May God bless you, my dear dear friend! Give my love to dearest Annie! Perhaps, if I am ever really in Wimpole Street, safe enough for Greek, you will trust the poems to me which you mention. I care as much for poetry as ever, and could not more.

Your affectionate and grateful ELIZABETH B. BARRETT.

[Footnote 57: Poetical Works, iii. 186.]



CHAPTER III

1841-1843

In September 1841 the journey from Torquay was actually achieved, and Miss Barrett returned to her father's house in London, from which she was never to be absent for more than a few hours at a time until the day, five years later, when she finally left it to join her husband, Robert Browning. Her life was that of an invalid, confined to her room for the greater part of each year, and unable to see any but a few intimate friends. Still, she regained some sort of strength, especially during the warmth of the summer months, and was able to throw herself with real interest into literary work. In a life such as this there are few outward events to record, and its story is best told in Miss Barrett's own letters, which, for the most part, need little comment. The letters of the end of 1841 and beginning of 1842 are almost entirely written to Mr. Boyd, and the main subject of them is the series of papers on the Greek Christian poets and the English poets which, at the suggestion of Mr. Dilke, then editor of the 'Athenaeum,' she contributed to that periodical. Of the composition of original poetry we hear less at this time.

To H.S. Boyd 50 Wimpole Street: October 2, 1841.

My very dear Friend,—I thank you for the letter and books which crossed the threshold of this house before me, and looked like your welcome to me home. I have read the passages you wished me to read—I have read them again: for I remember reading them under your star (or the greater part of them) a long while ago. You, on the other hand, may remember of me, that I never could concede to you much admiration for your Gregory as a poet—not even to his grand work 'De Virginitate.' He is one of those writers, of whom there are instances in our own times, who are only poetical in prose.

The passage imitative of Chryses I cannot think much of. Try to be forgiving. It is toasted dry between the two fires of the Scriptures and Homer, and is as stiff as any dry toast out of the simile. To be sincere, I like dry toast better.

The Hymns and Prayers I very much prefer; and although I remembered a good deal about them, it has given me a pleasure you will approve of to go through them in this edition. The one which I like best, which I like far best, which I think worth all the rest ('De Virginitate' and all put together), is the second upon page 292, beginning 'Soi charis.' It is very fine, I think, written out of the heart and for the heart, warm with a natural heat, and not toasted dry and brown and stiff at a fire by any means.

Dear Mr. Boyd, I coveted Arabel's walk to you the other day. I shall often covet my neighbour's walks, I believe, although (and may God be praised for it!) I am more happy—that is, nearing to the feeling of happiness now—than a month since I could believe possible to a heart so bruised and crushed as mine has [been] be at home is a blessing and a relief beyond what these words can say.

But, dear Mr. Boyd, you said something in a note to Arabel some little time ago, which I will ask of your kindness to avoid saying again. I have been through the whole summer very much better; and even if it were not so I should dread being annoyed by more medical speculations. Pray do not suggest any. I am not in a state to admit of experiments, and my case is a very clear and simple one. I have not one symptom like those of my old illness; and after more than fifteen years' absolute suspension of them, their recurrence is scarcely probable. My case is very clear: not tubercular consumption, not what is called a 'decline,' but an affection of the lungs which leans towards it. You know a blood-vessel broke three years ago, and I never quite got over it. Mr. Jago, not having seen me, could scarcely be justified in a conjecture of the sort, when the opinions of four able physicians, two of them particularly experienced in diseases of the chest, and the other two the most eminent of the faculty in the east and west of England, were decided and contrary, while coincident with each other. Besides, you see, I am becoming better—and I could not desire more than that. Dear Mr. Boyd, do not write a word about it any more, either to me or others. I am sure you would not willingly disturb me. Nelly Bordman is good and dear, but I can't let her prescribe for me anything except her own affection.

I hope Arabel expressed for me my thankful sense of Mrs. Smith's kind intention. But, indeed, although I would see you, dear Mr. Boyd, gladly, or an angel or a fairy or any very particular friend, I am not fit either in body or spirit for general society. I can't see people, and if I could it would be very bad for me. Is Mrs. Smith writing? Are you writing? Part of me is worn out; but the poetical part—that is, the love of poetry—is growing in me as freshly and strongly as if it were watered every day. Did anybody ever love it and stop in the middle? I wonder if anybody ever did?... Believe me your affectionateE.B.B.

To H.S. Boyd 50 Wimpole Street: December 29, 1841.

My dear Friend,—I should not have been half as idle about transcribing these translations[58] if I had fancied you could care so much to have them as Arabel tells me you do. They are recommended to your mercy, O Greek Daniel! The last sounds in my ears most like English poetry; but I assure you I took the least pains with it. The second is obscure as its original, if it do not (as it does not) equal it otherwise. The first is yet more unequal to the Greek. I praised that Greek poem above all of Gregory's, for the reason that it has unity and completeness, for which, to speak generally, you may search the streets and squares and alleys of Nazianzum in vain. Tell me what you think of my part.

Ever affectionately yours, ELIZABETH B. BARRETT.

Have you a Plotinus, and would you trust him to me in that case? Oh no, you do not tempt me with your musical clocks. My time goes to the best music when I read or write; and whatever money I can spend upon my own pleasures flows away in books.

[Footnote 58: Translations of three poems of Gregory Nazianzen, printed in the Athenaeum of January 8, 1842.]

To Mr. Westwood[59] 50 Wimpole Street: January 2, 1842.

Miss Barrett, inferring Mr. Westwood from the handwriting, begs his acceptance of the unworthy little book[60] he does her the honour of desiring to see.

It is more unworthy than he could have expected when he expressed that desire, having been written in very early youth, when the mind was scarcely free in any measure from trammels and Popes, and, what is worse, when flippancy of language was too apt to accompany immaturity of opinion. The miscellaneous verses are, still more than the chief poem, 'childish things' in a strict literal sense, and the whole volume is of little interest even to its writer except for personal reasons—except for the traces of dear affections, since rudely wounded, and of that love of poetry which began with her sooner than so soon, and must last as long as life does, without being subject to the changes of life. Little more, therefore, can remain for such a volume than to be humble and shrink from circulation. Yet Mr. Westwood's kind words win it to his hands. Will he receive at the same moment the expression of touched and gratified feelings with which Miss Barrett read what he wrote on the subject of her later volumes, still very imperfect, although more mature and true to the truth within? Indeed she is thankful for what he said so kindly in his note to her.

[Footnote 59: Mr. Thomas Westwood was the author of a volume of 'Poems,' published in 1840, 'Beads from a Rosary' (1843), 'The Burden of the Bell' (1850), and other volumes of verse. Several of his compositions were appearing occasionally in the Athenaeum at the time when this correspondence with Miss Barrett commenced.]

[Footnote 60: The Essay on Mind.]

To H.S. Boyd 50 Wimpole Street: January 6, 1842.

My dear Friend,—I have done your bidding and sent the translations to the 'Athenaeum,' attaching to them an infamous prefatory note which says all sorts of harm of Gregory's poetry. You will be very angry with it and me.

And you may be angry for another reason—that in the midst of my true thankfulness for the emendations you sent me, I ventured to reject one or two of them. You are right, probably, and I wrong; but still, I thought within myself with a womanly obstinacy not altogether peculiar to me,—'If he and I were to talk together about them, he would kindly give up the point to me—so that, now we cannot talk together, I might as well take it.' Well, you will see what I have done. Try not to be angry with me. You shall have the 'Athenaeum' as soon as possible.

My dear Mr. Boyd, you know how I disbelieved the probability of these papers being accepted. You will comprehend my surprise on receiving last night a very courteous: note from the editor, which I would send to you if it were legible to anybody except people used to learn reading from the pyramids. He wishes me to contribute to the 'Athenaeum' some prose papers in the form of reviews—'the review being a mere form, and the book a mere text.' He is not very clear—but I fancy that a few translations of excerpta, with a prose analysis and synthesis of the original author's genius, might suit his purpose. Now suppose I took up some of the early Christian Greek poets, and wrote a few continuous papers so?[61] Give me your advice, my dear friend! I think of Synesius, for one. Suppose you send me a list of the names which occur to you! Will you advise me? Will you write directly? Will you make allowance for my teazing you? Will you lend me your little Synesius, and Clarke's book? I mean the one commenced by Dr. Clarke and continued by his son. Above all things, however, I want the advice.

Ever affectionately yours, E.B.B.

To H.S. Boyd Wednesday, January 13, 1842 (postmark).

My dear Friend,—Thank you, thank you, for your kind suggestion and advice altogether. I had just (when your note arrived) finished two hymns of Synesius, one being the seventh and the other the ninth. Oh! I do remember that you performed upon the latter, and my modesty should have certainly bid me 'avaunt' from it. Nevertheless, it is so fine, so prominent in the first class of Synesius's beauties, that I took courage and dismissed my scruples, and have produced a version which I have not compared to yours at all hitherto, but which probably is much rougher and rather closer, winning in faith what it loses in elegance. 'Elegance' isn't a word for me, you know, generally speaking. The barbarians herd with me, 'by two and three.'

I had a letter to-day from Mr. Dilke, who agrees to everything, closes with the idea about 'Christian Greek poets' (only begging me to keep away from theology), and suggesting a subsequent reviewal of English poetical literature, from Chaucer down to our times.[62] Well, but the Greek poets. With all your kindness, I have scarcely sufficient materials for a full and minute survey of them. I have won a sight of the 'Poetae Christiani,' but the price is ruinous—fourteen guineas, and then the work consists almost entirely of Latin poets, deducting Gregory and Nonnus, and John Damascenus, and a cento from Homer by somebody or other. Turning the leaves rapidly, I do not see much else; and you know I may get a separate copy of John Dam., and have access to the rest. Try to turn in your head what I should do. Greg. Nyssen did not write poems, did he? Have I a chance of seeing your copy of Mr. Clarke's book? It would be useful in the matters of chronology.

