No pledge from you, that he will stir That he'll be worthy of his hire." V. These words exchanged, the news sent off Yet that same night he died. VI. The Devil's corpse was leaded down; Followed his hearse along the town:- VII. When Peter heard of his promotion, VIII. He hired a house, bought plate, and made Peter was ever poor. 1 A government spy, prominent in the case of Brandreth, Turner, and Ludlam, whose execution in 1817 inspired Shelley to write the Address to the People on the Death of the Princess Charlotte. IX. But a disease soon struck into The very life and soul of PeterHe walked about-slept-had the hue Of health upon his cheeks-and few Dug better-none a heartier eater. X. And yet a strange and horrid curse I can find strength to say. XI. Peter was dull-he was at first Dull-O, so dull-so very dull! Whether he talked, wrote, or rehearsed- XII. No one could read his books—no mortal, But a few natural friends, would hear him; The parson came not near his portal; His state was like that of the immortal Described by Swift-no man could bear him. XIII. His sister, wife, and children yawned, With a long, slow, and drear ennui, All human patience far beyond; Their hopes of Heaven each would have pawned, Any where else to be. XIV. But in his verse, and in his prose, XV. A printer's boy, folding those pages, Like those famed seven who slept three ages. As opiates, were the same applied. XVI. Even the Reviewers who were hired To dream of what they should be doing. XVII. And worse and worse, the drowsy curse A wide contagious atmosphere, Creeping like cold through all things near; A power to infect and to infest.. XVIII. His servant-maids and dogs grew dull; His kitten late a sportive elf, The woods and lakes, so beautiful, Of dim stupidity were full, All grew dull as Peter's self. XIX. The earth under his feet-the springs, XX. The birds and beasts within the wood, Love's work was left unwrought-no brood XXI. And every neighbouring cottager No jack-ass brayed; no little cur XXII. Yet all from that charmed district went But some half-idiot and half knave, Who rather than pay any rent, Over his father's grave. XXIII. No bailiff dared within that space, For fear of the dull charm, to enter; A man would bear upon his face, The yawn of such a venture. XXIV. Seven miles above-below-around- 1 It is worth while, as a study of method, to compare this description of the spread of dulness with the wonderful description in The Sensitive Plant of the spread of decay. Mr. Rossetti is certainly right in attributing to Shelley a strong will to castigate Wordsworth in this poem. Mrs. Shelley says on the subject, “I need scarcely observe that nothing personal to the Author of Peter Bell is intended in this poem. No man ever admired Wordsworth's poetry more... This poem was written, as a warning-not as a narration of the reality.' On the other side Mr. Rossetti observes that Shelley really does attack Wordsworth "on two grounds more especially: 1st, that he was time-serving and conventional in opinion, and, 2nd, that he was prosy and dull in writing." To shew that those views consisted with "a very intense admiration of Wordsworth and his poetry on certain other grounds," Mr. Rossetti quotes that notable passage in Shelley's letter to Peacock dated 25 July 1818 (published in Fraser's Magazine for March 1860),-"I wish you had sent me some of the overflowing villany of those apostates. What a pitiful wretch that Wordsworth! That such a man should be such a poet! I can compare him with no one but Simonides, that flatterer of the Sicilian tyrant, and at the same time the most natural and tender of lyric poets." As affecting the question whether Shelley meant to reflect on what Wordsworth had done, this passage is most important; and Mr. Rossetti's case is very much strengthened by the fact that, in the letter itself, which is still extant, the reading is "What a beastly and pitiful wretch. . ." That word beastly, very properly omitted by Peacock nearly seventeen years ago, has great weight in establishing by external evidence the same animus that the internal evidence of the poem indicates. Right or wrong, there it is; and there is no longer any need for suppressing it. |