V. • ' 
 
L16I— H4I 
 
LEIGH HUNT AS ESSAYIST AND CRITIC 
 
 BY 
 
 ALBERT FRANCIS TRAMS 
 
 A. B. University of Illinois 1905 
 
 THESIS 
 
 SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS 
 FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH 
 IN THE GRADUATE SCHOOL OF THE UNIVERSITY 
 OF ILLINOIS, 1922 
 
 URBANA, ILLINOIS 
 



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PREFACE 
 
 We who have no stomach for the "defeatist'* idea of life as por- 
 trayed in many books current today, passing tomorrow, and extinct 
 the day after, may find pleasant relief in the life and writings of 
 Leigh Hunt. After hutlerizing. Mastersizing, and Anders oni zing suf- 
 ficiently to satisfy ourselves that we have come short of the glory 
 of making ourselves smug, not because we have sinned too much, but 
 because we have not sinned wickedly, grossly, nor enough, we may 
 flush the castor-oil effects from our palates with tne tonic Hunt- 
 ian remedy against the "All is well that ends ill." 
 
 Then, whether at work or at play in the world of literature 
 and life, we shall, I am sure we will, decide that there is neither 
 pleasure nor profit in spending all our time with weeds and stones, 
 with worms, and thorns, and poison ivy. Flowers shall sometimes 
 lure our feet down field-paths growing dusky in the distance; birds 
 calling to birds will quicken memories of old haunts far down in 
 the twilight of forest glades; forgotten gateways will invite us 
 to the Burial-grounds of Genius overhung with quietness and the 
 peace of the Past. Thorn-prick and stone-bruise will undoubtedly 
 be ours along the way, but only because we are unwary. They are 
 but accidents by the way. Happiness, however, is not accident, nei- 
 ther is content; they, and comfort, will come only in the wake of 
 striving and serving. All these came to Hunt because ne strove and 
 served. He had his share of thorn-prick and stone-bruise, for he 
 too was unwary. But his largest portion by far was happiness, and 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/leighhuntasessayOOtram 
 
ii 
 
 content, and comfort; for he had the rare mind, the sweet soul, the 
 striving spirit. And to him who comes asking he will reveal the 
 secret of his own satisfaction. 
 
 Leigh Hunt as a subject for investigation was first suggested 
 to me by Professor Stuart p. Sherman of the University of Illinois, 
 1 have him to thank for the pleasure that has come to me as a re- 
 sult of my study. For helpful suggestions during the early stages 
 of the work I am indebted to Professors H. S. V. Jones and Harry 
 0. Paul, also of the University of Illinois. I wish also to ack- 
 nowledge my indebtedness to Miss Mary Spangler, librarian of the 
 Joliet Township High School for reading the entire manuscript. 
 
 1 am especially glad to record my gratitude to Luther A. Brew- 
 er of Cedar Bapids, Iowa, for his kindness in giving me much side- 
 light information about Leigh Hunt, and for allowing me to examine, 
 and to make use of many rare volumes, and both published and unpub- 
 lished manuscripts of Leigh Hunt. Several of the most interesting 
 of these I have described in the addendum. 
 
 Joliet, Illinois 
 May 10, 1922 
 
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iii 
 
 CONTENTS 
 
 I. LEIGH HUKT: BIOGRAPHICAL 
 
 Youth and education. Dramatic criticism. 
 
 Editorial work. In prison. Poetical works. 
 
 The ''Liberal” and Italy. Back home. "Lord 
 Byron and Some of His Contemporaries.” 
 
 Financial relief. Publications. Death. 
 
 1-14 
 
 II. ATTITUDES AHD TBKDBKCIBS 
 
 The spirit of Hunt's work; warmth, geniality, 
 acuteness, vigor. His wide reading and catho- 
 licity of taste. The two-fold nature of his 
 writings; creative and critical. 
 
 15-E6 
 
 III. HONBSTY AND IDEALS 
 
 Leigh Hunt's humanity. His subjects. His 
 intellectual honesty. His moral honesty 
 and abidingness. 
 
 27-34 
 
 IV. HOME AND FIRESIDE 
 
 Cold mornings. Days by the fire. The real- 
 ities of the unreal. Little children. "Oh, 
 wilderness were paradise enow." "Baser of 
 all woes . " 
 
 35-63 
 
 V. CRITIC AND CENSOR-GENERAL 
 
 Ostentatious impartiality. "Puffing and 
 punning." A moral Quixote. Rules to vio- 
 late. Praise to the praisworthy. Self- 
 appraisal. 
 
 54-62 
 
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 VI. INDICATOR AND TASTER 
 
 Critical and aesthetic appreciation. Imag- 
 ination and Fancy. Critical estimates. 
 '•What is Poetry?” Details and examples. 
 "Wit and Humour.” ”A jewel case of crit- 
 icisms.” Character of the two books. The 
 conclusion. "Who still rules our spirit 
 
 from his urn.” 
 
 63-78 
 
 BIBLIOGRAPHY OF BIBLIOGRAPHIES 
 
 Alexander Ireland. Brimley R. Johnson. 
 
 J. P. Anderson, in Monkhouse’s ”Life of 
 Leigh Hunt.” Roger Ingpen. Additional. 
 
 79-82 
 
 LIST OF BOOKS AND OTHER ITEMS USED IN 
 THE PREPARATION OF THIS THESIS 
 
 Books by Hunt. Biography and criticism 
 
 83-86 
 
 BIBLIOGRAPHY OF LEIGH HUNT CHRONOLOGICALLY 
 ARRANGED 
 
 87-91 
 
 ADDENDUM 92-97 
 
 List of manuscript letters 92-93 
 
 List of manuscripts 93-94 
 
 Items with association interest 94-96 
 
 List of presentation copies 96-97 
 
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I 
 
 LEIGH HUNT; BI0GRAPHI3AL 
 
 YoutJa and education. Dramatic criticism. 
 
 Editorial work. In prison. Poetical works. 
 
 The '•Liberal'* and Italy. Back home. "Lord 
 Byron and Some of His G onteraporar ies . " Fi- 
 nancial relief. publications. Death. 
 
 1784 James Henry Leigh Hunt was born at Southgate, near London, 
 October 19, '‘cradled," he tells us, '’not only in the lap 
 of Nature, which I love, out in the midst of the truly Eng- 
 lish scenery which I love beyond all other." His father 
 was a native of Barbadoes, who, after practicing law in 
 Philadelphia, came to London and gained a reputation as a 
 preacher. For some time he acted as tutor to a Mr. Leigh, 
 after whom the subject of the present study was named. The 
 father had no more capacity to manage money affairs than 
 his son. He went through the Bankruptcy Court, and died 
 (1809) a poor man, at the age of fifty-seven, Leigh Hunt’s 
 mother was the reverse of his father in character. Judged 
 by Leigh Hunt's description, his father was a social ani- 
 mal. His mother, he tells us, had two accomplishments: "a 
 love of Nature and of books... She was diffident in her 
 personal merit, but had great energy of principle." From 
 his father he inherited the incapacity to manage money mat- 
 ters, from his mother the capacity to make sacrifices for 
 a principle. 
 
 Dr. Samuel Johnson died, December 13.* 
 
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 1785 Thomas Warton became poet Laureate. "The Daily Universal 
 Register” was established January 1. (This became ”The 
 Times” in 1788). John Wilson (Christopher North) was born. 
 
 1788 Marianne Kent (afterwards (July 3, 1809) Mrs. Leigh Hunt) 
 was born. Lord Byron was born. 
 
 1791 Leigh Hunt entered Christ Hospital at the age of seven. Of 
 it he says, ”Christ Hospital is a nursery of tradesmen, mer- 
 chants, of naval officers, of scholars; it has provided 
 some of the greatest ornaments of their time... In point of 
 University honors it claims to be equal with the best.” 
 
 1791 Coleridge left Christ Hospital and was entered on the books 
 of Jesus College, Cambridge, as Sizar. J. Wesley died. 
 Boswell published his "Life of Dr. Johnson.” 
 
 1792 Shelley born at Field Place, near Horsham, Sussex, August 4. 
 Sir Josnua Reynolds died. 
 
 1794 Coleridge and Southey hatch the scheme of Pant is ocracy , 
 which was to take them to America as pioneers in a social- 
 istic existence of equality and fraternity. 
 
 1795 Carlyle born. Keats born, October 31. Boswell died. 
 
 1798 Burns died. MacPherson died. Coleridge married Sarah 
 
 Fricker (part of the Pantisocracy scheme). 
 
 1797 Mary Wollstonecraf t Godwin (afterwards second wife of Percy 
 Bysshe Shelley) was born at London, August 30. 
 
 1798 Coleridge travelled in Germany. Publication of the ”Lyri- 
 cal Bal lads . ” 
 
 1799 Hunt Left Christ Hospital. ”I was fifteen,” he says, ”when 
 I put off my band and blue skirts for a coat and neckcloth. 
 
 I was then first Deputy Grecian, and I had the honour of 
 
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going out of the School in the same rank« and for the same 
 reason, as my friend Charles Lamb. The reason was that I 
 hesitated in my speech. It was understood that a Grecian 
 was bound to deliver a public speech before he left the 
 School, and to go into the Church afterwards; and as I 
 could do neither of these things, a Grecian I could not be.'* 
 
 1600 Cowper died. Macaulay was born. Joseph Warton died. 
 
 1601 Ho left shool with the purpose of spreading the pleasures 
 of literature, of resisting tyranny, of diminishing super- 
 stition, of writing poetry. The last of these purposes was 
 made manifest in the publication of his first printed book, 
 ’•Juvenilia.'* He also contributed to the '*Juvenile Library,” 
 and to the **Suropean Magazine” he contributed a little poem 
 called "Melancholy.” 
 
 1601-11 Contributed several poems during 1601 , 1805-11, to the '•Po- 
 etical Register.” 
 
 1802 Contributed to "The Monthly preceptor” an article which at- 
 tracted the attention of one, Elizabeth Kent, who asked a 
 mutual friend, John Robertson, to introduce the author of 
 it to her. Leigh Hunt was brought to the house, and there 
 he met Marianne, £lizabeth*s sister, who afterwards became 
 his wife. 
 
 1803-06 Sometime before this (nobody seems to give the date) Leigh 
 Hunt and Marianne had fallen into a misunderstanding, and 
 the engagement had been broken off; but through the help 
 of Elizabeth the engagement was renewed about April, 1803. 
 
 At the time of the reconciliation Leigh Hunt was clerking 
 in his lawyer brother Stephen*s office. 
 
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 1804- 05 While still clerking for his brother he began contributing 
 
 his first prose essays to the '♦Traveller.'* All of them re-, 
 fleeted his admired models. Goldsmith, Fielding, Smollett, 
 and Voltaire. The essays were signed, '*Mr, Town Junior, 
 Critic and Censor-general.'* ("Mr. Town, Critic and Censor- 
 general" was the pen name of the authors of the "Connois- 
 seur", one of the chipmunk magazines in imitation of the 
 "Spectator . " ) 
 
 1805 About this time he left his brother’s office for a place in 
 the War Office, a place secured for him by Mr. Addington. 
 
 1805- 07 While still in the War Office he began his career as theat- 
 
 rical critic. There were two periods, the first from 1805 
 to 1813, and the second from 1830 to 183£. From 1805 to 
 1807 he contributed criticisms of the stage and actors to 
 "The News," a paper set up by his brother John. These 
 criticisms appeared in book form in 1807. 
 
 1806 John Stuart Mill was born. 
 
 1806 Sdited "Classic Tales." These were published in fifteen 
 parts. Bound in five volumes; the first dated 1806, and 
 the others 1807. According to Alexander Ireland, they were 
 all dated 1807. 
 
 1807 Contributed theatrical criticisms to "The Times" (estab- 
 lished in 1801) Hunt’s friend, Barnes became editor in 1807. 
 
 1808-21 While still at work in the War Office, he became editor of 
 the "Examiner," the first number of which is dated January 
 3, 1806. In order to give his full time to his new duties 
 he resigned his position in the War Office, December 26, 
 
 The "Examiner", of which his brother John was proprietor. 
 

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 1809 
 
 was an outspoken radical Journal. Its chief aims were, re- 
 form in parliament, liberality of opinion in general, and 
 ••fusion of literary taste into all subjects whatsoever , •♦ 
 
 Hunt states that '*It began with no party; but reform soon 
 gave it one.” With a policy like that it was bound to get 
 into trouble. 
 
 The first bout of the "Examiner” with the government came 
 over a comment in the "Examiner” concerning the case of 
 Major Hogan, which had to do with bribery in obtaining pro- 
 motion in the army. The prosecution fell through. 
 
 Now that Leigh Hunt had steady employment with the "Exami- 
 ner" he thought it fit to establish a home of his own. He 
 and Marianne were married July 3. Hunt’s son, Thornton, 
 describes Marianne as a "bride the reverse of handsome, and 
 without accomplishments; but she had a pretty figure, beau- 
 tiful black hair which reached down to her knees, magnif- 
 icent eyes, and a very unusual natural turn for the plastic 
 art. She was ’ an active and thrifty house-wife." She soon 
 became an invalid; but hers was a resolute spirit, bearing 
 up uncomplainingly under every adversity. During the first 
 two years the young couple lived at Beckenham, Zent. In Oct- 
 ober of this year occurred the second prosecution of the 
 "Examiner." But again it escaped. 
 
 This was the "marvelous year"--of births. Among those of 
 note who were born are the following: Tennyson, Gladstone, 
 
 Darwin, Lincoln, Felix Mendelssohn- Bartholdy, Edward Fitz- 
 gerald, Nikolai Gogol, Franz Joseph Haydn, Frances Anne 
 Kemble, Poe, O.W. Holmes, Mrs, Browning, Chopin, Calvin. 
 
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 1609 Leigh Hunt's father died. 
 
 1810-12 Hunt became editor of the "Reflector," a literary quarterly 
 ventured by his brother John. It was much the same in nature 
 and in creed as the "Sxaminer." It contained the first ver- 
 sion of "The Feast of the Poets;" and in the final install- 
 ment appeared "A Day By the Fire," which Mr, Kent character 
 ices as "light and frothy as a whipped syllabub." It is per 
 haps the most characteristic of those colloquial essays in 
 the writing of which Leigh Hunt stands alone. The "Reflec- 
 tor was discontinued after the fourth number, 
 
 1811 But trouble was brewing for the Hunts. John Scott had writ- 
 ten an article against flogging, and the Hunts quoted it in 
 the "Examiner." For this they were prosecuted the third 
 time. Again they were acquitted, but for the last time. It 
 was during this year that Hunt first resided at Hampstead, 
 where he remained until his prosecution in 1613. 
 
 1812 Robert Browning was born. Dickens was born. Horne Tooke died 
 
 1813-15 The article for which Leigh Hunt and his brother John were 
 
 prosecuted, appeared in the Examiner for March 12, 1612. 
 
 They were fined 500 pounds each and sentenced to separate 
 gaols for two years (from February 3, 1813 to February 3, 
 1815^. This imprifionment was unfortunate for Leigh Hunt so 
 far as his health was concerned; but so far as making him- 
 self known, and gaining friends, a better way could not have 
 been devised. He was regarded as a martyr. Among those who 
 visited him were Moore, Byron, Hazlitt, Charles and Mary 
 Lamb, pitman, Mitchell, Barnes, and Bentham; and he corres- 
 ponded with his "friend of friends," Shelley, won the ad- 
 
1 ? 
 
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miration of Keats, and made his position as the protector 
 of liberty secure. It was not long before his family was 
 allowed to remain with him in prison. He Kept a garden, 
 grew flowers, beautified the walls of his rooms with pic- 
 tures, installed a pianoforte, entertained his friends, 
 wrote poetry and prose, edited the "Examiner,** and enjoyed, 
 except for ill health, two of the happiest years of his life 
 Here was born his eldest daughter Mary Florimel (afterwards 
 Mrs. Gliddon) 
 
 181£ Hunt left prison February 3, and went to reside at Bdgware 
 Road, where he was visited by Byron and Wordsworth, Words- 
 worth*s solemnity stood in the way of a full understanding 
 between Hunt and himself. Says Hunt, "there are good-hum- 
 oured warrants for smiling which lie deeper even that Mr. 
 
 Wordsworth* s thoughts for tears." They did not meet again 
 
 / 
 
 for thirty years. 
 
 1816 Hunt removed to Hampstead (in the Vale of Health, as Hunt 
 called it) for the benefit of the air. Here he was fre- 
 quently visited by Shelley. The exact date of their first 
 meeting has not been ascertained, but it was probably some- 
 time between March, 1812, and February, 1813. The lasting 
 friendship was cemented during the trials connected with 
 the sj^nlicide of Shelley* s first wife, Harriet, and the pro- 
 ceedings instituted by Shelley to obtain possession of his 
 children after Harriet* s death. Hunt gave Shelley as much 
 sympathy and support during it all as it is possible for one 
 fellow being to extend to another whom all the world has 
 deserted. This was also, according to the best evidence 
 
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 obtainable, the year, probably the winter, in which Hunt 
 met Keats. 
 
 1817 In this year Hunt left Hampstead for Lisson Grove North, 
 where he resided at No. 13. He did not remain long. 
 
 1818 After leaving Lisson Grove, he resided at 8, York Buildings, 
 New Road. It was here, according to Hunt, that he first 
 met Keats; but Hunt is probably wrong. 
 
 1819 Hunt became editor of '*The Indicator," (October 13, 1819 to 
 March 31, 18£1) the "most racy and delectable of all his 
 periodicals," During this year he began "The Literary Pock- 
 et-Book, (1619-1822) an annual intended "to furnish a pock- 
 et memorandum book for intellectual observers and persons 
 
 of taste," Percy Hunt born. 
 
 1819 Percy Florence Shelley born, at Florence, Italy, November 
 
 12 . 
 
 1820 
 
 1821 
 
 While residing at 13, Mortimer Terrace, Kentish Town (April 
 6 to August 23} Keats was moved to Hunt's home to be nursed 
 in his all but final illness. Unfortunately a misunderstand- 
 ing arose. Keats accused Hunt of breaking a seal on a let- 
 ter addressed to himself from Fanny Brawne . Keats left in 
 anger, but later found out that he had accused Hunt unjust- 
 ly. They became somewhat reconciled. In September of the 
 same year Keats left for Rome with Severn. The Prince Re- 
 gent, whom the Hunts had libeled(^) becomes George IV. 
 
 Hunt removes to the Vale of Health, Hampstead, On November 
 15 he and his family, at the request of Shelley and Byron, 
 set sail for Italy, where Hunt is to become editor of a new 
 
 magazine, "The Liberal," planned by Byron and Shelley, The 
 
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9 
 
 boat on which the Hunts set sail was overtaken by storms and 
 bad weather and compelled to lay over at Ramsgate for three 
 weeks. They sailed again, and reached Partbouth with great 
 difficulty. From there they went to Plymouth, where they 
 had to remain until Way 13, 1822. ^hile at Plymouth, Hunt, 
 '*the privatest of all public men," found himself compliment- 
 ed to his pleasurable embarrasment by the presentation of a 
 silver cup by some friends of the "Examiner." 
 
 1621 Keats died, February 23. 
 
 1322 Leigh Hunt, his wife and seven children, again sailed for 
 
 Italy, May 13, They arrived at Genoa in June. On the 28 
 they sailed for Leghorn and landed there on July 1. Seven 
 and one half months from London to Leghorn! (Those who are 
 superstitious, may find cause for Hunt's misfortune in the 
 recurrence of the figure 13 in many of his undertakings) 
 
 The voyage had been undertaken with a good deal of hope and 
 fear. Upon his arrival in Italy, Hunt called on Byron at 
 Monte Nero. After his return from the visit to Byron, Shel- 
 ley, who was living in Villa Magna, Lerici, came to see him. 
 Together they went to Pisa, which was the town abode both 
 of Shelley and Byron. By previous agreement it had been 
 arranged that Hunt should occupy the ground floor of Byron's 
 house, the Casa Lanfranchi. After Shelley had seen Hunt 
 well settled, he, together with his friend Captain Williams, 
 and a seaman named Charles Vivian, set sail on the return 
 to Lerrichi. All three occupants of the boat were drowned. 
 Shelley's body was cremated August 16. The ashes were pre- 
 served and buried in the Protestant Cemetery at Rome--the 
 

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 spot of which Shelley had written, "It might make one in 1 
 love with death, to think that one should be buried in so 
 sweet a place . 
 
 18£2»23 Hunt edited **The Liberal,'* which ceased publication after 
 the fourth number* 
 
 18E3 After the death of Shelley, Byron’s interest in "The Liber- 
 al" waned, and Hunt was left to struggle with it alone. The 
 sales fell off, and the "Liberal" was finally abandoned. 
 After Byron left for Greece, July 13, Hunt left Genoa for 
 Florence. He lived mainly at Maiano, about two miles from 
 the city, on the Fiesolan Hills, It was here that Hunt made 
 the acquaintance of Landor. His favorite son, Vincent, was 
 born at Albaro. Hunt, at this time, was supporting himself 
 by contributions to the "Literary Examiner," and other per- 
 iodicals . 
 
 18£4 Leigh Hunt and his brother John had a misunderstanding about 
 the proprietary rights in "The Examiner," Except for this 
 slight misunderstanding (serious for the time) the two 
 brothers were greatly devoted to each other throughout their 
 lives. Lord Byron died at Missolonghi, Greece, March 19. 
 
 1825 From Maiano, where he had spent "a very disconsolate time," 
 Hunt and his family set sail for England, September 10. He 
 arrived in London, October 14, and settled down for steady, 
 but not very lucrative work, at Highgate. 
 
 1826 Leigh Hunt’s old enemy, Gifford, died. 
 
 1827 Swinburne Hunt, aged about 7, died. 
 
 1828 Resided at Epsom. Incurred the ill-will of Byron’s admirers 
 by publishing "Lord Byron and Some of His Contemporaries." 
 
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 1828 Edited the ••Companion,'* January 9 to July 23, similar in 
 contents to the '»Indicat or . '• It ran through 28 numbers. 
 
 1830-32 Resided at Brompton. After the failure of ’’The Companion,'* 
 Hunt started, June 5, the '♦Chat of the Week**; after the sev- 
 enth number the weekly was enlarged, and because it printed 
 what was characterized as '*news'*, it became subject to the 
 stamp tax. But this it could not afford, so it was changed 
 to a daily, and became '♦The Tatler.'* Hunt wrote almost the 
 entire paper himself from September 4, 1830 to February 13, 
 1832. The work undermined his health permanently. It was 
 after the failure of '*The Tatler'* that he wrote, '♦If you ask 
 me how it is that I bear up under all this, I answer, that 
 I love nature and books, and think well of the capabilities 
 of human kind. I have known Shelley, I have known my moth- 
 er. *♦ George IV was succeeded by William IV. Hazlitt died. 
 
 1831 Resided at Elm Tree Road, St. John*s Wood 
 
 1832 Resided at 5, York Buildings, New Road . Granted 200 pounds 
 out of the Royal Bounty. Walter Scott died. 
 
 1833- 40 Resided at 4, Upper Cheyne Row, Chelsea, till 1840. Of the 
 
 neighborhood Hunt says, '♦the air was so refreshing, and the 
 quiet of the *no- thor oughf are * so full of repose, that al- 
 though our fortunes were at the very worst, and my health 
 almost at a piece with them, I felt for some weeks as if I 
 could sit still forever, embalmed in silence.'* 
 
 1834- 35 Established '*Leigh Hunt*s London Journal.'* The object of 
 
 this, according to Hunt, was, '*to put more sunshine into the 
 feelings of our countrymen, more good-will and good humour, 
 a greater habit of being pleased with one another and with 
 

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12 
 
 everything. 
 
 1834 Coleridge and Charles Lamb died. Wm. Morris birvi^ 
 
 1837-38 Editor of the ’‘Monthly Repository.” 
 
 1837 Accession of Queen Victoria. 
 
 1840-51 Resided at 32, Bdwardes Square, Kensington. 
 
 1840 Madame D'Arblay died. Austin Dobson and Thomas Hardy born. 
 
 1843 Southey (poet-laureate) died. Macaulay suggested Leigh 
 Hunt for the laureatship, but Wordsworth succeeded Southey. 
 
 1844 A pension of 120 pounds a year was offered him by Sir Percy 
 Shelley, and accepted. T. Campbell died. 
 
 1847 Through the efforts of Lord John Russell, Macaulay, and Car- 
 lyle, Hunt was granted an annual pension of 200 pounds. 
 Previous to this he had enjoyed two separate grants of 200 
 pounds each, one from William IV, and the other from Queen 
 Victoria, Shortly before the grant of the Royal pension, 
 Dickens had put on foot the project for the performance of 
 '♦Bvery Man in His Humour,” for Hunt's benefit. Among those 
 interested in the scheme were Dickens, Forster, Leech, Mark 
 Lemon, Cruikshank, Talfourd, Bulwer Lytton, Douglas Jerrold, 
 and Ceorge Henry Lewes. From the performances Hunt realized 
 about 400 guineas. Mary Lamb died. 
 
 j « 
 
 1848 Hunt's brother John died, September 7. Emily Bronte died. 
 
 1849 Edgar A. Poe, Hartley Coleridge, and Maria Edgworth died, 
 1850-51 Hunt became editor of "Leigh Hunt's Journal," December 7, 
 
 and continued editor until March 29, 1851, when it ceased 
 publication. Wordsworth died. Hunt became a candidate for 
 the poet laureatship, but withdrew in favor of Tennyson 
 Resided at 2, Phillimore Terrace, Kensington. Made a visit 
 
 1851 
 

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13 
 
 to Bwoll for the benefit of Vincent’s health. Hunt himself 
 was very ill at this time. Mrs. Shelley (Mary) died. 
 
 185<i Resided at 7, Cromwell Road, Hammersmith. Here he lived the 
 rest of his days. Hunt and his friends suffered annoyance 
 by the general recognition of himself as the original of 
 Harold Skimpole in Dickens’s novel ’’Bleak House.” The char- 
 acture cast a slur upon his honesty. It was unjust, and un- 
 justifiable. But Dickens maintained that he had intended 
 no slur, had not dreamed, in fact, that the less desirable 
 qualities of Harold Skimpole would be attributed to Leigh 
 Hunt. Vincent Hunt died. The death of this youngest, and 
 favorite son, affected Leigh Hunt very deeply. Thomas 
 Moore died. 
 
 1857 Mrs. Leigh Hunt died. Her death made him feel "to belong 
 
 // 
 
 as much to the next world as to this. 
 
 1859 From January 15 to August 20, he contributed 15 papers to 
 "The Occasional" in "The Spectator." He had almost com- 
 pleted the final revision of his "Autobiography" when he 
 died at Putney, August 28, aged 74 years and 10 months. 
 Sweetness of temper, indomitable love and forgiveness, pious 
 hilarity, and faith in the ultimate triumph of good, are the 
 humane and noble qualities for which we love Leigh Hunt, 
 
 In accordance with the wish Leigh Hunt had often expressed, 
 he was burled in Eensal Creen Cemetery, of which he had said, in 
 connection with the burial there of his son Vincent, "my own final 
 bed-chamber, I trust, in this world, towards which I often look in 
 
■7 
 
 
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14 
 
 my solitary walks, with eyes at once most melancholy, yet consoled.*' 
 
 On October 19, 1669, a monument to Leigh Hunt was inaugu> 
 
 rated by Lord Houghton. The fund had been started at the sugges- 
 
 tii>n of S. C« Hall, and been subscribed to by a large number of ad- 
 
 mirers and friends, both in England and America. Among those who 
 had contributed were Robert Browning (Chairman), John Bright, Thomas 
 Carlyle, Charles Dickens, Lord Houghton, Lord Lytton, John Ruskin, 
 Bari Russell, B. W, Proctor, Sir Percy Shelley, Alfred Tennyson, 
 and C« S. Hall. According to Thornton Hunt, the monument consists 
 of a pedestal decorated with the design of a '*Jar of Honey,** and 
 surmounted with a bust of the essayist, executed by Mr. Joseph Dur- 
 ban, A. R. A. The inscription contains the fourteenth line of his 
 poem, best known of all, "Abou Ben Adhem": 
 
 "WRITE MB AS OKE WHO LOVES HIS FELLOW MER. " 
 

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15 
 
 II 
 
 ATTITUDES AO TEOENCIBS 
 
 The spirit of Hunt’s work; warmth, geniality, 
 acuteness, vigor. His wide reading and catho- 
 licity of taste. The two-fold nature of his 
 writings: creative and critical. 
 