I humbly beg your pardon, and Gregory's, for the insolence of my note. It was as brief as it could be, and did not admit of any extended reference and admiration to his qualities as an orator. But whoever read it to you should have explained that when I wrote 'He was an orator,' the word orator was marked emphatically, so as to appear printed in capital letters of emphasis. Do not say 'you chose,' 'you chose.' I didn't and don't choose to be obstinate, indeed; but I can't see the sense of that 'heavenly soul.'

Ever your grateful and affectionate E.B.B.

I shall have room for praising Gregory in these papers.

[Footnote 61: The series of papers on the Greek Christian Poets appeared in the Athenaeum for February and March 1842; they are reprinted in the Poetical Works, v. 109-200.]

[Footnote 62: This scheme took shape in the series of papers on the English Poets which appeared in the Athenaeum in the course of June and August 1842 (reprinted in Poetical Works, v. 201-290).]

To H.S. Boyd February 4, 1842.

My dear Friend,—You must be thinking, if you are not a St. Boyd for good temper, that among the Gregorys and Synesiuses I have forgotten everything about you. No; indeed it has not been so. I have never stopped being grateful to you for your kind notes, and the two last pieces of Gregory, although I did not say an overt 'Thank you;' but I have been very very busy besides, and thus I answered to myself for your being kind enough to pardon a silence which was compelled rather than voluntary.

Do you ever observe that as vexations don't come alone, occupations don't, and that, if you happen to be engaged upon one particular thing, it is the signal for your being waylaid by bundles of letters desiring immediate answers, and proof sheets or manuscript works whose writers request your opinion while their 'printer waits'? The old saints are not responsible for all the filling up of my time. I have been busy upon busy.

The first part of my story about the Greek poets went to the 'Athenaeum' some days ago, but, although graciously received by the editor, it won't appear this week, or I should have had a proof sheet (which was promised to me) before now. I must contrive to include all I have to say on the subject in three parts. They will admit, they tell me, a fourth if I please, but evidently they would prefer as much brevity as I could vouchsafe. Only two poets are in the first notice, and twenty remain—and neither of the two is Gregory.

Will you let me see that volume of Gregory which contains the 'Christus Patiens'? Send it by any boy on the heath, and I will remunerate him for the walk and the burden, and thank you besides. Oh, don't be afraid! I am not going to charge it upon Gregory, but on the younger Apollinaris, whose claim is stronger, and I rather wish to refresh my recollection of the height and breadth of that tragic misdemeanour.

It is quite true that I never have suffered much pain, and equally so that I continue most decidedly better, notwithstanding the winter. I feel, too—I do hope not ungratefully—the blessing granted to me in the possibility of literary occupation,—which is at once occupation and distraction. Carlyle (not the infidel, but the philosopher) calls literature a 'fireproof pleasure.' How truly! How deeply I have felt that truth!

May God bless you, dear Mr. Boyd. I don't despair of looking in your face one day yet before my last.

Ever your affectionate and obliged E.B.B.

Arabel's love.

To H.S. Boyd March 2, 1842.

My ever very dear Friend,—Do receive the assurance that whether I leave out the right word or put in the wrong one, you never can be other to me than just that while I live, and why not after I have ceased to live? And now—what have I done in the meantime, to be called 'Miss Barrett'? 'I pause for a reply.'

Of course it gives me very great pleasure to hear you speak so kindly of my first paper. Some bona avis as good as a nightingale must have shaken its wings over me as I began it; and if it will but sit on the same spray while I go on towards the end, I shall rejoice exactly four-fold. The third paper went to Mr. Dilke to-day, and I was so fidgety about getting it away (and it seemed to cling to my writing case with both its hands), that I would not do any writing, even as little as this note, until it was quite gone out of sight. You know it is possible that he, the editor, may not please to have the fourth paper; but even in that case, it is better for the 'Remarks' to remain fragmentary, than be compressed till they are as dry as a hortus siccus of poets.

Certainly you do and must praise my number one too much. Number one (that's myself) thinks so. I do really; and the supererogatory virtue of kindness may be acknowledged out of the pale of the Romish Church.

In regard to Gregory and Synesius, you will see presently that I have not wronged them altogether.

As you have ordered the 'Athenaeums,' I will not send one to-morrow so as to repeat my ill fortune of being too late. But tell me if you would like to have any from me, and how many.

It was very kind in you to pat Flush's[63] head in defiance of danger and from pure regard for me. I kissed his head where you had patted it; which association of approximations I consider as an imitation of shaking hands with you and as the next best thing to it. You understand—don't you?—that Flush is my constant companion, my friend, my amusement, lying with his head on one page of my folios while I read the other. (Not your folios—I respect your books, be sure.) Oh, I dare say, if the truth were known, Flush understands Greek excellently well.

I hope you are right in thinking that we shall meet again. Once I wished not to live, but the faculty of life seems to have sprung up in me again, from under the crushing foot of heavy grief.

Be it all as God wills.

Believe me, your ever affectionate

E.B.B.

[Footnote 63: Miss Barrett's dog, the gift of Miss Mitford. His praise is sung in her poem, 'To Flush, my Dog' (Poetical Works, iii. 19), and in many of the following letters. He accompanied his mistress to Italy, lived to a good old age, and now lies buried in the vaults of Casa Guidi.]



To H.S. Boyd Saturday night, March 5, 1842.

My very dear Friend,—I am quite angry with myself for forgetting your questions when I answered your letter.

Could you really imagine that I have not looked into the Greek tragedians for years, with my true love for Greek poetry? That is asking a question, you will say, and not answering it. Well, then, I answer by a 'Yes' the one you put to me. I had two volumes of Euripides with me in Devonshire, and have read him as well as Aeschylus and Sophocles—that is from them—both before and since I went there. You know I have gone through every line of the three tragedians long ago, in the way of regular, consecutive reading.

You know also that I had at different times read different dialogues of Plato; but when three years ago, and a few months previous to my leaving home, I became possessed of a complete edition of his works, edited by Bekker, why then I began with the first volume and went through the whole of his writings, both those I knew and those I did not know, one after another: and have at this time read, not only all that is properly attributed to Plato, but even those dialogues and epistles which pass falsely under his name—everything except two books I think, or three, of the treatise 'De Legibus,' which I shall finish in a week or two, as soon as I can take breath from Mr. Dilke.

Now the questions are answered.

Ever your affectionate and grateful friend, E.B.B.

To H.S. Boyd Thursday, March 10, 1842 [postmark].

My very dear Friend,—I did not know until to-day whether the paper would appear on Saturday or not; but as I have now received the proof sheets, there can be no doubt of it. I have been and am hurried and hunted almost into a corner through the pressing for the fourth paper, and the difficulty about books. You will forgive a very short note to night.

I have read of Aristotle only his Poetics, his Ethics, and his work upon Rhetoric, but I mean to take him regularly into both hands when I finish Plato's last page. Aristophanes I took with me into Devonshire; and after all, I do not know much more of him than three or four of his plays may stand for. Next week, my very dear friend, I shall be at your commands, and sit in spirit at your footstool, to hear and answer anything you may care to ask me—but oh! what have I done that you should talk to me about 'venturing,' or 'liberty,' or anything of that kind?

From your affectionate and grateful catechumen, E.B.B.

To H.S. Boyd. March 29, 1842.

My very dear Friend,—I received your long letter and receive your short one, and thank you for the pleasure of both. Of course I am very very glad of your approval in the matter of the papers, and your kindness could not have wished to give me more satisfaction than it gave actually. Mr. Kenyon tells me that Mr. Burgess[64] has been reading and commending the papers, and has brought me from him a newly discovered scene of the 'Bacchae' of Euripides, edited by Mr. Burgess himself for the 'Gentlemen's Magazine,' and of which he considers that the 'Planctus Mariae,' at least the passage I extracted from it, is an imitation. Should you care to see it? Say 'Yes,'—and I will send it to you.

Do you think it was wrong to make eternity feminine? I knew that the Greek word was not feminine; but imagined that the English personification should be so. Am I wrong in this? Will you consider the subject again?

Ah, yes! That was a mistake of mine about putting Constantine for Constantius. I wrote from memory, and the memory betrayed me. But say nothing about it. Nobody will find it out. I send you Silentiarius and some poems of Pisida in the same volume. Even if you had not asked for them, I should have asked you to look at some passages which are fine in both. It appears to me that Silentiarius writes difficult Greek, overlaying his description with a multitude of architectural and other far fetched words! Pisida is hard, too, occasionally, from other causes, particularly in the 'Hexaemeron,' which is not in the book I send you but in another very gigantic one (as tall as the Irish giants), which you may see if you please. I will send a coach and six with it if you please.

John Mauropus, of the Three Towns, I owe the knowledge of to you. You lent me the book with his poems, you know. He is a great favorite of mine in all ways. I very much admire his poetry.

Believe me, ever your affectionate and grateful

ELIZABETH B. BARRETT.

Pray tell me what you think. I am sorry to observe that the book I send you is marked very irregularly; that is, marked in some places, unmarked in others, just as I happened to be near or far from my pencil and inkstand. Otherwise I should have liked to compare judgments with you.

