Memoir of Francis Hodgson
Robert Bland to John Herman Merivale, 6 June 1810
Any other man, my dear Merivale, but myself would have been in England many weeks ago.
No passport has arrived from Paris, and friends by the dozen are lost in wonder
that I should wish to trust myself in the heart of our enemies when I can so
easily return to my own country. . . . I have a natural antipathy to
Trade—to what is trading, has been trading, or shall or will be trading.
And so, having said that the country of Batavia—
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Hollow-land, Holland—is a land very extraordinary—that to see a
people give birth to their country, instead of a country giving birth to the
people, is very odd and very creditable to the above people—that the
cities of Amsterdam, Hague, Rotterdam, with many others, are the most this,
that, and t’other—that their inhabitants are respectable
fair-dealing men, etc.—most gladly would I bid them adieu for ever, go to
some bastardly spot of Provence, and vintage-think at my ease among these
modern Babylonians—for such, no doubt, the whole French nation
are—look at Faber else, and the Prophecies which are literally fulfilling
before our faces. This being the case, as it really is, I shall follow the
advice of a French gentleman, who has been my friend in everything, and through
whom I have refrained from trusting myself as far as Brussels without my
viaticum—by remaining here about ten days longer,
in the almost certainty of getting my passport; or, should it fail, with the
resolution to return among you—a resolution not of my dictation, but that
of necessity.
You have often scoffed and jeered and otherwise maltreated me
for my love of harmony—witness that celestial poem, the ‘Four Slaves’ which I
hold to be pure music; that is, English music. Well, sir, this unfortunate love, with a
predilection for everything sunny and sweet, has prevented me from learning one
word of German; so that, although one half of the superior commonalty here are
Germans, I have not even had the curiosity to go once to their theatre.
. . . . The Germans are, doubtless, personally speaking, what
the French call faits à peindre. Their regiments are really
beautiful, and the young men of that nation, who are to be found everywhere,
are of an exterior superior to any I have ever seen. They are generally
accomplished in some two or three living languages, which they speak equally
well with the natives. They are all musicians—they ride with a grace and
agility which surprises—they are travellers—liberal in the highest
degree; but are cursed with a jargon which, when they speak it, does away with
all their excellencies. They are extremely loquacious and lively. How comes it
that the French, who literally take no pains with themselves, are so completely
their superiors? Sense, my friend; plain, natural, common understanding,
unfettered by schools and metaphysical jargon, and the balderdash of Gottingen
and other places, where such severe trials are made on weak human brains. The
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next superiority is that honest and lively
prepossession for their country which the former are too liberal to entertain. A German with whom I am here very intimate has
been coaxing me to learn the language, under the promise of surprisingly
beautiful thoughts in their poetry. May be so; they resemble a surprisingly
beautiful female clad in bear-skin. Besides having made a vow to read nothing
but what is new, I have, in consequence, determined to read no poetry but my
own. Now this is but natural; and then, to say the truth, I hate poetry (always
excepting my own) to such a point that I shall manage to take a course of
French literature without the nausea of Corneille and Racine.
No: little Historical pieces, with which they abound; Memoirs, in which they
excel all other nations for two reasons: first, because the life of a French
child is more chequered with oddities than that of an English adventurer; and
secondly, because what is wanted to make Truth interesting is supplied to the
life from a quarter opposite to Truth. These reasons, I say, make their
biography delicious.
Do not talk about translations for the stage. I write no
more, except in my own calling as a clergyman; and, when I return, my whole aim
will be to gain something like an
establishment in the Church. My appointment here has done for me great and
unexpected things. The sinecure of £100 per annum, Merivale, is great for a
Bland, or the son of a Bland.
Besides, I have once been taken by the hand by Mr.
Henry Hope, and led by him to a Bishop. Now had I taken
Mr. H. H., or the said Bishop, by the hand and done
him some service, I should have nothing to expect from them, because, as
Sterne says, we get on in the world
by receiving, not by doing, favours. You plant a tree, and, because you planted
it, you water it. Thus, you see, I live in the frequent hope of being watered
by a Bishop and by the greatest merchant in the world. In short, I shall state
to the Bishop that a chapel in London (the word ‘chapel’ read in
any sense you will) would be highly acceptable; that I am utterly disengaged;
that I have all the wills in the world, and can get a character from my last
place. Thus, between ourselves, Merry, I shall not be
again the outcast that I have been. No; no more writing. Our ‘Anthology,’ our dear
‘Anthology,’ shall receive our united efforts. If you apply to
William Harness (Berkeley Street)
you may get dozens of my new pieces; Yatman has one or two; Mrs.