 Ask who Leigh Hunt was, and those whom you question will in- 
 variably a&swer: '’Leigh Hunt? Oh, yes, I know him; he’s the man 
 who wrote that poem about ^Abou Ben Adhem.''^ And if, among those 
 whom you ask, there happens to be a lover of "vers de societe", he 
 may venture, "Yes, and didn’t he write that little rondeau, 
 
 ’Jenny kissed me when we met. 
 
 Jumping from the chair she sat in; 
 
 Time, you thief, who love to get 
 
 Sweets into your list, put that in; 
 
 Say I’m weary, say I’m sad. 
 
 Say that health and wealth have missed me. 
 
 Say I’m growing old, but add, 
 
 Jenny kissed me.’" 
 
 Knowledge concerning LAigh Hunt and his writings does not extend 
 very far beyond the hazy information about the two poems just men- 
 tiot^d. Once in a rare while the response to the question will in- 
 clude "The Glove and the Lions." This is not as it should be. For 
 Leigh Hunt at his best is worth knowing; and his best is not in 
 his poems, but in his essays and in, what we may call for the want 
 of a better term, his criticisms. 
 
 The Hunt of popular conception is not the Hunt he himself 
 would have chosen to be. Except that he wanted to be known as a 
 poet, his purpose was "only to teach and be taught, or if that be 
 
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16 
 
 too praeumptuouB a saying, to loam and compare notes. Under 
 this general statement of purpose may be included almost erery- 
 thiag that Leigh Hunt wrote. It will exclude only the avowedly 
 trivial and what is merely entertaining; and even that was writ- 
 ten with an eye to one "who loved his fellow men." 
 
 In fact there is a spitit of companionableness about all that 
 he wrote, a determination to be sympathetic with all, and thank- 
 ful for even the little sweets of life. Bead where we may, we shall 
 find there all that a glowing wit, a genial humor, a playful imag- 
 ination, a deep sincerity can provide for human pleasure and human 
 betterment. This, and more^he has put into words with the magic 
 of his personality. 
 
 If Leigh Hunt does not discover for us tongues and books and 
 sermons and good in all the world about us; if he does not pro- 
 mote our happiness, minister to our appreciation of order and beau- 
 ty, "open more widely the door of our library, and more often the 
 
 2 
 
 window of the library looking out upon nature," then we have miss- 
 ed the essentially human, rich and inclusive nature of his liter- 
 ary mission. It is not matter that he is anxious to convey; rath- 
 er it is the spirit of what he brings that is important in his es- 
 timation. And not only is the spirit ^ what he wrote important; 
 the spirit which he wrote it is even more essential for us to 
 catch. On nearly every page of his many books we shall find evi- 
 
 lj> "An Attempt of the Author to Bstimate his Own Character", in 
 his "Autobiography" ed. by Ingpen. Vol. II, page 268. 
 
 2. Thornton Hunt in the "introduction" to the "Autobiography" ed- 
 ited by him in 1660. Smith, Elder Co. 
 
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 denoes of the oharming intlmaoy* the tender pathos, and the 
 
 3 
 
 kindly humanity that ought to arouse and stimulate to generous 
 activity those deeplying sympathies in every heart, which too oft- 
 en are languid and inert in the dally intercourse with our fel- 
 lows . 
 
 To be sure, Leigh Hunt was not alone in his possession of 
 warmth and geniality. There were others besides him who looked 
 full tenderly into the face of every man, and woman, and child; 
 but it is only from his lips that we hear falling incontinently 
 and sincerely the **Ah, benedlcite . ** A few too may have had the 
 social full-heartedness , Shelley for example; the pathetic sweet<v 
 ness, as witness Cowley; the love of old stories, old memories, 
 and far hopes, as those of Lamb; but they did not have the gen- 
 ial personality that charms, the companionship that confides. 
 
 So we feel, sometimes, that the gentleness and charity that 
 thinketh no evil, so prevalent in his written utterances, is a 
 cloaked weakness, a lack of courage, of manliness? There may be 
 grounds for such feeling. He tells us, in fact, that he is not a 
 courageous man. **My fr lends, he says, "will be surprised ... 
 when 1 tell them (and I suffer inexpressible pain in the telling 
 it) that I am not a courageous man, 1 feel as if the respect of 
 one sex, and the love of the other, were forsaking me when 1 say 
 so; but they ought not; and this reflection re-assures me. Tes-- 
 
 1. "A Day By the Fire." Art. XX. Reflector for 1812. 
 
 8, "Deaths of Little Children." Indicator for April 5 
 
 3. "A Visit to a Zoological Carden." in Men, Women, and Books. 
 
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18 
 
 ciroums tances , known only to myself, haTe shown me that the organ- 
 isation I was horn with has been weakened, by subsequent oares and 
 demands upon it, into a mortifying destitution of physical courage. 
 ••• But I have great moral courage. Allow me a pale face and a 
 little reflection; and as there is scarcely a danger in life which 
 I have not hasarded, so there is none 1 could not go through with 
 in a good cause. **^ Physical courage is very often moral weakness. 
 
 It is easier for some to jump on pointed spikes than to face taunts 
 of cowardice, easier to undergo physical punishment than to tell 
 a truth. We need but measure our mistrust of Hunt's strength with 
 our knowledge of his practiced courage, and we shall not long be- 
 lieve that he lacked moral fibre when moral fibre was needed to 
 maintain his principles and his convictions in the face of opposi- 
 tion. He had principles and convictions, and moral courage in 
 abundance to maintain them. In the days when liberal opinions were 
 a dangerous possession, he held them and expressed them in no un- 
 certain terms. He spoke straight from conviction, firmly and with- 
 out fear. For his temerity he suffered with calm constancy an im- 
 prisonment of two years which by slight submission he could easily, 
 
 2 
 
 and without any great violence to his principles, have evaded. 
 
 But we are glad he did not evades his mission was to "teach.** And 
 unless the ideals formulated in words are worked out in deeds we ma;i 
 not be convicted of their verity. But so convicted we accept them 
 as an inheritance. The worshiper of physical heroism will find 
 
 1, Quoted by B.B. Johnson in his "Leigh Hunt," p. 139. 
 
 2 , "Autobiography." Revised by Thornton Hunt, p. 208. See also 
 "Leigh Hunt’s Correspondence," vol, I, pages 69-98, for inter- 
 esting side lights on his life in prison. His prison period ex- 
 tended from 3rd Feb., 1813 to 3rd Feb. 1815. 
 

 I 
 
 
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19 
 
 very little in Leigh Hunt to emulate; but if practical application 
 of ethical principles, and moral obligations unhesitatingly and 
 vigorously perf ormed^have any claim on hero worshipers, then he will 
 be of those who inspire others to take heart again. 
 
 But it is not only the spirit of Mr, Hunt's work that we not- 
 ice; his wide range and catholicity of taste also attracts our at- 
 tention. Charles Lamb, in a sonnet entitled "To My Friend the In- 
 dicator," hints at the compass of his reading and the universality 
 of his taste. In an anonymous contribution to the "Indicator" (it 
 is signed by four stars) he says: 
 
 Your easy Essays indicate a flow, 
 
 Lear Friend, of brain« which we may elsewhere seek; 
 
 And to their pages I, and hundreds, owe. 
 
 That Wednesday is the sweetest of the week. 
 
 Such observation, wit, and sense, are shewn. 
 
 We think the days of Bickerstaff returned; 
 
 And that a portion of that oil you own. 
 
 In his undying midnight lamp which burned. 
 
 I would not lightly bruise old Priscian's head. 
 
 Or wrong the rules of Grammar understood; 
 
 But, with the leave of Priscian be it said. 
 
 The Indicative is your Potential Mood . 
 
 Wit, poet, prose-man, party-man, translator-- 
 H , your best title yet is INDICATOR.^ 
 
 1. Hunt quotes this sonnet in Ho. LI of the Indicator for Wednes- 
 day, September 27, 1820, in an essay entitled "On Commendatory 
 Yerses," In a characteristic comment upon the sonnet, Mr, Hunt 
 
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 XarH ^iK .xi»aaoti odf ooqa'XnoiiiAoo dilaltolOAiiufo a aL **»a«a*i;AY' 
 
 .•viaaita&K^ 
 
20 
 
 If wo aooept the statement in the thirteenth line of the sonnet as 
 literal fact, and interpret the fourteenth line liberally and sym- 
 pathetically, we have a text for a dissertation on Leigh Hunt that 
 will include nearly everything worth paying about him. To be all 
 that is implied in the last word of Lamb's sonnet, a man must bo 
 familiar with a vast field of learning. Proof of such familiarity 
 is evident in the pages of his "Indicator," the "London Journal," 
 the volumes entitled "The Town," "The Old Court Suburb," "A Jar 
 of Honey from Mount Hybla," "A Book for A Corner," "Imagination 
 and Fancy," "Wit. and Humor," "The Wishing Cap Papers," and in 
 many more of his numerous publications. Not only is such proof to 
 be found in his printed works; but his contemporaries, friends with 
 whom he was in frequent converse, testify to his literary range. 
 
 Universality was his distinction. Men there were among his 
 contemporaries keener than he, and more brilliant,- Lamb, for ex« 
 ample, and Coleridge, and Hazlitt, and Shelley. Theirs was a rare 
 insight, but into certain limited fields only,- an insight deeper 
 and more see-er like than his. He did not have the pathos of Lamb, 
 could not follow the philosophical lucubrations of Coleridge, fell 
 short of Hazlitt's incisive criticisms, and could only worship the 
 
 says, "Every pleasure we could experience in a friend's approbation 
 we have felt in receiving the following verses. They are from a 
 writer, who of all other men, knows how to extricate a common thing 
 from what is ordinary, and to give it an underlook of pleasant con- 
 sciousness and wisdom. We knew him directly, in spite of his stars. 
 His hand as well as heart betrayed him. (Here he quotes the sonnet) 
 "The receipt of these verses has set us upon thinking of the 
 good-natured countenance, which men of genius, in all ages, have 
 for the most part shown to contemporary writers; and thence, by 
 a natural transition, of the generous friendship they have mani- 
 fested for each other. ... But generosity is natural to the human- 
 ity and the strength of genius." Were the last sentence unquali- 
 fiedly true, Leigh Hunt would be a genius. 
 
fBacCM hUi to tKail ntamoJrldf odf ai •« ^i 
 
 -»»\t t>a« xliisipcfix ••IX bJS ,itoMt Xai»tfl£ 
 
 9Mtl9 JatfS xifllaj <ro BoXJ4J'i*i*n> »?not :fsa»> jrpviuf ew 
 Xi« uti ot .»llt juodA ^1 t#«o BtoSottl XXa^ 
 
 ,it ' " 'T1 ^ 
 
 « »d jM/rm tLMm « «.»#i*oo« «*(<aeaJ to A*tow i««I tiitf a| ftpiXqaii ai tsd9 
 X^inMiUmat iteo^io >oo-»x .aai/si®#! l« 6Xan a xii»iw taltiiutt 
 
 ^ aobao^'^ «|« to arfi ui ti 
 
 -ioX, A** -.rfiMclai; ^iriJfoO AXO •dT" «,a^oT •ifl'* A»|»iiaA‘«*fli»Xoir 
 
 O0l9*ai*«fil« •.itsMO 4 lot iloot 4 <* ,“.»f«!itB )««aH matt x*aav‘\o 
 
 at 4o« ,so aotiSilw ,«?- -,io«as l>a« 
 
 oi tAoiq dooo »l xXoo tfot ai^oiftsatf «ix^ to »t«» 
 
 ■ ' . "I ' ,i> ^ • -I 
 
 dJl» BbatltX .••i7«^OQ»»iao» •id md ii3(to« AoXaitg' A caoi #<i 
 . o^xiAi Bid oi %tLiBBf •••ntivaoa iaotipBit al «a« vA'^oiiv 
 
 , ■ 
 old ^oAA.tiftir rxodi jQ« .ftoXjpflZJiiA «i/l «•« Ai«»tOTtay 
 
 -x« not ♦oaaa tnoflj' boa J #4 i«a#ojj oottanoftfo^ooc 
 
 a*iA*j a ••• anittiX Aoo «<}JiX«AB Afto * <HfBX)Xn*loO^AAA ^oXqfiA 
 
 ji{|| 1 a 4 || aa>-,xlno Bblolt bB^imlt alainpo o<foI /tfxfBlfoX 
 
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 ';• |g" ■' J 
 
 •OJ qlHa'iow’XXao Afaoo Aaa ♦ oisilol Ji t© OTioipnX «’tJtlXa©H to Jtoiit'' 
 
 ooXlaOOiQ^a A ot •oaolnAqA^ JbXqoo'ov ottiBMBiM rnotU*' *«yao^ J 
 
 A 9(Q n Y fiHIA .■*••**• «kalt«BArr«\% ><4* _■ ...X 
 
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 ^aliU nummoo:* 9fBoi%ixB oi %oi «voajC , «!•« t^dSo XXa to' oJtw 
 -ttOO ^AAtA#Xq to <OOXt*A«A tt« H ••!§ oi A9A .YitAftlAlQ ii JAXjA aoit 
 ^XA3s 4id To •il*JA Al ,xX?5#tiA fl»lA irooif #1^ .ooAoiA. t«A a«AA«0OlO« 
 (^otiaoA oilj BB^oap -o4 onoP) .Aid OoyAnfeci iJBBd •• XXttr’ oA i>aAil oiB 
 Bd9 to $u I Maid f no qir oa Jb» boA stAtot OMvxil to oqflooon oilff,*' 
 
 • tAd .* oogA' XX a al .ifioAg to boa doXdw • oo<aAOodoooo >‘boiA-^a'n«*Aoog 
 ,ooA#dj ^AA ; tiAiltfr \iATcqtt«iAoo 01 AtvAiCii itAq yiotf tda jtot 
 •^lOBK. OtACi ^Odl qilisO«Ollt KAOnOAOg Odl to •AOlllCBAYl Xot^lAA.A 
 -AAOAd tAl 01 XAlAlAB il ^lX««noffOg loa a ‘^. *104^0 dOA# tOt 4#AtoY 
 .llAOfflM I»0S0I4A«. IfAX 04{ ATOflf «?*' . OOHlOg tq tflBAOll iJ #41 bilA;,,%l ‘ 
 
 r.oirlaig a o4 UXoo* a«OH rtgloa ,Bml iXJbol* 
 
21 
 
 poetic genius of Shelley, But something of each, and a little of 
 what none of them possessed at all, was Leigh Hunt*s portion. He 
 ranged from Homer to the least and greatest of his own contempo> 
 raries, and far enough into the future to shoulder into fame men 
 of his own period in whom he detected genius not yet apparent. 
 
 This appreciation of worth wherever lodged we see in his in- 
 sistence, again and again, on the music of Spenser's verse fit to 
 "make heaven drowsy with the harmony" ^ of it; on the beauty, then 
 entirely neglected, of Chaucer's poetry, in whose hands, according 
 to Hunt, it "burst into luxuriance like a sudden month of May . 
 
 • • and rises in the land like a clear morning in which you see ever^i 
 
 2 
 
 thing with rare and crystal distinctness;" on the supremacy of 
 Shakespeare over the "improvements" of Dryden. Not only, however, 
 did he understand those that had gone before; but authors of his 
 own time, whose unrecognised genius fell under the ban of "estab- 
 lished" criticism, were championed by him into a measure of self- 
 confidence, This was no small thing. Many a man, less unselfish, 
 would have climbed to his own fame on the stepping stones he laid; 
 instead he allowed, encouraged in fact, others to mount them to 
 their fame.. Not only were Keats, Shelley, and Wordsworth his debt- 
 ors; but Tennyson could look from his laureatship and see Hunt's 
 recommendation; and Browning could feel Hunt's touch of kinship 
 because he, before others, had recognized promise in "Paracelsus." 
 
 Besides his wide learning, and the happy taste for extricat- 
 ing the uncommon from commonness, and giving it an underlook of 
 
 1. "Imagination and Fancy." p, 64. Smith Elder. One vol. 
 
 2. "The Seer." Specimens of Chaucer, No. L. 
 
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 -oj»««#«oo amo aiil lu jpjial *4, 
 
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 .juaimqpa ip» •»iaa;B moaw^at jbcJii#q ir«« to 
 
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 OJ »ll «L.» ••■.»»«.<,£ Yb, Oi.aa .<!» BO -ttloL ia* o»»*o' .'oMiVoif i>J 
 
 [••Bl .xJiuetf Of} ao iJJ '♦o ^ •tooBLO oo^Loa 4iOB" 
 
 liaitwooop ,«A^4ui OAortw nz .^uooq a’jiopyp«p tj .Atioalsaa 
 . 5(aV to Utaoiff Pol>ipt « tiZZ.,., . aoaointiJWX o?aZ Jt'iwtf*' zl ,ia«R^O# 
 horo «#a foq liolriw «! afliatpir laoXo 4 t>;Zit Ottii 'tfi *#«Z t" jJaa^, ! 
 ro xosa^tqfiB 9df ao o%»aS^aii%kb Sainx-^i^ ii^lv ^al 4 j 
 
 ,*»»t#wop ,qI«o ipM .aottiCf t9 ’♦^eJ^iaaratotqta'^ •'ll tfri> Wi»q*i>3^ 
 
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22 
 
 conscious wisdom, as he says of Lamb, Mr. Hunt did muoh in the 
 fields of creative and critical literature. The dividing line, 
 however, between these two literary Interests is not always clear- 
 ly nor easily distinguishable. Often his creative and critical 
 faculties, like mischievous twins, wander over the fields teasing- 
 ly linked arm in arm, until we are not certain that either is not 
 the other. But for purpose of logical treatment and clarity, we 
 may, by allowing some overlapping, group the material we wish to 
 examine under these two heads. 
 
 If giving us the sweets of other writers flavored with the 
 charm of his own personality were Mr. Hunt's only contribution to 
 literature, even then, those who have not the temerity to adven- 
 ture in unknown fields of romance and poetry without a guide, may 
 well feel that Mr, Hunt is very much worth while. But fortunate- 
 ly for the more adventurous, that is not the measure of his serv- 
 ice; and neither is it the extent of his work,^ In many of the 
 essays scattered through the pages of the "Sxaminer," "The Indi- 
 cator " and "The Companion," "The Seer," "The London Journal," 
 "The Liberal," The Hef lector," "The Tatler," "The Chat of the 
 Week," and "Leigh Hunt's Journal" we detect very little if any of 
 a critical attitude. To this list of periodicals we may add such 
 books as the "Autobiography," "The Town," and "The Old Court Sub- 
 urb." And very entertaining reading matter may be found in the 
 compilations made by him and called "One Hundred Homances of Real 
 life," "Readings for Railways," 1850, and "Readings for Railways," 
 1853, 
 
 1, B, B, Johnson, "Leigh Hunt." pp. 116-135. 
 
I V 
 
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23 
 
 In all these writings, what an array of lively, gleesome, 
 witty, humorous, fanciful, suggestive, serious, and pathetic essays 
 he has producedl And in all of them he has made an effort to 
 please the light-hearted and laughter-loving, to hearten the sick 
 and the solitary. Pleasanter pastime of a light literary sort for 
 the L'Allegros of life it would be hard to find; deeper sympathy 
 for those who mourn and sit in darkness few have given us. His 
 whole teaching of himself^as well as others, insinuates the duty 
 of cheerfulness, not for the selfish acquisition of one's own ease, 
 but for the sake of making a happier atmosphere for others. His 
 writings are keyed to fine emotion and keen sensation; they are 
 not highly ethical; rather they reflect a hearty loving nature, a 
 sunny spirit, a happy man, a good man, a man not given to vindic- 
 tiveness^and one who speaks the truth. 
 
 The veil of optimism that he drew between himself and the 
 harsher realities of life was not for his time only. His outlook 
 was not nineteenth century, neither was it entirely eighteenth as 
 some of his commentators would have us believe. When Mr, Hunt con- 
 cerned himself with emotion and sensation, time and place did not 
 matter much. At such times he saw past and present alike in the 
 alluring light of imagination and fancy. 
 
 In this respect some of his essays are not unrelated to those 
 of Charles Lamb. Both men had the rare gift of writing about seem- 
 ing trivialities in a light-hearted but subtle way, relating them 
 often to the deepest things of life. In Mr, Hunt as in Charles 
 Lamb, we sometimes come upon those flashes of humor which make the 
 essays irresistable and unique. Even as Elia and Bridget in the 
 

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24 
 
 illusive essay on '*01d China,'* discussing '»the good old times, be- 
 fore we were q^uite so rich,*’ make us ashamed of our uneasiness for 
 luxuries unsatisfied, so Hunt with a delicate and fine touch pierc- 
 es our selfishness, convicts us of our uncharitableness, and puts 
 to rout our self-indulgent fallacies. Just as Mr. Lamb with his 
 wisdom in levity makes us recognize a brotherly consideration for 
 mistakes and circumstances; so Mr. Hunt with a jovial hilarity ban- 
 ters us out of our moroseness, and quickens in us a livelier con- 
 sciousness of our blessings and everyday duties. Though Mr. Lamb's 
 achievements may be of a higher order, Leigh Hunt’s undoubtedly 
 come nearer to human nature; if Lamb was more pithy and brilliant. 
 Hunt possessed greater sincerity and earnestness. Much of Lamb’s 
 peculiar charm arose from a certain whimsical far-awayness and del- 
 icate romanticism that hardly touches our actual experience, while 
 Leigh Hunt’s sentiments and characters are literal transcripts, 
 sifted and composed, but not touched up,^ Neither the characters, 
 nor the world in which they move are artificial in Hunt’s writings. 
 And it is this reality, this at-one with ourselves in our own ev- 
 ery-day world that gives what he describes a place in our hearts. 
 
 From the creative to the critical is an easy transition, if 
 transition it is; for the difference between the two is not al- 
 
 I 
 
 ways clear, nor definitely marked. Mr. Hunt, we are sure, was not 
 born with a critical technique, and it was not in his nature to 
 acquire one. He was born with attitudes and tendencies: attitudes 
 to receive, tendencies to praise what he liked. Someone has kind- 
 ly called him the "Ariel of criticism." And this was certainly 
 
 ri 
 
 1. R. B. Johnson. "Leigh Hunt 
 
 p. 119. 
 

 
 
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25 
 
 true in that he was not confined by the "cloven pine" of "estab- 
 lished" criticism. 
 
 professor Saintsbury, by no means always kindly disposed to- 
 ward Hunt, says that "His criticism is very distinct in kind. It 
 is almost purely and in the strict and proper sense aesthetic-- 
 that is to say, it does hardly anything but reproduce the sensa- 
 tions produced upon Hunt himself by the reading of his favorite 
 passages."^ This may not be .--certainly was not at that time, the 
 "established" mode of criticism; but since the selections he made 
 for the two volumes, "Imagination and Fancy," and "Wit aniHumor," 
 are the result of this kind of criticism, and since these select- 
 ions reveal a sense extraordinarily keen and accurate, we may con- 
 clude that his insight was "safe" enough for the sort of criticism 
 he attempted. In another estimate of Hunt, Mr. Saintsbury states 
 that "He has left a very large range of critical performances, 
 which is very rarely without taste, acuteness, and felicity of ex- 
 pression; and he has, as against both (Hazlitt and Lamb) the great- 
 er critics Just named, the very great advantage of possessing a 
 
 competent knowledge of at least one modern literature (Italian) be- 
 2 
 
 sides his own;.., in truth, nine-tenths of his criticism is admir- 
 able, and most admirably suited to instruct and encourage the av- 
 erage man." Even Lamb, in his own favorite authors and subjects 
 misses much which Hunt unfailingly discovers. He may not always 
 give you a valid reason for his conclusions concerning the beaut- 
 ies he has Just pointed out, but for very many readers a true o- 
 
 1. Saintsbury, "English Literature, 1780-1860. p. 223, 224. 
 
 2. Saintsbury, "A History of Criticism," III, 246. 
 
 3. Saintsbury, "A History of Criticism," III, 250, 251. 
 
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26 
 
 pinion persuasively stated is of much more consequence than the 
 most logical Justification for it; and it is this persuasiveness 
 that makes Leigh Hunt*s criticism such excellent reading. 
 
 According to Edward Dowden the '♦best criticism is not that 
 which comes out of profound cogitation, but out of immense enjoy- 
 ment; and the valuable critic is the critic who communicates sym- 
 pathy by an exquisite record of his own delights, not the critic 
 who attempts to communicate thought.’* One wonders what would be- 
 come of most critics if that became a "rule-enforced,” But Mr. 
 
 Hunt would stand very high, would, indeed, be the best of critics; 
 for certainly no criticism was ever the outcome of an enjoyment 
 greater than his. Other critics, of his own circle even, undoubt- 
 edly had a firmer intellectual energy, a more vigorous close-reas- 
 oning faculty; but there is none of the race of critics who se- 
 lects with such unerring and delicate tact, or recommends his finds 
 to the enjoyment of others with such insinuating persuasiveness as 
 Leigh Hunt. He holds open the door in the house of Literature, 
 and with a smile that illuminates the Beauty within, invites us to 
 feel once more the thrill of contact with that which each of us, 
 in our heart of hearts is seeking. 
 
asJi noanaptmaoc ♦t&Q dotM tp ui %X §vi itolxriq 
 
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27 
 
 III 
 
 HONESTY AND IDEALS 
 
 Leigh Hunt*s humanity. His subjects. 
 
 His intellectual honesty. His moral 
 honesty and abidingness. 
 
 We stand in respectful awe of certain forms of literature; 
 others we approach with condescending familiarity. To some we go 
 for tense appeal of passion and the cry of a soul in pain; to oth> 
 ers for the relief of laughter and smiles that break through tears. 
 Some we admire, others we love. Of txie former we have the epic, 
 the tragic, the heroic, and of the latter the lyric, the romance, 
 the essay. 
 
 To trace the genesis of the essay, and follow it in its his- 
 torical development from its beginnings to the time of Leigh Hunt 
 would lead us far from our present purpose.^ For us it is only 
 needful to state that the essays of Hunt have an unbroken geneOvl- 
 ogy. Sometimes it is said that Hunt was a belated eighteenth cent- 
 ury essayist. This may be accepted with sufficient reservations. 
 
 It is true only in so far as it was his purpose to foster a finer 
 taste for literature; in this he was in harmony with them. But the 
 
 1. Accounts of the Essay may be found in the following: 
 
 “The English Familiar Essay,” edited by W.F, Bryan and R*S. 
 Crane. Excellent historical and critical introduction and good 
 bibliography. 
 
 “The Essay,” by Orlo Williams (Art and Craft of Letters) 
 
 “The English Essay and Essayists,” by Hugh Walker. 
 
 “The English Essay," in SOCIAL STUDIES by Laura J. Wylie. 
 

 
 Ill 
 
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 besty-othe Laigh Hunt eleraent»> in his essays, was the charity that 
 delights in the humanity of others. All his observations, whether 
 on books, on men and women, or on nature, are the outpourings of 
 his personality, the leanings and strength of his humanity. Very 
 little of what his pen has portrayed is not touched with affection, 
 with sympathy and understanding. Is it asked, '*What of Lord Byron?** 
 Even what he said of Lord Byron is not without a background of gen- 
 erous impulse. There is matter for a kind of impatient amusement 
 in all that has been written concerning Hunt’s criticism of Byron, ^ 
 One wonders sometimes, how critics who praise Hunt for having the 
 courage to say of Byron what he alone could say, and in the next 
 breath blame him for saying what he said, reconcile their own at- 
 titude toward Hunt, or rather toward their own irreconcilable at- 
 titude. And this sort of straddle-aspect criticism is not infre- 
 quent among those who try to place Hunt. Pity it is, but amusing. 
 
 If Hunt could only have given to his writings a chameleon quality, 
 enabling them to reflect the color of the critics, he would not be 
 praised for his honesty of intellectual opinion and then blamed be- 
 cause that honest Intellectual opinion wasn’t the intellectual o- 
 pinion of the critic. But of Lord Byron, and Hunt’s opinion of him: 
 Hear what Mr. Hunt has to say about it himself. 
 
 ”If any man, after reading the whole of my book, be capable 
 
 1. The following sources may be consulted: 
 
 •’Morning Chronicle,'* January, 1828 ; ’’Examiner,** 1828, p, 57. 
 "New Monthly Magazine,'* for 1828, p. 84. 
 
 "The Athenaeum," 1828, pp. 55, 70, 71. 
 
 **The Tatler," vol. 2., 1831, p, 441-2. 
 
 And sea also "Leigh Hunt’s Relations with Byron, Shelley and 
 Keats," by Miller, and the numerous references in the foot- 
 notes of the same vol, on pages 116, 117, 118, 119, and 120. 
 