Keep the book as long as you please; it is my own.

[Footnote 64: George Burges, the classical scholar. He had in 1832 contributed to the Gentleman's Magazine (under a pseudonym) some lines purporting to be a newly discovered portion of the Bacchae, but really composed by himself on the basis of a parallel passage in the Christus Patiens. It is apparently to these lines that Miss Barrett alludes, though the 'discovery' was then nearly ten years old.]

To H.S. Boyd 50 Wimpole Street: April 2, 1842.

My very dear Friend,—... As to your kind desire to hear whatever in the way of favorable remark I have gathered together for fruit of my papers, I put on a veil and tell you that Mr. Kenyon thought it well done, although 'labour thrown away, from the unpopularity of the subject;' that Miss Mitford was very much pleased, with the warmheartedness common to her; that Mrs. Jamieson [sic] read them 'with great pleasure' unconsciously of the author; and that Mr. Home the poet and Mr. Browning the poet were not behind in approbation. Mr. Browning is said to be learned in Greek, especially in the dramatists; and of Mr. Home I should suspect something similar. Miss Mitford and Mrs. Jamieson, although very gifted and highly cultivated women, are not Grecians, and therefore judge the papers simply as English compositions.

The single unfavorable opinion is Mr. Hunter's, who thinks that the criticisms are not given with either sufficient seriousness or diffidence, and that there is a painful sense of effort through the whole. Many more persons may say so whose voices I do not hear. I am glad that yours, my dear indulgent friend, is not one of them.

Believe me, your ever affectionate

ELIZABETH B. BARRETT.

To H.S. Boyd May 17, 1842.

My very dear Friend,—Have you thought all unkindness out of my silence? Yet the inference is not a true one, however it may look in logic.

You do not like Silentiarius very much (that is my inference), since you have kept him so short a time. And I quite agree with you that he is not a poet of the same interest as Gregory Nazianzen, however he may appear to me of more lofty cadence in his versification. My own impression is that John of Euchaita is worth two of each of them as a poet. His poems strike me as standing in the very first class of the productions of the Christian centuries. Synesius and John of Euchaita! I shall always think of those two together—not by their similarity, but their dignity.

I return you the books you lent me with true thanks, and also those which Mrs. Smith, I believe, left in your hands for me. I thank you for them, and you must be good enough to thank her. They were of use, although of a rather sublime indifference for poets generally....

I shall send you soon the series of the Greek papers you asked for, and also perhaps the first paper of a Survey of the English Poets, under the pretence of a review of 'The Book of the Poets,' a bookseller's selection published lately. I begin from Langland, of Piers Plowman and the Malvern Hills. The first paper went to the editor last week, and I have heard nothing as to whether it will appear on Saturday or not, and perhaps if it does you won't care to have it sent to you. Tell me if you do or don't. I have suffered unpleasantly in the heart lately from this tyrannous dynasty of east winds, but have been well otherwise, and am better, in that. Flushie means to bark the next time he sees you in revenge for what you say of him.

Good bye, dear Mr. Boyd; think of me as

Your ever affectionate E.B.B.

To H.S. Boyd June 3, 1842.

My very dear Friend,—I disobeyed you in not simply letting you know of the publication of my 'English Poets,' because I did not know myself when the publication was to take place, and I hope you will forgive the innocent crime and accept the first number going to you with this note. I warn you that there will be two numbers more at least. Therefore do not prepare yourself for perhaps the impossible magnanimity of reading them through.

And now I am fit for rivalship with your clocks, papa having given me an Aeolian harp for the purpose. Do you know the music of an Aeolian harp, and that nothing below the spherical harmonies is so sweet and soft and mournfully wild? The amusing part of it is (after the poetical) that Flushie is jealous and thinks it is alive, and takes it as very hard that I should say 'beautiful' to anything except his ears!

Arabel talks of going to see you; but if you are sensible to this intense and most overcoming heat, you will pardon her staying away for the present.

We have heard to-day that Annie proposes to publish her Miscellany by subscription; and although I know it to be the only way, compatible with publication at all, to avoid a pecuniary loss, yet the custom is so entirely abandoned except in the case of persons of a lower condition of life than your daughter, that I am sorry to think of the observations it may excite. The whole scheme has appeared to me from the beginning most foolish, and if you knew what I know of the state and fortune of our ephemeral literature, you would use what influence you have with her to induce her to condemn her 'contributions' to the adorning of a private annual rather than the purpose in unhappy question. I wish I dared to appeal through my true love for her to her own good sense once more.

My very dear friend's affectionate and grateful E.B.B.

If you do read any of the papers, let me know, I beseech you, your full and free opinion of them.

To H.S. Boyd June 22, 1842.

My very dear Friend,—I thank you gratefully for your two notes, with their united kindness and candour—the latter still rarer than the former, if less 'sweet upon the tongue.' Sir William Alexander's tragedy (that is the right name, I think, Sir William Alexander, Earl of Stirling) you will not find mentioned among my dramatic notices, because I was much pressed for room, and had to treat the whole subject as briefly as possible, striking off, like the Roman, only the heads of the flowers, and I did not, besides, receive your injunction until my third paper on the dramatists was finished and in the press. When you read it you will find some notice of that tragedy by Marlowe, the first knowledge of which I owe to you, my dear Mr. Boyd, as how much besides? And then comes the fourth paper, and I tremble to anticipate the possible—nay, the very probable—scolding I may have from you, upon my various heresies as to Dryden and Pope and Queen Anne's versificators. In the meantime you have breathing time, for Mr. Dilke, although very gracious and courteous to my offence of extending the two papers he asked for into four,[65] yet could find no room in the 'Athenaeum' last week for me, and only hopes for it this week. And after this week comes the British Association business, which always fills every column for a month, so that a further delay is possible enough. 'It will increase,' says Mr. Dilke, 'the zest of the reader,' whereas I say (at least think) that it will help him quite to forget me. I explain all this lest you should blame me for neglect to yourself in not sending the papers. I am so pleased that you like at least the second article. That is encouragement to me.

Flushie did not seem to think the harp alive when it was taken out of the window and laid close to him. He examined it particularly, and is a philosophical dog. But I am sure that at first and while it was playing he thought so.

In the same way he can't bear me to look into a glass, because he thinks there is a little brown dog inside every looking glass, and he is jealous of its being so close to me. He used to tremble and bark at it, but now he is silently jealous, and contents himself with squeezing close, close to me and kissing me expressively.

My very dear friend's ever gratefully affectionate E.B.B.

[Footnote 65: Ultimately five.]

To John Kenyon 50 Wimpole Street: Sunday night [September 1842].

My dear Mr. Kenyon,—Having missed my pleasure to-day by a coincidence worse for me than for you, I must, tired as I am to-night, tell you—ready for to-morrow's return of the books—what I have waited three whole days hoping to tell you by word of mouth. But mind, before I begin, I don't do so out of despair ever to see you again, because I trust steadfastly to your kindness to come again when you are not 'languid' and I am alone as usual; only that I dare not keep back from you any longer the following message of Miss Mitford. She says: 'Won't he take us in his way to Torquay? or from Torquay? Beg him to do so—and of all love, to tell us when.' Afterwards, again: 'I think my father is better. Tell Mr. Kenyon what I say, and stand my friend with him and beg him to come.'

Which I do in the most effectual way—in her own words.

She is much pleased by means of your introduction. 'Tell dear Mr. Kenyon how very very much I like Mrs. Leslie. She seems all that is good and kind, and to add great intelligence and agreeableness to these prime qualities.'

Now I have done with being a messenger of the gods, and verily my caduceus is trembling in my hand.

O Mr. Kenyon! what have you done? You will know the interpretation of the reproach, your conscience holding the key of the cypher.

In the meantime I ought to be thanking you for your great kindness about this divine Tennyson.[66] Beautiful! beautiful! After all, it is a noble thing to be a poet. But notwithstanding the poetry of the novelties—and you will observe that his two preceding volumes (only one of which I had seen before, having inquired for the other vainly) are included in these two—nothing appears to me quite equal to 'Oenone,' and perhaps a few besides of my ancient favorites. That is not said in disparagement of the last, but in admiration of the first. There is, in fact, more thought—more bare brave working of the intellect—in the latter poems, even if we miss something of the high ideality, and the music that goes with it, of the older ones. Only I am always inclined to believe that philosophic thinking, like music, is involved, however occultly, in high ideality of any kind.

You have not a key to the cypher of this at least, and I am so tired that one word seems tumbling over another all the way.

Ever affectionately yours, ELIZABETH B. BARRETT.

You will let me keep your beautiful ballad and the gods[67] a little longer.

[Footnote 66: This refers to the recent publication of Tennyson's Poems, in two volumes, the first containing a re-issue of poems previously published, while the second was wholly new, and included such poems as the 'Morte d'Arthur,' 'Ulysses,' and 'Locksley Hall.']

[Footnote 67: No doubt Mr. Kenyon's translation of Schiller's 'Gods of Greece,' which was the occasion of Miss Barrett's poem 'The Dead Pan.']

To H.S. Boyd September 14, 1842.

My very dear Friend,—I have made you wait a long time for the 'North American Review,' because when your request came it was no longer within my reach, and because since then I have not been so well as usual from a sweep of the wing of the prevailing epidemic. Now, however, I am better than I was even before the attack, only wishing that it were possible to hook-and-eye on another summer to the hem of the garment of this last sunny one. At the end of such a double summer, to measure things humanly, I might be able to go to see you at Hampstead. Nevertheless, winters and adversities are more fit for us than a constant sun.