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Burnley has a great number; my sister a few; Denman (to whom I wrote two months ago a very
long letter) a few; Dr. Drury (to whom I
wrote an almost endless letter) has one or two. Have you read my ‘Origin of Snoring’? No, no more reviewing for me,
my friend. In short, no more scribbling of any kind except in the way of a
clergyman, and conjointly with you a finish to the ‘Anthology,’ and by myself a thorough revisal of my last
romance, and the lopping the buffooneries as much as possible, expunging harsh
words, and substituting softer sounds, cutting off the accursed s from every
word when it is possible without great damage to the sense; nay, getting rid of
it at all events, and writing a long and learned preface on tale-writing. No;
on no consideration will I write or translate. The drama is detestable, and,
after the French company, I shall despise our stage more and more. No, they can
do nothing. The French are born actors. Who said that Farce is unknown to the
French? I beg leave to state that from genteel comedy (which, with us, meant
that jackdaw, old Palmer, by way of
gentleman, and that rushlight, Miss
Farren, by way of a lady), that from genteel comedy in all its
shades to the broadest farce, I can institute not a moment’s | FRENCH AND ENGLISH ACTING. | 241 |
comparison between the best
of our actors and the second best of theirs. Name me one single woman who
enjoys the combined advantages of youth, beauty, exact proportions, grace, a
sweet voice, various expression, naïveté, and aptness of falling into
her several characters, on the whole English stage. Name me one single man
(except Dowton) who can make you laugh
without an effort either at grimacing with his voice or his face. What was that
pompous, strutting, motherly woman, Mrs.
Siddons, out of Lady
Macbeth? Was she not always Lady
Macbeth? Mrs. Jordan was
a model of English elocution. Barring her singing (which, to my ear, was
execrable), the organs of her voice were formerly the purest I ever heard, and,
were she now young, I should consider her as the perfection of English
utterance. Her acting should be my school so far as regarded sound. But, then,
how totally deficient in grace, in all sovereign grace! True, she acted the
country-girl—and so does Mdlle. d’Angeville at
this place. Mercy! what a difference between the Hoyden rusticity of the one
and the Air de Paysanne of the other! In everything the
stage should present ornament. A drunken man may stagger, but grace should
accompany him, even to the last 242 | MEMOIR OF REV. F. HODGSON. | |
extremity. The rags of a
beggar should not be revolting. A deshabille—an everything—should
be raised in its value, and is raised by the French to
consequence by a certain style and tournure, of which our actors and their chubby
dumplings of spouses are wholly unconscious. The French possess another
advantage—in face. Persons who accidentally see a poor set of old
abbés living in contempt and exile in the alleys of London, fancy them to
be representatives of the French. You have, in London, no conception of youth,
when attached to the word ‘French.’ On the Continent they are now
in high feather—well-dressed, with good linen, and respected in every
place. The impressions here are, therefore, diametrically opposite to those in
London. Their face and figure are completely theatrical, and adapt themselves
with ease to their several parts.
Pierre Corneille (1606-1684)
French neoclassical dramatist whose works were several times adapted in England; author
of Le Cid (1637),
Horace (1640), and
Cinna
(1641).
Thomas Denman, first baron Denman (1779-1854)
English barrister and writer for the
Monthly Review; he was MP,
solicitor-general to Queen Caroline (1820), attorney-general (1820), lord chief justice
(1832-1850). Sydney Smith commented, “Denman everybody likes.”
William Dowton (1764-1851)
English comic actor who performed Shakespearean roles at Drury Lane Theater, where he
made his debut in 1796.
Joseph Drury (1751-1834)
Byron's instructor at Harrow School, where he was headmaster from 1784 to 1805.
William Harness (1790-1869)
A Harrow friend and early correspondent of Byron. He later answered the poet in
The Wrath of Cain (1822) and published an edition of Shakespeare
(1825) and other literary projects. Harness was a longtime friend of Mary Russell
Mitford.
Henry Philip Hope (1774-1839)
Of Amsterdam, merchant, art collector, and younger brother of Thomas Hope, author of
Anastasius (1819). He was patron to the poet and translator Robert
Bland.
Dorothy Jordan [née Phillips] (1761-1816)
Irish actress; after a career in Ireland and the provinces she made her London debut in
1785; at one time she was a mistress of the Duke of Clarence.
John Herman Merivale (1779-1844)
English poet and translator, friend of Francis Hodgson, author of
Orlando in Ronscevalles: a Poem (1814). He married Louisa Drury, daughter of the
headmaster at Harrow, and wrote for the
Monthly Review while
pursuing a career in the law.
John Palmer (1744-1798)
English comic actor who created the character of Joseph Surface in Sheridan's
School for Scandal (1777).
Jean Racine (1639-1699)
French neoclassical playwright, author of
Andromaque (1667),
Bajazet (1672),
Mithridate (1673) and Phèdre
(1677).
Sarah Siddons [née Kemble] (1755-1831)
English tragic actress, sister of John Philip Kemble, famous roles as Desdemona, Lady
Macbeth, and Ophelia. She retired from the stage in 1812.
Laurence Sterne (1713-1768)
Clergyman and novelist; author of
The Life and Opinions of Tristram
Shandy (1759-67) and
A Sentimental Journey through France and
Italy (1768).
William Yatman (d. 1845)
Possibly the barrister of Lincoln's Inn; his son John Augustus was at Harrow in 1833 and
his son William Hamilton at Caius College, Cambridge, in 1837.