Kil’iAdo MV -iiA fti --tfaviRtit fatm 
 
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 *apilp#tta dll* badpaoi Ipa ^1 tad avq ala ladw to ailJlX 
 
 5 no 4 [ Ip ^ba-^aa y| 4 | un<bbma ba# ^la^a^'a d 41 »r 
 
 ' ii*. ' 
 
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 .a«t»*«baa SabtiMqal lo b^iid « lot ‘*taiJaii ai pnoaT .odXif^ol d«ota 
 
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 9tQii odj tti Ittb ftiooo affold 0 (f lad* aox^'s lo **iixaoo 
 
 a,vo nitfdl *Upaoc^t «d fxdv itpt |Jl*t ordltf 
 
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 fcna ,aQ«rf5( diiw oafpXi«X#R d^lM* V#l* #e« bai 
 
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 .0£X btf/ .2X1 « SIX »1*li ,0XX «094i';| ad*^* XoV oAjr*r#di to ««loa 
 
29 
 
 of thinking that I have uttered a single thing which I do not 
 
 believe to be true, or that in what I have uttered I was prompted 
 
 by any impulse incapable of a generous construction, he is speak. 
 
 ing out of his own instinctive meanness, and his own conscious want 
 
 of veracity; and I return him any epithets he may be inclined to 
 
 bestow upon me, as equally unfit for me to receive, and himself to 
 
 part with. If anyone can convince me of an error, -- I am not in 
 
 love with error, but with truth — I will gladly rectify it. ... 
 
 Finally, if any one asks me what it is that supports me under the 
 
 trying circumstances, in which I have to work out (as becomes me) 
 
 the remainder of my days, 1 answer, that it is my belief in the 
 
 natural goodness and capability of mankind, and the testimonials 
 
 borne to my endeavors in consequence by the love of those who know 
 
 me most intimately, and the esteem and good will of those who pub. 
 
 licly agree with me.**^ To this extract from his own defense may 
 
 2 
 
 be added a comment by R, B. Johnson to the effect that "Candid re. 
 viewers at once admitted that he (Hunt) had given *a far clearer 
 and more consistent view of the character of Lord Byron than any 
 other writer,* but they seemed to feel that * these revelations* 
 would have come with better grace from any other hand. This is 
 undeniably true, but it should be remembered, on the contrary, that 
 had "Lord Byron and His Contemporaries" never been written we shoul 
 have lost, what some of at least would have been very unwilling 
 
 A 
 
 to spare, a most intimate and life. like contemporary impression of 
 the author of "Don Juan"; and a number of charges against Leigh 
 Hunt would have remained unanswered, and, perhaps, unanswerable. 
 
 1. Leigh Hunt, "Preface to Second Edition. " 
 
 2. B. B. Johnson. "Leigh Hunt," p. 49, 50. 
 
iff at 
 
 ojt I AoiAv T^altii •t^wl "l >J•‘|li^ 
 
 b^iqoetiiq I cvjiy I 3»nw ul ^Q ^Aaxi od od tr#jLl«tf 
 
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 Aolnooiqiffi tiAioqA.dooo dau-otil (>oa 0>«wid4lJ laoa A 'ioiAqa’^d 
 
 
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30 
 
 No one else was both able and willing to conduct his defense, and 
 he was thus driven to act In his own counsel. ••• and there is no 
 reason to regret any part of the affair but the heated and persist* 
 ent abuse with which one of the most tolerant and humane men has 
 been loaded on account of it.'* 
 
 But to return to the writings of Mr. Hunt which are not only 
 truthful, but pleasing as well. **The Animosities are mortal, but 
 the Humanities live for ever.**^ And so the pathos, and humor, and 
 wit of Leigh Hunt will live when all topics of temporary irrita- 
 tion have expired. 
 
 Leigh Hunt was the prince of anthology makers, not the bring- 
 er-together of •’golden” treasuries, nor of golden treasures such 
 as "Hail, to thee blithe spirit,” "Had we never loved sae blind- 
 ly,” "The world is too much with us,” "Sunset and evening star,” 
 or "Helen, thy beauty is to me"; this too he could certainly do, 
 and did do; but more truly, he was the gleaner of the unf orge ttabl( 
 treasures in existence itself. As we read through his pages much 
 we find that is common, but all taken together there seem to have 
 been comparatively few pages in his book of life whereon he has not 
 left print or record of the life he lived, the beauty he saw, the 
 joy he felt, the hope, the regret, the love he sheltered or con- 
 fessed. Most fittingly, most entertainingly, most unguardedly he 
 has told us how the faint winds of thought and fancy have blown ov- 
 er his experiences until they yielded him Aeolian music. 
 
 1. Christopher North, in a full and complete apology to Hunt in 
 "Blackwood’s” for August, 1834, p. 273, for that magazine’s 
 slanderous articles against Hunt and the friends of Hunt. 
 

 
 
 
 
 oas •111 loofcaoo o^ BfliXiiw Ja* ®Xtf* tfi»e>o »aw%V|© #00 ox 
 
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 to fattQCDM ao h^tAOi Ct^pd 
 
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 uijym.jwn'':r.w sr\.m4 iVni ■■■i. i '*^‘'1 ii . ,,mi <^.(>..> 1 .. 
 
31 
 
 Leigh Hunt did not wander far for his subjects. The "ghoul- 
 haunted woodland of weir" was not for him; neither did he lose 
 himself in "faerie lands forlorn." The realms he wandered in were 
 close at hand, the observations he made were about familiar things: 
 he wrote of home and fireside, of town and country, of weather and 
 the seasons, of theaters and clubs, of dumb animals and flowers, 
 of dress and social amenities, of books and writers of books, of 
 characters and kings, of tales in fiction and romances^of real 
 life. But whatever subject he touched, whatever phase of it he 
 chose to look upon^ was treated with intellectual honesty. What- 
 ever he wrote had upon it the characteristic stamp of his own per- 
 sonality, the ear-mark of his own intellectual reaction. He pas$- 
 j^ed nothing off as his own that was not of his coinage. Mr. Hunt 
 must have been a veritable encyclopedia of information, and with 
 it all a tireless investigator; for much of what he wrote was mat- 
 ter that req.uired immense labor and painstaking oare to present 
 properly and honestly. We are told that Mr. Hunt was not a rapid 
 writer; yet wo know that he verified all his statements of fact,^ 
 Says Thornton Hunt: "His constant industry has been mentioned: he 
 could work from early morning till late into midnight, every day, 
 for months together. ... For the greater part even his recreation 
 was auxiliary to work. He had ... heaps of information at his fing- 
 er's ends; yet he habitually verified even what he knew already, 
 
 2 
 
 though it should be only for some parenthetical use." 
 
 1. One wonders how he ever got the facts for such books, for ex- 
 ample, as "The Town," and "The Old Court Suburb." To the present 
 day there is nothing better nor more readable on Old London than 
 "The Town." 
 
 £. Thornton Hunt in the "Introduction" to the "Autobiography." One 
 of the finest tributes by a son to a father yet in print. 
 
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 Virol Joo bit jfxtfU tiiitd, 
 
 000 1 od kit tQdfi^a ;ata tot JOB to b# 4 «a«jd 
 
 wraw aJ taiatnsw o4 aio/Bot oBT •.inoi**o\ o^aol •lioat* etJl tio»»lrf 
 itcgoiiitf iao4a pd m/joZ^ci viotdo oB 4 .»bcL« 4 . 3p ppole 
 
 Dnu to bo* o^ojt tov, •bZooall ba«< 0004 to oioiw Pt 
 
 .«*r<Mf0fl bam pfpielam ^mab to ,*doZo ban a^o;}«#«(Z to .taoeofo OAX 
 
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 to , stood to ito^inw ta* atoooi to ^ p » 1 i l ap£m ~til^po p baa ti? 
 
 ^ '1 
 
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 .iisZt<> «Z tax toA4*t o oJ B 0 « o X** ' 4»««iti*K4 to 7 
 
32 
 
 Another characteristic that stands clearly back of all that 
 Mr. Hunt wrote is his moral honesty. With him this was akin to re- 
 ligion. In his writings we find perfect truthfulness, alike of 
 heart and intellect. an integrity which led him to sacrifice 
 much, to invite misunderstanding, criticism and abuse. Moral hon- 
 esty was so much a part of Leigh Hunt, that any account of his writ, 
 ings which omits it is incomplete. Perhaps the '*Heligion of the 
 Heart** represents more fully than any other single volume the re- 
 ligious side of an essentially pious nature. It is a manual of as- 
 piration, faith, and duty conceived in the spirit of natural piety. 
 "And if anybody ask," he says in the Preface, "whether in other re- 
 spects 1 practise what 1 preach, I answer, that 1 profess but to 
 be a disciple in my own school; that some of its injunctions are 
 harder to me than they will be to many; and that 1 pray daily for 
 strength not to disgrace them." ^ Zindly emotions and a pure mor- 
 ality, a true sense of the beneficence of God and of the beauty of 
 creation, a heightening sensibility that shuns all contact with 
 theology, and shrinks only with too much dread from the hard dogmas 
 of the pulpit, make up the substance of the book, of which the 
 style throughout is exquisitely gentle and refined. We quote to 
 illustrate at once Hunt’s firmest conviction, and the very spring 
 of his literary method: 
 
 "As a family bound together in love and duty, even such are 
 we incited to hope, that all mankind may become..... In this hope 
 let us live, and let us rejoice, interchanging our comforts, di- 
 viding our burdens, and in every way striving to show ourselves 
 
 1. How do the critics justify their criticisms of Hunt in the face 
 of such self-criticism? There is much of this in his works. 
 
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 !i 
 
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 acYXeax^o. «^04a oJ a^XYlii* b: 1 i»dft ,iaftPiotf itfO ^albir 
 
 
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 ■ .0*10 tJit «l «.d(^ip B.pa el i.iBdi, jTootbisjtie-’lJ*. itoK* to ' 
 
 h,ii'‘‘^t -.S'" \> '‘i'-M 
 
33 
 
 worthy of the heaven to which we 
 
 ures as much as possible through 
 
 . 2 
 them our enjoyments 
 
 lookl^ ••• We must earn our pleas- 
 the medium of others, sharing with 
 
 Leigh Hunt insisted that it is man*s duty to exercise all the 
 faculties^ with which he has been gifted^ in a sane healthy way. This 
 he believed was the main earthly object of all social endeavor. 
 
 This purpose of making men happy, and advocating that they make . 
 themselves happy, is at the root of Mr. Hunt’s writings. Every- 
 where he presses beauty into the service of man. For him it has a 
 place in the universe only because it contributes to man’s happi- 
 ness. And men and women in a world replete with beauty, should be 
 good men and good women. That was the business of beauty: to make 
 man happy, to give him pleasure. 
 
 Leigh Hunt leads us into Edens of 
 orchards of unplucked fruit; he tempt 
 and with a deftness all his own keeps 
 His choicest essays give us a sense of 
 beauties on the borderland of dreams, 
 and old tottering houses with coats of 
 them all is the spirit of his sensuous 
 ament, his Italianized imagination, a 
 the abidingness of ’’deeds of daring re 
 to **urge man’s search to vaster issues 
 the chapter to a close with part of a 
 
 literature; he takes us to 
 s us with apples of knowledge 
 from us the forbidden fruit. 
 
 golden summer afternoons^ 
 romance in Gothic archways 
 arms upon them. And over 
 nature, his tropical temper- 
 sweet, clean, pure sense of 
 ctitude,” of the moral duty 
 .” Let Hunt himself bring 
 sentence from his Preface to 
 
 
 1. ”Religion of the Heart.” p. 21. 
 
 2. ’’Religion of the Heart.” p. 31. 
 
 3. ”Religion of the Heart.” p. 16. 
 
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 .15 .q **«iia#K aiii kto^ aoisiXoq** .s j 
 ; 0 X *q adJ tblaoXulXViK^ . 
 
 
34 
 
 '♦Meu» Women and Books'*! ••• "if there is anything which consoles 
 him for those short-comings either in life or writings, which most 
 men of any decent powers of reflection are bound to discover in 
 themselves as they grow old, and of which he has acquired an abund- 
 ant perception, it is the consciousness, not merely of having been 
 consistent in opinion (which might have been bigotry), or of hav- 
 ing lived to see his political opinions triumph (which was good 
 luck), or even of having outlived misconstruction and enmity (tho 
 the good will of generous enemies is inexpressibly dear to him), 
 but of having done his best to recommend that belief in good, that 
 cheerfulness in endeavor, that discernment of universal beauty, 
 that brotherly consideration for mistake and circumstance, and that 
 repose on the happy destiny of the whole human race, which appear 
 to him not only the healthiest and most animating principles of ac- < 
 tion, but the only true religious homage to Him that made us all," 
 
, * 1 
 
 « B nS^ 
 
 «»£o«ootj dttdv -^altUxttu «i t»^ 0 d? tl** ... j** 8 Xoo« bad a&«of jMift** 
 1S0«1 ifoijlv* TO •\il III «]^oi«oo-iiodt t«0il4 tol aid 
 
 al TofQo«l0 Aavod ii« aplJuttXttT to aaewoq Jaao*i> %ad adv 
 
 •i 
 
 -ba04^ aa boTiir^OA 04 d oa dol'dir )o /baji «l»lo itois ^edl •« 
 
 a#©0 sairaxl to ^X»to« Soa , utoaatfolofaoo »dl «l *1 .aolloosioa ino '! 
 
 V ' |i 
 
 -T4d to TO aood tv«d ?4sla dold^) aolvlao ai Jaoialtooe 
 
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 ^ * ioo» **» aatdyi) dqxialts aaolalqo XaoUiXoq »id »b« at barii ^ai'^ 
 
 ( pdt} x^imaa bam aoitoutiaaooalm bevUtoo ^aitbd to aotrt xq ,(dotxi 
 
 .(aid oJ^tMah. ^cltf I eooTqaoal el eetaeao^euoieaeB to XXIw I>09gi''t4l‘ 
 
 1 
 
 k 3dd> ttl tolled tddt baanaiooai ot Betd aid aabb -wocijad toV^oo 
 
 «x;^9i;deo laaaariaa to laeaateoelb t adi ^ ,toyaataa *1 . deoaXutiotdo 
 lMt^ ..l)d4 . obtse3 eaooTl 0 baa oddBalin tot ' ao 1 loi ebl eaoo t-Cttilfottf ‘•tadl 
 
 tdo^no itoldv • eofit aantrd alotlw adt lo-xbitaab tCQQed adf ao 
 
 ^0# to amixioatnq T^aitamiaM iao» baa t aaldJ laod adt %£ao toa mJtd ot 
 
 ** 1 1 bta 0 tstti alfi 03 e^enoxi atto l^ltai aait x^dO* ^t^t ta^fOOtt 
 
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35 
 
 IV 
 
 HOME AND FIRESIDE 
 
 Cold mornings. Days by the fire. The 
 Realities of the unreal. Little child, 
 ren. "Oh, wilderness were paradise e- 
 now." "Baser of all woes." 
 
 The essays that might be grouped under "Home and Fireside," 
 are of a kind about which little can be said critically. The temp4 
 tation is to quote them entire: their quality is like the charm of 
 upland pastures, nestling valleys, streams in flowered woods, oder4 
 on April and October days, music on Mad-day festivals, motly mem- 
 ories of years that are gone. Brief, most of them; musings worked 
 out in words. Behind them there is no urgent interpretation of 
 life beyond the admonition to love^ and be kind.^ Hunt broods 
 
 over a dainty bit of fancy or feeling till he overflows with af- 
 fection for it. He dandles a pleasing image on his knee as though 
 it were a child, pats it lovingly on the back, and addresses it 
 in all manner of dainty phrases. Read, for example, his chatty 
 gossip in the essay entitled "Getting up on Cold Mornings." De- 
 lightful, all of it, in spite of the shiver we involuntarily ex- 
 perience as we read. How very easy it is for Mr, Hunt to excuse 
 himself, and thereby also the reader, for lying in bed of a cold 
 
 1. "The Eleven Commandments." in A Jar of Honey, p. 22. 
 
 2. "Cruelty to Children." in "The Companion," May 7, 1828. 
 
 3. "Indicator," January 19, 1820. 
 

 
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 -Jto lXXn«4A«X#>roX o« norlAt odi to f^iqa al .#t to XXa , 
 
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36 
 
 morning when he allows (invites) himself to Indulge the fancy 
 that Adam was not under the necessity of shaving, and that Eve 
 did not have to walk out of her delicious bower upon three inches 
 of ice. Quite wittily he puts before the reader the luxuries im- 
 agined, and the sophistries indulged by an ingenious lier in bed. 
 
 The wise ones, who counsel that getting up of a cold morn- 
 ing is merely a matter of will, do not stand high in Mr. Hunt*s 
 regard. Those who say that a person, who has been warm all night, 
 and finds his system in a state of perfe^ct harmony with the tem- 
 perature of his bed, need only take a resolution to rise, and the 
 thing is done, are simply mistaken. When Mr. Hunt, lying in bed, 
 is suddenly made conscious of the weather by touching stone-cold 
 sheets, by seeing his breath roll forth like smoke out of a lone 
 cottage chimney, by noticing the frozen windows, and to cap it all, 
 by hearing the servant announce as he comes in, "It is very cold 
 this morning, is it notT" he is deaf to all resolutions to rise, 
 and to all little philosophers busy with the affairs of other 
 people. How very exactly he pictures for us the humorous situa- 
 tion of the lier in bed asking questions of his servant concern^ 
 ing the temperature of the atmosphere outside the inside of the 
 bed. With what wit he makes the servant contrive his questions 
 so that his answers must fall in with the wishes of the lier in 
 bed. One excuse for not rising after another is hunted up and 
 indulged. But finally comes the conviction that he must rise. 
 
 Water for shaving is called for. Another respite while the servant 
 is gone for the hot water, during which time it is, of course, "no 
 use" to get up. One or two more interruptions, and delicious 
 
f ', ' ' ^HT 
 
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 I xaaMl eH a^lttbni otf JX«»ib4x 1 ( X ml |\ two Ila »c( aoiiV Bsiowoffl 
 ovS ^od^^baM ,8fllv«iia !to '^JXaatoaa tii^ v«£ra« 9oa •«« catl laif^ 
 
 k7«" a 
 
 itoiionl tondrf aoqu meitoo too 1 ol Xofi »«iil lo »»o" JtXaw 0 ^ trarf joa All)' 
 >ni iKWinazaX o<(i *3«Aat*i oil# ^o-so^wd «lo^ tii ^11 IX iop .toi %o 
 .votf at tell aMC^e:^al as x^ be^labal ttliltldqoa #dX bas^.healbs 
 
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 -avov ttoo a “lo q«f saXldwi ?ai{d ieeaai^o .odw'^ fseao eslw edt 
 
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 -ttol eti3 tU le taocriad lo^e^neq lo eisie s al -itoltxa •111 «Anlt bas 
 
 ffi » ' — ''“ ' '■ 
 
 has ,ealt ol aeUalotoi « A»»». lAttf *14 >0 
 
 ,Ag«t al t^axiH ,ntt aedV « 4 ]*ili.}aiia »T® \ estob al 
 
 »l 
 
 AXoo>Wi 30 ^a ^altfoaol x^ ^ladlaaa -ul^j lO auoloaaoo ebsm xi^db^oa al^ 
 oiial d >0 iwo sdoaa ^edU dlwot tCaa d^^af^ad alxi ^aieaa x«< ♦al##ila 
 ,Il4> 11 qac‘>l Aaa «dvoAaiw aeaot'tredi ^atolsoa X<* #x®**l^lo e^diSOo 
 
 \ Moo x^ter al dl** ,al aemoo ea as enauooMs laavaoa «rtl baiteed \<i 
 
 
 ,aali 01 aaollaXoaon Us oi 'iseb <.1 ta »*fioc IX al .bdlatan^ldO 
 tedJc *10 a*tla>ta adl dile xsad atai^uftolllq •XlllX XX* 
 
 -atfSia aaotcffad axil ao tol t«iaioiq «<s xXlaaxo x*««» mH 
 
 • S. 
 
 ifftdofloo laavaea aid io asoli aaop ' aaxaa* bed al tell adi to aois 
 
 - f 
 
 oCj ta oAlaal axlj oAleioo etedqaoatiM orfJ to aicia^aqitol ad4 ;ial 
 'ifcerlJ «acp eld e^ltiaoo laomaa adJ aedsa ed Ma Ja4w dll« .Aod 
 
 at %etL adi :lo aadBlar aai dite al XX*t iaasa a^eeans aid l*dl oa 
 
 n ^ u 
 
 tbas qif ba^attd al nedtoas lalt* jalalT lo« tol taaojuiu oaO '^Aod 
 .eali* ;aj»d an 7sjil aclloirxioo ot(7 aomoo xMaiiI^ ifffl .AoTlXwfcxii 
 
 a 
 
 tf*viaa axil slide a41qaa*t loHioai .not AaXla<^ ^al galmda not lalaw 
 
 oa*' .aanaoc to . al ji oosl# dolaw .aaiaif lod aiU not atto» al 
 
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 aaetciiab bas ♦ «jiollq;ranalfll . anort owl no OaO ,qa lag ol •oo* 
 
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37 
 
 five minutes almost spoiled by thinking upon the '*v i 1 lainous '* cus- 
 tom of shaving. '‘Ho wonder," he thinks, " that the Queen of Franco 
 took part with the rebels against that degenerate King, her husb- 
 and, who first affronted her smooth visage with a face like her 
 
 k 
 
 own* And thereupon we are asked to review a whole army of ben^isk- 
 ered faces; Emperors, cardinals, artists, authors, poets, kings, 
 philosophers, Persian gentlemen and Turks, all are brought in to 
 prove that shaving is a modern invention of the devil’s recruit- 
 ing officer. "The mechanical man shall get up without any ado at 
 all; and so shall the barometer."^ 
 
 2 
 
 How very different the mood in "A Day by the Fire," Light- 
 hearted still, but therewith an underlying tone of seriousness, 
 he talks quietly of indoor enjoyments. As the hours of the day 
 slip from sunrise to darkness, bringing with them the changing 
 cares, so the tone of the essay changes, from light-hearted com- 
 ment to reflection, as becomes the "Reflector." This day by the 
 fire must begin early: "The morning is clear and cold; time is 
 half past seven; scene is a breakfast room." There must be, in 
 addition to this, if it so please the reader, a little hoar frost 
 on the window, a bird or two coming after the crumbs, and the light 
 smoke from the early chimneys. There must be a fire in the break- 
 fast room to which he can apply the p oker---whe ther needed or not; 
 and when the hundred little sparkles fly from the coal dust that 
 falls within the bars of the grate, and the flames themselves 
 mount aloft with a deep and fitful sound as of a shaken carpet;" 
 
 1. One must read the entire essay to get its flavor . "Indicat or" 
 for January 19, 1820. pp. 117-20. 
 
 2. "The Reflector." Vol. II, Art. XX. pp. 400-419. 
 
‘i:. . v.itj j X<< ioJi/nlffl •rn 
 
 • 0Cl^>^ TO Hi '. ds JAtli ” , •i«t>aov.' c:t" .gtflsraiia 'it. moJ 
 
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 -lapIJ 9JlJ yd yea A” / boor ot^l laote't’JJb yry v woD 
 
 , . ij *uoJ 'eiaXyl'tolr; a« rjiareyods «fXiia belneejil 
 
 -ij to eiirofl ■iuj «x . ttitnayo {.xrii -loobui. ic. i^Xel oxi 
 
 > r Rn t c»ni aslbi jHij^ai-Tii , t qj ■iainacre riT qXXt 
 
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 •i^'l y 1 u <»ei oi tiil fi - ': laor aie-OT .ayoitetlao y t:?u in.! . o -iT -»;(o«o 
 J >. . ti; 1 dJi : ,*i-.i6aoq odJ «« 0 vd -us;n 1 aet 
 
 .. ,‘ ’fc.-;; Xaoo ui'< 1 -9011 y/t aoX^ieqa aXlJil hx:^ atxiw bae 
 
 kfvX.-smodi BOBeXX anJ bojb •#! ..* aiao adi tilrtlxy .IXet 
 
 ^;:r<,n*o .Tojlacd <; 'to »e /,a«o« It.’JiiX baa a##b s elli'* iXoi.^ laooiB 
 
 / 
 
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 .Oi.*-7Xi .O'; .oii'.'A .'fix yici/oa't. xo7 
 
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 |g^iW^B»W^»=-.rrr,==5r;a ~.-.^. | iTr"r' i . .' Fxarjrwwi . .-■ 
 
38 
 
 Here epithets fail him so he has recourse to poetry; 
 
 Then shine the bars, the cakes in smoke aspire, 
 
 A sudden glory bursts from all the fire. 
 
 The conscious wight, rejoicing in the heat. 
 
 Rubs the blithe knees, and toasts th* alternate feet.* 
 Evidently, Mr. Hunt has not yet become serious. The cares of the 
 worry -inf es te d day have not found lodgement in the b4*e mind that 
 can imagine the humor of the sitter before the fire, toasting one 
 foot, then the other foot, then both at once, then neither while 
 he is trying to shield his face from the heat, and wondering how 
 a back can be so cold, and a front can be so warm, when both front 
 and back, and feet and face, belong to the same toaster. If the 
 
 t 
 
 picture here presented gives us pleasure, we suppose it is in de- 
 spite of the poetry. Mr. Hunt will not allow us to forget that 
 he has just been apprised of the fact that life is a matter of 
 contrasts, and that sometime he may want to be a phlogistic advo- 
 cate of a lier in bed of a cold morning. So cold plays its part 
 in the scene before us. How tantal i singly , and with what infi- 
 nite and exact details, he describes the breakfast and the morn- 
 ing firei Here is a bit of it in his own words; 
 
 • ••**if you eat plain bread and butter with your tea, it 
 is fit that your moderation should be rewarded with a good 
 blaze; and if you indulge in hot rolls or toast, you will 
 hardly keep them to their warmth without it, particularly 
 
 *In a footnote Mr, Hunt says that the lines are a '♦Parody upon a 
 
 part of the well-known description of night, with which Mr, Pope 
 has swelled out the passage in Homer, and the faults of which 
 are known and have long been appreciated by general readers •'* 
 Query: Is he satirizing Pope? 
 
<■ } c.r.'iuoool rii ,o« iil.JiAl «;5r;::q« •Its V 
 
 fflcnt c'l bttJljuo aiJ fated vdj eoL'''-i * ^ f 
 
 f ui I {Je sdo^i 'ei ttu6 
 
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 -• > - ^cci. t>fC ,r«v JOii er^. J^H .tV ' Ij/ 
 
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 > ’ .. i . mM et.j cl : ; oruiifco f ibaodT #©fl oVmt^ fes r x***»‘' * ; 
 
 ' ’• i1UMQ9 r^iir r,nol#o teJ9te ‘itiJ \<) *JCfl»Oll odj 0'.iiS*enjt ilJic. 
 
 vi • S«*i * ,i.f>oo ia iiJoa ,Jto\ tpiS3o eti 9 n«»ii;r ' , 906 1 
 
 .. -jjaitlpAflCV l>fir. ,J.\f»;i t*.'; r^iit •0A'» 87A bteiAn A i il «xS 
 
 .JiTon^ r^w'ti iIOi^^» .&:•»£*# c a od ami' .tftO't'i ^J5na v a oc nivo a(oad *. 
 
 • - •• ■: rfcu’ oiSAt £»a J O^t ?ji.orac , friia'i i'f;a teift oae f9i(y§di fraa .. 
 