I suppose, dear Mr. Boyd, you want only to have this review read to you, and not written. Because it isn't out of laziness that I send the book to you; and Arabel would copy whatever you please willingly, provided you wished it. Keep the book as long as you please. I have put a paper mark and a pencil mark at the page and paragraph where I am taken up. It seems to me that the condemnation of 'The Seraphim' is not too hard. The poem wants unity.

As to your 'words of fire' about Wordsworth, if I had but a cataract at command I would try to quench them. His powers should not be judged of by my extracts or by anybody's extracts from his last-published volume.[68] Do you remember his grand ode upon Childhood—worth, to my apprehension, just twenty of Dryden's 'St. Cecilia's Day'—his sonnet upon Westminster Bridge, his lyric on a lark, in which the lark's music swells and exults, and the many noble and glorious passages of his 'Excursion'? You must not indeed blame me for estimating Wordsworth at his height, and on the other side I readily confess to you that he is occasionally, and not unfrequently, heavy and dull, and that Coleridge had an intenser genius. Tell me if you know anything of Tennyson. He has just published two volumes of poetry, one of which is a republication, but both full of inspiration.

Ever my very dear friend's affectionate and grateful E.B.B.

[Footnote 68: Poems, chiefly of early and late years, including The Borderers, a Tragedy (1842).]

To Mrs. Martin 50 Wimpole Street: October 22, 1842.

My dearest Mrs. Martin,—Waiting first for you to write to me, and then waiting that I might write to you cheerfully, has ended by making so long a silence that I am almost ashamed to break it. And perhaps, even if I were not ashamed, you would be angry—perhaps you are angry, and don't much care now whether or not you ever hear from me again. Still I must write, and I must moreover ask you to write to me again; and I must in particular assure you that I have continued to love you sincerely, notwithstanding all the silence which might seem to say the contrary. What I should like best just now is to have a letter speaking comfortable details of your being comparatively well again; yet I hope on without it that you really are so much better as to be next to quite well. It was with great concern that I heard of the indisposition which hung about you, dearest Mrs. Martin, so long—I who had congratulated myself when I saw you last on the promise of good health in your countenance. May God bless you, and keep you better! And may you take care of yourself, and remember how many love you in the world, from dear Mr. Martin down to—E.B.B.

Well, now I must look around me and consider what there is to tell you. But I have been uneasy in various ways, sometimes by reason and sometimes by fantasy; and even now, although my dear old friend Dr. Scully is something better, he lies, I fear, in a very precarious state, while dearest Miss Mitford's letters from the deathbed of her father make my heart ache as surely almost as the post comes. There is nothing more various in character, nothing which distinguishes one human being from another more strikingly, than the expression of feeling, the manner in which it influences the outward man. If I were in her circumstances, I should sit paralysed—it would be impossible to me to write or to cry. And she, who loves and feels with the intensity of a nature warm in everything, seems to turn to sympathy by the very instinct of grief, and sits at the deathbed of her last relative, writing there, in letter after letter, every symptom, physical or moral—even to the very words of the raving of a delirium, and those, heart-breaking words! I could not write such letters; but I know she feels as deeply as any mourner in the world can. And all this reminds me of what you once asked me about the inscriptions in Lord Brougham's villa at Nice. There are probably as many different dialects for the heart as for the tongue, are there not?...

And now you will kindly like to have a word said about myself, and it need not be otherwise than a word to give your kindness pleasure. The long splendid summer, exhausting as the heat was to me sometimes, did me essential good, and left me walking about the room and equal to going downstairs (which I achieved four or five times), and even to going out in the chair, without suffering afterwards. And, best of all, the spitting of blood (I must tell you), which more or less kept by me continually, stopped quite some six weeks ago, and I have thus more reasonable hopes of being really and essentially better than I could have with such a symptom loitering behind accidental improvements. Weak enough, and with a sort of pulse which is not excellent, I certainly remain; but still, if I escape any decided attack this winter—and I am in garrison now—there are expectations of further good for next summer, and I may recover some moderate degree of health and strength again, and be able to do good instead of receiving it only.

I write under the eyes of Wordsworth. Not Wordsworth's living eyes, although the actual living poet had the infinite kindness to ask Mr. Kenyon twice last summer when he was in London, if he might not come to see me. Mr. Kenyon said 'No'—I couldn't have said 'No' to Wordsworth, though I had never gone to sleep again afterwards. But this Wordsworth who looks on me now is Wordsworth in a picture. Mr. Haydon the artist, with the utmost kindness, has sent me the portrait he was painting of the great poet—an unfinished portrait—and I am to keep it until he wants to finish it. Such a head! such majesty! and the poet stands musing upon Helvellyn! And all that—poet, Helvellyn, and all—is in my room![69]

Give my kind love to Mr. Martin—our kind love, indeed, to both of you—and believe me, my dearest Mrs. Martin,

Your ever affectionate BA.

Is there any hope for us of you before the winter ends? Do consider.

To H.S. Boyd Monday, October 31, 1842.

My very dear Friend,—I have put off from day to day sending you these volumes, and in the meantime I have had a letter from the great poet! Did Arabel tell you that my sonnet on the picture was sent to Mr. Haydon, and that Mr. Haydon sent it to Mr. Wordsworth? The result was that Mr. Wordsworth wrote to me. King John's barons were never better pleased with their Charta than I am with this letter.[70]

But I won't tell you any more about it until you have read the poems which I send you. Read first, to put you into good humour, the sonnet written on Westminster Bridge, vol. iii. page 78. Then take from the sixth volume, page 152, the passage beginning 'Within the soul' down to page 153 at 'despair,' and again at page 155 beginning with

I have seen A curious child, &c.

down to page 157 to the end of the paragraph. If you admit these passages to be fine poetry, I wish much that you would justify me further by reading, out of the second volume, the two poems called 'Laodamia' and 'Tintern Abbey' at page 172 and page 161. I will not ask you to read any more; but I dare say you will rush on of your own account, in which case there is a fine ode upon the 'Power of Sound' in the same volume. Wordsworth is a philosophical and Christian poet, with depths in his soul to which poor Byron could never reach. Do be candid. Nay, I need not say so, because you always are, as I am,

Your ever affectionate ELIZABETH B. BARRETT.

[Footnote 69: It was this picture that called forth the sonnet, 'On a Portrait of Wordsworth by B.R. Haydon' (Poetical Works, iii. 62), alluded to in the next letter.]

[Footnote 70: The following is the letter from Wordsworth which gave such pleasure to Miss Barrett, and which she treasured among her papers for the rest of her life. Two slips of the pen have been corrected between brackets.

'Rydal Mount: Oct. 26, '42.

'Dear Miss Barrett,—Through our common friend Mr. Haydon I have received a sonnet which his portrait of me suggested. I should have thanked you sooner for that effusion of a feeling towards myself, with which I am much gratified, but I have been absent from home and much occupied.

'The conception of your sonnet is in full accordance with the painter's intended work, and the expression vigorous; yet the word "ebb," though I do not myself object to it, nor wish to have it altered, will I fear prove obscure to nine readers out of ten.

"A vision free And noble, Haydon, hath thine art released."

Owing to the want of inflections in our language the construction here is obscure. Would it not be a little [better] thus? I was going to write a small change in the order of the words, but I find it would not remove the objection. The verse, as I take it, would be somewhat clearer thus, if you would tolerate the redundant syllable:

"By a vision free And noble, Haydon, is thine art released."

I had the gratification of receiving, a good while ago, two copies of a volume of your writing, which I have read with much pleasure, and beg that the thanks which I charged a friend to offer may be repeated [to] you.

'It grieved me much to hear from Mr. Kenyon that your health is so much deranged. But for that cause I should have presumed to call upon you when I was in London last spring.

'With every good wish, I remain, dear Miss Barrett, your much obliged

'WM. WORDSWORTH.'

[Postmark: Ambleside, Oct. 28, 1842.]

It may be added that although Miss Barrett altered the passage criticised by the great poet, she did not accept his amendment. It now runs

'A noble vision free Our Haydon's hand has flung out from the mist.



To H.S. Boyd December 4, 1842.

My very dear Friend,—You will think me in a discontented state of mind when I knit my brows like a 'sleeve of care' over your kind praises. But the truth is, I won't be praised for being liberal in Calvinism and love of Byron. I liberal in commending Byron! Take out my heart and try it! look at it and compare it with yours; and answer and tell me if I do not love and admire Byron more warmly than you yourself do. I suspect it indeed. Why, I am always reproached for my love to Byron. Why, people say to me, 'You, who overpraise Byron!' Why, when I was a little girl (and, whatever you may think, my tendency is not to cast off my old loves!) I used to think seriously of dressing up like a boy and running away to be Lord Byron's page. And I to be praised now for being 'liberal' in admitting the merit of his poetry! I!

As for the Calvinism, I don't choose to be liberal there either. I don't call myself a Calvinist. I hang suspended between the two doctrines, and hide my eyes in God's love from the sights which other people say they see. I believe simply that the saved are saved by grace, and that they shall hereafter know it fully; and that the lost are lost by their choice and free will—by choosing to sin and die; and I believe absolutely that the deepest damned of all the lost will not dare to whisper to the nearest devil that reproach of Martha: 'If the Lord had been near me, I had not died.' But of the means of the working of God's grace, and of the time of the formation of the Divine counsels, I know nothing, guess nothing, and struggle to guess nothing; and my persuasion is that when people talk of what was ordained or approved by God before the foundations of the world, their tendency is almost always towards a confusion of His eternal nature with the human conditions of ours; and to an oblivion of the fact that with Him there can be no after nor before.

