Dr. Kirkland at the same place, scarcely expecting to find him still living, and certainly not thinking that I should see my old ballad on the doors. But, when the happy doctor, looking not an hour older, though it was a quarter of a century, took me round to see his convalescents, behold the same words greeted me in large print,—and probably are there still: the only change being that my name appears at foot. I gave them a two hours' reading in their handsome theatre, and I never had a more intensely attentive audience than those three hundred lunatics. The ballad runs thus,—if any wish to see it, as for the first time:—
I can quite feel what a moral tonic and spiritual stimulant these sentiments would be to many among the thousand patients under Dr. Kirkland's care.
I recollect also now, that once when I read at Weston-super-Mare, with Lord Cavan in the chair, a military man among the audience, on hearing me recite "Never give up," came forward and shook hands, showing me out of his pocket-book a soiled newspaper cutting of the poem without my name, saying that it had cheered him all through the Crimea, and that he had always wished to find out the author. Of course we coalesced right heartily. Some other such anecdotes might be added, but this is enough.
Year by year, for more than a dozen, I have given a harvest hymn to the jubilant agriculturists: they have usually attained the honour of a musical setting, and been sung all over the land in many churches. Perhaps the best of them is one for which Bishop Samuel Wilberforce wrote to "thank me cordially for a real Christian hymn with the true ring in it." There are, or were, many musical settings thereof, the best being one of a German composer.
My "Song of Seventy," published more than forty years ago, has been exceedingly popular; and I here make this extract from an early archive-book respecting it:—"Dr. Stanley, Bishop of Norwich, was so pleased with this said 'Song of Seventy' that he posted off to Hatchards' forthwith (after seeing it quoted anonymously in the Athenæum) to inquire the author's name." It was published in "One Thousand Lines." I composed it during a solitary walk near Hurstperpoint, Sussex, in 1845, near about when I wrote "Never give up."
Of my several ballads upon Gordon (I think there were nine of them) I will here enshrine one, printed in the newspapers of May 1884, and perhaps worthiest to be saved from evanescence:—
This was half prophetic at the time, and we all have grieved for England's Christian hero ever since.
When Lord Shaftesbury's lamented death lately touched the national heart, I felt as others did and uttered this sentiment accordingly:—
I was much touched and pleased with this little anecdote to the purpose. Speaking casually to a bright-looking boy of the Shoeblack Brigade about Lord Shaftesbury (the boy didn't know me from Adam), to find out how far he felt for his lost friend, with tears in his eyes he quoted to my astonishment part of the above, and told me that he and many of his mates knew it by heart, having seen it in some paper. I never said who wrote it (probably he wouldn't have believed me if I had) but left him happy with some pears.
Perhaps I may here add (and all this has been part of "My Life as an Author") a couple of stanzas I wrote, (but never have published till now) on another worthy specimen of humanity, mourned in death by our highest:—
Also, I will here give, as it appears nowhere else, a few lines to a dying brother, for the sake of recording his hopeful last three words:—