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 H 0 Ai f i ri r^eoqcBi «>. , mw fca&Xt-i •« r»vl.v , 
 
 1*31 leta‘.a^ vJ ».u W 0 XJ 4 10 :i xr.!’-; .*>■’< .V.-slBOq *r l ^0 BlXqt 
 
 . ' ■ . IL'i ^ ' 
 
 » v TC>li4:r M 4i elil i i 3oe\ » I o '6« i . »'q* Bfeo leoj, e&d #rt 
 ol ‘-I^cfilq -If 'j Jrt*w %ea »ri •^i<4}t«0i. J*ul ijr..^; ,ttJi*ilijoo 
 *^r II X* I , Dfoo '" ■? .^’.1 fmqm iMeo a lo tow nl idil <• to b1*c 
 
 -Ilai r .iV. .(llw tea . ^ *^OH .4*.' tttotow C.iitto* difJ ri ) 
 
 ' . . » 
 
 -niom i|rlJ t qi; X e*Y'!<i;*nu odl b«>c) 1 1 r. aoj^ .u.n ,oiiul«-D lorxa Jbo* •liu 
 
 rabxo'v ii%o >IA ai fl to ilo t* 9 1 Biat? X0iX't RflX 
 li fnei ton% Ail% T«iJt»r. J>tj* li*«)*td bIjbXq J«€ «o» li"'... 
 i ■' : / i ^1I» l^'^biBWox 00 X>ioo3« flollaxoJaOai nuo\ lir ’ li i ol 
 
 ■ !i 
 
 iJIv tio\ fiteol 10 illzt Ju3 ni •-ginbaX uo% ti i>ae. iftaeld | 
 Xl'i^Xual n*r. ,1X Itr rillw d^arrw ol ciodl q«*^^/<lb*ra 4 i 
 
 3 noqtf xbc”.ik\" ox* noull ail? laii? lawH .xit wiooioot /j al** 
 
 - r ': .tit xiLidiw lUiii to BoJlqiVOBOb a«0U3i-XX«a’ ed.f to lx*q 
 
 defriu lo oi;*..;!: ,b*f ,x*noE nl ottJ l<yo boXIowa a *3 
 
 •‘.zt.lAti qd D»l*i t;:»xqca flood ’ X ov*H ^a* r» >tr. *1* ;V 
 
 t*QC: 1 a i tX 4 *« *3 1 miii/p 
 
 raKtr"-; 
 
39 
 
 if you read; and then, --if you take in a newspaper,-- what « 
 a delightful change from the wet, raw, dabbing fold of paper, 
 when you first touch it, to the dry, crackling, crisp super- 
 ficies, which, with a skilful spat of the finger nails at 
 its upper end, stands at once in your hand, and looks as if 
 it had said, "Come on and read me," Nor is it the look of 
 the newspaper only which the fire must render c omple t e : -- i t 
 is the interest of the ladies who may happen to form part of 
 your family, -- of your wife in particular, if you have one, 
 to avoid the niggling and pinching aspect of cold; it takes 
 away the harmony of her features and the graces of her behav- 
 iour; while on the other hand there is scarcely a more in- 
 teresting sight in the world than that of a neat, delicate, 
 goodhumored female, presiding at your breakfast table, with 
 hands tapering out of her long sleeves, eyes with a touch o 
 of Sir Peter Lely in them, and a face set in a little oval 
 frame of muslin tied under the chin, and retaining a certain 
 tinge of the pillow without its cloudiness," 
 
 A very comfortable place to remain, this place at the break- 
 fast table; but Mr, Hunt must give us a bit of the dinner time. 
 And that the Joy of the breakfast may not be without its "fly in 
 the ointment" he humorizes about the three evils of a fire at 
 dinner. Persons who must sit with their backs to the fire are 
 "liable to oe scorched, while at the same time they render the 
 persons opposite them liable to be frozen, so that the fire be- 
 comes uncomfortable to the former, and tantalizing to the latter." 
 For all this he has a remedy. It is so obvious a remedy too. 
 
io bM battik .vail. >•«•/(« aoit* ajuwio, lotJitjlUfc • • 
 ,.J,o ,xib .it« ./ .ti kbupt »•«* 
 
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 -vaaao •en j, ooos's* ado M, •»Tu>a»> a»ii ji vaonjaid §40 t«»a 
 
 I 
 
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 -ul pxcr a ti.o-jaoa »1 ^aiad< baad Jadlo »At no •ttim ’)»»«* 
 .»J»oUo6 ,t»*a a 10 #a4J oajlo tltoo aoj ai J/t»ia wDntft ^ 
 
 fn f i ;.■- I I 
 
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 laijrat^joilj ,ala aa,, and Ji »i iaa ’o^oaooo a« oi'aloan- 
 
 -Oii aUl aij lad, ,, .oaaoit aff oJ aidaU aadt a*lao«4|« aSoTtan^ 
 
 • toJJdf Ojtj OJ 3J:l.iIo„«, ban .taatal fdd'ii aleaJ-.«t«oca»''a««oo- 
 
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40 
 
 that one wonders why it had not been put to universal use. Why 
 not, ho thinks, use semi-circular dining tables, with the base 
 unoccupied toward the fire-place. Then everybody could face the 
 fire. Screens could be placed to keep the fire where it was want- 
 ed. How very fine all this would be. Entertaining enough, all 
 this chatter, and entertaining was what Mr. Hunt wanted it to be; 
 but we like him better in his twilight mood. And if we have a 
 feeling that he too liked himself best in it, we will not bo far 
 wrong. He seems quite at home in it, perfectly at ease. 
 
 How easily he takes us with him in his fancies. We watch 
 the glowing coals exhibit the shifting ’♦form of hills, and val- 
 leys, and gulfs, of fiery Alps, whose heat is uninhabitable ev- 
 en by spirits; or of black precipices, from which sweet faVios 
 seem about to spring away on sable wings,” Here we may plan our 
 Utopian schemes and dream of happy certainties which we cannot, 
 nor care to prove. Here we may become poet^ and on golden wings 
 explore a thousand systems and stop not until we have found a 
 perfect Paradise, whose fields are young roses and whose air is 
 music. Here may be ours the charm that stillness has for a 
 world-fretted ear, broken only by the far whispers of a thous- 
 and tiny bushings, like fairies in alarm. But this is all Uto- 
 pian, so let us out of this wonderland and bring us to ”tea and 
 coffee,” and to the hours between that and bedtime. Mr. Hunt, 
 we think, must have been a genuine firesider, one who when com- 
 pany was near would not let the fire die down, nor the snuffs 
 of his candle run to seed. But how teasingly he pictures the 
 possibilities of such action on the part of an unkind host. 
 

 .tttf rauTfjviD// r: ryr, ri«?a Joa i \r. oi xt:m eatf 
 
 i'fTiv. ^.::iulx> n Aj y o*ti 0^ j fljoa ftai- .i. saJiflj , Joa 
 
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 .i©i £t t .lri..(w mult . t->©T(4 .. • ', ‘to 1C imilijqm t<J at 
 
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 u \r 1 ;.d(i oaffjXIj^-: mT 0 do c>iiJ nztsc ' . ^rii; . ..lao^^ 
 
 c^o<i*lU4 T»i dd;/ xo xxno h'om, - d ,n»r^ tc ' ril-AX-iow 
 «1 tloi . 1 ;., .aniXj n! CPIZIS-L r/iL ,«^el.30rt afci 
 
 ' fc- .‘ ..i” i .3 PV iaiip bam haai tPtaoy> aln; 3 ^c ' nu j«>x C t ,nclq 
 .jf.ur . .■ .©-rtlij'to i>na ni»o»kj*4 §tapd ptii <’ j brm " »mm^ 7 op 
 
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 ’''■ IS!(3 
 
 ftlt.'ai adj ton ,rt*Pb o*i JoL ^O0 olwow 'Ti?* u ij0|f 
 
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 pplUipiq ti. V.:,. xKtiPi v.'.ii r,'a pj iriri f»n-r.£: -Ih Xo 
 
 iuiiiiu U) ti^q ac iiQllty lo ft-1 11 f idX«Si<'i¥ 
 
41 
 
 Those who are familiar with the tenderness of Lamb in '♦Old 
 China,’* with the charm of Smith in '*Dream Thorpe,** with the 
 fireside and home dreamings of Irving in the ’’Sketch Book,** or 
 with the sentiment that borders on sentimentality of Mitchell^ in 
 **Dream Life'*^ must feel that the definition-defying humorous-^ 
 pathetic, romantic nature of Hunt’s writing is at one with what 
 they found in life worth expressing. As in theirs, so in 
 Hunt's essays we recall by imagination, not through superstition, 
 stories of the secret world situate neither in time nor place; 
 in them fairies dance and play their midnight pranks; idle fan- 
 cies, old memories, far hopes of little lulled abodes come and 
 are gone; in them we live again on Christmas Eves, and hold high 
 festival with the Unrealized, ere life’s beckoning Future became 
 the backward gazing Past. Idle fancies, these, all of them; in- 
 comprehensible to minds clogged with every-day earthliness, but 
 to the souls ranging in search of their destinies not altogether 
 useless. Hunt’s philosophy may not be of the profoundest; his 
 grasp may not include the destiny of worlds; the deepest, dark- 
 est problems of existence may not be sounded by his plummet; but 
 we feel that he speaks with the earnestness, and the understand- 
 ing of one who has learned that ’’tears have their delight, a.s 
 well as laughter."^ We q.uote part of a paragraph to illustratei 
 ... ’’Fancies ... will occupy us too, and steal us away 
 from ourselves, when other recollections fail us or grow 
 painful .--when friends are found selfish, or better friends 
 can but commiserate; or when the world has nothing in it 
 
 !• ”A Jar of Honey from Mount Hybla." p. 33. 
 
IT; 
 
 
 Xt 
 
 
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42 
 
 to compare with what we have missed out of it. They may 
 even lead us to higher and more solemnmeditation, till we 
 work our way beyond the clinging atmosphere, heavy from 
 this earthly sojourn, and look abroad upon the light that 
 knows neither blemish nor bound, while our ears are greets 
 ed at that egress by the harmony of the sl<ies, and our 
 eyes behold the lost and congenial spirits that we have 
 loved, hastening to welcome us with their sparkling eyes 
 and their curls that are ripe with sunshine.'*^ ' 
 
 It has been said that in reading Hunt we feel as if he 
 
 thought ”to bask in the sunshine were his only duty,** and ours. 
 True enough. So should it be, -- some of the time. To all of us 
 comes a day when the one thing to do is to bask in the sunshine. 
 That is precisely as Hunt would have it; it exactly fits in 
 
 with his purpose. Listen while he states it: ’’Pleasure is the 
 business of this Journal: we own it: we love to begin it with 
 the word: it is like commencing the day (as we are now commenc- 
 ing it) with sunshine in the room. Pleasure for all who can 
 
 . 2 
 receive pleasure; consolation and encouragement for the rest.” 
 
 His purpose was always to make adversity hopeful, prosperity 
 sympathetic; to make every body kinder, happier, richer in the 
 pleasures that lie about our feet. The belief in the good and 
 beautiful never forsook Hunt: it was medicine to him in sick- 
 ness, riches in poverty, and the best part that delighted him 
 in health and success. As we read him we find thAt he is very 
 
 1. "Reflector,” II, 418, 419. 
 
 2, "Further Remarks on the Design of the Journal,” Preface to 
 "Leigh Hunt’s London Journal.” Reprinted in "The Seer,” I, 9. 
 

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43 
 
 gay, very vivacious, very Jaunty, and sometimes, more than a lit- 
 tle flippant and coxcombical; but he is never a "frothy frivo- 
 list" as critics less kind and wise, and far more flippant than 
 Hunt, have mischaracter ized him. If it were possible to qualify 
 him by a single phrase (but it is not), that phrase might be, we 
 think, "Earnestness at ease." In proof of this, and also as an 
 example of "earnestness at ease", hear him at the age of fifty, 
 in the "Address" of the first number of "Leigh Hunt’s London 
 Journal • 
 
 ..."We have been at this work now, off and on, man and 
 boy (for we began essay writing while in our teens) for 
 upwards of thirty years; and excepting that we would 
 fain have done far more, and that experience and suffer- 
 ing have long ago restored to us the natural kindliness 
 of boyhood, and put an end to a belief in the right or 
 utility of severer ways and views of any thing or person, 
 we feel the same as we have done throughout; and we have 
 the same hope, the same love, the same faith in the beauty 
 and goodness of nature and all her prospects, in space 
 and in time; we could almost add, if a sprinkle of white 
 hairs in our black would allow us, the same youth; for 
 whatever may be thought of a consciousness to that effect, 
 the feeling is so real, and trouble of no ordinary kind 
 has so remarkably spared the elasticity of our spirits, 
 that we often startled to think how old we have become, 
 
 1. Reprinted in the Seer, vol. I, p. 9. The same "Address" is 
 also reprinted in R. B, Johnson’s "The Poems of Leigh Hunt," 
 pages ElO-219. 
 
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44 
 
 compared with the little of age that is in onr disposi- 
 tion; and we mention this to bespeak the reader*s faith 
 in what we shall write hereafter, if he is not acquaint- 
 ed with us already. If he is, he will no itaore doubt us 
 than the children do at the fireside. We have had so 
 much sorrow, and yet are capable of so much joy, and re- 
 ceive pleasure from so many familiar objects, that we some- 
 times think we should have had an unfair portion of hap- 
 piness, if our life had not been one of more than ordi- 
 nary trial . " 
 
 From gay to grave, from grave to exuberant fancy is not 
 difficult of accomplishment for Leigh Hunt. We are constantly 
 reminded of this as we turn the pages of the '♦Indicator.**^ In 
 the ability to invest with poetry the most trivial common- 
 places; in the delicate sensibility with which he feels, and 
 teaches his readers also to understand the inner spirit and 
 
 beauty of every object of his contemplation, he was neither e- 
 qualed nor even approached by his predecessors or contempo- 
 raries. If indeed the '’mission'* of the poet be to feel and ex- 
 press the beauty of the universe, many of the essays now before 
 us are poems in every sense of the word which does not involve 
 the idea of metrical rhythm. 
 
 1. Hunt has a characteristically humorous article on the '’Diffi- 
 culty of Finding a Name for A Work of this Kind" in the first 
 number of the "Indicator," dated Wednesday, Oct. 13, 1819. 
 
 Mary Cowden Clarke, in a letter to Robert Balraanno , under date 
 of August 3, 185£, says that her mother (Mrs. Vincent Novello), 
 named the journal. "By the by," she writes, "did you know that 
 my mother was the godmother of the "Indicator"? She suggested 
 the name, and Leigh Hunt adopted it, and the passage as a mot- 
 to which she had pointed out as affording ground for a good 
 
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45 
 
 Just now we happen upon the essay entitled ''Realities of the 
 Imagination*" ^ In it he describes how the faculty that solaced 
 80 much that was troubled in his own daily life, enriches its hap- 
 py possessor in the most literal sense, and creates for him imag- 
 es and shapes of beauty. "There is nothing imaginary," he says, 
 "in the common acceptation of the word." The logic of Moses in 
 the "Vicar of Wakefield," seems good logic for Mr. Hunt. "What- 
 ever is, is," says that worthy. And so Hunt. He insists that we 
 can judge of things only by their effect. Imagination, Mr. Hunt 
 thinks, "adds a precious seeing to the eye;" and if we read his 
 essays with imagination they will add a precious understanding to 
 the heart. In many of his essays we ^et a sense of the reality 
 that dwells in things of the spirit. We are rescued from the bab- 
 ble of common cares and enabled to hear all the affectionate voic- 
 es of earth and heaven. We hear the brooks in the solitudes where 
 they flow; and 
 
 . . . "Gentle gales , 
 
 Fanning their oderiferous wings, dispense 
 
 Native perfumes; and whisper whence they stole 
 
 2 
 
 those balmy spoiles." 
 
 Are these ministrations of nature only imaginary, and therefore 
 non-existent, because, forsooth, we experience them only while we 
 read? Mr. Hunt would say, "They are very real, more real than 
 any material thing, because a material thing can be taken from 
 you; but the possessions of the imagination are yours, and not 
 
 title, (The motto referred to is; "A dram of sweet is worth a 
 pound of sour." Spenser). 
 
 1. "Indicator." March E2, 1820. 
 
 2, Milton, "Paradise Lost," Book IV. 
 
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46 
 
 transferable." Let him speak for his faith, 
 
 "The poets are called creators, because their magical words 
 bring forth to our eyes the abundant images and beauties of 
 creation. They put them there, if the reader pleases; and so 
 are literally creators. but whether put there or discovered, 
 whether created or invented (for invention means nothing but 
 finding out), there they are. If they touch us, they exist as 
 much as anything that touches us. If a passage in King Lear 
 brings a tear to our eyes, it is as real as the touch of a sor- 
 rowful hand. If the flow of a song of Anacreon’s intoxicates 
 us, it is as true to a pulse within us as the wine he drank. 
 
 We hear not their sounds with ears, nor see their sight with 
 eyes; but we hear and see both so truly, that we are moved 
 with pleasure; and the advantage, nay, even the test of hear- 
 ing, and seeing at any time, is not in the hearing and seeing, 
 but in the ideas we realize, and the pleasures we derive. In- 
 tellectual objects, therefore, in as much as they come home to 
 us, are as true a part of the population of nature, as visi- 
 ble ones; and they are infinitely more abundant. Between the 
 tree of a country clown, and the tree of a Milton or a Spenser, 
 what a difference in point of productiveness! Between the 
 plodding of a sexton through a church yard, and the walk of a 
 Gray, what a difference! What a difference between the Ber- 
 mudas of a ship- bui Ider , and the Bermoothes of Shakespeare: 
 the isle 
 
 ... Full of noises 
 
 Sounds, and sweet airs that give delight, and hurt not; 
 the isle of elves and fairies, that chased the tides to and 
 
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47 
 
 fro on the sea shore; ... Such are the discoveries which the 
 poets make for us; --worlds, to which that of Columbus was but 
 a handful of brute matter.'* 
 
 We have quoted thus at length, because one great injustice, 
 among many others we do to Mr, Hunt’s essays by merely describing 
 them, arises from the hopelessness of conveying in the least de- 
 gree any idea of the earnestness, the ease, the graces of style 
 and manner, the natural, spontaneous impulse with which every i- 
 dea is touched. We could as easily describe Jenny Lind's sing- 
 ing by saying, that she sang "Annie Laurie." In this, as in so 
 many of his essays, we have the outpourings of a heart beating in 
 sympathy with all suffering, all joy, all aspirations, -- the spon- 
 taneous reflections of a mind rich in literary knowledge, overflow- 
 ing with fancy. But nothing short of actual perusal can give an 
 adequate idea of the style and manner of the essay. 
 
 We should like to quote entire the next little essay^ that 
 falls under our notice. It is just such delicate wisdom as this 
 essay holds that chastens the joys and sorrows with a touch of 
 quiet, unpretending pathos. It is not at all surprising that this 
 grave and tender essay was the favorite of Charles Lamb. We feel 
 a little disposed to ponder and fabricate what |^. Lamb, whose sor- 
 row was like no other sorrow in the annals of literature, may have 
 thought upon reading the statement in this essay that "the true 
 way is, to let them grapple with the unavoidable sorrow, and try 
 to win it into gentleness by a reasonable yielding," We would not 
 
 1, "Deaths of Little Children." The Indicator, April 5, 1820. 
 

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 have it understood that the sentence Just. from the essay was dear 
 to Mr. Lamb because it gave him a new philosophy; it was dear to 
 him because it strengthened and corroborated the resolution he had 
 made more than twenty years before to “grapple with unavoidable 
 sorrow.** Also it must have appealed to Lamb because it expresses 
 sensitively the deep and abiding love he had for children, --real 
 children, and “dream children.** May we not quote a part of a par- 
 agraph for the sake of its heartfelt gravity. 
 
 “We do not mean that everybody must lose one of his child- 
 ren, in order to enjoy the rest; or that every individual loss 
 afflicts us in the same proportion. We allude to the deaths 
 of infants in general. These might be as few as we could rend- 
 er them. But if none at all ever took place, we should re- 
 gard every little child as a man or woman secured; and it will 
 easily be conceived what a world of endearing cares and hopes 
 this security would endanger. The very idea of infancy would 
 lose its continuity with us. Girls and boys would be future 
 men and women, not present children. They would have attain- 
 ed their full growth in our imaginations, and might as well 
 have been men and women at once. On the other hand, those 
 who have lost an infant are never, as it were, without an in- 
 fant child. They are the only persons who, in one sense, re- 
 tain it always; and they furnish their neighbors with the 
 same idea. The other children grow up to manhood and woman- 
 hood, and suffer all the changes of mortality. This one alone 
 is rendered an immortal child. Death has arrested it with its 
 kindly harshness, and blessed it into an eternal image of youth 
 and innocense.'* 
 
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 -on ,aaaaa oao' al ,odw aaoanaq ^Xao adf onA/^jtcddT .bXldo /oAl a 
 
 ad/ d/i» eioddsibO tibdf dniatat qad/ 'baa ; tVAWXA /X 'oXa/^ 
 
 -oAcow baa boodffAm 0/ qo «oi8 ubibLldo nad/o ad9 .aabX oatAe 
 
 %• 
 
 ocoXa aao ald7 .t/XXa/iofi lo aasoAdo ad./,XXA talt-ua bad ,bood 
 a/1 d/Xw /I ba/aa^na aad d/Aad .bXiiio XA/noral oa banabitat aX 
 
 
 
 d/ixox lo a^Arl X«ata/a na o/al /X baaaaXd baa ,aaandaiAd qlbnl/C 
 
 
 
 
 
49 
 
 In a manner equally informal, and quite as serious, in spite 
 of surface playfulness, he speculates in a kind of first draft up« 
 on his view of a future state. He suggests his attitude in the 
 title. ^ For him heaven is not heaven, unless its El^sian fields 
 duplicate, at least remind him of England’s green lanes, brown 
 dells, breezy skies, and Hampstead’s 
 
 ... woods that let mansions through. 
 
 And cottaged vales with pillowy fields beyond. 
 
 And clump of darkening pines, and prospects blue. 
 
 And that clear path through all, where daily meet 
 
 2 
 
 Cool cheeks, and brilliant eyes, and morn-elastic feet. 
 Familiar as all strange things must have been to one of his imagi- 
 native insight, ’’poetry and calamity, surprise and strange sights 
 of the imagination,” yet he could not reconcile himself to a be- 
 lief in, nor adjust his habits of life to^a future ’’Paradise Mount” 
 that did not in most ways correspond to actual paradise mounts in 
 any pretty village in England. He pleads for "some snug interlun- 
 ar spot” where, three hundred years hence, he may be dining, and 
 drinking tea with Shakespeare, and Spenser, and Boccaccio, and Sir 
 Walter Scott; and "the Arabian Nights must bear us company.” Yet 
 even this stopping off place to a higher heaven must be progres- 
 sive. ”We cannot,” he says, "well fancy a celestial ancient Brit- 
 ton delighting himself with painting his skin, or a Chinese angel 
 hobbling a mile up the Milky Way in order to show herself to ad- 
 vantage , ” 
 
 Though he does not say so, yet we fancy him, when tired of 
 
 1. "An Earth Upon Heaven.” in The Companion for April 2, 1828. 
 
 2. "To Hampstead.” in Examiner, Nov, 12, 1815. 
 
» 1-r 
 
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 cifi nl obvtU^M did oxuiuj ,t to wtlt did ao 
 
 dtron atlBbii hi i ddolno .afv/ioii ioa dl «t 7 *#d mit lo^ 
 
 avoid ,dd(idt t’bda'I^irti to aid paimbi Jttol it .titoUqtl^ 
 
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 \ 
 
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 .iooJ oUBAlti^atom bat ^oatlllid ba«',ifdtdflo XooO 
 
 i' '■ * 
 
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 idT ** .^aaqaoo , da laaO lewff aldsl* ajtltStnA »dt*> bat }lVo»8 idOXaft 
 
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 *«i 
 
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 .axax ,'SX , fOU- *d«l«axJi;.j 4 X '•* .baol dcqwaH' bT” ".s 
 
 
 
 ft 
 
50 
 
 writing poetry, tired of being light-hearted in company, tired of 
 conversing with divine friends, we fancy him roaming in Elysian 
 fields with Her (’’true; oh, so true, that you take her word as you 
 would a diamond"); or when tired of roaming, imagine him in some 
 Ear th-Blys ian wilderness confiding to Her that 
 
 "A book of verses underneatKa bough 
 A jug of wine, a loaf of bread -- and thou 
 Beside me singing in the wilderness. 
 
 Oh, wilderness were paradise enow." 
 
 Only that "wine" in Hunt's case would undoubtedly be tea. Flip- 
 pant and light-hearted, his attitude toward the Great Adventure 
 may seem. And it was a seeming; no more. For life, fundamentally, 
 was very serious to him, and Death and the future no less so. He 
 was afraid of neither, cried Hail and Farewell with a smile. He 
 wanted to let go of life gently, and by degrees; he wanted not to 
 be loosed entirely from the eartn, not at once. Earth and its cap- 
 abilities, its little accomplishments and its great and unfulfilled 
 aspirations must surely, somewhere closely linked with the place 
 of beginnings, come to a more perfect fruition. So Hunt believed. 
 "Is there no beautiful realization of the fleeting type that is 
 shown us? No body to this shadov/? No quenching to this taught and 
 continued thirst? No arrival at these natural homes and resting- 
 places, which are so heavenly to our imaginations, even though they 
 be built of clay, and are situate in the fields of our infancy? We 
 are becoming graver than we intendedi but to return to our prop- 
 er style." 
 
 We began this chapter with comments on "Getting up on Cold 
 Mornings," and we think it not amiss to end it with what we may 
 
lo flt b#a f Sal**i'to hittti 
 
 ^ '• >>. ' ' -^ . V -fc "" _ . 
 
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51 
 
 find worth saying about the essay on ’’Sleep.’* This, Mr, Hunt 
 tells us^, was Hazlitt’s favorite of the **Indicator” essays, ’’per- 
 haps because there is a picture in it of a sleeping despot,” adds 
 Mr. Hunt, But Hazlitt insisted ’’with more enthusiasm than he was 
 accustomed to do,” that it was the conclusion about the parent and 
 the bride that appealed most to him. May either be the reason, or 
 neither. We are not concerned in the right answer, nor the wrong. 
 For us the essay has the charm of mingled humor and poetic musings. 
 Our laugh is neither loud nor long over Mr. Hunt’s description of 
 the inopportuneness of uninvited sleep; it is probably nothing more 
 than a disturbance of the muscles that communicate amusement; but 
 we do feel an inward chuckle, or groan, depending on whether we re- 
 call ourselves as being the observer or the observed, disturbing 
 our composure as we read of the discomfiture annoying the compla- 
 cency of those who exercise the misunderstood privileges of sleep 
 in company. It is not precisely the proper thing, he says, ”to es- 
 cape into slumber from an argument; or to take it as an affair of 
 course, only between you and your biliary duct; or to assent with 
 involuntary nods to all that you have Just been disputing; much 
 less is it well to sit nodding and tottering beside a lady; or 
 to be in danger of dropping your head into the fruit plate or your 
 host’s face; or of waking up and saying 'Just so* to the bark of 
 a dog, or ’Yes, madam,’ to the black at your elbow,” 
 
 Perhaps the laugh we indulge in over this and over what he 
 says about clowns and sleeping despots, is not altogether hearty. 
 
 1. ”Indicator” for January 12, 1820. 
 
 2. ”Autobiography , ” edited by Ingpen, II, 50. 
 
fid 
 
 
 
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 .8aoi<» ion .lovoflA adJ al boditoaoo r »4 of . 3 ,^$ita 
 
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 l| 'ii , , ‘ 
 
52 
 
 not q^uite objective; perhaps it has a painful personal note in it, 
 an element of uncomfortable memories, and comes with a blush, and 
 a bit shamefaced; for we may realize, to our secret selves, that 
 others besides clowns and despots may be unlovely in sleep. The 
 knitter up of raveled care may be beautiful in figures of speech, 
 but in figures of flesh and blood not precisely enchanting. In our 
 waking moments we may be good to look upon. We may be proud in 
 our walk, dainty in the way we eat; we may wear our evening at- 
 tire with the air of infinite superiority; in a word, we may show 
 ourselves grand even in trifling things. But asleep, we are the 
 manikins of a petrifying tyrant. Sleep is no respecter of persons. 
 He arrests us in the most rediculous postures; no limb-twisting 
 Charlie Chaplin could rival them. "Imagine a despot lifted up to 
 the gaze of his valets, with his eyes shut, his mouth open, his 
 left hand under his right ear, his other twisted and hanging help- 
 lessly before him like an idiot’s, one knee lifted up, and the 
 other leg stretched out, or both knees huddled up together; what 
 a scarecrow to lodge majestic power ini" 
 
 But if Sleep is unkind, so is he kindly too. And it is as 
 kindly that the poets have most frequently treated him. The authors 
 to whom Mr. Hunt refers us are many, and of the best. Ovid, Spen- 
 ser, Chaucer, Sophocles, and Beaumont and Fletcher are called up- 
 on in praise of sleep. As one of his favorite passages on sleep he 
 quotes from Beaumont and Fletcher’s "Valentinian, " 
 
 "Care-charming Sleep, thou easer of all woes. 
 
 Brother to Death, sweetly thyself dispose 
 
 On this afflicted prince. Fall like a cloud 
 

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53 
 
 In gentle showers; give nothing that is loud 
 Or painful to his slumbers: easy, light. 
 