At any rate, I do not find it good for myself to examine any more the brickbats of controversy—there is more than enough to think of in truths clearly revealed; more than enough for the exercise of the intellect and affections and adorations. I would rather not suffer myself to be disturbed, and perhaps irritated, where it is not likely that I should ever be informed. And although you tell me that your system of investigation is different from some others, answer me with your accustomed candour, and admit, my very dear friend, that this argument does not depend upon the construction of a Greek sentence or the meaning of a Greek word. Let a certain word[71] be 'fore-know' or 'publicly favor,' room for a stormy controversy yet remains. I went through the Romans with you partially, and wholly by myself, by your desire, and in reference to the controversy, long ago; and I could not then, and cannot now, enter into that view of Taylor and Adam Clarke, and yourself I believe, as to the Jews and Gentiles. Neither could I conceive that a particular part of the epistle represents an actual dialogue between a Jew and Gentile, since the form of question and answer appears to me there simply rhetorical. The Apostle Paul was learned in rhetoric; and I think he described so, by a rhetorical and vivacious form, that struggle between the flesh and the spirit common to all Christians; the spirit being triumphant through God in Christ Jesus. These are my impressions. Yours are different. And since we should not probably persuade each other, and since we are both of us fond of and earnest in what we fancy to be the truth, why should we cast away the thousand sympathies we rejoice in, religious and otherwise, for the sake of a fruitless contention? 'What!' you would say (by the time we had quarrelled half an hour), 'can't you talk without being excited?' Half an hour afterwards: 'Pray do lower your voice—it goes through my head!' In another ten minutes: 'I could scarcely have believed you to be so obstinate.' In another: 'Your prejudices are insurmountable, and your reason most womanly—you are degenerated to the last degree.' In another—why, then you would turn me and Flush out of the room and so finish the controversy victoriously.

Was I wrong too, dearest Mr. Boyd, in sending the poems to the 'Athenaeum'? Well, I meant to be right. I fancied that you would rather they were sent; and as your name was not attached, there could be no harm in leaving them to the editor's disposal. They are not inserted, as I anticipated. The religious character was a sufficient objection—their character of prayer. Mr. Dilke begged me once, while I was writing for him, to write the name of God and Jesus Christ as little as I could, because those names did not accord with the secular character of the journal!

Ever your affectionate and grateful ELIZABETH B. BARRETT.

Tell me how you like the sonnet; but you won't (I prophesy) like it. Keep the 'Athenaeum.'

[Footnote 71: The Greek [Greek: progignoskein], used in Romans viii. 29.]

To H.S. Boyd December 24, 1842.

My very dear Friend,—I am afraid that you will infer from my silence that you have affronted me into ill temper by your parody upon my sonnet. Yet 'lucus a non lucendo' were a truer derivation. I laughed and thanked you over the parody, and put off writing to you until I had the headache, which forced me to put it off again....

May God bless you, my dear Mr. Boyd. Mr. Savage Landor once said that anybody who could write a parody deserved to be shot; but as he has written one himself since saying so, he has probably changed his mind. Arabel sends her love.

Ever your affectionate and grateful ELIZABETH B. BARRETT.

To H.S. Boyd January 5, 1842 [1843].

My very dear Friend,—My surprise was inexpressible at your utterance of the name. What! Ossian superior as a poet to Homer! Mr. Boyd saying so! Mr. Boyd treading down the neck of Aeschylus while he praises Ossian! The fact appears to me that anomalous thing among believers—a miracle without an occasion.

I confess I never, never should have guessed the name; not though I had guessed to Doomsday. In the first place I do not believe in Ossian, and having partially examined the testimony (for I don't pretend to any exact learning about it) I consider him as the poetical lay figure upon which Mr. Macpherson dared to cast his personality. There is a sort of phraseology, nay, an identity of occasional phrases, from the antique—but that these so-called Ossianic poems were ever discovered and translated as they stand in their present form, I believe in no wise. As Dr. Johnson wrote to Macpherson, so I would say, 'Mr. Macpherson, I thought you an impostor, and think so still.'

It is many years ago since I looked at Ossian, and I never did much delight in him, as that fact proves. Since your letter came I have taken him up again, and have just finished 'Carthon.' There are beautiful passages in it, the most beautiful beginning, I think, 'Desolate is the dwelling of Moina,' and the next place being filled by that address to the sun you magnify so with praise. But the charm of these things is the only charm of all the poems. There is a sound of wild vague music in a monotone—nothing is articulate, nothing individual, nothing various. Take away a few poetical phrases from these poems, and they are colourless and bare. Compare them with the old burning ballads, with a wild heart beating in each. How cold they grow in the comparison! Compare them with Homer's grand breathing personalities, with Aeschylus's—nay, but I cannot bear upon my lips or finger the charge of the blasphemy of such comparing, even for religion's sake....

I had another letter from America a few days since, from an American poet of Boston who is establishing a magazine, and asked for contributions from my pen. The Americans are as good-natured to me as if they took me for the high Radical I am, you know.

You won't be angry with me for my obliquity (as you will consider it) about Ossian. You know I always talk sincerely to you, and you have not made me afraid of telling you the truth—that is, my truth, the truth of my belief and opinions.

I do not defend much in the 'Idiot Boy.' Wordsworth is a great poet, but he does not always write equally.

And that reminds me of a distinction you suggest between Ossian and Homer. I fashion it in this way: Homer sometimes nods, but Ossian makes his readers nod.

Ever your affectionate ELIZABETH B. BARRETT.

Did I tell you that I had been reading through a manuscript translation of the 'Gorgias' of Plato, by Mr. Hyman of Oxford, who is a stepson of Mr. Haydon's the artist? It is an excellent translation with learned notes, but it is not elegant. He means to try the public upon it, but, as I have intimated to him, the Christians of the present day are not civilised enough for Plato.

Arabel's love.

To H.S. Boyd [About the end of January 1843.]

My very dear Friend,—The image you particularly admire in Ossian, I admire with you, although I am not sure that I have not seen it or its like somewhere in a classical poet, Greek or Latin. Perhaps Lord Byron remembered it when in the 'Siege of Corinth' he said of his Francesca's uplifted arm, 'You might have seen the moon shine through.' It reminds me also that Maclise the artist, a man of poetical imagination, gives such a transparency to the ghost of Banquo in his picture of Macbeth's banquet, that we can discern through it the lights of the festival. That is good poetry for a painter, is it not?

I send you the magazines which I have just received from America, and which contain, one of them, 'The Cry of the Human,' and the other, four of my sonnets. My correspondent tells me that the 'Cry' is considered there one of the most successful of my poems, but you probably will not think so. Tell me exactly what you do think. At page 343 of 'Graham's Magazine,' Editor's Table, is a review of me, which, however extravagant in its appreciation, will give your kindness pleasure. I confess to a good deal of pleasure myself from these American courtesies, expressed not merely in the magazines, but in the newspapers; a heap of which has been sent to me by my correspondent—the 'New York Tribune,' 'The Union,' 'The Union Flag,' &c.—all scattered over with extracts from my books and benignant words about their writer. Among the extracts is the whole of the review of Wordsworth from the London 'Athenaeum,' an unconscious compliment, as they do not guess at the authorship, and one which you won't thank them for. Keep the magazines, as I have duplicates.

Dearest Mr. Boyd, since you admit that I am not prejudiced about Ossian, I take courage to tell you what I am thinking of.

I am thinking (this is said in a whisper, and in confidence—of two kinds), I am thinking that you don't admire him quite as much as you did three weeks ago.

Ever most affectionately yours, ELIZABETH B. BARRETT.

Arabel not being here, I send her love without asking for it.

To Mrs. Martin January 30, 1843.

My dearest Mrs. Martin,—Thank you for your letter and for dear Mr. Martin's thought of writing one! Ah! I thought he would not write, but not for the reason you say; it was something more palpable and less romantic! Well, I will not grumble any more about not having my letter, since you are coming, and since you seem, my dear Mrs. Martin, something in better spirits than your note from Southampton bore token of. Madeira is the Promised Land, you know; and you should hope hopefully for your invalid from his pilgrimage there. You should hope with those who hope, my dearest Mrs. Martin....

Our 'event' just now is a new purchase of a 'Holy Family,' supposed to be by Andrea del Sarto. It has displaced the Glover over the chimney-piece in the drawing-room, and dear Stormie and Alfred nearly broke their backs in carrying it upstairs for me to see before the placing. It is probably a fine picture, and I seem to see my way through the dark of my ignorance, to admire the grouping and colouring, whatever doubt as to the expression and divinity may occur otherwise. Well, you will judge. I won't tell you how I think of it. And you won't care if I do. There is also a new very pretty landscape piece, and you may imagine the local politics of the arrangement and hanging, with their talk and consultation; while I, on the storey higher, have my arranging to manage of my pretty new books and my three hyacinths, and a pot of primroses which dear Mr. Kenyon had the good nature to carry himself through the streets to our door. But all the flowers forswear me, and die either suddenly or gradually as soon as they become aware of the want of fresh air and light in my room. Talking of air and light, what exquisite weather this is! What a summer in winter! It is the fourth day since I have had the fire wrung from me by the heat of temperature, and I sit here very warm indeed, notwithstanding that bare grate. Nay, yesterday I had the door thrown open for above an hour, and was warm still! You need not ask, you see, how I am.

