LITMIR.BIZ

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died in 1845, and was then only forty-six or forty-seven years old. Alike esteemed by the poor and the rich, both united to consecrate a monument to his memory. Kindly should we ever think of those who make our hearts and our tempers bright; who, without pomp of wisdom, help us to a cheerfulness which no proud philosophy can give; who, in the motley of checkered mirth and wit, sparkle on the resting-spots of life. Such men are rare, and as valuable as they are rare. The world wants them more than it wants heroes and victors: for mirth is better than massacre; and it is surely better to hear laughter sounding aloud the jubilee of the heart, than the shout of battle and yell of conquest. Precious, then, are those whose genius brings pleasure to the bosom and sunshine to the face; who not only call our thoughts into festive action, but brighten our affections into generous feeling. Though we may not loudly celebrate such men, we greatly miss them; and not on marble monuments, but in our warmest memories, their names continue fresh. But laugh and make laugh as they may, they, too, have the destiny of grief; and unto them, as unto all men, come their passages of tragedy,—the days of evil, the nights of waking, and the need of pity.

      When Hood was near his death a pension of a hundred pounds a year was settled on his wife, at the instance of Sir Robert Peel. The wife, so soon to become a widow, did not long survive her husband; then, in 1847, the pension was continued to their two orphan children, at the instance of Lord John Russell. Politics and parties were forgotten, in gratitude to an earnest lover of his kind; and the people, as well as the government, in helping to provide for those whom he left behind, showed that they had not forgotten one whose desire it was to improve even more than to amuse them. And still we cannot but feel sad that there should ever have been this need. Nor would there have been, had Hood had the strength to carry him into the vast reading public which has arisen since his death, and which it was not his fate to know. "The income," says his daughter, "which his works now produce to his children, might then have prolonged his life for many years."

      We have written more on the personal relations of Hood than we had intended; but we have been carried on unwitttingly, while reading the "Memorials" of him recently published and edited by his children. The loving worth of the man, as therein revealed, made us slow to quit the companionship of his character to discuss the qualities of his genius. We trust that our time has not been misspent, morally or critically; for, besides the moral good which we gain from the contemplation of an excellent man, we enjoy also the critical satisfaction of learning that whatever is best in literature comes out of that which is best in life. We therefore close this section of our article with a bit of prose and a bit of poetry, among Hood's "last things,"—personally and pathetically characteristic of his nature and his genius.

      "Dear Moir,1

      "God bless you and yours, and goodbye! I drop these few lines, as in a bottle from a ship water-logged and on the brink of foundering, being in the last stage of dropsical debility; but, though suffering in body, serene in mind. So, without reversing my union-jack, I await my last lurch. Till which, believe me, dear Moir,

"Yours most truly,"THOMAS HOOD."STANZAS

        "Farewell, Life! My senses swim,

        And the world is growing dim;

        Thronging shadows cloud the light,

        Like the advent of the night;

        Colder, colder, colder still,

        Upward steals a vapor chill;

        Strong the earthly odor grows,—

        I smell the Mould above the Rose!"

        "Welcome, Life! The spirit strives!

        Strength returns, and hope revives!

        Cloudy fears and shapes forlorn

        Fly like shadows at the morn;

        O'er the earth there comes a bloom,

        Sunny light for sullen gloom,

        Warm perfume for vapors cold,—

        I smell the Rose above the Mould!"

      Nothing at first appears more easy than to define and to describe the genius of Hood. It is strictly singular, and entirely his own. That which is his is completely his, and no man can cry halves with him, or quarters,—hardly the smallest fraction. The estimate of his genius, therefore, puts the critic to no trouble of elaborate discrimination or comparison. When we think of Hood as a humorist, there is no need that we should at the same time think of Aristophanes, or Lucian, or Rabelais, or Swift, or Sterne, or Fielding, or Dickens, or Thackeray. When we think of him as a poet,—except in a few of his early compositions,—we are not driven to examine what he shares with Chaucer, or Spenser, or Shakspeare, or Milton, or Byron, or Coleridge, or Wordsworth, or any of the poetic masters of literature. Whether as humorist or as poet, he is in English literature what Richter is in German literature, "the only one." Then the characteristics of his genius are outwardly so evident, that, in merely a glance, we fancy we comprehend them. But the more we think, the more we reflect, the more the difficulty opens on us of doing full justice to the mind of Hood. We soon discover that we are dealing, not with a mere punster or jester, not with a mere master of grimace or manufacturer of broad grins, not with an eccentric oddity in prose or verse, not with a merry-andrew who tickles to senseless laughter, not with a spasmodic melodramatist who writhes in fictitious pain, but that we are dealing with a sincere, truthful, and most gifted nature,—many-sided, many-colored, harmonious as a whole, and having a real unity as the centre of its power. To enter into a complete exposition of such a nature is not our purpose: we must content ourselves with noting some of its most striking literary and moral peculiarities. We do not claim for Hood, that he was a man of profound, wide, or philosophic intellect, or that for grandeur of imagination he could be numbered among the godlike; we do not claim that he opened up the deeps of passion, or brought down transcendent truths from the higher spheres of mind; we claim for him no praise for science or for scholarship: we merely maintain, that he was a man of rare humanity, of close, subtile, and various observation, of good sense and common sense, of intuitive insight into character, of catholic sympathy with his kind that towards the lowest was the most loving, of extraordinary social and miscellaneous knowledge that was always at his command, a thinker to the fullest measure of his needs, and, as humorist and poet, an originality and a novelty in the world of genius. This is our general estimate of Hood. What further we have to say shall be in accordance with it; and such has been the impressive influence of Hood's writings upon us, that our thoughts, whether we will or not, are more intent on their serious than on their comic import.

      In all the writings of Hood that are not absolutely serious the grotesque is a present and pervading element. Often it shows itself, as if from an irresistible instinct of fantastic extravagance, in the wild and reckless sport of oddity. Combinations, mental, verbal, and pictorial, to ordinary mortals the strangest and the most remote, were to Hood innate and spontaneous. They came not from the outward,—they were born of the inward. They were purely subjective, the sportive pranks of Hood's own ME, when that ME was in its queerest moods. How naturally the impossible or the absurd took the semblance of consistency in the mental associations of Hood, we observe even in his private correspondence. "Jane," (Mrs. Hood,) he writes, "is now drinking porter,—at which I look half savage…..I must even sip, when I long to swig. I shall turn a fish soon, and have the pleasure of angling for myself." This, if without intention, would be a blunder or a bull. If it were written unwittingly, the result would be simply ludicrous, and consign it to the category of humor; but knowingly written, as we are aware it was, we must ascribe it to the category of wit.

      This presence or absence of intention often decides whether a saying or an image is within the sphere of humor or of wit. But wit and humor constantly run into each other; and though the absence of intention at once shows that a ludicrous surprise belongs to the humorous, the presence of it will not so clearly define it as belonging to the witty. Nor will laughter quite settle this question; for there is wit which makes us laugh, and there is humor which does not. On the whole, it is as to what is purely wit that we are ever the most at fault. Certain phases of humor we cannot mistake,—especially those which are broadly comic or farcical. But sometimes

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