 And as a purling stream, though son of ITight , 
 
 Pass by his troubled senses: sing his pain 
 Light hollow murmuring wind, or silver rain 
 Into this prince, gently, oh gently slide; 
 
 And kiss him into slumbers, like a bride.'* 
 
 •♦Sleep," he concludes, "is most graceful in an infant; soundest, 
 in one who has been tired in the open air; completest, to the sea- 
 man after a hard voyage; most welcome, to the mind haunted with 
 one idea; most touching to look at, in the parent that has wept; 
 lightest, in the playful child; proudest, in the bride adored.'* 
 

 
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54 
 
 V 
 
 CRITIC AND CENSOR- GENERAL 
 
 Ostentatious impartiality. ••Puffing and pun- 
 ning." A moral Quixote, Rules to violate. 
 
 Praise to the praiseworthy. Self-appraisal. 
 
 Leigh Hunt’s earliest critical writings on matters theatri- 
 cal were articles contributed to a little paper called the "News," 
 set up in 1805 by his brother John."^ Extracts from these con- 
 tributions subsequently formed a fifty-eight page appendix to an 
 original volume on the same subject, entitled, "Critical Essays 
 on the Performers of the London Theatres." These considerations 
 of the actor’s art constituted an innovation in dramatic criti- 
 cism and created a new field for the familiar essay. Tney brought 
 Leigh Hunt into the public eye by their unprec i dent ed independence 
 of opinion and impartiality. Evidently he was resolved to pull 
 the stage out of the vitiated state into which it had gone, for 
 he tells us that "he is resolved, that if the somniferous drama- 
 tists will suffer him to keep his eyes open and hold his pen, and 
 while he is honored with the public attention, 
 
 no dull dramatic knave 
 
 Shall walk the stage in quiet to his grave. 
 
 But this only if there is nothing to praise. 
 
 1, That is, John printed and apparently edited it for the pro- 
 prietors. In the "Autobiography" Leigh states that he knew so 
 little of the proprietors that he could not with certainty rec- 
 ollect any one of them. 
 

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55 
 
 It must not be supposed that there were no ’‘professional" 
 critics when Leigh Hunt was tickling the public by pinching the 
 players. Then as nov/, there were "gentlemen'’ who did the theatres 
 and gave what the public took for criticism, but which was in re- 
 ality "a draft upon the box office, or a reminiscence of last Thurs 
 day’s salmon and lobster sauce. Hot only that, but it was cus- 
 tomary for editors, who were also the proprietors of papers^to be 
 intimate with actors and dramatists*, and under such circumstances 
 it was inevitable that critics, actors, and playwrights should 
 tickle one another with the feathers they stuck in one another's 
 hats. Puffing and giving of tickets, interchange of amenities, and 
 flattery of power on one side and puns on the other^were the order 
 of the day. 
 
 Into this well-oiled critical machinery that produced, for 
 the price of a ticket or a lobster supper, ar\ "exce 1 lent '* Mr. Ban- 
 nister, a "Charming" Mrs. Jordan, a "crowded house," and a stage 
 upon which "the whole went off with eclat," Mr. Hunt came with 
 the twenty-three year old zeal of a Sir Galahad, ready to carve 
 the masks of men, "guided by nothing but a regard for truth, for 
 
 the real pleasure of the town, and for the literary reputation of 
 2 
 
 Englishmen." His comments were undoubtedly juveni le , ( "Good GodI 
 
 3 
 
 to think of the grand opinion I had of myself in those days.") 
 and a little conceited; but they were entirely honest, and sincere 
 and in most cases just, for which reasons they had a wholesome ef- 
 
 1. "Autobiography", edited by his son, 1860, p. 138. 
 
 2. "Critical Essays of the Performers of the London Theatres," in 
 the Appendix, page 16. 
 
 3. "Autobiography," ed. by his son, 1860, p. 139. 
 
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56 
 
 feet upon contemporary periodical dramatic criticism. Mr. William 
 Archer believes that Leigh Hunt may '*be|reckone d the first English 
 dramatic critic... He was actually the first critical journalist 
 who succeeded in emerging from the mists of anonymity. Probably he 
 was the first who deserved to emerge.'* 
 
 In his dramatic criticisms, as in all his other writings, he 
 was a kind of moral Quixote. He may, at times, have been too much 
 of a "grail" hunter, but in all his hunting he was characteristic- 
 ally sincere, independent, and vivacious. We see his sincerity and 
 independence in his resolution to be entirely free from obligations 
 of whatever kind. He kept himself rigidly aloof from everything 
 with which censorship was likely to be corrupted. "To know an act- 
 or personally," he says, "appeared to me a vice not to bejthought of 
 and 1 would as lief have taken poison as accepted a ticket from 
 the theatres." The vivacity of his criticism may be illustrated 
 by the following set of satiric rules he drew up for the critics 
 of the day; the theatrical critic of a newspaper is admonished by 
 "you will of course make use of the first column;" 
 
 "A crowded house a theatre on the night of a performance, 
 
 when all the back seats and upper boxes are 
 empty. 
 
 "An amusing author -an author whose very seriousness makes us 
 
 laugh in spite of himself. 
 
 "A successful author--an author who has been damned only four times 
 
 out of five. 
 
 "A good author the general term for an author who gives 
 
 good dinners. 
 
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57 
 
 •’A respectable actor--an insipid actor; one who in general is 
 
 neither hissed nor applauded. 
 
 "A fine actor one who makes a great noise; a tatterdema ^ 
 
 Jion of passions; a c lap- trapper ; one intend- 
 ed by nature for a town-crier. This appella- 
 tion may at all times be given to Mr. Pope, 
 who has the finest lungs of any man on the 
 stage . 
 
 "A good actor the general term for an actor who gives good 
 
 dinner . 
 
 '*A charming play------a play 
 
 a play 
 do, the 
 
 ’’Great applause applaus 
 
 and pit 
 
 "Unbounded and universal appl 
 
 of the 
 1 0 be f 
 bills i 
 has met 
 bills i 
 emblem , 
 
 they speak of themselves,"* 
 
 This and other strictures of a like nature undoub tedlgive evidence 
 
 of over self-confidence, out they also give evidence of unselfish 
 
 honesty and sincerity, courageous enough to attack popular play- 
 
 1. "Critical Essays, etc." Appendix, page 19. 
 
 full of dancing, music, and scenery; 
 in which the less the author has to 
 better . 
 
 e mixed with the hisses of the gallery 
 
 ause--applause mixed with the hisses 
 pit only. This phrase is frequently 
 ound at the bottom of the play-house 
 n declaring the reception a new piece 
 with. The play as announced in these 
 s generally printed in red-ink, an 
 no doubt, of the modesty with which 
 

 
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56 
 
 writers of the day for their '♦miserable** productions; the manag- 
 ers were scored for their want of taste, the critics for their cor- 
 ruption, and the actors for their supercilious satisfaction with 
 their own personal perfection. ("There’s a lady in the stage-box 
 contemplating my shapel The critics in the pit are astonished at 
 my easel My character sits well on me, and so do my small-c lothes 1'^ 
 He classifies the principal local improprieties of the actors as 
 "Gating at the boxes. 
 
 Adjusting the dress. 
 
 Telling the audience their soliloquies. 
 
 Wearing their hats in rooms, and 
 Not wearing them in the open air."^ 
 
 "A few words from the critical benches, or a shout of ♦put on your 
 hat!^ from the galleries^ might end them at once." He* admits that 
 this criticism from the galleries might be unpleasant for the act- 
 or, but the actor should take care not to deserve it. He harped a 
 
 2 
 
 good deal on Mr. Kemble’s "vicious" pronunciation , women’s male 
 3 4 
 
 attire , and the need for modesty." Of all his criticisms. Pope 
 as a tragic actor came in for the severest: 
 
 "... When Shakespeare wrote his description of "a robustious 
 fellow, who tears a passion to tatters," one would suppose 
 that he had been shewn by some supernatural means the future 
 race of actors, as Macbeth had a prophetic view of Banquo’s 
 race, and that the robustious phantom was Mr. Pope. Here is an 
 actor then without face, expression, or delivery, and yet this 
 
 1. "Critical Essays, etc." Appendix, p. 2. 
 
 2. Idem, Appendix, pp. 3, 4, 5, 6, 7, 10. 
 
 3. Idem, 45, 166, 175, and Appendix 21. 
 
 4. Idem, 179, 209. 
 
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 complications of negative qualities finds means to be clap- 
 ped in the theatre." And here, according to Mr. Hunt, is 
 the unfailing method of obtaining a clap. "It consists in 
 nothing more, than in gradually raising the voice as the 
 speech draws to a conclusion, making an alarming outcry on 
 the last four or five lines, or suddenly dropping them into 
 a tremulous but energetic undertone, and with a vigorous 
 jerk of the right arm rushing off the stage. All this as- 
 tonishes the galleries; they are persuaded it must be some- 
 thing very fine, because it is so important and so unintel- 
 ligible, and they clap for the sake of their own reputation.^ 
 ... Mr. Pope has but two gestures, which follow each other 
 in monotonous alternation, like the jerks of a toy-shop har-* 
 lequin; one is a mere extension of the arms, and is used on 
 all occasions of candour, of acknowledgement , of remonstrance, 
 and of explanation; the other for occasions of vehemence or 
 of grandeur, is an elevation of the arms, like the gesture 
 of Raphael’s "St. Paul Preaching at Athens," an action which 
 
 becomes the more absurd on common occasions, from its real 
 2 
 
 sublimity. " 
 
 In much the same way that Hunt criticises Mr. Pope’s two gestures, 
 he criticises his two facial expressions: one "a flat indifference 
 which is used on all sober occasions, and an angry frown which is 
 used on all impassioned ones." 
 
 U 
 
 1, This thrust at the audience makes one wish that Hunt were alive 
 to "current-comment" on the Washington Conference and the pub- 
 lic thanks-giv ing festivals decreed in honor of it. Gullibility 
 ranging the haunts of men can still find signs of "Rooms to let. 
 
 2. "Critical Essays, etc." pages 22, 23, 24, 
 
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60 
 
 But Mr. Hunt never entirely locjses sight of his underlying 
 purpose in criticism. He set out to praise what was worthy of 
 praise; and although he had no respect for error, however long it 
 had been established, or for vanity however long endured; he was 
 ever ready to admire dignity that was not pedantic, pathos that 
 was not artificial, gesture that did not suggest machinery, ex- 
 pression that was more than paint and lamplight; he looked for the 
 laughter that had heart in it, charm that radiated sincerity, mod- 
 esty that demanded respect, and vivacity that inspired wholesome 
 hearty amusement. About such q^ualities as these he was eager to 
 write with warmth and generosity. He pointed out the "mingling 
 of heart with humour" that Mr. Bannister enacted; he paid tribute 
 to the "virtue and respectability" that Miss Duncan possessed; 
 he admired the "simple passion and mixed emotion of anger and 
 tenderness, and testiness of good-hearted old age" that disting- 
 uished Mr, Dowton; he indulged the "liveliness, social vivacity, 
 and dry humor" assumed by Mr, Elliston; and he pays tribute to 
 the "charming openness and gaity" of Mrs. Jordan, whose "voice 
 pregnant with melody, delights the ear with a peculiar and exqui- 
 site fulness, and with an emphasis that appears the result of per- 
 fect conviction... Her laughter is the happiest and most natural 
 on the stage;" ... it is ag natural as emotion itself, and "inter- 
 mingles itself with her words, as fresh ideas afford her fresh 
 merriment; she does not so much seem to indulge as she seems un- 
 able to help it; it increases, it lessens with her fancy, and 
 when you expect it no longer according to the usual habit of the 
 stage, it sparkles fortn at little intervals, as recollection re- 
 

 
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61 
 
 vives it, like flame from the half smothered embers,” 
 
 The temptation to quote further in illustration of Mr. Hunt’s 
 felicity in the art of praising is not easily denied; although 
 long passages of such hearty approval as this from which we have 
 extracted a brief quotation, are few, not oecause Mr. Hunt found 
 it difficult to praise, but because he saw so little worth prais- 
 ing. One need only compare what he says of Mrs, Jordan with what 
 he wrote about Mr. Pope to be convinced that he was more at home 
 in approving than in condemning. Picking out what was beautiful to 
 look upon, heartening to contemplate, fortifying to emulate was 
 the was b ot'hv ocat i on and avocation to Leigh Hunt. As already ex- 
 plained, he does not blame the actors alone. He thinks responsi- 
 bility for correcting authors for representation rests with the 
 managers of theatres. He laments the perpetual representation of 
 wretched dramas whose genius rests entirely upon their immorality, 
 oecause they are nurtful to the immediate reputation of the act- 
 ors. He regrets that ne has been compelled to draw examples of 
 good acting from iewM the worst dramas. But the hope that he may 
 have been of service by assisting the improvement of his own age 
 in play writing and acting has encouraged him to exercise his best 
 powers, such as they are, against the barbarities of modern come- 
 dy. ’’Succeeding ages very often acquire an unconscious tone from 
 the most trifling exertions. Like the child who was awakened ev^> 
 ry morning by his father’s flute, they rise in the calm possession 
 of their powers, unconscious of the favorable impulse that has been 
 given them." Modern dramatic criticism may not be conscious of 
 the favorable impulse given it by Leigh Hunt, but the power and 
 
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62 
 
 whatever sanity, independence, and sincerity it may possess was 
 first fostered by him. 
 
 A paragraph of self-appraisal from Hunt may help us in 
 
 placing a right estimate upon his ability as a critic of matters 
 theatrical. In speaking of the attacks that were made upon him 
 for his criticisms, he says that they 
 "...were little calculated to obtain their end with a youth who 
 persuaded himself that he wrote for nothing but the public food; 
 who mistook the impression that anybody with moderate talents 
 can make with a newspaper, for the result of something peculiar- 
 ly his own; and who had Just enough scholarship to despise the 
 want of it in others." He does not pretend to think that the 
 criticisms in the "News" had no merit, but believes that the 
 "pains he took to round off a period with nothing in it, or to 
 invent a simile that should appear offhand, would have done hon- 
 our to better stuff." In speaking of the volume entitled "Crit- 
 ical Essays on the Performers of the London Theatres", he says, 
 "I have the book now before mes and if I thought it had a chance 
 of survival I should regret and qualify a good deal of uninform- 
 ed judgment in it respecting the art of acting, which, with 
 much inconsistent recommendation to the contrary , it too often 
 confounded with a literal, instead of a liberal imitation of 
 nature • 
 
 1. "Autobiography," edited by his son, 1860. p. 143, 144. 
 
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63 
 
 VI 
 
 INDICATOR AND TASTER 
 
 Critical and aesthetic appreciation. Imag> 
 ination and Fancy. Critical estimates. 
 ’’What is Poetry”? --Details . and examples. 
 '•Wit and Humour”. ”a jewel case of crit- 
 icisms.” Character of the two hooks. The 
 conclusion. "Who still rules our spirit 
 from his urn. 
 
 From dramatic to literary criticism was the natural and 
 easy direction for the genius of Leigh Hunt to take. Everything 
 that his mind occupied itself with, which was not literature in 
 some form, had for him only such interest as inheres in stepping 
 stones: useful to get from where one is to where one wants to go. 
 All his life he had been an inclusive reader, and a discriminating 
 one. He never failed as an intelligent appreciator of ^rhat was 
 good in books, and especially in poetry. Of its imagination and 
 fancy, its sweetness and its music, its tenderness and its grace, 
 its wit and its humour, no better judge ever existed than Leigh 
 Hunt, and no critic ever pointed them out with rarer skill. 
 
 Among those who have given high rank to Leigh Hunt are not 
 only his ardent admirers, but also his grudging critics. Lowell 
 thinks that Hunt’s ”spbtlety of discrimination” and sound judgment 
 "has hardly won fitting appreciation.” Macaulay, besides feeling 
 a ’’kindness” for Hunt, credits him with the power of ’’justly appre- 
 ciating and heartily enjoying good things of very different kinds.” 
 ”A commentator on the minute beauties of poetry^” is Whipple’s es- 
 
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 -anci^A qXXa«t'*’ 10 tABoq oAX BiiA «ia txibaKo j-JaiiH "lOt *>9B»abaiA*> a „ 
 
 ;■ ‘ « ^ 4 ? 
 
 ^**.Bt>Bi4 Pito-BAtliXf V*Ot tq IBBXAX bAOl BAiqottfO qX^SlAOB bttA bbHaIo^I 
 
 ••■> a’oXqqidW ai ^^Yhi****^ 1 ® fivlXBAOd •XaAiai tiCX bo %pt0t^ causae a** 
 
 UStlBb'^ 
 
64 
 
 tlraate of him. Salntsbury grants that, in the faculty of literary 
 criticism. Hunt is *'with all his drawbacks, on a level with Cole- 
 ridge. with Lamb, and with Hazlitt. his defects as compared with 
 them being in each case made up by compensatory or more than compen- 
 satory merits." Winchester, commenting on Hunt's critical writings, 
 deems "his contributions to literary theory by no means insignifi- 
 cant." Undoubtedly Hunt had considerable power of analysis and def- 
 inition. as well as ability to taste and to indicate what was good 
 in literature. The best single example of this is. perhaps, the in- 
 troductory essay to the volume aptly entitled "Imagination and Fan- 
 cy." According to Winchester, this essay, entitled "What is Poetry? 
 "is, on the whole, as satisfactory an answer to that question as any 
 more recent writer has been able to give us. ..the essay is full of 
 the most acute and discriminating remarks. His discussion of the 
 value of musical sensibility in versa, of the difference between 
 smoothness and sweetness, of the effect of variety in accent, of al- 
 literation and assonance, his distinction between natural and pro- 
 saic. — which very neatly punctures the fallacy in Wordsworth's fam- 
 ous preface.-- these among other passages, may be cited as proof of 
 the delicacy and Justice of his taste when dealing with general 
 principles." Mr. Brimley Johnson states that Leigh Hunt's critical 
 work, all that is directly so. is confined almost entirely to pre- 
 faces. This statement, we presume, is true when the Judgment it 
 pronounces got its direction from Mr, Johnson's "directly so." Our 
 own preference, however, is for the two volumes entitled respective- 
 ly, "Imagination and Fancy." and "Wit and Humour," 
 
 "Imagination and Fancy" is first among the likeable things 
 that Leigh Hunt has done in the way of criticism. The little volume 
 
XiM-m 1 1 lo xl£iF|b«:t pd: ml ^imd$ •#a«*i?|. ji;al«S ® *atjll( Iro. 
 
 \ ‘ 'll 
 
 J -#£fiO ii^iv X®V*I n at, ,uAos^y^mit> »tti i|# m 5 owB ,afioilXto] 
 
 «* ,;il|taH ilJl^ 6aa «d««4 d^Xw 
 
 Siiiii v'%C 0 itio^Asaaqiivo fd qir tbam «a«o itoa# ai ^gKldd m^dJ 
 « ■* 4 aia]i 00 t^ifm^aaeo ,'%tJ§ 6 HoaTlff ** qt 9 i«a 
 
 
 CfJt9 
 
 ^ly ^as«^oa >sftf f’lotf^A of •■ol^judl'x^apc •XU*' i(P» 
 
 olitlaoa yo fmoq mtdsy^JbiBucc dMa jalS9-\it§4 duo bjMfJ 
 
 toflf .«»w SMdw tfaoJftcX ox »aa oX«ii ox xXlXXd^ •• lioif ta ,aoixlai 
 
 *1 • 
 
 •ei .c.q«iJ<aoQ ,ot «10#' IO ofqatajto olgiiiXd »< 4 f ‘.•««JafaXiX #2 
 
 -#traY i,a« 80X^0^0X90011** AoXfixao qXXqo oisiiXof'Oiix ol xd*i* lifOXoofcOTCX 
 
 •y . t 
 
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 to XX»1 ,ti qotoo oil#,..io ovi^ oj oxoo a«o 4 o»ii ioXX*i«r, jaoe«« 
 
 •1C001 
 
 
 Lik. 
 
 
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 « *' ' • .. 
 
 -lo to •fOOOOB ul qXoilOf to Jootto Oiit \t ^OOtffJoOVt XlUli OOOOrt^OOfBO 
 
 * 4 ir ' .. 
 
 -oiq kttd Xoooioa 0oo«in< (foi x>bjrl 9 fiib olu ^^ondaoM^M has aoXloiofXX 
 
 -8ot • ’i(l‘io«o|itof 0I qoiXIot oivx ootofpovq qCiaoa cfol0»«»» oXoii 
 
 i- ■ 31 ' 
 
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 ►•■'.- 'S . ' I r. I 
 
 lAoXxi^o •‘^OOB dsidi i0it# aoxjjxo uooado; flaUi^ .%ii ** .aoXqXeaXtqi 
 J M^oiq Of iXotidao fooaX4 liooitaoo fi .o« tXxoo!»XJb «x #iM<f iXa 
 
 fX xa*i 5 » 9 bot a»/iw Ootl tX , oaaooxq ow ,foofl»oilodo oxoT .oooat 
 *•.00 tidooxi*** «*«0ir»iX0l, .t« »oxt coidottib ifX d4»9 ••ooaocoxq j 
 
 ' j » » By ■"' < ; 
 
 -i'tidooqoox ooXfiiii# $dmuloT owii •rtf' lot %t ^totoaort .•oa«x«taxq a»o 
 
 j: ".xootmii 0ao dXW” Aao **,toool aold^oXio^l** ,qX 
 
 ^ T' ''"'d 
 
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 •laXrtd •Irto/ XX oati anomo daxjlt oi *^oa 4 t ba« aoll«aX34«I*' ' “ 
 [^*»(II<.v •XidXX udt ,«NX(vlJlto to %MW irtf <it ««oX» oiirt^dcoBI 4 i|ioX'‘d 42 i 4 
 
 r--»T3r!-*aas 
 
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 ~a‘ 
 
65 
 
 was hapily ohristeneds under its title almost anything other than 
 the dull and prosaic might be discussed. But what it actually does 
 Include may be briefly summarized. The volume of three hundred and 
 fifteen pages consists of an essay on "What Is Poetry?" extending 
 to sixty-one pages, and a series of quotations from the poets of 
 England whom the world has agreed to call great, namely, Spenser, 
 Marlowe, Shakespeare, Ben Jonson, Milton, Coleridge, Shelley, and 
 Keats. Bach set of quotations is prefaced by a short critical not- 
 ice of the poet from whom they are taken; and those expressions to 
 which Mr. Hunt wishes to call special attention are printed in ital- 
 ics (this is Mr. Hunt’s usual way of "indicating"), and after most 
 of the pieces quoted he has placed notes, intended either to clear 
 up the meaning where it is obscure, or to point out lurking beau- 
 ties . 
 
 From this description of the volume we may readily conclude 
 that it is not the ordinary anthology. It is that, but it is more. 
 
 We may call it an anthology in the sense that here we have a col- 
 lection of delectable extracts from the best English poets; but it it 
 more in that Leigh Hunt, like the Cuculus Indicator of his Own per- 
 iodical, hovers over the specimens in the volume, and by means of 
 his critical introductions, and chatty notes in conclusion, points 
 out to us the honey spots. Herein, indeed, lies the strength of 
 Leigh Hunt’s critical service. Critics too often talk for an aud- 
 ience that does not need their instruction. Headers who can under- 
 stand the critics (many of them) can also understand the authors 
 criticised, and make up their minds about them. Readers who cannot ; 
 understand authors, cannot understand the critics either. Why not, 
 it may be asked, leave the authors who have nothing worth praising 
 
(, • 
 
 ft twkaoffnl Ust i§fouf ••o«iq wdi lQ 
 
 * ' 
 
 saX;(n«l ^1/0 ^alo% v3 to »#t«oii<}o OX Si z^LoMmt: ddS HV 
 
 tt(^As 'i^dso '^^nldS^ad Saotfls dlsis •}! fkau KbctxoS%l*tao •«« 
 
 • t»0O xilMOSoa St Smtlm Sdttm olftMOto tarn Liat 9 tLS 
 
 t)d*il>Bva( )D ^«; 9 <it 0 T «1[r7 »h 9 ^Lx*mpv \Xt0ltd •<! t«> 0i>vlool 
 
 ■ 1 ^' 
 
 ^Alia«^fti0 **r^'-#0O^ «1 9 »A 1 *' 00 i(0ote am to idoioooo eoso^ ■••Hit 
 
 to «iooo «o^l ■aoi^oieof to ••ivoe ■ wao»\ 9 tl% 9 S 
 
 V ^ 
 
 .t«ifl0Qa ^xl 99 tma i£#» t^if jbitow miis mmdw bamlytoM 
 
 ' * - *■ . *■ ■■ ' t ■ 4 ^. »f- *' 
 
 fiae •fr^i'toIoO ,aoSJlU ,cto«aot ■•« .OivoXtal^ 
 
 . ■•, y , 
 
 l•.oi.'i•<o sxaam » x<f t«o4t«tq «i caoXSmSov^ to «•■ <(04i6 .'■I••Y 
 
 'o;i iiAol 4 i«#tf|mt ••o«ti Aao oto ioott, l•oq «Hi*tD moi 
 
 » . “ -I - ' “'■ - i. 
 
 ^irli Ai )b»(}ifttq «t« noldooHa :«io»q« Xt«o os todolm 3 u$m .XU Aotk'^, 
 
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 i»Oii *1 .it# OBJ , (^tfiX 3 jcJU)ai* to X 90 Jmxroa $Uat/B ,tU ai oti 
 
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 o^oioaoe fliOtot Tmm t* omalot oAa to o.oilqltoti»i> lirli Jiotl 
 
 ftoa Ji lot ,smAS tX II .\s;ioXcininj ximai’b'f.o tOiTMoa ti |i SmdS 
 •Ijoo « oijil •• •tou smds otao* oas ml KiolcUI«« nm li fXoo tiue •? 
 
 t: 4i iod tmSooq diiliaX iBOd *111 nott •idtfotXoA to floIlooX 
 
 BVO tXM to fOiooXAal OBfoooO odfij •aiX ,iu«dl dii»4 ladX, ai otois 
 
 ' i . 1 ■ ■,!,'. 
 
 to mamom fd ham ••koXov tdi oi •■•ailotqa mks o*ro tiotod ^tSmoifieX 
 
 .1 ■ 
 
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 tioioq ,s6i ioloaoo mi moSoa %ssmtio bam , oaol tosrbovsai looXlito otd i 
 
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 •toOBJcr itoo oAm utobmofl .ooiiootitB^ tiodi Otto Soa moot SmdS ooaoi 
 
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 Biodliu oaS OfSoSoxpbrtu ooSm boo (•(•ni to ibjai) aoill*io oBI bamSt 
 
 loBBOo oliv aioOtt/f ^ .etiU ioodj tjOBltt tlodl qlr taCjoi Obo ,bm$ioiSito 
 
 ‘ 
 
 ,Jo<f i.fCW .riOfllio ••illYo fdi i>a4it*i«0ttB loBBJO , oiods VM boMSuiobao 
 
 l‘ kjf i. 
 
 ^ItXooq 4lio« bailiioa «tjit odo ttoKlBj' eili tVoti. «^jii4«4 td qo0 IX 
 
66 
 
 alone? Instead of spending time decrying the worthless, give more 
 attention to pointing the hesitating reader to the beauties of lit- 
 erature. That, at least was Hunt*s belief; and he not only opened 
 a way of enjoyment for the general reader, but he enriched litera- 
 ture by the encouragement he gave contemporary writers. 
 
 With a little encouragement our imagination and fancy can 
 picture Leigh Hunt at his favorite fireside, talking with friends, 
 two or three, perhaps more. How and then he picks up a volume from 
 the table and reads. It is a favorite passage, from a favorite auth 
 or, to be sure, and therefore fit subject for illuminating remarks. 
 They will not always be in approval, but his general purpose is to 
 praise; for he has chosen to read what he likes. So in this volume. 
 It presents a sort of fireside reading and running comment. But mere 
 ly to present passages of poetry particularly pleasing to Hunt, was 
 not the primary object of the volume. Its purpose was more serious, 
 more critical. 
 
 One of the objects of the book, we are told in the Preface, 
 was to show **what sort of poetry is to be considered as poetry of 
 the most poetical kind, or such as exhibits the imagination and 
 fancy in a state of predominance, undisputed by interests of anoth- 
 er sort.'* And by a oareful perusal of the introductory essay, 
 
 ’•What is Poetry?'* we learn that poetry and meter are not the same 
 thing; and further, that poetry is something different from the 
 metrical expression of even great thoughts. He insists that we may 
 quote from Shakespeare, Milton, Byron, and other great poets, hun«> 
 dreds of passages which are soul-stirring without being strictly 
 poetical; that the passages in a poem most pregnant with mind and 
 

 t 0^0* « <^i7l ,«t«Xilr50W *A$ •OFii 3oltia»<ii >0 t«fltJlI sftaelA 
 
 -*5 ?}f B 
 
 •fit )o *4/ or ifbAo*! •((> oj aol9coJd« 
 
 lioiSO^O %in 0 ica I'ltoif.rd «*7nuH njkW ism^t fs .ontf^ato 
 
 V r ^ 
 
 ^ »f fan X«*to ««'9 oni voi rara^o^at to t<v « 
 
 'r ■ •> I - < 
 
 ^ ,aio^£r«i ^lAYOfBOtffioo ^^^^ JT ««a« 9 «tno cao oiU Ytfvoijbii 
 
 ’ . i/ -.M 
 
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 4H« salstXatf ••lilBBtll •iX*iot#t «X4 l« laul diXo«X oyaxolil 
 
 ^ ^ * i, . 
 