Tell me, have you read Mr. Dickens's 'America;' and what is your thought of it like? If I were an American, it would make me rabid, and certain of the free citizens are furious, I understand, while others 'speak peace and ensue it,' admire as much of the book as deserves any sort of admiration, and attribute the blameable parts to the prejudices of the party with whom the writer 'fell in,' and not to a want of honesty or brotherhood in his own intentions. I admire Mr. Dickens as an imaginative writer, and I love the Americans—I cannot possibly admire or love this book. Does Mr. Martin? Do you?

Henrietta would send her love to you if I could hear her voice nearer than I do actually, as she sings to the guitar downstairs. And her love is not the only one to be sent. Give mine to dear Mr. Martin, though he can't make up his mind to the bore of writing to me. And remember us all, both of you, as we do you.

Dearest Mrs. Martin, your affectionate BA.

To James Martin February 6, 1843.

You make us out, my dear Mr. Martin, to be such perfect parallel lines that I should be half afraid of completing the definition by our never meeting, if it were not for what you say afterwards, of the coming to London, and of promising to come and see Flush. If you should be travelling while I am writing, it was only what happened to me when I wrote not long ago to dearest Mrs. Martin, and everybody in this house cried out against the fatuity of the coincidence. As if I could know that she was travelling, when nobody told me, and I wasn't a witch! If the same thing happens to-day, believe in the innocence of my ignorance. I shall be consoled if it does—for certain reasons. But for none in the world can I help thanking you for your letter, which gave me so much pleasure from the first sight of the handwriting to the thought of the kindness spent upon me in it, that after all I cannot thank you as I would.

Yet I won't let you fancy me of such an irrational state of simplicity as not to be fully aware that you, with your 'nature of the fields and forests,' look down disdainfully and with an inward heat of glorying, upon me who have all my pastime in books—dead and seethed. Perhaps, if it were a little warmer, I might even grant that you are right in your pride. As it is, I grumble feebly to myself something about the definition of nature, and how we in the town (which 'God made' just as He made your hedges) have our share of nature too; and then I have secret thoughts of the state of the thermometer, and wonder how people can breathe out of doors. In the meantime, Flush, who is a better philosopher, pushes deep into my furs, and goes to sleep. Perhaps I should fear the omen for my correspondent.

Oh yes! That picture in 'Boz' is beautiful. For my own part, and by a natural womanly contradiction, I have never cared so much in my life for flowers as since being shut out from gardens—unless, indeed, in the happy days of old when I had a garden of my own, and cut it out into a great Hector of Troy, in relievo, with a high heroic box nose and shoeties of columbine.[72] But that was long ago. Now I count the buds of my primrose with a new kind of interest, and you never saw such a primrose! I begin to believe in Ovid, and look for a metamorphosis. The leaves are turning white and springing up as high as corn. Want of air, and of sun, I suppose. I should be loth to think it—want of friendship to me!

Do you know that the royal Boz lives close to us, three doors from Mr. Kenyon in Harley Place? The new numbers appear to me admirable, and full of life and blood—whatever we may say to the thick rouging and extravagance of gesture. There is a beauty, a tenderness, too, in the organ scene, which is worthy of the gilliflowers. But my admiration for 'Boz' fell from its 'sticking place,' I confess, a good furlong, when I read Victor Hugo; and my creed is, that, not in his tenderness, which is as much his own as his humour, but in his serious powerful Jew-trial scenes, he has followed Hugo closely, and never scarcely looked away from 'Les Trois Jours d'un Condamne.'

If you should not be on the road, I hope you won't be very long before you are, and that dearest Mrs. Martin will put off building her greenhouse—you see I believe she will build it—until she gets home again.

How kind of you and of her to have poor old Mrs. Barker at Colwall!

Do believe me, both of you, with love from all of us,

Very affectionately yours, BA.

[Footnote 72: See 'Hector in the Garden' (Poetical Works, iii. 37).]

To H.S. Boyd February 21, 1843.

Thank you, my very dear friend, I am as well as the east wind will suffer me to be; and that, indeed, is not very well, my heart being fuller of all manner of evil than is necessary to its humanity. But the wind is changed, and the frost is gone, and it is not quite out of my fancy yet that I may see you next summer. You and summer are not out of the question yet. Therefore, you see, I cannot be very deep in tribulation. But you may consider it a bad symptom that I have just finished a poem of some five hundred lines in stanzas, called 'The Lost Bower,'[73] and about nothing at all in particular.

As to Arabel, she is not an icicle. There are flowers which blow in the frost—when we brambles are brown with their inward death—and she is of them, dear thing. You are not a bramble, though, and I hope that when you talk of 'feeling the cold,' you mean simply to refer to your sensation, and not to your health. Remember also, dearest Mr. Boyd, what a glorious winter we have had. Take away the last ten days and a few besides, and call the whole summer rather than winter. Ought we to complain, really? Really, no.

I venture another prophecy upon the shoulders of the ast, though my hand shakes so that nobody will read it.

You can't abide my 'Cry of the Human,' and four sonnets. They have none of them found favor in your eyes.

In or out of favor,

Ever your affectionate E.B.B.

Do you think that next summer you might, could, or would walk across the park to see me—supposing always that I fail in my aspiration to go and see you? I only ask by way of hypothesis. Consider and revolve it so. We live on the verge of the town rather than in it, and our noises are cousins to silence; and you should pass into a room where the silence is most absolute. Flush's breathing is my loudest sound, and then the watch's tickings, and then my own heart when it beats too turbulently. Judge of the quiet and the solitude!

[Footnote 73: Poetical Works, iii. 105.]

To H.S. Boyd April 19, 1843.

My very dear Friend,—The earth turns round, to be sure, and we turn with it, but I never anticipated the day and the hour for you to turn round and be guilty of high treason to our Greeks. I cry 'Ai! ai!' as if I were a chorus, and all vainly. For, you see, arguing about it will only convince you of my obstinacy, and not a bit of Homer's supremacy. Ossian has wrapt you in a cloud, a fog, a true Scotch mist. You have caught cold in the critical faculty, perhaps. At any rate, I can't see a bit more of your reasonableness than I can see of Fingal. Sic transit! Homer like the darkened half of the moon in eclipse! You have spoilt for me now the finest image in your Ossian-Macpherson.

My dearest Mr. Boyd, you will find as few believers in the genuineness of these volumes among the most accomplished antiquarians in poetry as in the genuineness of Chatterton's Rowley, and of Ireland's Shakespeare. The latter impostures boasted of disciples in the first instance, but the discipleship perished by degrees, and the place thereof, during this present 1843, knows it no more. So has it been with the belief in Macpherson's Ossian. Of those who believed in the poems at the first sight of them, who kept his creed to the end? And speaking so, I speak of Macpherson's contemporaries whom you respect.

I do not consider Walter Scott a great poet, but he was highly accomplished in matters of poetical antiquarianism, and is certainly citable as an authority on this question.

Try not to be displeased with me. I cannot conceal from you that my astonishment is profound and unutterable at your new religion—your new faith in this pseud-Ossian—and your desecration, in his service, of the old Hellenic altars. And by the way, my own figure reminds me to inquire of you whether you are not sometimes struck with a want in him—a want very grave in poetry, and very strange in antique poetry—the want of devotional feeling and conscience of God. Observe, that all antique poets rejoice greatly and abundantly in their divine mythology; and that if this Ossian be both antique and godless, he is an exception, a discrepancy, a monster in the history of letters and experience of humanity. As such I leave him.

Oh, how angry you will be with me. But you seemed tolerably prepared in your last letter for my being in a passion.... Ever affectionately yours,

ELIZABETH B. BARRETT.

Why should I be angry with Flush? He does not believe in Ossian. Oh, I assure you he doesn't.

The following letter was called forth by a criticism of Mr. Kenyon's on Miss Barrett's poem, The Dead Pan, which he had seen in manuscript; but it also meets some criticisms which others had made upon her last volume (see above, p. 65).

To John Kenyan Wimpole Street: March 25, 1843.

My very dear Cousin,—Your kindness having touched me much, and your good opinion, whether literary or otherwise, being of great price to me, it is even with tears in my eyes that I begin to write to you upon a difference between us. And what am I to say? To admit, of course, in the first place, the injuriousness to the 'popularity,' of the scriptural tone. But am I to sacrifice a principle to popularity? Would you advise me to do so? Should I be more worthy of your kindness by doing so? and could you (apart from the kindness) call my refusal to do so either perverseness or obstinacy? Even if you could, I hope you will try a little to be patient with me, and to forgive, at least, what you find it impossible to approve.