 16^1 $sati^r • qcr oatol^ #4 aofU bas «of .«yo« nqoxlioti to »«i 
 
 ■?> » . *i . _- 
 
 4io* o^ifovol A «o‘f) oliyovoVii kt H .•boo'i ban tXdiMr 
 
 • ’ ® f 
 
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 9 ‘ 
 
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 ^ ' * Sj#'' 4l 
 
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 na« . xnvB o4 ^nloooXq xXiaXnoiiyAq tosaiiaAq 40*«oiti bd \sX 
 
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 '■'■ til 
 
 b«« aOiXaalsaai o44 eiidlox* «a 4ooo lo ,bal4 laoiXooq XtO0 f4l 
 
 ■ 
 
 -dxoea to oiooioxal qd btxoqoibaa ,ooa«aXAQboiq to oxara a aX 
 
 >'i 4/1 
 
 tiox ocfboyool 0 /lx to Xat oioq Xutotao a %0 bab‘ 
 
 ^ ii., ’id,. 
 
 •aao «ax 4oa oia loxam baa xtiboij Xaox oiaoX ow *’Tqi 'oo$ iX 4a4V^ 
 
 ddX 0011 XKaiottib taoa *i xiXaoq XaciX • io4Xtirt>'' baa jiaalxld 
 
 # ' 
 
 yae ann xailX tlaiiaX *E ^btdtooAi xaoil aart to aolaattqM Xaoi*i4a« 
 
 . «uort •axaoq ^aoib itdJo baa' ,aoit^ «aoiliitf' •-ataoqiioaladd o4oub 
 
 '■ .' V ■ 3l 
 
 yXOoXiXa %ai«a /aoaXib''^ffiiiixa-loaft oia aolitw Dfgaaaaq to obaiJ 
 
 *4^00 bain a7l« jcraniiit«<r 4bt>M 0 *oq a al aoBaeaaq oiU dad# (faz^XXaoq] 
 
 - '!r,» /■ ,. t 
 
67 
 
 meaning, most agitating in its effects, and most decisive in its 
 testimony to the genius of the author, may yet have less of the es- 
 sence of poetry in it than many inferior passages. 
 
 In answer to the question. What class of poetry is the high- 
 est? Mr. Hunt says, "undoubtedly , the Bpio." Then, after mentioning 
 Homer, Shakespeare, Dante, Milton, Chaucer, Spenser, Ariosto, he con 
 t i nu e s : 
 
 "...It is to be borne-in mind, however, that the first poet of 
 an inferior class may be superior to followers in the train of 
 a higher one, though the superiority is by no means to be tak- 
 en for granted; otherwise Pope would be superior to Fletcher, 
 and Butler to Pope, Imagination, teeming with action and char- 
 acter, makes the greatest poets; feeling and thought the next; 
 fancy (by itself) the next; with the last. Thought by itself 
 makes no poet at all; for the mere conclusions of the under- 
 standing can at best be only so many Intellectual matters of 
 fact. Feeling, even destitute of conscious thought, stands a 
 far better poetical chance; feeling being a sort of thought 
 without the process of thinking, --a grasper of fhe truth with- 
 out seeing it. And what is very remarkable, feeling seldom 
 
 1 
 
 makes the blunders that thought does." 
 
 Writers may be conveniently referred to one of three class- 
 es according as they make it their principal business to expound 
 doctrines, to stimulate to action, or to do something which we can 
 as yet only describe by saying that it is different from either. It 
 is only poetry belonging to this, the third class, that Mr. Hunt 
 
 1. Imagination and Fancy, p. 55 
 
til tfl tii ni ^««a 
 
 ••ft* dxU to *••£ ttAd i^n t/C^ to talaftig »di oi %ao 0 liti«i 
 
 iW 
 
 YOitttfli tA«n Q«<Si II al xtito<i to »on«« 
 
 m 
 
 tdit ai xMacq lo aaaio i«U% ,coJiafa|^ #xfl oi ^lovaaA aX 
 
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 nloOliatK aaila ^asil aifi t^X^aidaotao** • *t«a .nV r^aa 
 
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 * 
 
 
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 taairoit 
 
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 to ioijq Joilt «di 9mAi ,T«y»»aii |ltfti<fa oi.oaid^ »a ol *1 lli#..^ 
 
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 to oitfni eiii ol •'lov^Ilot ol tolioqoa f»d x»m,i%MlKi toHatol out 
 
 ’ ' ■'•■ ’■" ' ' . 
 
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 ’ ■ '■ ' , ' > % -.•■■ ’ .* ■■*•■ . ,-i 
 
 .'iqUoioIt &>! *TOli#qi/a •« (loon oqo5 o ibotiioan t&t «» 
 
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 •.i«do *94» dolao* tii iw yoioHiai • 0 oxa«oi|^«I .tqol o4 Maa 
 
 .. ^ X-: 
 
 ;jftoa 004 Jd]|tr0o4 5tf0 soilOol joafoq laaioo’XB ocSf nar.tJua «*xqi6A 
 
 u 
 
 tlooai idt&aiiV . 9^1 #44 4 II 0 . |#j«a 041 nioall^ X^) X 004 \i 
 
 •tatiko 041 to tooltoJoaoo ono« 4ild tot " ilio I*'l 60 q oA 
 
 • ' " ••■.t 
 
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 149001 ( 1 , to Itoo «.)| 0 l#d 9diX0*t< toooa<(4^i«0(locq *<4t 
 
 •lUiir to toqootB 4-*,BolX0l4a to ' loooOiq Ml .loodiiir 
 
 oOl>IOA-BOiX«ot , »Xd« 4 lta 00 'S tX Ip 4 A .41 BOiOOt 400 ^. 
 
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 ■ ■ ' ■■ ‘i 
 
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 J II .‘lidiio moit ieoiottlA tl li ladi^' B«Xxaa odltcaofc^ xfM, lox *4 
 
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68 
 
 has admitted to this colleotion» With a little reflection we may 
 prognosticate the nature of his selections. Will they be well known 
 passages? Will they be those lines, couplets, stanzas which are oft* 
 en quoted in public assemblies, and made to do duty at banquets, and 
 in the halls of political bodies where nations are leagued, bellig- 
 ents are disarmed, navies are scrapped, and people are protected? 
 Beautiful expressions devoid of lulling effect on human conduct, 
 and unforgettable echoes of infinite things, these have little ap- 
 peal for the average person whose pleasure it is to humour whims 
 and prejudices for his own gain. Hudibras, for example, which sup- 
 plies (or supplied) plenty of quotations, would not be called poet- 
 ry by its staunchest advocate. Such a passage as 
 
 "What makes all doctrines plain and clear? 
 
 About two hundred pounds a year. 
 
 And that which was proved true before. 
 
 Prove false again? Two hundred more." 
 
 may be convincing enough, may have rhyme and reason, but certainly 
 has no poetical appeal. ^[either have the vehement jealous outburst 
 of Othello, the ironical ci^nicisms of lago, the fulminations of 
 Milton’s Satan, the rantings of Don Juan, the philosophizing of 
 Browning’s "Rabi Ben Ezra," nor the criticisms in Pope’s "Essay on 
 Man," In all such as these that have been enumerated, the appeal 
 is to something other than to the purely poetical. What the aver- 
 age person wants is a proverb of the "Poor Richard" type, a |>assion 
 torn to tatters, or a prejudice well spoken. But jingling proverbs, 
 full mouthed passions, and pet prejudices are not poetry. 
 
 But coming back to "Imagination and Fancy" we find in it 
 
:^ssetss 
 
 
 93 
 
 I XMm 4 Oilt ^MtliaaSipD kld 4 oi ktsileilu^ 9 m^ ' 
 
 A 
 
 tflfo«.4 £lo« •«, , • Mflii4it#i<>.«, &ixi, #^*itf3(Bii 443 v3«oi3«o:i^<l^ 
 
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 l*tt# 34 •z> 4 « ttt 4 , 4 #U<^« 4*«4 ffl ib» 3 oxrj» on 
 
 -sUlto Ptf njtol9ssi $%pAit ffitod iAolJUoq to «XU4 mu .ai 
 
 V '* *“ 
 
 ti»43a.'.ict^ ?-»a #loio«q OiXA •tOqqatOA 4ao‘ tolfjaii ,Oo«i;A«ib tt« 
 
 .foatrtoi (I- rod BO 3o«tt# i^lllol to l!^lof4b''lfa^lA.ii«Tq»o 
 
 
 
 -q# •Itfll ntod 9»pd3 ,«3fll43 AZialmi lo ••oao# bn* 
 
 •aidv ttOfrtfd oi «l JX •‘ivta^Xq •aoifv aOiioq «iitf not Xaoqi 
 
 ' T ,• f 1 ^ ■ 
 
 -qat rtoidir ,fXq^«4AH tot tnntdlbt^ .Blau a»0 tid tox pp pi bolnxc boo 
 
 1 ' ‘iT ‘ 
 
 -3«0(J boiloo »4 JOB bleow .•coiJiJpfff^lo ^ieelq (ballqqoa to), iOilq 
 
 Il 4 0 »«CIA<^ * dOi^C .fXeOpTjOA 3 « 0 A 0 Bt*i 4 «#1 \f 
 
 
 ■ " V^r< 3 f ' 
 ■ 'r-y‘i r -4 
 
 hao atolq a»aitfoot XXa «« 4 (»ai JAdl* 
 
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 .tAtX'A olpoot ir*t^HVO 0 V 3 i 4 i 0 di^. . f 
 
 ,. I ■ '..•ElT 
 
 . 0tOt«tt( , 4PT3 bototq ooa itoi/im im09 Ajra 
 
 , IktOlB b^tJtaOll OrAff .iB.iiJMS oalAl »V0^1 ^ 
 
 '-’■«■ ■■‘■ 
 
 tJoiaJTOO 4itd ,ao»4^;t baa ©AVAt rtawi t^k ,4^bon« i.<il ©ultttoo »« xbo» 
 
 ^ ■ - , •'.> jfc 
 
 Ji*T«di«c •ooX^©t 3B#«0d©v #iu OTA* n«4tftfl©j{ ;^r»4qqa l40i34oq on Add 
 
 '' '' L * ■ ; . 
 
 to mapifoaimlux .ti3 ,«tiAl to - oXUillO to 
 
 ■ • . *■ * ',# ^Ir - ^,1 
 
 to lollixjqoeolldt odf ,n*sul ao<J to at^diiiiAt t43 .cr#i 4 e a*ao3XlK f 
 
 • ■■’ *■ .' ' I' Vi ■ . ' 
 
 i»iO •'•qox ol imBioHita onyAon,. t*^***^ ZdAC« ©•fialaootfi 
 
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 f 
 
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 -•JotA fd 3 Ztltfl Li« 0 Z 3 ©oq xiituq /dt o 3 i© 43 p iijn.Zd^Jwwoi ©3 Ol 
 
 ' ' ”Vj ■” 
 
 aoldno^ 0 * 04^3 ** 0 '*t*Aoi^ tooX” #43 to dioroaq « §i oditAir aoiet©q’^ii,jlA 
 
 »ttd*t©totq ^Mrif i Xf ( 1 1 1 3 uH .nodloqt Xiow «olZ>u(,«t<i( a *io ♦otAti'ZiJ dl atOI 
 
 ^ . ^ ♦ . / .5 «. /, r.,. 
 
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 31 ai bolt boA aoljAnX^aiPX« oJ 4 o>a# aalooo zaa fj 
 
 t ... 
 
 *% 
 
69 
 
 what Mr. Hunt calls '’poetry in Its element, like essence distilled, 
 as different from that which we call poetry in its compound state, 
 that is, poetry which appeals to a variety of emotional and intel- 
 lectual attributes.*’ Examples of ’’poetry in its element, like es- 
 sence distilled” are, according’ to Mr. Hunt, 
 
 ”It ceased; yet still the sails made on 
 A pleasant noise till noon-- 
 A noise like 'a hidden brook 
 In the leafy month of June, 
 
 That to the sleeping woods all night 
 Singeth a quiet tune.” 
 
 The happiest instance he finds of the great importance that imagi- 
 nation in all its phases is in the highest poetic faculty is the 
 passage in which Shakespeare describes the moonlight "sleeping” on 
 the bank. 
 
 ”How sweet the moonlight sleeps upon this bank; 
 
 Here will we sit, and let the sounds of music 
 Creep into our ears; soft stillness, and the night. 
 Become the touches of sweet harmony. 
 
 ... LOok, how the floor of heaven 
 
 Is thick inlaid with patines of bright gold; 
 
 Some idea of Hunt’s conception of poetry has already been 
 given; but it may not be amiss to quote his definition. "Poetry,” 
 he says, "strictly and artistically so called, that is to say, con- 
 sidered not merely as poetic feeling, which is more or less shared 
 by all the world, but as the operation of that feeling, such as we 
 see in the poet’s book, is the utterance of a passion for truth. 
 

 «J(ii ,'i>n«crele., (i7l kXiiio iatiB 
 
 '« i w _ P, Tuv 
 
 »>X xr«d <»« itklk^ mo'%\ a« 
 
 ii. 
 
 •t^iai tff# X0HOit<>s* vi'yt) * o) «X»*<|<ta'’a61uv''tx9»(tq ,ai 
 
 ' ‘H * ^ 
 
 -a# 9 tUI u^L at ••IqiuiXS^ 
 
 
 
 ,ifaa^'*‘xH-otJ^utt>'%oooM ,0’ia *'l>*II ii atjb •cffti 
 
 „, La r.1 ti 
 
 HO oMais afXio oitJ XXiiTi, Xt»x ji<* 
 
 ;/, i 
 
 --aoott XXXi fiaipa^ ^a0«i«<»lq A 
 
 
 ■!",U 
 
 
 '* ^ ^oo*id a^odlX ttloa A 
 
 jgp a 
 
 
 Voci^t 'to d^flcrm x^*oX 9,£iJ ttl 
 
 _4», . 
 
 '' tLa •toow i^aiq^Aola 0^ 7«il7 
 
 >'^' 
 
 *'.0Bti^ ah Lop « iil^oi^qli 
 
 
 -iaaai iadi aOHA<}^oqni ;»aei3 ed?‘1:o aXinXl od ooaA^oiJX ::F«fXqqAd' »4t 
 
 • u . '■ ^ ’■ ' ■ i 
 
 odi ol xtIbC'a) olitoq ;»*dAijcr atl9 ffL uL ttaatiq »9t S£jn ai ttolkao « 
 
 1. V a ■ ■ 
 
 'ho *';ija2q0oXft" ’VdifXXaouv ada ««dX*so«»X» aiaoqaslCAda (fC/Adv '«X 
 
 
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 - • 
 
 '■■ J ' 
 
 Sff 
 
 • jUultf^edX 
 
 ‘4. 
 
 :A4iad old? ffoqn aqoola tfd;aXXaooa od-T,^ ir«i«vii« 'woH**' 
 
 
 
 o^tort to kAooot od? foX ooa ,Oii o#'XXiw otfH 
 
 4, / ' ..3a 51, . 
 
 r 
 
 ,44aXo add ba/f ,%9aolLLia Sion iw^aa tiro b^ucl qootO 
 
 I' • , • 
 
 T 
 
 ^X^oirtod Xao^o to oOiiooo} ftd;t 0(foor>8 
 
 'I®-' 
 
 ■‘*?A‘ 
 
 «i 'T' 
 
 fttvaod to tool! trod 
 
 ■• . ..■■'■ ,5. ■ ' , .■,: 
 
 iblopfid%itti to aottl^aq dHw blalai tbkdi nX 
 
 ■ ' ^ . .A./ ^:ws3 .'.iH* 
 
 
 w't. 
 
 
 i, i ■ , . ." ■•■<.< v.„ ■ .. 
 
 oood xX>o0iXa bai( xnlooq to coiJ^ooidOo tq »«IiX'' 0 I(tO 8 - 
 
 »v.tJooH** .oe 1 tiffXtob ild, akaup ki ^a^aLiBM oil ^oa ,q«iin''^X #ocf $a»v, 
 
 . ' " * * ' - ' s§. 
 
 ^ ,, ffl '" — 
 
 -BOO ^XMP' Oi oX -jiadi' vdotlAo oo xXXaoX ioi^f tA '^dao vltoX'iXo'^ , * 0 ^* ddl 
 
 '- ' ; . “ o'-|iit ■* * "'9'w “ 
 
 ftttAa tt«I 10 oiofl. ■! Heiiljr «• tXaioa loa AoioftX* 
 
 ' ;a * ■' ' ' t 
 
 ow 00 rtoirii ,ioiXO»»t dad; to aoX;Ato<so * odd'^ «« XoO' , jt^ltow^oddVXXa 
 ,ddut; lot aoXeaoq O'/rto aoua^o'i tiipeb ' n* ta(>fi,'^'ad^'*'aLi ooo 
 
 * .«.' . D. .-ii' B)-'''- ' .«■ , 
 
 xt 
 
 =tt=: 
 
 1.15*: 
 
70 
 
 beauty, and power, embodying and illustrating its conceptions by 
 imagination and fancy, and modulating its language on the prin> 
 ciple of variety in uniformity. Its means are whatever the uni- 
 verse contains; and its ends, pleasure and exaltation.” 
 
 Life, it seems, is a process of forging conventions; and 
 it is poetry, according to Hunt, that keeps us from becoming en- 
 tirely imprisoned in their soporiferous compacts. Like love and 
 beauty, poetry touches nature’s clouds to glory for us. A proper 
 interpretation, both of his definition and the selections in the 
 volume, will discover the fact that the entire collection is an 
 illustration of the definition, and that exaltation and pleasure 
 will help us to ”go softly” between, among, and by the conventions 
 that hedge us in from nature. A lover of Spenser always, it is 
 quite natural that Hunt should select him as the first exponent of 
 his definition. 
 
 ... "Spenser * s great characteristic is poetic luxury.” 
 
 Hunt thinks that ”If you go to him for a story, you will 
 be disappointed; if for style, classical or concise, the 
 point against him is conceded; if for pathos, you must 
 weep for personages half-real and too beautiful; if for 
 mirth, you must laugh out of good breeding, and because it 
 pleaseth the great, sequestered man to be facetious. But 
 if you love poetry well enough to enjoy it for its own sake, 
 lot no evil reports of his "allegory” deter you from his 
 acquaintance, for great will be your loss. His allegory 
 itself is but one part allegory, and nine parts beauty and 
 enjoyment; sometimes an excess of flesh and blood. His 
 forced rhymes, and his sentences written to fill up, which 
 
90 C U^ 90 txoo 9 <il ,i««og ba» 
 
 •nit(j ao a^X ' B^XlAXffibOQ'taA ,)coa4il bas xzoX 9 aaXa«ffX 
 
 -loo trtX K»t«t 4 irU» •• 5 H •<! .x^X«iot Xoi; nX xibliMt #XqXo 
 
 If Xu '** «acXXJiX*ata bBM aiifiAcIq «al>i]o «;X ftcA ;aaX 0 Xaoo tf*i«T 
 
 « ' ^ ^ ' -i a ■ , ' 
 
 l>Aif tau^XJtsava^ BHiB'io't to aaaeo'i^ a ax « aaaaa XI ,olil ^ 
 •aa BoXxsooao nonl aa aq^«o 3 ( lacix .xasdl B^X^yoooa .XTXaoq al XX 
 
 ■'■' ' 'if.'’ 
 
 avol aiX«l .aXoaqaoo aaoiatX'ioqoa ii*{lX al ^airoaliqaX \ItiXx 
 leqoiq 4 .a« irot oX ataoX u ''«tax«a ••xtogoi .^aXaeq 
 
 9 dS at aaolXo^ita » 4 X tab aoXXiaX)et> aXo to .aipa , a 9 XXaX«tqitXnX 
 
 p ., ^’ ■ 
 
 & 
 
 na al aoiiaalloo aiXXaa X« 4 X! I 04 I -axiX *i 9 XoaaX 4 XXlfrj « aaialQ v 
 
 •laaaaiq 4 n« AoXXaXi^AJi# xadx 4 aa •QoXXXcl'ti 4 #iiX )o aoX XaiXivlXI 
 
 ■ 
 
 l*= 
 
 aaoXiaavoac adx tx bam t%aomm .^aawtfad "^XxtPa ox «« qi»4 iix* 
 
 >' ' ' ^ 1 ' ■' 
 
 ’» - « C'< ' ■ ^ V n' ... 'ii 
 
 9i.. Si ipa«»#q8 lo Torei 4 .•’to^aa nov^ oi a« 
 
 ^ , ij' ,V v'( *’ 
 
 10 Xnoaoq?;# Xa*rXt a4X •« «I4 lofXao 4Xao^«, xaaH Xa4i XaitaXaix axlaj^ 
 
 I # < « ** I 
 
 .aoXXlaXlal^ 14 
 
 ".fCiiiitfX oixtoq b 2 oXialiaXoataiio Xaotb a ' toaaaqB*' . # * 
 
 • ■ , - • -^ f . , ‘ . 
 
 tXlm vox ,x*<o^P * Xa^X axtalUX XaxxB 
 
 ■> ' , ? ,1 
 
 t, adX .aaloapo to Xaol^taXo «aXtxa tol tl } toJaXoq^afXB oX^i 
 
 (, f 
 
 latfff croq .aodfaq tOt IX }X>tOoouoo aX^taX/l iaisiaia iaioq 
 
 
 / 
 
 f 
 
 It 
 
 Si' ..ft'# VT, 
 
 tol IX tXa'tixoaaO oox^X>aa Xaat«lXa 4 aaB«AP«io <2 qaav tj 
 
 , n 
 
 il sauaoaX bam .aoXOaato ooog^ I 9 xao dga^iX Xaa« xrox • 4 JiXn 
 
 Xoa .aaollaoal §ii 01 a«a bataXaaoj^aa »ia*ta 0 ^ 4 XaaaaXq 
 
 ' ••• ' ’ '■ > ■■* ^9 Jf . 
 
 aiCaa a«ro aXl to> it oX A-^aoam llgn qtXaoq fvaX^oofC 
 
 Bid Motl trot loxot ** t'^PBoXX^** aX 4 lo aJtoqat iXta oa X«X^ 
 
 • V , * .#.#■' ‘ 
 
 XioaaXXa alE ,aaoX tsot XXXv laatB tot , apaaiaiatf^OJi 
 
 '»r t ^ • A , 
 
 % ^ •■ J' JJ • U M'__: 
 
 tfla aXtaq aaio baa Xta ‘4 axto X »4 aX^tlaaxi 
 
 olH .OooXd t|«a'' 4 a#Xt to iiiifoxt aa auslxomov (Xc» 0 ta|ioo 
 4 t>l 4 « ,qi 7 IXIt Of aaxxltv otoaadaoo 0 X 4 Oaa •BaAvrlt Aaotol ,, 
 
 r a 
 
71 
 
 in a lass poet would be Intolerable, are oompared with suoh 
 endless grace and dreaming pleasure, fit to 
 
 ’make heaven drowsy with the harmony.*'* 
 
 Spenser is more **southern than the south itself’*; he is 
 constantly '*haunted with the sense of beauty,'* and all his versi- 
 fication is '*perpetual music.'* Critics born of the earth may not 
 find his poetry to fit their rules, also born of earth; but poets 
 themselves have idolized and imitated him more than any other poet 
 has has ever been idolized and imitated; and all '*the gods are 
 ravished with delight** by his celestial song, and the wondrous 
 might of his music. 
 
 In the selections that follow the critical remarks, 
 
 Hunt first points out the exquisite modulation, the noble senti- 
 ment, and the tone quality of *• Archimago* s Hermitage.'* Next he 
 shows us in the '*8ave of Mammon'* what Hazli^tt has called the "por- 
 tentous massiveness of the forms, the splendid chiaro-scuro and 
 shadowy horror." Then we are brought to a '*Galery of Pictures 
 from Spenser," which Hunt considers, and concludes thereby that 
 Spenser is the poet of painters, and also the painter-poet. To 
 each of the pictures in thes '*Spenser-Callsry '* Mr. Hunt has at- 
 tached the name of the painters whose genius the poem reminds him 
 of. There are nineteen such pictures; but only two of them are 
 here quoted. The first one, entitled "Hope," is, according to 
 Hunt, such a picture as Corregio might have painted. It has, so 
 he says, sweetness, but is without devotion. 
 
 With him went Hope, in rank, a handsome maid. 
 Of cheerful look, and lovely to behold; 
 
4*ilf ,9idmt9tC7al *tf btuow^’tuQq ittvX ik aX 
 
 ff . ■■• 5 - ' 
 
 1 (.'7 #11 faJflr«»ib bu« *a#Xta« 
 
 1 ' t . '''■/- 
 
 B ** * ,\ao 3 nnA ddJ Aiim adrm^tl »#Uiil' 
 
 «1 »a d7eOM 9di tisdi arpeUagu^ 9ioac ■! Tvanbqe 
 
 «• ■ ji 
 
 .ititT ftlit XCa £a^ **.t;7.o«»d 19 ••a9t.«d# 47 1« lio9iii/«ii* tUftAitaoo 
 ■ foil %Ma itfia* 9dt iQ :iiod •oiJlvO " ".ol^uu Xif^feqioq^ mI aoifaeil 
 Ji/ii tdf^Mp 10 Btod osla /•♦lui il»49 ;11 tJ'^Hippq i 14 bait 
 •mdfo dsdJ arom mid btfolliel jbaM botflobl oToif ■•¥l»««oii# 
 
 I 9*ts Bltos tili#*' Ha JbOA {bolAlloi bfiA “bosllobl nooo t«vo gpd aa4 
 
 t#0*xbA0» Alii boA ,s^oa IaITioXao Al4^Xt< **}j(3|l£ob ditm bpdaitMJ 
 
 V -olAiie «14 'to 
 
 ,b3^ ♦•jtiAAfl Coolfino »d# woXIol 7A4i •aoifool'st #4# al , 
 
 .*., ^ wflES. V . 
 
 ^X#ae« eXdoa oHi «'Sol#Alabo« tJlo'lxrpAO tUf 7up ifnloq ftill <fX|fo{l 
 
 •4 #xa8 ^ . A 9 A# 101.OH •~*0 9Aetl4 9<s4*' to *aoi odf X>oa fSd$m 
 
 - \ 
 
 •lOQ** 9t7 bOXlAO iAd SiliPM^ 1 A41V **ACIBf>Alf lo AVoO** <>4# oliAO ObOllO 
 
 ■ )¥ *■ 
 
 bnA o’taAA.ciAtdc HtUaalqd #di , aa^oI a 4# to AtAoerlaiAM AOOfaA# 
 
 . f ^ •'^ 
 
 • AVdfOit lo XIAXaO** a a# All OW OAAf •'.lOtlOli X«bl>A4A 
 
 ■ * , >*■ 
 
 il- * ' 
 
 ^ iMdJ x^9tadS AAbAlciroo bftA raitab^itacu dauff sidlda *«'t#AaAq8 aotl 
 
 ' '4. p 
 
 •T .1 Aoq.'ttlalAii 0d7 ooIa boo ,Atofai.Af lo ftoq Al tto.AAAqP 
 
 ! ' ‘ -. ' . .', ii; 
 
 -7A «a4 SatHk ’'tlonA^-^OAAAqG^' AbA7 ol AA%ilfoXq Ad# lo dOAO 
 
 ■» , ^ ' " ''' D W- 
 
 kid. ptalttPT maoq *4# AolftA^b eto^iv AtoiaiAq on# to aaaa td# bodpAf 
 eiA mod# lo oA-1 Xloo fvd f •ansfi 0 Iq doot aoAfoaXa aia «V94T «1o 
 
 0 # ^sibioooA ,a 1 **,6qoH'* boXflfOA »oao’'#Aiil odT .bAfoap Ai#il 
 
 OA , tAd #1 .bolalAq AVAd idylB oIsa^jiioo aa Axofolq a dovt »fatrB 
 
 *"* .aoXfovtb laodfXw »l ,3AA0fAA«A t axaa ad 
 
 jlii, " • .j:-' 
 
 ,blAA AOOAbaAd.A ,daAi al \^pqpK $a§f »lA dilH 
 
 ibXod^o Of xlo^ol bOA gdooX^ XoltAAdo 10 
 
72 
 
 In silken samite she was light arrayed. 
 
 And her fair locks were woven up in gold. 
 
 She alway smiled;>'>and in her hand did hold 
 An holy-water sprinkle dipp*d in dew. 
 
 With which she sprinkled favors manifold 
 On whom she list, and did great liking shew; 
 
 Great liking unto many, but true love to few. 
 
 Of the verse "And her fair locks, etc.** Hunt says, ’•What a love- 
 ly line is that; and with a beauty how simple and sweet is the 
 sentiment portrayed in the next three words, --’She always smiled!" 
 Almost every line, however, is lovely to Hunt, and especially so 
 is the felicitous Catholic image of the 
 
 Holy-water sprinkle dipp*d with dew. 
 
 If Corregio isn’t in every color and expression of the whole pict-* 
 ure , then Hunt does not know where to find it. 
 
 Here is the second selection, entitled 
 
 A PLUMB OF FEATHERS AND AN ALMOND TREE 
 
 Upon the top of all this lovely crest 
 A bunch of hairs discolour’d diversly. 
 
 With sprinkl’d pearl and gold full richly dress’d. 
 
 Did shake and seem to dance for jolity. 
 
 Like to an almond tree, ymounted high. 
 
 On top of green Selinis all alone. 
 
 With blossoms brave dedecked daintily. 
 
 Whose tender locks do tremble every one. 
 
 At every little breath that under heaven is blown. 
 

 •dig 0$ ' a^'il i ai 
 
 iin 
 
 ,i >£09 ui qb ft«voi« o*r«»w^«XooX 7$fl d:tX 
 
 *p - 
 
 Ulod ttA b^Btt X0A ai tcIXffa ^Mwts i^tC 
 
 '“ ^ ;., '. ■»■: ■ ‘ * 'rt 
 
 J 
 
 i 
 
 f u 
 *jrf\ 
 
 ai 
 
 ,«9^ 0l b*qgiX •XXai'iqa hi 
 
 ■ » - .1 ' 1 V .•'*’ .'iv 
 
 :i: 
 
 liioTjit i^9£X«i*rqa e4« 49(4.« 4;#lt 
 
 y* .. 'x (I . • _ ' ‘ - 
 
 ;wq4a laoia tit >n4 modw aO 
 
 ■jfi 
 
 .w«i 07 oToI offii io4 ,%aMa otpu atttXll 9«o*i£) 
 
 m'.; .' " ’':f ' ^ -<'■ ■ 
 
 ^fl?0 
 
 1^ 
 
 10 
 
 i*»fol A tM&it*' •*!«• iat/M *'.o49 «ftXooX %t«l %oA tot** 
 
 "V . • ' '■' ‘ik '^) V ,, u ^ ' ' ■ i '.it 
 
 od4 «i Iffva tao olq^io mod ^^>;«o<5 f dJiv '^OA^lisdS al mdil ql 
 ll^Umo a\4Wlo odC: * a&iow iiovdi ixoji o4i al Sadmlittoo 
 
 OA tiXaieoqiv ta.a ,4auB ci «X «to90iro4 ,9aii xidmp io^tslk 
 
 K o^aafi oiXoxtiaO, airo^loiXol; tiUf ai 
 
 k- 
 
 4* 
 
 }■ ■ ■■ Wr 
 
 r«at d^Xa t *qqil>')#X3l4;X*(qa ^olav-qiaB 
 
 ffl. 
 
 
 0iotim odl \q nolaao'xqjr* tjt* ^o(oo *qtfT« ili X*a«l o taaiiQ/P V 
 
 
 ‘ f 
 
 i 
 
 % .A—- 
 
 .11 liCit ox fiadfi ivoaX, 4 40 aaot laaH a*4X 
 
 • r-''*Tb''' ■ •''^-•* • '^4 ■' . 
 
 o ‘ • * 
 
 tolil 109 "Vocl’^XbAXaa taooaa kdi ■! anoB 
 SBBT aiOKJt BA <44 'lO'BKVJS A 
 
 otu 
 
 ' laato xXb^oI tXdi XIa lu' qol #44 itoqO* 
 
 . . ‘ ' 
 
 »ll4t4tli» t •'lireXflOallr aiian to Aoaaif 4 “K.« 
 
 ^ 
 
 %ldoi^ XX«t iX^i td« Xiaaq 'H VXiaHqi dXlW; 
 
 : '-'' ~ n 
 
 ;*44iiot to) ooaat 04 a«#a taJf oBada tXB 
 
 '-’ .. - 
 
 ' " ’ -t 'S’ ■' '• <'' •' ■* 
 
 .daid boyatromx « oonX ' taottXa aa 04 a414 
 
 t ‘ ' 'A 
 
 .aaoXa Xta aaotfi )o‘ qo4 aO 
 
 ' ./ ' ,._^ 
 
 •tiX’diat tadoeteff oratd anoaaoXd d4iV . 
 
 '■ . ' ' ^ *4' li 
 
 '*#(to ti#99 a£d«#a4 00 adooX t'ata#!'^ aadjXl ^ 
 
 " '•• ^ ^ 
 
 .aaoXo at ffaTaad taOda 4ad4 diaatd eXilIX y;Y#t# lA 
 
 :-‘5 
 
 ./(^l 
 
73 
 
 "What an exquisite last linel exclaims Hunt. But he finds fault 
 with the poem as a whole, and says it is not a description fit for 
 a picture. The accessories needed for a good picture are not here; 
 
 t 
 
 and the reference to the image illustrated is not good or true. 
 There is a feeling of too much minuteness and closeness in the very 
 distance. Besides it is quite impossible to paint the tender locks 
 "every one," and the whisper of "every little breath." 
 
 These two, one a good the other a poor example of what Hunt 
 calls painted poems, have been quoted to illustrate Hunt’s criti- 
 cism, and to show wherein he distinguishes between what he calls 
 good and not good portrait poetry. It would be diverting, at least 
 to quote others, but the two must suffice; enough these two, we be- 
 lieve, to prove that the book is not a vague panegyric or second- 
 hand rapture, but an intelligent, discriminating comment on good 
 literature. He not only relishes a beautiful poem, but he explains 
 the mystery of its mechanism, the witchery of its peculiar harmon- 
 ies, and the intense force of words when used in certain combi- 
 nations, and properly understood by the reader. That kind of crit- 
 ical service, we think, is much more effective than the coldly im- 
 personal pronouncements of the intellectuals. The rule of the an- 
 cients as such, does not much concern, certainly does not interest 
 the people who should be led to reading poetry. Hunt’s is the 
 "shaping intellect"; his is the magic index-hand that points down 
 the highway of Time, a thousand years back, that touches our lips 
 with laughter, and sometimes compels us to tears. 
 
 Saoh set of selections from Spenser, Marlowe, Shakespeare, 
 Ben Jonson, Beaumont and Fletcher, Middleton, Decker and Webster, 
 
mf ittd .9a 9H terlAiox* JltaH odiiiaes* aa ^A4f** 
 
 *^cl 5X1 Hci XQitot*!? i| Soix «X/] l>a« \o£pilw M $m a»oq Ai lyi^ 
 
 \ 
 
 ;*«#0 xo.a fsa a lol baftaoa ••Xioaisooa •at ••to^olq • 
 
 .•015^^0 I>PQ:i$ 9pa bI b«44*U.f<fIXX dBAaX Ad? oX *oa«i«lot bA 9 bttM 
 
 ' '<• 
 
 Bds ah mAaaaadlo Btaaaiaakm daum oa9 lo • al •led? 
 
 ' 'a ' 
 
 ai^oX ad9 ht^laq 93 oXtfiaaoqati, •5iar# «| St ■•AXatq .•oa«iall> 
 
 , ■ • ‘ w ^ 
 
 lo ta^qaldir Pam *»aao 
 
 i ' “ ' ;. ■ -. . N ' - i 
 
 5u«!? sadm lo •XqcnASA :iooq a tadSo adS jbooa ji *ao ,ov5 •••At 
 
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 <r« 
 
 .ei ^X 0 (oo add oAdd joviaoAlio vtoir dttaa ai ,jCaIdd aw .Aaivtaa XaoX 
 
 . . iff , . . ,, : 
 
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 ^ v',>. 
 
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 ^ ■ • * • If < > , 
 
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 awAb adoXoq dadj) JCtrod^motoX oX:»0a add ai aXd ^/^dooXIodaX Ba^<|Ada** 
 a^iX tad^aododod 5 odd aioax bamBatds a„ ,«aiT lo XAvd^id add 
 
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 . ^ -a' ■ ■ , 
 
 , Ota oq a ad an 2 , aaroXva!! « taaoaqd iuotl^^ano XdoaX aa lo daa aoaS 
 .tadadaf baa taaCoAO^ ,0OdfJbt)iLV ,tadodaXX bos doonoAdt «adaoot. aatt 
 
74 
 
 Milton, Coleridge, Shelley, and Keats is prefaced by a short crit- 
 ical notice. In the selections which he quotes. Hunt has indicat- 
 ed his preference of particular lines or passages by italics. The 
 reason for italicising (a device much deplored by certain critics, 
 and designated by them as "signpost** criticism). Hunt informs us, 
 was a desire on his part to meet the wishes of those who desired 
 the italics. Hunt himself, "begs to be considered as having marked 
 the passages in no spirit of dictation to anyone." Most of all, we 
 imagine, not to the critics. That, we think, would not be showing 
 due respect for their individual opinions. For the wandering, half 
 lost layman nn the highroad of poetry, signposts do not come amiss; 
 they may not lead to the four-square City of Appreciation, but they 
 lead to the outposts of Understanding at least. 
 
 The whole book is a sincere effort to have his readers see, 
 as he sees, that everything which is deemed most justly human, as 
 Hope, Love, and Reverence, can best be understood through the poet- 
 ic strains of "the dead but sceptered soverigns, who still rule 
 our spirits from their urns." 
 
 "Wit and Humour," the companion volume to "Imagination and 
 Fancy," exhibits as much care in the choice, and contains almost 
 as good a collection of extracts, as the volume we have just dis- 
 cussed. In "Wit and Humour," as in "Imagination and Fancy," his 
 sympathies, vivid and easily won, were, nevertheless, held in check 
 balanced and directed by his impartial judgment. The contents of 
 these two volumes are precisely what suggested to Charles Lamb the 
 word "Indicator" as fit title for Leigh Hunt, The selections in 
 "Wit and Humour," with their prefatory notices of each poet in- 
 
■ V 
 
 [p 
 
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 taum 
 
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 .eoilAil ^d^aofAacaq to totfll tAlaolStMx lo eoaonelft^ iiiT b# 
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 :'J 
 
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 ■', 
 
 laomld aoldittoo baa «tuloda adt ol onao do<m a# «iXdiiido **,qoflt4l 
 
 -die taoC avad^^aY eosuior add aa ,atoAitda lo oo XtoaXIoo^A ,.Aoo3 a« 
 
 
 LJi 
 
 
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 A- 
 
 
 ald baa aol taol^liadrl *' oX aa bda Jm** al pJ>ombuo 
 
 doado al bled , aaaX edtnavaa , ana* •oev i(XIaaa baa blair •afXdtaqptb 
 
 '' ' »'->4B 
 
 to aaaatdoo ad? .daaaaba^ Idiliaqsl did baaeailb has baoaaXad-^ 
 
 
 *' ''^ ‘ i 'fi 
 
 adt dieaJ aaXnadO ot baiaasaoa iad« tlaaloanq aita aaaoiot oat aaadd 
 
 ■ ^ iW .1 if ’ ' ' (>'. i* •*»«•- 1 
 
 al aaolJoalaa adt • not alt It tit aa "totaolbaX** bioa 
 
 -fiJ. taoq doaa to baolton ^notatanq nladt litiw **’^noojod8 baa tlW** 
 
 
 
 
 ika 
 
 
76 
 
 eluded, their critical, explanatory notes, and their italics indi- 
 cating Hunt^s favorite lines, appeal to us exactly as if Hunt him- 
 self should take from his shelves the works of the authors repre- 
 sented, and read to us the passages he has marked, emphasizing with 
 voice and gesture what he liked best, and interpreting the whole 
 with brief, graceful, illuminating comments, Reading his marked 
 books we can, if we will, get a double pleasure: we may laugh with 
 him or at him. In most cases, however, our attitude will be like 
 his was. There will be a grim satisfaction at the biting irony 
 and acute wit of Swift and Sutler; the macaronic nonsense of Drum- 
 mond will be a common enjoyment; both of us will accept the lib- 
 eral-thinking joviality of Chaucer, condone the wilful and super- 
 abundant folly, "humoured to the top of its bent" of Beaumont and 
 Fletcner, be vivacious with Suckling’s dairy maid compliments, run 
 riot with Marvel’s extravagance, ward off low spirits with the wit, 
 reflection, and good sense of Green, let the amiableness and "bon- 
 homie" of Goldsmith lead us to comedy running into farcei and at 
 the end of the volume be mirthful with Wolcot’s occasional mock- 
 heroic inversions. 
 
 And here it may not come amiss to call attention once more 
 to Leigh Hunt’s critical method. In speaking of Wolcot’s mock- 
 heroic inversions. Hunt says, "To compare great things with small, 
 and show that I commend nothing strongly which has not had a strong 
 effect on myself, I can say, that Lear does not more surely move 
 me to tears, or Spenser charm me, than I am thrown into fits of 
 laughter when I hear these rhyming (mock-heroic inversions) *John- 
 sonia.’ I can hardly, now at this moment, while writing about 
 them, and glancing at the copy which lies before me, help laughing 
 
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 balA’jiital qlpA ♦#« ototod^eoXX doid» ***^ jaXoaal* to# *«oill 
 
76 
 
 to myself in private. *♦ 
 
 It is this confessional characteristic that makes Leigh 
 Hunt the admirable '’taster” of literature which James Haney has 
 called him. And here in ”Wit and Humour”, a ’’jewel case”, as Lord 
 Jeffrey called it. Hunt has been at his best. But all the jewels 
 are by no means in the extracts only. Many of Hunt’s comments 
 
 are gems in their own settings. Especially worth noting is the 
 little miniature of Pope. ’’The little fragile creature had wings; 
 and he could expand them at will, and ascend, if to no great imag- 
 inative heights, yet to charming fair^ circles, just above those 
 of the world about him, disclosing enchanting visions at the top 
 of the drawing room, and enabling us to see the spirits that wait 
 on coffee-cups and hoop-petticoats.” 
 
 Of necessity the limits set for the two volumes, ’’Imagina- 
 tion and Fancy,” and ”Wit and Humour,” dictated that the notices 
 of the various poets included should all be brief, mere pipefulls 
 at best; but they are of a flavor to whet the taste. Altogether, 
 both are charming volumes in style and content, displaying a good- 
 ly share of the "harvest home” of Hunt’s critical acumen, his mat- 
 ure and deliberate opinion of his favorite poets expressed in a 
 spirit of genial criticism, delicate and discriminating. In a leis 
 urly perusal of the two books we feel as if passing through a ban- 
 quet hall where wit|t and humour are at repartee, weighing words 
 against each other; and after we have loitered to catch an echo 
 here, have stopped to ponder a covert quip elsewhere, and have at 
 last come to where we may look over our shoulder in retrospect, we 
 are not quite sure whether what we have been hearing was the chuck- 
 
al 09 
 
 0^1^ 9«dj cl 9ali«io«<t04o I«ool»««io0o «ld9 «1 9J ^ 
 
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 UwJ «A « ,”»0ocibU t>a« 0i aivd bcA^ , mid, if tlaoi 
 
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 r?i ;/ 
 
 
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 ; 'V ■ ' 
 
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 1 * r i.' - 
 
 . - • ■ 7 \ - :-v, 
 
 j»j^nXi» bmti etwiaano aXIsait •X99XX adT* .aqot lo a«69aXuX« aXrf9XX 
 •!:. ' - . • ' ' ♦' 
 
 •nmmi oa o9^ti «^aaaaa t«A ,XXir iA taarf^ Oaaqaa dXcroo ail l>Ba 
 
 u 
 
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 food? afoda daa^ .••X«'iio t*^Xal aujft'iada os /af ,«|il8X»if avX9«ai 
 
 qoi PAS Sa Bao^Blt nalSasaodP snXaoXoaXd .aid iaodp biiow »dS ,to 
 
 -’ ^ , ■ •■ ■- ' .. '- ■ *^.'- < ,’.ii 
 
 i tM9 ssds aiinlqA^ ad! aaa tts pa soJXdcoe daa ,aooi ad9 to 
 
 * I * 
 
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 -dsado ad# aaw fdZittfji oaodiarad aw #a4v tadfadw attfa a^iap loa aia 
 
 
 mJ' 
 
77 
 
 le of cunning and vulgar acuteness, the roar of obstreperous jol- 
 lity, the compact of imagination and fancy playing with good fel- 
 lowship in the Forest of Arden; or whether we have been listening 
 to the Gargantuan laughter of those who mock at creatures of di- 
 vine intelligence tied to a belly that must be fed, and hearing 
 the intoxicated laughter of revelers at a feast where invisible 
 hands are forever writing on the wall. But be it the one or the 
 other, sure we are that Mr. Hunt has given us a feast. Are we of 
 those who stand aside, looking critically at life as a procession 
 of amusing figures? Tnen the books are full of laughter and comedy. 
 But are we of those quick with keen feeling and alert with intel- 
 ligent sympathy; then the books have in them the substance of 
 tears and tragedy. Apart from the coloring which individual moods 
 may lend to them, the imagination and the fancy, the wit and the 
 humour which we find in them are excellent; they are full of the 
 essence of all the good sayings of all the wits and humourists who 
 have laughed their way into the hearts of men. 
 
 As we have progressed toward the end of our pleasant stay 
 with Leigh Hunt, we have come to feel very strongly that his place 
 in English literature is a singularly high one. We have felt at 
 times that he is not appreciated as is his due. This lack of es- 
 timating him at his real worth is probably due to the wide field 
 which his writings cover. A little less of what was for the pass- 
 ing moment only would, perhaps, have won him greater recognition. 
 But with necessity at the door, choice to limit his field was not 
 given him. Meanwhile let us accept him for what he did. At his 
 best none has surpassed hiip in kind. He was never supreme as were 
 certain of his contemporaries; but there was one thing in which 
 
'?( ' 
 
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 -Ifc to fOto^AOio »» jfoOBt Odw, •Aorfjf' to ’ftd'BUAl aoJudaot'^AG oifd o3 
 
 Sal'xVop ban ,^ot*»d iuum jr« 4 « ^ toil oouoiilXotal^oatir 
 
 V . -.^v 
 
 • X^iiivtii oioilw ^aaot A ia aao£ov<«Y to .‘lolanoal bojaoixoi'tfai * 4 ^ 
 
 • , *!. V ■' rj ™ . 
 
 oiti -»o ono •it H fj/S *llMw ae %mli Li9 •narotol ota aJbnani 
 
 to »9 tilv «^*att a •» ao.risi a#ii ipsSl **r# iaiSt ata aw aibm , 99 dm 
 
 • ^ ■ - •»>:, 
 
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 '* '* ,f " ftf'-*' V ^ /'.'iw: , n 
 
 to aoaoaadva 9di eadi ai aTad adootf odi ‘ttAdi ixAimqa^* laasiX 
 
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 f’ /- •* ^ '; J iff ' ■ „4((S|l ' 4, ,. , 
 
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 dds baa ti« od^ od;^ haa noiM^X^aoii 9dS •eiadt/o^ daaX 
 
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 oitt*ta liot Ota xadX laofXXooza 01 a aodi'‘ai bait a« dotdv ij;roiBOd 
 
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 . -tf 
 
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 . Bid -tb .bib ad tada lot aid 'jrqaooa la iat aXidaaaaK .aid aatXi 
 
 atoa ta aaoiqoavmaraa oaw au '\halM ai aid ba««aqmjia ami aooa Xaadaj 
 
 " ■ ' " ■ ■ 
 
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 ‘‘if ' ■'* •'' ■ „ 
 
 dolda ni '^atdS eao ad-* u|^mad4 $s$d ;aaltam9qaalaoo aid to aia^iao 
 
 ^rnakMBd 
 
 
 
 
78 
 
 he ranked first: in the imaginative glow and warmth and kindliness 
 of his desire to open doors, and to lead us out of the prosaio 
 life of every>day, and enable us to forget the dulness and the mean 
 ness of the actual. It was his purpose to give wings to our imag> 
 ination, and to set the winds of inspiration blowing; for it was 
 his conviction that along whatever wondrous trail the awakened 
 love of Beauty might finally wing its way, that love must have a 
 start. To show us where it might begin, to point out the places 
 where the imagination of others had taken wing was the supreme 
 pleasure and profit of his critical service. 
 
 He made no pretension to having discovered continents of 
 originality, or new fields of inspiration. Indeed he believed in 
 no separation whatever between them. The dulness of the actual 
 and the beauty of the ideal are closely compacted to make the isth- 
 mus that stretches between two eternities. What we hope to become, 
 and what we long to possess .strike their roots deeply into what we 
 once were, and what once we claimed as our own. There is no safe- 
 ty, even were there a possibility, in cutting loose from the old. 
 But because we can possess it only through individual experiences, 
 the old will always be new. It is to this experience that Hunt 
 would give us the wings of imagination, so that we might see and 
 love, and love because we saw, the oldest things in their unspent 
 beauty. Leigh Hunt had a theory that Love, Hope, and Faith in hu- 
 manity, and Reverence, Beauty, and Service to all are the two trin- 
 ities before whose shrine the heart should worship. If he reasoned 
 at all it was with his heart. With his heart he loved, and laughed, 
 and lived, and moved; in it he found the world of his fellowmen. 
 
■ W" ’-eTj 
 
 
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 roo« *4? ttA0 ototticrb aaj 0* to oid/iao baa to otIX 
 
 0 4 ft^iv o«j0 04 taoiitoq ojtl haw 91 ,lBQiag wAi to ««*a 
 
 •«w 4i tot tsoIooXO aollo'iiqool to obaiw od4 Jtaiio4 bo# ,a0l4«ai 
 
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79 
 
 BIBLIOGRAPHY 
 
 Several fairly satisfactory bibliographies of Leigh Hunt and 
 his works have been compiled. To four of these, which taken togeth- 
 er, include practically everything published by Hunt, the present 
 writer has had access. The references not given in the bibliogra- 
 phies described below are included in the ''List of Books and Other 
 Items Used in the Preparation of this Thesis." The four biblio- 
 graphies referred to are, in the order of publication, as follows: 
 
 Ireland, Alexander "List of the Writings of William Hazlitt and 
 
 Leigh Hunt, Cnr onologically arranged; with notes 
 descriptive, critical, and explanatory; and a 
 selection of opinions regarding their genius 
 and characteristics, by distinguished contem- 
 poraries and friends, as well as by subsequent 
 critics; preceded by a review of, and extracts 
 from, Barry Cornwall’s "Memorials of Charles 
 Lamb;" with a few words on William Hazlitt and 
 his writings, and a chronological list of the 
 works of Charles Lamb." Two hundred copies 
 printed by John Russell Smith. London. 1868. 
 
 The sections in this volume of particular 
 interest to students of Hunt are, 
 
 1. Opinions regarding Leigh Hunt’s character, 
 genius, and writings. 
 
 2. Chronological list of the writings of Leigh 
 

 V' 
 
 
 «> 
 
 eif'XMi li&ttfv Y« 'ivol oT .l>«ilq«oo aa»c trj^ ait^ow »l& 
 
 lcA» 1^irq •!$« baAtlX^wq 9u^ld^q*i*Te qllaoilo^iq «]birXoai 
 
 \ •<* -^ ■’ 
 
 f/fl ai navtir Xoa atoasT^ta*!' aciT ,»ate>a tafi 
 
 V 
 
 tati)^/ tif« % 1 /toos lo ^atJ" aiil ai iftebtrlaal o^a «oX»a ^«alao««a aaixiq 
 -'Xxrfiti tso^ aiit tlxli 1« aaliaiaqaif aili a4 Jb#»tJ e«»^l 
 
 , t 
 
 > ■ ^ r* 
 
 tarolXO hs »floUaolI<r»q Yo latio aB# %6kUqB\^ 
 
 
 
 ^8a XftXaaH caXlUV Yo lo n«b:;azaXa ^AnaXanl 
 
 a 
 
 aafaff jXXiv jJbav'ai^a \XlaoliidIoac’<ifD $at/& 
 
 i> t)6& {X.io'f auaXqxa Ac« .XaoiiiTa , • *ii*f} tno*ax> 
 cclaan *? If i|ii la'll son •ao'lK^O Ye aoXtotXfl 
 
 >jSf«aoi t •oXli^aai o-taiio c»sa 
 
 f ifaafpott! 1 «* 'tI «a'7lXfV aa , leta ^^Kitaq 
 
 AJranttft laa , Yn voi/on a x<i laloofTq .MOia i% o 
 oaXno'a^ fX^i.noaiik*' • * f rr^anoX' fJ**!!- >a«i tt 
 luo maJXUf co ianaa veY a rf#ia •'-.fjraJ 
 
 ¥>df lo aair rai/ia4XgavniX;r a li/a ♦»»alliTf oitf p 
 ftfftqbo lonlaraai fw? Ya 4/lzoa 
 
 .dddX .aolaci .dllaS: XX*»#<»wi' u4aw IfJuinq 
 naXaoIiYaq' la a»aXo> olds It onoX/i>to odY 
 
 .♦na HjrS i/aala/a «tf foanalai 
 
 4^a'/»anoaa "f'/oaft d\lf*X laXlnaaai ocerXalqO t-X 
 
 1 * * ' • *^ 
 
 .iaaJlIia laa . •aiwasr 
 
 IV 
 
 Y9 aittf ixnw fif r lilX XadXso XoaozaD .& 
 
80 
 
 Hunt; with notes, descriptive, critical, and 
 explanatory. 
 
 3. Thomas Carlyle on Leigh Hunt. 
 
 4. Specimens of criticisms on Leigh Hunt 
 and his writings; from the early volumes of 
 '•The Quarterly Heview" and ’’Blackwood* s Mag- 
 azine.” 
 
 Johnson, Brimley R. "The Poems of Leigh Hunt.” London. 1891. 
 
 The volume contains a classified list of Hunt’s 
 writings, an index, books wrongly attributed to 
 Leigh Hunt, and a list of portraits, arranged 
 as follows: 
 
 1. Newspapers projected and edited by Leigh 
 Hunt. . Eleven entries. 
 
 2. Contributions to Other Periodicals. Twenty 
 five entries. 
 
 3. Essays: Collected. Twenty entries. 
 
 4. London Guide Books. Three entries. 
 
 5. Various Prose Works. Nine entries. 
 
 6. Selections from Other Writers and Critical 
 Biographies. Fifteen entries. 
 
 7. Poetry: Separate Poems. Eight entries. 
 
 8. Poetry: Collected. Twelve entries. 
 
 9. Dramatic Pieces. Seven entries. Three of 
 these were never published. 
 
 10. Fragments. Two entries. 
 
 11. Manuscripts. Six entries. 
 
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 o4 &t4calT44ji xi'BOb^iir tsCoOd on ,63/-l4Jn« 
 
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 . a«t>i(»t: 80 
 
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 ,88X'x4a8 t48iiaqoa tt'x^oos .t 
 
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 • 8el^4oo trioirir «Jb»4ooXXoO •cqtxoo^ .6 
 to o*tiit .8«I<xxc» Aftaa .aoooiiL ei^aeJi'fC ,e 
 
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 .fcoia^at xlR »iitqX totals all .XX 
 
81 
 
 Monkhouse, Cosmo. 
 
 Ingpen, Roger. 
 
 12. Index to Bibliography Chronologicall Ar- 
 ranged. 
 
 13. Books Wrongly Attributed to Leigh Hunt. 
 
 Six entries. 
 
 14. List of Portraits. Fourteen entries. 
 
 '•Life of Leigh Hunt.” London. 1893. 
 
 1. Poetical Works: Collected, nine entries; 
 separate editions, fifteen entries. 
 
 2. Prose Works. Thirty two entries. 
 
 3. Selections. Etc. Seven entries. 
 
 4. Books. Magazines. Etc.. Edited by Leigh Hunt. 
 Twenty entries . 
 
 5. Dramatic Works. Four entries. 
 
 6. Contributions to Other Magazines. Etc. 
 Twenty-seven magazines, etc. listed. 
 
 7. Appendix, containing; 
 
 a. Biography. Criticism. Etc. 
 
 b. Magazine Articles. Etc. 
 