My dear cousin, if you had not reminded me of Wordsworth's exclamation—

I would rather be A pagan, suckled in a creed outworn—

and if he had never made it, I do think that its significance would have occurred to me, by a sort of instinct, in connection with this discussion. Certainly I would rather be a pagan whose religion was actual, earnest, continual—for week days, work days, and song days—than I would be a Christian who, from whatever motive, shrank from hearing or uttering the name of Christ out of a 'church.' I am no fanatic, but I like truth and earnestness in all things, and I cannot choose but believe that such a Christian shows but ill beside such a pagan. What pagan poet ever thought of casting his gods out of his poetry? In what pagan poem do they not shine and thunder? And if I—to approach the point in question—if I, writing a poem the end of which is the extolment of what I consider to be Christian truth over the pagan myths shrank even there from naming the name of my God lest it should not meet the sympathies of some readers, or lest it should offend the delicacies of other readers, or lest, generally, it should be unfit for the purposes of poetry in what more forcible manner than by that act (I appeal to Philip against Philip) can I controvert my own poem, or secure to myself and my argument a logical and unanswerable shame? If Christ's name is improperly spoken in that poem, then indeed is Schiller right, and the true gods of poetry are to be sighed for mournfully. For be sure that Burns was right, and that a poet without devotion is below his own order, and that poetry without religion will gradually lose its elevation. And then, my dear friend, we do not live among dreams. The Christian religion is true or it is not, and if it is true it offers the highest and purest objects of contemplation. And the poetical faculty, which expresses the highest moods of the mind, passes naturally to the highest objects. Who can separate these things? Did Dante? Did Tasso? Did Petrarch? Did Calderon? Did Chaucer? Did the poets of our best British days? Did any one of these shrink from speaking out Divine names when the occasion came? Chaucer, with all his jubilee of spirit and resounding laughter, had the name of Jesus Christ and God as frequently to familiarity on his lips as a child has its father's name. You say 'our religion is not vital—not week-day—enough.' Forgive me, but that is a confession of a wrong, not an argument. And if a poet be a poet, it is his business to work for the elevation and purification of the public mind, rather than for his own popularity! while if he be not a poet, no sacrifice of self-respect will make amends for a defective faculty, nor ought to make amends.

My conviction is that the poetry of Christianity will one day be developed greatly and nobly, and that in the meantime we are wrong, poetically as morally, in desiring to restrain it. No, I never felt repelled by any Christian phraseology in Cowper—although he is not a favorite poet of mine from other causes—nor in Southey, nor even in James Montgomery, nor in Wordsworth where he writes 'ecclesiastically,' nor in Christopher North, nor in Chateaubriand, nor in Lamartine.

It is but two days ago since I had a letter—and not from a fanatic—to reproach my poetry for not being Christian enough, and this is not the first instance, nor the second, of my receiving such a reproach. I tell you this to open to you the possibility of another side to the question, which makes, you see, a triangle of it!

Can you bear with such a long answer to your letter, and forbear calling it a 'preachment'? There may be such a thing as an awkward and untimely introduction of religion, I know, and I have possibly been occasionally guilty in this way. But for my principle I must contend, for it is a poetical principle and more, and an entire sincerity in respect to it is what I owe to you and to myself. Try to forgive me, dear Mr. Kenyon. I would propitiate your indulgence for me by a libation of your own eau de Cologne poured out at your feet! It is excellent eau de Cologne, and you are very kind to me, but, notwithstanding all, there is a foreboding within me that my 'conventicleisms' will be inodorous in your nostrils.

[Incomplete.]

To John Kenyon Tuesday [about March 1843].

My very dear Cousin,—I have read your letter again and again, and feel your kindness fully and earnestly. You have advised me about the poem,[74] entering into the questions referring to it with the warmth rather of the author of it than the critic of it, and this I am sensible of as absolutely as anyone can be. At the same time, I have a strong perception rather than opinion about the poem, and also, if you would not think it too serious a word to use in such a place, I have a conscience about it. It was not written in a desultory fragmentary way, the last stanzas thrown in, as they might be thrown out, but with a design, which leans its whole burden on the last stanzas. In fact, the last stanzas were in my mind to say, and all the others presented the mere avenue to the end of saying them. Therefore I cannot throw them out—I cannot yield to the temptation even of pleasing you by doing so; I make a compromise with myself, and do not throw them out, and do not print the poem. Now say nothing against this, my dear cousin, because I am obstinate, as you know, as you have good evidence for knowing. I will not either alter or print it. Then you have your manuscript copy, which you can cut into any shape you please as long as you keep it out of print; and seeing that the poem really does belong to you, having had its origin in your paraphrase of Schiller's stanzas, I see a great deal of poetical justice in the manuscript copyright remaining in your hands. For the rest I shall have quite enough to print and to be responsible for without it, and I am quite satisfied to let it be silent for a few years until either I or you (as may be the case even with me!) shall have revised our judgments in relation to it.

This being settled, you must suffer me to explain (for mere personal reasons, and not for the good of the poem) that no mortal priest (of St. Peter's or otherwise) is referred to in a particular stanza, but the Saviour Himself. Who is 'the High Priest of our profession,' and the only 'priest' recognised in the New Testament. In the same way the altar candles are altogether spiritual, or they could not be supposed, even by the most amazing poetical exaggeration, to 'light the earth and skies.' I explain this, only that I may not appear to you to have compromised the principle of the poem, by compromising any truth (such in my eyes) for the sake of a poetical effect.

And now I will not say any more. I know that you will be inclined to cry, 'Print it in any case,' but I will entreat of your kindness, which I have so much right to trust in while entreating, not to say one such word. Be kind, and let me follow my own way silently. I have not, indeed, like a spoilt child in a fret, thrown the poem up because I would not alter it, though you have done much to spoil me. I act advisedly, and have made up my mind as to what is the wisest and best thing to do, and personally the pleasantest to myself, after a good deal of serious reflection. 'Pan is dead,' and so best, for the present at least.

I shall take your advice about the preface in every respect, and thanks for the letter and Taylor's memoirs.

Miss Mitford talks of coming to town for a day, and of bringing Flush with her, as soon as the weather settles, and to-day looks so like it that I have mused this morning on the possibility of breaking my prison doors and getting into the next room. Only there is a forbidding north wind, they say.

Don't be vexed with me, dear Mr. Kenyon. You know there are obstinacies in the world as well as mortalities, and thereto appertaining. And then you will perceive through all mine, that it is difficult for me to act against your judgment so far as to put my own tenacity into print.

Ever gratefully and affectionately yours, E.B.B.

[Footnote 74: 'The Dead Pan' (Poetical Works, iii. 280).]

It is to the honour of America that it recognised from the first the genius of Miss Barrett; and for a large part of her life some of the closest of her personal and literary connections were with Americans. The same is true in both respects of Robert Browning. As appears from some letters printed farther on in these volumes, at a time when the sale of his poems in England was almost infinitesimal, they were known and highly prized in the United States. Expressions of Mrs. Browning's sympathy with America and of gratitude for the kindly feelings of Americans recur frequently in the letters, and it is probable that there are still extant in the States many letters written to friends and correspondents there. Only three or four such have been made available for the present collection; and of these the first follows here in its place in the chronological sequence. It was written to Mr. Cornelius Mathews, then editor of 'Graham's Magazine,' who had invited Miss Barrett to send contributions to his periodical. The warm expression in it of sympathy with the poetry of Robert Browning, whom she did not yet know personally, is especially interesting to readers of this later day, who, like the spectators at a Greek tragedy, watch the development of a drama of which the denouement is already known to them.

To Cornelius Mathews 50 Wimpole Street: April 28, 1843.

My dear Mr. Mathews,—In replying to your kind letter I send some more verse for Graham's, praying such demi-semi-gods as preside over contributors to magazines that I may not appear over-loquacious to my editor. Of course it is not intended to thrust three or four poems into one number. My pluralities go to you simply to 'bide your time,' and be used one by one as the opportunity is presented. In the meanwhile you have received, I hope, a short letter written to explain my unwillingness to apply, as you desired me at first, to Wiley and Putnam—an unwillingness justified by what you told me afterwards. I did not apply, nor have I applied, and I would rather not apply at all. Perhaps I shall hear from them presently. The pamphlet on International Copyright is welcome at a distance, but it has not come near me yet; and for all your kindness in relation to the prospective gift of your works I thank you again and earnestly. You are kind to me in many ways, and I would willingly know as much of your intellectual habits as you teach me of your genial feelings. This 'Pathfinder' (what an excellent name for an American journal!) I also owe to you, with the summing up of your performances in it, and with a notice of Mr. Browning's 'Blot on the Scutcheon,' which would make one poet furious (the 'infelix Talfourd') and another a little melancholy—namely, Mr. Browning himself. There is truth on both sides, but it seems to me hard truth on Browning. I do assure you I never saw him in my life—do not know him even by correspondence—and yet, whether through fellow-feeling for Eleusinian mysteries, or whether through the more generous motive of appreciation of his powers, I am very sensitive to the thousand and one stripes with which the assembly of critics doth expound its vocation over him, and the 'Athenaeum,' for instance, made me quite cross and misanthropical last week.[75] The truth is—and the world should know the truth—it is easier to find a more faultless writer than a poet of equal genius. Don't let us fall into the category of the sons of Noah. Noah was once drunk, indeed, but once he built the ark. Talking of poets, would your 'Graham's Miscellany' care at all to have occasional poetical contributions from Mr. Horne? I am in correspondence with him, and I think I could manage an arrangement upon the same terms as my engagement rests on, if you please and your friends please, that is, and without formality, if it should give you any pleasure. He is a writer of great power, I think. And this reminds me that you may be looking all the while for the 'Athenaeum's' reply to your friend's proposition—of which I lost no time in apprising the editor, Mr. Dilke, and here are some of his words: 'An American friend who had been long in England, and often conversed with me on the subject, resolved on his return to establish such a correspondence. In all things worth knowing—all reviews of good books' (which 'are published first or simultaneously,' says Mr. Dilke, 'in London'), 'he was anticipated, and after some months he was driven of necessity to geological surveys, centenary celebrations, progress of railroads, manufactures, &c., and thus the prospect was abandoned altogether.' Having made this experiment, Mr. Dilke is unwilling to risk another. Neither must we blame him for the reserve. When the international copyright shall at once protect the national meum and tuum in literature and give it additional fullness and value, we shall cease to say insolently to you that what we want of your books we will get without your help, but as it is, the Mr. Dilkes of us have nothing much more courteous to do. I wish I could have been of any use to your friend—I have done what I could. In regard to critical papers of mine, I would willingly give myself up to you, seeing your good nature; but it is the truth that I never published any prose papers at all except the series on the Greek Christian poets and the other series on the English poets in the 'Athenaeum' of last year, and both of which you have probably seen. Afterwards I threw up my brief and went back to my poetry, in which I feel that I must do whatever I am equal to doing at all. That life is short and art long appears to us more true than usual when we lie all day long on a sofa and are as frightened of the east wind as if it were a tiger. Life is not only short, but uncertain, and art is not only long, but absorbing. What have I to do with writing 'scandal' (as Mr. Jones would say) upon my neighbour's work, when I have not finished my own? So I threw up my brief into Mr. Dilke's hands, and went back to my verses. Whenever I print another volume you shall have it, if Messrs. Wiley and Putnam will convey it to you. How can I send you, by the way, anything I may have to send you? Why will you not, as a nation, embrace our great penny post scheme, and hold our envelopes in all acceptation? You do not know—cannot guess—what a wonderful liberty our Rowland Hill has given to British spirits, and how we 'flash a thought' instead of 'wafting' it from our extreme south to our extreme north, paying 'a penny for our thought' and for the electricity included. I recommend you our penny postage as the most successful revolution since the 'glorious three days' of Paris.