 8. Chronological List of Works. Sixty-nine 
 entries . 
 
 '•Autobiography of Leigh Hunt. 
 Ingpen. 2 vols. Westminster, 
 and Co. Ltd. 1903. Volume II 
 273-299) a chronological list 
 or edited by Leigh Hunt. The 
 printed in Italics, the prose 
 
 •• Edited 
 Archibald 
 c ontains 
 of books 
 poetical 
 in Roman 
 
 by Roger 
 Constable 
 (pages 
 written 
 works are 
 type, and 
 
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82 
 
 the reprinted articles in small type. Each en- 
 try is followed by at least a title page descrip 
 tion, and where the nature of the item describ- 
 ed requires it, a table of contents is given. 
 There are sixty-nine entries, inclusive from 
 1801 to 1891, The chronological table in volume 
 I, and the numerous foot-notes in both volumes 
 are valuable for dates and other matters of 
 fact and opinion. But dates are not to be re- 
 lied upon without question. 
 
 The six items that follow are not listed in any of the bibli- 
 ographies which have come under the present writer’s notice. Other 
 items not included here are listed in the "Addendum." 
 
 Brewer, Luther A. 
 
 Fields, Mrs. J.T. 
 
 Harper, H. H. 
 
 Johnson, R. B. 
 
 Starrett, Vincent 
 
 "Around the Library Table." This little book of 
 fifty pages is entertainingly informing about 
 rare and interesting items in the author’s col- 
 lection of Hunt material. It also contains one 
 hitherto unpublished essay by Hunt, Cedar Rapids. 
 ".A Shelf of Old Books," Contains gossipy and in- 
 teresting side lights on Hunt and his books. 
 "Byron’s Malach Hamoves." A somewhat arbitrary 
 and prejudiced attack on Leigh Hunt. 
 
 "Leigh Hunt." A biographical sketch and critical 
 estimate by an admirer of Hunt, 
 
 "A Student of Catalogs." The "Foreward" by 
 Luther A. Brewer deals with Hunt. Cedar Rapids, 
 Iowa. 1921. 
 
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83 
 
 LIST OF BOOKS AND OTHBR ITEMS USED IN THE 
 PREPARATION OF THIS THESIS 
 
 The following list contains only those titles which have been 
 used in the present study of Leigh Hunt. I have made two groups, 
 the first group containing books by Leigh Hunt, the second selected 
 titles of biography and criticism. 
 
 I 
 
 Hunt, Leigh. Autobiography. New edition, edited by his eldest son. 
 Published by Smith Elder. 1880. 
 
 Autobiography. Edited by Roger Ingpen. 2 volumes, Westminster, 
 Archibald Constable & Co. Ltd. 1903. A similar edition was 
 also published by Dutton, N.Y. 1903. 
 
 The Book of the Sonnet. 2 volumes, Boston, 1869. 
 
 Correspondence . 2 volumes. Edited by his eldest son. London, 1862 
 
 The Descent of Liberty , A Mask. London, 1816. 
 
 Critical Essays on the Performance of the London Theaters, 
 
 London, 1807. 
 
 Dramatic Essays, selected and edited by Wm. Archer and Robert 
 Lowe. London. 1694. 
 
 Essays , edited by R. B. Johnson. London. 1891 
 
 The Examiner , A Sunday Paper on Politics, Domestic Economy, 
 and Theatricals. Mottos ’’Party is the madness of the many 
 for the gain of the few.” Swift. 
 
 The Feast of the Poets . Second edition. Amended and enlarged. 
 
 London, 1615 
 
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 steT a«i. eiooe to srexa 
 
 9i.^h7 eiut Yo xomra ^sfc^ 
 
 1 . 
 
 t efan^' C8lX«r^§£li9 ••Oil^ j«iX )>oivclIolt, eifT 
 
 o«l #^«ii 'pfMti I tiaisS 4)^194 7o xbajf ia999%q *dt ai tt «0 
 
 I, H!. . U ^ 
 
 k ftooott tit/ «/atR d^ltvt \6 id4)o<t xoXflX«^at> 'quoax ed^' 
 
 ,gi9lbl0 1'tci ba* xAqaruol^ \Q $bt9t9 
 
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 Y io/«oia;riM>V ,t«A0XQf S itjiofl x4 bbtlbM »S4^4J.9ftAJS!JUill^ 
 
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 XRB.B 049 Ja ttftXtbta tiJj ti \4idt” 'lo/ioX bat 
 
 JB' 
 
 
 
 txia %i t44 tot 
 
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 '' ‘^ ;' A*'; S^vV^ 
 
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84 
 
 Imagination and Fancy , or selections from the English poets il- 
 lustrative of those first requisites of their art, with mark- 
 ings of the best passages, critical notices of the writers and 
 an essay in answer to the question, ’♦What is Poetry?** First 
 published in 1844. Reprinted 1845, 1852; a cheap edition, 1870, 
 
 The I ndicator. Motto: ’*A dram of sweet is worth a pound of sour,’* 
 Oot. 13th, 1819--March 21st, 1821; bound in 2 vols. 1821. 
 
 A Jar of Honey from Mount Hybla, Smith Elder. 1897. 
 
 The Literary Examiner . London. 1823. 
 
 Leigh Hunt* 6 Journal . 1 vol, 1850-51. 
 
 Leigh Hunt’s London Journal . April 2, 1834--Dec. 31, 1835. 
 
 Bound in 2 vols. 
 
 Lord Byron and Some of His Contemporaries . London, 1828. 
 
 Men, Women, and Books . Smith Elder, London, 1870. 
 
 T he Months ; description of the successive beauties of the 
 year. London, 1821, 
 
 The Old Court Suburb ; or. Memories of Kensington, regal, criti- 
 cal, and anecdotal. London, 1855 and 1860. 
 
 Poetical Works . Row finally collected, revised by himself, and 
 edited by his son, Thornton Hunt, with illustrations by Cor- 
 bould, 1860. Rot in any way complete, with no plays. 
 
 The Reflector . 2 vols, London, 1811. 
 
 The Seer ; or. Common-places refreshed. 2 vols. in 1. 4th edition, 
 Boston, 1665. 
 
 The Reformist’s Answer to an article entitled ’’State parties,” 
 in the last Edinburgh Review (Ro. 30) by the Editor of the 
 Examiner, in which paper it first appeared. London, 1816. 
 
 Stories from the Italian Poets. London. 1846. 
 

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85 
 
 The Story of Rimini , a poem. London, 1816, 1817, etc, 
 
 Table-Talk , to which are added conversations of Pope and Swift, 
 Smith Elder, 1870. 
 
 The Town , Its Memorable characters and events. London, 1859. 
 
 The Wishing G ap Papers. Boston, 1873. 
 
 Wit an d Humour , London, Smith Elder, 1846. 
 
 II 
 
 BIOGRAPHICAL AND CRITICAL 
 
 I have not included in the following list the numerous maga- 
 zine articles consulted in the pursuit of this study; nor have I 
 thought it worth while to refer to the scores of paragraph or page 
 references in the biographies, journals, letters, etc. of Hunt’s 
 contemporaries. Many such references may be found in the biblio- 
 graphy at the end of the volume by Monkhouse. 
 
 Archer and Lowe, Dramatic Essays ; selected with notes and an 
 Introduction. 1894. 
 
 Clarke, Charles and Mary, Reco l lections of Writers . London, 1878. 
 Caine, T. Hall, Cobwebs and Criticism . 1883. 
 
 Fields, Mrs, Annie, A She If of Old Books , 1894. Also in Scrib- 
 ners Magazine, IIIt285-305. 
 
 Hazlitt, Wra. Spirit of the Age » London, 1858. Also in World Classic 
 Horne, R, H. A New Spiri t of the Age; World Classics edition. 
 Johnson, R. B. Leigh Hunt , 1896. 
 
 Kent, W, C. M. Leigh Hunt as Poet and Essayist . Introduction and 
 portrait, 1889. Gives original source of everything reprinted. 
 Miller, Barnette, Leigh Hunt’s Relation with Byron. Shelley, and 
 
 i 
 
 Keat^. Columbia University Study in English. 1910. 
 

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86 
 
 Mitford, Mary Bussell. Beoollections of a literary Life , 1862. 
 
 Monkhouse, Cosmo, Life of Leigh Hunt . 1893. 
 
 Moulton, C. W. The Library of Literary Criticism . VIil53-172. 
 
 Noble, James A. The Sonnet in England, and Other Essays . 1896. 
 
 Saintsbury, George, History of Criticism . Ills 246-49. 
 
 Saintsbury, George, Essays in English Literature -^ 1780-1860. 
 London, 1891. 
 
 Symons, Arthur, Essays by Leigh Hunt . Edited with introduction 
 and notes. In the Camelot Series. 
 
 Trelawney, E. J. Recollections of t he Last Days of Shelley and 
 Byron . Oxford, 1906. 
 
 Trelawney, E. J, Records of Shelley, Byron and the Author . The 
 Now Universal Library. Routledge. 
 
 Ward’s English Poets . In volume IV. Introduction by Dowden. 
 
 Williams, Orlo. The Ess ay, Art and Craft of Letters Series. 
 
 Winbolt, S. E. Coleridge, Lamb and Leigh Hunt . London, Bryce. 1920 
 From the Preface of this volume we learn that the author 
 has attempted to put together in one volume the best pieces in 
 prose and poetry of these three best representatives of Christ 
 Hospital. He has endeavored also to weave together the strands 
 of the lives and works of the three, and to show to what a re- 
 markable extent the whole lives of these schoolfellows were 
 interdependent and colored by early school associations and by 
 the friendships that grew from them. 
 
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 87 
 
 BIBLIOGRAPHY OF LEIGH HUNT’S WRITINGS 
 CHRONOLOGICALLY ARRANGED 
 
 1801 
 
 Juvenilia 
 
 1801 
 
 Poem in European Magazine 
 
 1801, etc. 
 
 Poems in Poetical Register 
 
 1802 
 
 Essay in Monthly Preceptor 
 
 1804-5 
 
 Papers in Traveller 
 
 1805 
 
 Theatrical Criticism in News 
 
 1807 
 
 Theatrical Criticism in Times 
 
 1807 
 
 Critical Essays on London Theatres 
 
 1807 
 
 Classic Tales 
 
 1808 
 
 The Examiner 
 
 1808-9 
 
 Three Songs, published separately, set to music 
 
 1809 
 
 Me thodism 
 
 1810 
 
 The Reflector 
 
 1810 
 
 Reformist's Answer to Edinburg Review, No, 30 
 
 1811 
 
 Report of Proceedings against Jihn Hunt and 
 Leigh Hunt. Printed at Stamford. 
 
 1812 
 
 Report on the Trial of John and Leigh Hunt, with 
 Observations on the Trial by the Editor of the 
 Examiner. These observations are dated Dec. 13, 
 1812, Dec. 20,1181g, Deo. 27. 1812, Jan. 9, 1813. 
 
 1814 
 
 Feast of the Poets 
 
 1815 
 
 Descent of Liberty 
 
 1816 
 
 Story of Rimini 
 
 1817 
 
 Round Table (Published in Hazlitt’s works) 
 

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 88 
 
 1818 
 
 Foliage 
 
 1819-22 
 
 Literary Pocket-Book 
 
 1819 
 
 Poetical Works 
 
 1819 
 
 Hero and Leander, and Bacchus and Ariadne 
 
 1819 
 
 The Indicator 
 
 1820 
 
 Amyntas 
 
 1821 
 
 The Months 
 
 1921, etc. 
 
 New Monthly Magazine (contributed to) 
 
 1822 
 
 The Liberal 
 
 1823 
 
 The Literary Examiner 
 
 1823 
 
 Ultra-Orepidar ius 
 
 1825 
 
 Bacchus in Tuscany 
 
 1828 
 
 Lord Byron and Some of His Contemporaries 
 
 1828 
 
 The Companion 
 
 1828 
 
 The Keepsake 
 
 1830 
 
 Chat of the Week 
 
 1830-2 
 
 The Tatler, a Daily 
 
 1832 
 
 Chris tianism 
 
 1832 
 
 Sir Ralph Esher 
 
 1832 
 
 Poetical Works 
 
 1832-3 
 
 Year of Honeymoons in Bull’s Court Magazine 
 
 1833 
 
 Papers in the True Sun 
 
 1833 
 
 Wishing Cap in Tait’s Magazine 
 
 1834 
 
 Indicator and Companion 
 
 1834-5 
 
 Leigh Hunt's London Journal 
 
 1835 
 
 Captain Sword and Captain Pen 
 
 1837 
 
 Articles in Westminster Review 
 
 1837-8 
 
 Monthly Repository 
 

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 89 
 
 n. d. 
 
 Blue Stocking Revels^ 
 
 1838-9 
 
 Articles in the Monthly Chronicle 
 
 1839 
 
 Articles in Musical World 
 
 1839 
 
 Tales in Romancist and Novelist's Library 
 
 1840 
 
 Heads of the People 
 
 1840 
 
 Legend of Florence 
 
 1840 
 
 Wycherley, Congreve, Vanburg, and Farquhar edited 
 
 1840 
 
 Sheridan, Preface to 
 
 1840-1 
 
 The Seer 
 
 1841 
 
 Chaucer modernized 
 
 1841 
 
 Articles in Monthly Chronicle 
 
 1841-4 
 
 Articles in Edinburg Review 
 
 1342 
 
 The Palfrey 
 
 1842 
 
 Poem in Monthly Magazine 
 
 1843* 
 
 Hundred Romances of Real Life 
 
 1844 
 
 Jar of Honey, in Ainsworth's Magazine 
 
 1844* 
 
 Poetical Works 
 
 1844 
 
 Rimini and other poems 
 
 1844* 
 
 Imagination and Fancy 
 
 1845 
 
 Poems in Ainsworth's Magazine 
 
 1845 
 
 Preface to Foster Brothers 
 
 1846* 
 
 Wit and Humour 
 
 1846* 
 
 Stories from Italian Poets ( Selections only 
 
 
 in print; The New Universal Library, Routledge) 
 
 * Titles 
 
 that are starred are still in print. 
 
 1. First 
 
 published in the Monthly Repository. Hunt says it was 
 
 a kind 
 
 of female "Feast of the Poets," (See Ingpen , 11:220) 
 

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 90 
 
 1846 
 
 Table Talk in Atlas 
 
 1847’^ 
 
 Men, Women and Books 
 
 1848’^ 
 
 Jar of Honey from Mount Hybla 
 
 1848’*= 
 
 The Town 
 
 1849 
 
 Book for a Corner 
 
 1849 
 
 Poem in Cambridge Chroniale 
 
 1850 
 
 The Hew Monthly Magazine 
 
 1850 
 
 Readings for Railways 
 
 1850 
 
 Lovers* Amazements in L.H.*s Journal 
 
 1850 
 
 Autobiography. 3 vols. 
 
 1850-51 
 
 Leigh Hunt*s Journal 
 
 1851=^ 
 
 Table Talk 
 
 1853 
 
 Religion of the Heart 
 
 18 53 
 
 Readings for Railways. 2nd Series 
 
 1863-4 
 
 Articles in Musical Times 
 
 1853-4 
 
 Papers in Household Words 
 
 1855 
 
 Old Court Suburb 
 
 1855 
 
 Beaumont and Fletcher (selected) 
 
 1855 
 
 Stories in Verse 
 
 1857 
 
 Prose V/orks (America) 
 
 1857 
 
 Poetical Works (Boston) 
 
 1857 
 
 Article in National Magazine 
 
 1857 
 
 Article in Fraser’s Magazine 
 
 1859 
 
 The Occasional in Spectator 
 
 1860 
 
 Poetical Works 
 
 1860* 
 
 Autobiography (new edition) 
 
 1861 
 
 Saunter through West Snd 
 
 1862 
 
 186? 
 
 Correspondence 
 

 
 
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1867 
 
 91 
 
 Book of the Sonnet 
 
 1869* 
 
 Tale for a Chimney Corner 
 
 1870 
 
 A Day by the Fire 
 
 1871* 
 
 Memoir of Shelley 
 
 1873 
 
 Wishing Cap Papers 
 
 1877 
 
 Favourite Poems 
 
 1877 
 
 Falstaff*s letters 
 
 1887* 
 
 Sssays (Camelot Series) with intro, and notes 
 
 1889 
 
 by Arthur Symons 
 
 Poems of Leigh Hunt and Thomas Hood 
 
 1889^ 
 
 Leign Hunt as Poet and Essayist (Selections) ed. 
 
 1891* 
 
 by Charles Kent 
 
 Tales by Leigh Hunt, edited by Charles Knight 
 
 1891 
 
 The Poems of Leigh Hunt, ed. by R. B. Johnson 
 
 1891 
 
 Essays of Leigh Hunt, ed. by R, B. Johnson 
 
 ♦ 
 
 Essays and Sketches by Leigh Hunt, ed. by Johnson. 
 
 1893* 
 
 (in World Classics, Oxford) 
 
 An Answer to the question "What Is Poetry?" 
 
 1894* 
 
 Dramatic Essays, ed. by Archer and Lowe 
 
 1902* 
 
 Old Court Suburb, ed. by Austin Dobson. London. 
 
 1903* 
 
 Essays with intro, notes by Symons, illustrated 
 
 1909* 
 
 by H. M, Brock. Dutton 
 
 Selections in Prose and Verse, ed. J.H. Lobban 
 
 1916* 
 
 What is Poetry? (in "English Critical Essays of 
 
 1920* 
 
 the XIX Century, ed. by E. D. Jones. Oxford) 
 Coleridge, Lamb and Leigh Hunt, Selections from 
 
 
 their Prose and Poetry, with Introduction, Ed. 
 by S. E. 7; in bolt 
 

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 ADDENDUM 
 
 Mr. Luther A. Brewer of Cedar Rapids, Iov7a, has given to the 
 present writer the rare privilege of examining unique Hunt items, 
 and of obtaining from his collection information about Leigh Hunt 
 not otherwise accessible. Undoubtedly I.!r, Brewer has one of the 
 finest and most complete Hunt libraries extant. Besides possessing 
 a complete set of first and other interesting editions, he has a 
 variety of presentation and association copies, many unpublished 
 letters and manuscripts, proof sheets, and the original manuscripts 
 of a number of Hunt’s published works. I nave Mr. Brewer’s kind 
 permission to list the following items from his interesting and 
 unique collection. 
 
 LETTERS 
 
 Letters 
 
 Letters 
 
 Letters 
 
 Letters 
 
 This is a group of twenty-seven letters written by Hunt 
 to his wife while he was in prison. 
 
 There are fourteen letters in this bundle, written to 
 him by his wife, and most of them while he was in prison. 
 These prison-period letters are pathetic in character, 
 disclosing the poverty of the Hunts. So far as Mr. Brew- 
 er can tell, they have never been published. 
 
 These letters, forty-six of them, were written by Hunt to 
 Mrs. Hunt between 1803 and 1812. 
 
 Another bundle contains seventy-two letters from Hunt to 
 his wife. These extend over a long period, beginning 
 with 1625 and extending to 1852. 
 

 UtratKTCA 
 
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 a#l)^«o 3 4 «l‘ii«^dil dftu^ •iafqJoo J«om tn« intuit 
 
 M tad ad . aco IJk# >aiftatvict ladio beri aa'til lo i*« ^SvLum^t a 
 
 
 aadalldi/qao x°^<b ,ii«t ^co ao.ltiBis^emim ba^^ac to 
 
 Xaalsi'fo lU 9 a^aatfa loOvi , 47 ql*ios 0 «a« taa' 
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93 
 
 Letters 
 
 Letters 
 
 This is a bundle of ten letters written by Hunt from 
 Florence, Italy, to Bessie Kent, sister of Mrs. Hunt, 
 These letters disclose his old love for Bessie, and con- 
 tain several references to Mrs. Shelley, as well as to 
 his English creditors and his longing to return to Eng- 
 land. 
 
 A group of original love letters from Hunt to his future 
 wife, Marianne Kent. 
 
 MANUSCRIPTS 
 
 The Palfrey . This is a complete manuscript of the poem, showing 
 many corrections and proofs of Hunt’s care in revising 
 his work for the printer. 
 
 B ook of Beginnings . This item is the original holograph of the 
 "Book of Beginnings , " first published in No. 3 of the 
 "Liberal. This later manuscript differs materially from 
 the printed book, and shows in a delightful way Hunt’s 
 method of work, and again proves how very carefully he 
 performed it at times. 
 
 Italy This is a complete manuscript of a contribution to the 
 
 third number of the "Liberal. 
 
 The Heir of Mondolfo . This is a manuscript of nine^-three pages. 
 
 The Secret Marriage , afterwards The Prince-* s Marriage . Hunt explains 
 in his "Autobiography" that this was a play in five acts 
 which he had written, but which he had never published.^ 
 
 1 
 
 1. See Ingpen’s edition of the "Autobiography 
 
 11:226-227 
 
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 iroit '^Xl«Xio:7A^ aiottlb iqiiosonarR toit/ lid? 
 
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94 
 
 Mr, Brewer’s possession consists of many pages of trans- 
 cript from the play, having many inter liniati ons in the 
 handwriting of Leigh Hunt. 
 
 The Friar’s Tale . This is the manuscript of the modernized version 
 of Chaucer’s poem in the handwriting of Hunt. 
 
 Fragments This group consists of about five hundred pages of Hunt 
 
 manuscript of a fragmentary character. Mr. Brewer has not 
 yet classified this material. 
 
 ITEMS WITH ASSOCIATION INTEREST 
 
 Testimonial . This item consists of pro o f s he ets of a testimonial 
 
 promoted by Browning, Dickens and others for the erection 
 of a monument in Kensal Green Cemetery to the memory of 
 Hunt, with Robert Browning’s autograph corrections, and a 
 statement of the condition of the fund in Browning’s au- 
 tograph. This item is absolutely unique . 
 
 Harold Sk i mpole . Six autograph letters from Dickens to Hunt contain- 
 ing expressions of friendship and making pathetic refer- 
 ence to his alleged caricature of Hunt as Harold Skimpole 
 in Bleak Housej with two letters from Dickens to Thorn- 
 ton Hunt on the saibe matter. 
 
 Bacco in Toscana , by Redi. This is Leigh Hunt’s copy of the Ital- 
 ian original of his •’Bacchus in Tuscany,” Many of the 
 pages contain autograph notes and comments; and it is 
 thought on that account to be the identical copy used by 
 Hunt in making his translation of “Bacchus in Tuscany.” 
 
 Bacchus in Tuscany . This is interesting because it bears through- 
 
16 t<ct«ai 16 tic l«Bd«ii6q .t!l 
 
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 16 ;i)oi » ii%rJ>aM 
 
 £ci«*c«v drf^ ’lo iqZiOHa 0 «xti ads aidt ^o ln^ t/ty 
 
 .9auH iV'iiaIJi'xiiliBBil •As al otoq 10 
 
 fajifi to ooBOfl b»<ft»aod e^lt ioodn to asntkaoo tlilS 
 
 on H9W9tt ,tU 0^ • lO^$q^X*lot^aO« 
 
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 \toH«« 0^4 01 qi#ieao& Xoa/foS aX laetovao* a to 
 
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 .tfo a'faibvott al booi to ttoXlibno.o odt too laomoooia 
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 ibq«XiC6 BXo^Jijr' a« inwH to oiolaoi-xob bOsO^Xn «i4. ol Ooa* 
 
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 . 5 01 lam §mM9 'ti'ds eo ta^m itol 
 
 -Xail Ads to ^ 5.66 »’«**«« liBioJ oi ^ 1 » 1 T , Jb atf x4t ,j$c(:M^ 99f ai ^Q AQAf; 
 
 Odd to •’.v^doowf ai $ it A boAS** old to fioXijJtto ' 'M 
 
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 ii 11 baa toioamoico baa aolba dqaafoijia dlalaoa oi^oq 
 
 > 
 
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 boaw Bqoo iaoilnabi odl od oi Inaoooa ladl "no idBooiU 
 
 ” .fttaot«? ml otfjfioaB*’ to aoMaXonatl old fl'a'iiB" ■' ‘-‘jyiljP^.. 
 
 O'Jaod lA «*aboad »ttla«oilolol*’4l old?.^ 
 
95 
 
 out the text many corrections in Hunt's autograph. These 
 corrections are principally in the spelling of italian 
 names. Mr. Brewer believes that the necessity for so many 
 corrections lies in the fact that the manuscript was put 
 in type and the proof road by others than the author, and 
 that it was not easy to decipher the unfamiliar Italian 
 names and terms. In no other way can he explain the pres- 
 ence of so many corrections in the book after it was pub- 
 lished. 
 
 Masque of Anarchy . This item consists of Hunt's page proofs of the 
 first edition of Shelley's "Masque of Anarchy." In this 
 first edition the Preface is contained on twenty-six pages 
 while in the proof sheets in Mr. Brewer's possession it 
 is contained in eight pages. The beginning and the end- 
 ing of the matter on these pages coincide with the begin- 
 ning and ending in the First Edition, showing that Hunt 
 must have called for additional page proofs to which he 
 had made large additions in the way of copy. Mr. Brewer's 
 proof sheets show forty-six pages of text instead of forty 
 seven as printed. This additional page was needed because 
 Hunt had added a note to Stanza LXXXI. 
 
 The Genci . This was Shelley's first attempt at writing drama, and 
 
 contains the famous dedication to Hunt. The volume is ac- 
 companied with a letter from Shelley to Hunt asking about 
 the receipt of the manuscript of the book. 
 
 The Old Court Suburb . With many pages of Hunt's manuscript copy. 
 
 Jar of Honey from Mount Hybla . With Hunt's manuscript notes of sub- 
 jects for head and tail pieces. 
 

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 •il utiktis 09 «too*iq s^sq tsuoil thbm lOt tksUss ossd 9sun 
 
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 <n 
 
 
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96 
 
 The Book of the S eas ons , by William Howitt, Contains the inscription 
 •*To Leigh Hunt from his affectionate wife M, A. Hunt . *♦ 
 Socra tes out of his Senses . Inscribed as follows: 
 
 '•To Leigh Hunt from Chas. Brown, 1821.** Has many annota- 
 tions by Leigh Hunt. 
 
 Poes ie D* Alessandro Guidi . 1726. Inscribed by his son as follows: 
 «To dear papa from his loving son." 
 
 PRESENTATION COPIES 
 
 The Descent of Liberty . This is the First Edition, presented to 
 Lord Byron, with the following in Hunt’s handwriting; 
 
 "To Lord Byron, with the author’s best remembrances." 
 Accompanying this volume are eleven pages of manuscript 
 covering pages 55 to the end, 28 pages of printed matter, 
 and showing many changes and corrections. The manuscript 
 was written in prison, and is dated July 10, 1814. 
 
 A Boo k for A Corner . Inscribed as follows: 
 
 "To the Rt. Hon. T. B. Macaulay, from his most obliged 
 friend & servant, Leigh Hunt." 
 
 Chris t ianism . This has the following inscription: 
 
 "To Isabella Grundy with the Author’s kindest good 
 wishes, April 16, 1853." This was published in 1832, in 
 an edition of 75 copies only, and was edited by John For- 
 ster. 
 
 Hero a nd Leander, and Bacchus and Ariadne . This has the following 
 inscription to his old sweetheart: 
 
 "To Bessy Kent from her affectionate friend and Author." 
 

 
 
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97 
 
 Story o f Rimini » Inscribed to his friend thus: 
 
 '♦To Horatio Smith, from his sincere friend Leigh Hunt.'* 
 
 Beaumont and Fletcher . This was edited by leigh Hunt and inscribed 
 ‘♦To Isaac Latimer, with Hunt's kind regards,” on title, 
 and letter of Leigh Hunt that accompanied the presentation 
 One wonders with Mr. Brewer how it has been possible to 
 keep the book and the letter together all these years. 
 
 The Poetical Works of Leigh Hunt , 1832. Inscribed thus: 
 
 ”To Aristides Guilbert with Leigh Hunt's respects and 
 regards . ” 
 
 Legend of Florence , 1840. This was inscrioed to an actor friend, 
 '♦Anderson Ssqre with the Author's respects and thanks.” 
 
 The Indicator and Companion . 2 vols., 1834. 
 
 "To Anna Maria Rashwood, from her affectionate friend 
 the Author.” 
 
 Wit and Humour . This is the Hunt item that holds first place in the 
 Mr. Brewer's affection. In his little book entitled, 
 "Around the Library Table,” he gives a charming Huntian 
 account of how it came into his possession. On the half- 
 title, in the beautiful handwriting of the author, is the 
 following inscription: 
 
 "To Mrs. Shelley 
 (I mean "Mary”) 
 
 from her affectionate friend, L. H.”