And so, you made merry with my scorn of my 'Prometheus.' Believe me—believe me absolutely—I did not strike that others might spare, but from an earnest remorse. When you know me better, you will know, I hope, that I am true, whether right or wrong, and you know already that I am right in this thing, the only merit of the translation being its closeness. Can I be of any use to you, dear Mr. Mathews? When I can, make use of me. You surprise and disappoint me in your sketch of the Boston poet, for the letter he wrote to me struck me as frank and honest. I wonder if he made any use of the verses I sent him; and I wonder what I sent him—for I never made a note of it, through negligence, and have quite forgotten. Are you acquainted with Mrs. Sigourney? She has offended us much by her exposition of Mrs. Southey's letter, and I must say not without cause. I rejoice in the progress of 'Wakondah,' wishing the influences of mountain and river to be great over him and in him. And so I will say the 'God bless you' your kindness cares to hear, and remain,

Sincerely and thankfully yours, ELIZABETH B. BARRETT.

(Endorsed in another hand) E.B. Barrett, London, received May 12, 1843, 4 poems, previously furnished to Graham's Magazine, $50.

[Footnote 75: The Athenaeum of April 22 contained a review of Browning's 'Dramatic Lyrics,' charging him with taking pleasure in being enigmatical, and declaring this to be a sign of weakness, not strength. It spoke of many of the pieces composing the volume as being rather fragments and sketches than having any right to independent existence.]

To John Kenyan May 1, 1843

My dear Cousin,—Here is my copyright for you, and you will see that I have put 'word' instead of 'sound,' as certainly the proper 'word.' Do let me thank you once more for all the trouble and interest you have taken with me and in me. Observe besides that I have altered the title according to your unconscious suggestion, and made it 'The Dead Pan,' which is a far better name, I think, than the repetition of the refrain.

But I spoil my exemplary docility so far, by confessing that I don't like 'scornful children' half—no, not half so well as my 'railing children,' although, to be sure, you proved to me that the last was nigh upon nonsense. You proved it—that is, you almost proved it, for don't we say—at least, mightn't we say—'the thunder was silent'? 'thunder' involving the idea of noise, as much as 'railing children' do. Consider this—I give it up to you.[76]

I am ashamed to have kept Carlyle so long, but I quite failed in trying to read him at my "usual pace—he won't be read quick. After all, and full of beauty and truth as that book is, and strongly as it takes hold of my sympathies, there is nothing new in it—not even a new Carlyleism, which I do not say by way of blaming the book, because the author of it might use words like the apostle's: 'To write the same things unto you, to me indeed is not grievous, and to you it is safe.' The world being blind and deaf and rather stupid, requires a reiteration of certain uncongenial truths....

Thank you for the address. Ever affectionately yours, E.B.B.

I observe that the most questionable rhymes are not objected to by Mr. Merivale; also—but this letter is too long already.

[Footnote 76: Mr. Kenyon's view evidently prevailed, for stanza 19 now has 'scornful children.']

To Mrs. Martin May 3, 1843.

My dearest Mrs. Martin,—If you promised (which you did), I ought to have promised—and therefore we may ask each other's pardon....

How is the dog? and how does dear Mr. Martin find himself in Arcadia? Do we all stand in his recollection like a species of fog, or a concentrated essence of brick wall? How I wish—and since I said it aloud to you I have often wished it over in a whisper—that you would put away your romance, or cut it in two, and spend six months of the year in London with us! Miss Mitford believes that wishes, if wished hard enough, realise themselves, but my experience has taught me a less cheerful creed. Only if wishes do realise themselves!

Miss Mitford is at Bath, where she has spent one week and is about to spend two, and then goes on her way into Devonshire. She amused me so the other day by desiring me to look at the date of Mr. Landor's poems in their first edition, because she was sure that it must be fifty years since, and she finds him at this 1843, the very Lothario of Bath, enchanting the wives, making jealous the husbands, and 'enjoying,' altogether, the worst of reputations. I suggested that if she proved him to be seventy-five, as long as he proved himself enchanting, it would do no manner of good in the way of practical ethics; and that, besides, for her to travel round the world to investigate gentlemen's ages was invidious, and might be alarming as to the safe inscrutability of ladies' ages. She is delighted with the scenery of Bath, which certainly, take it altogether, marble and mountains, is the most beautiful town I ever looked upon. Cheltenham, I think, is a mere commonplace to it, although the avenues are beautiful, to be sure....

Mrs. Southey complains that she has lost half her income by her marriage, and her friend Mr. Landor is anxious to persuade, by the means of intermediate friends, Sir Robert Peel to grant her a pension. She is said to be in London now, and has at least left Keswick for ever. It is not likely that Wordsworth should come here this year, which I am sorry for now, although I should certainly be sorry if he did come. A happy state of contradiction, not confined either to that particular movement or no-movement, inasmuch as I was gratified by his sending me the poem you saw, and yet read it with such extreme pain as to incapacitate me from judging of it. Such stuff we are made of!

This is a long letter—and you are tired, I feel by instinct!

May God bless you, my dearest Mrs. Martin. Give my love to Mr. Martin, and think of me as

Your very affectionate,

BA.

Henry and Daisy have been to see the lying in state, as lying stark and dead is called whimsically, of the Duke of Sussex. It was a fine sight, they say.

To H.S. Boyd May 9, 1843 [postmark].

My very dear Friend,—I thank you much for the copies of your 'Anti-Puseyistic Pugilism.' The papers reached my hands quite safely and so missed setting the world on fire; and I shall be as wary of them evermore (be sure) as if they were gunpowder. Pray send them to Mary Hunter. Why not? Why should you think that I was likely to 'object' to your doing so? She will laugh. I laughed, albeit in no smiling mood; for I have been transmigrating from one room to another, and your packet found me half tired and half excited, and whole grave. But I could not choose but laugh at your Oxford charge; and when I had counted your great guns and javelin points and other military appurtenances of the Punic war, I said to myself—or to Flush, 'Well, Mr. Boyd will soon be back again with the dissenters.' Upon which I think Flush said, 'That's a comfort.'

Mary's direction is, 111 London Road, Brighton. You ought to send the verses to her yourself, if you mean to please her entirely: and I cannot agree with you that there is the slightest danger in sending them by the post. Letters are never opened, unless you tempt the flesh by putting sovereigns, or shillings, or other metallic substances inside the envelope; and if the devil entered into me causing me to write a libel against the Queen, I would send it by the post fearlessly from John o' Groat's to Land's End inclusive.

One of your best puns, if not the best,

Hatching succession apostolical, With other falsehoods diabolical,

lies in an octosyllabic couplet; and what business has that in your heroic libel?

The 'pearl' of maidens sends her love to you.

Your very affectionate ELIZABETH B. BARRETT.

To H.S. Boyd May 14, 1843.

My very dear Friend,—I hear with wonder from Arabel of your repudiation of my word 'octosyllabic' for the two lines in your controversial poem. Certainly, if you count the syllables on your fingers, there are ten syllables in each line: of that I am perfectly aware; but the lines are none the less belonging to the species of versification called octosyllabic. Do you not observe, my dearest Mr. Boyd, that the final accent and rhyme fall on the eighth syllable instead of the tenth, and that that single circumstance determines the class of verse—that they are in fact octosyllabic verses with triple rhymes?

Hatching succession apostolical, With other falsehoods diabolical.

Pope has double rhymes in his heroic verses, but how does he manage them? Why, he admits eleven syllables, throwing the final accent and rhyme on the tenth, thus:

Worth makes the man, and want of it the fellow, The rest is nought but leather and prunella.

Again, if there is a double rhyme to an octosyllabic verse, there are always nine syllables in that verse, the final accent and rhyme falling on the eighth syllable, thus:

Compound for sins that we're inclined to, By damning those we have no mind to.

('Hudibras.')

Again, if there is a triple rhyme to an octosyllabic verse (precisely the present case) there must always be ten syllables in that verse, the final accent and rhyme falling on the eighth syllable; thus from 'Hudibras' again:

Then in their robes the penitentials Are straight presented with credentials. Remember how in arms and politics, We still have worsted all your holy tricks.

You will admit that these last couplets are precisely of the same structure as yours, and certainly they are octosyllabics, and made use of by Butler in an octosyllabic poem, whereas yours, to be rendered of the heroic structure, should run thus: