CHAPTER VIII.: THACKERAY'S BALLADS.

We have a volume of Thackeray’s poems, republished under the name of Ballads, which is, I think, to a great extent a misnomer. They are all readable, almost all good, full of humour, and with some fine touches of pathos, most happy in their versification, and, with a few exceptions, hitting well on the head the nail which he intended to hit. But they are not on that account ballads. Literally, a ballad is a song, but it has come to signify a short chronicle in verse, which may be political, or pathetic, or grotesque,—or it may have all three characteristics or any two of them; but not on that account is any grotesque poem a ballad,—nor, of course, any pathetic or any political poem. Jacob Omnium’s Hoss may fairly be called a ballad, containing as it does a chronicle of a certain well-defined transaction; and the story of King Canute is a ballad,—one of the best that has been produced in our language in modern years. But such pieces as those called The End of the Play and Vanitas Vanitatum, which are didactic as well as pathetic, are not ballads in the common sense; nor are such songs as The Mahogany Tree, or the little collection called Love Songs made Easy. The majority of the pieces are not ballads, but if they be good of the kind we should be ungrateful to quarrel much with the name.

How very good most of them are, I did not know till I re-read them for the purpose of writing this chapter. There is a manifest falling off in some few,—which has come from that source of literary failure which is now so common. If a man write a book or a poem because it is in him to write it,—the motive power being altogether in himself and coming from his desire to express himself,—he will write it well, presuming him to be capable of the effort. But if he write his book or poem simply because a book or poem is required from him, let his capability be what it may, it is not unlikely that he will do it badly. Thackeray occasionally suffered from the weakness thus produced. A ballad from Policeman X,— Bow Street Ballads they were first called,—was required by Punch, and had to be forthcoming, whatever might be the poet’s humour, by a certain time. Jacob Omnium’s Hoss is excellent. His heart and feeling were all there, on behalf of his friend, and against that obsolete old court of justice. But we can tell well when he was looking through the police reports for a subject, and taking what chance might send him, without any special interest in the matter. The Knight and the Lady of Bath, and the Damages Two Hundred Pounds, as they were demanded at Guildford, taste as though they were written to order.

Here, in his verses as in his prose, the charm of Thackeray’s work lies in the mingling of humour with pathos and indignation. There is hardly a piece that is not more or less funny, hardly a piece that is not satirical;—and in most of them, for those who will look a little below the surface, there is something that will touch them. Thackeray, though he rarely uttered a word, either with his pen or his mouth, in which there was not an intention to reach our sense of humour, never was only funny. When he was most determined to make us laugh, he had always a further purpose;—some pity was to be extracted from us on behalf of the sorrows of men, or some indignation at the evil done by them.

This is the beginning of that story as to the Two Hundred Pounds, for which as a ballad I do not care very much:

Here he is indignant, not only in regard to some miscarriage of justice on that special occasion, but at the general unfitness of jurymen for the work confided to them. “Gaily compliment yourselves,” he says, “on your beautiful constitution, from which come such beautiful results as those I am going to tell you!” When he reminded us that Ivanhoe had produced Magna Charta, there was a purpose of irony even there in regard to our vaunted freedom. With all your Magna Charta and your juries, what are you but snobs! There is nothing so often misguided as general indignation, and I think that in his judgment of outside things, in the measure which he usually took of them, Thackeray was very frequently misguided. A satirist by trade will learn to satirise everything, till the light of the sun and the moon’s loveliness will become evil and mean to him. I think that he was mistaken in his views of things. But we have to do with him as a writer, not as a political economist or a politician. His indignation was all true, and the expression of it was often perfect. The lines in which he addresses that Pallis Court, at the end of Jacob Omnium’s Hoss, are almost sublime.

“Come down from that tribewn, thou shameless and unjust!” It is impossible not to feel that he felt this as he wrote it.

There is a branch of his poetry which he calls,—or which at any rate is now called, Lyra Hybernica, for which no doubt The Groves of Blarney was his model. There have been many imitations since, of which perhaps Barham’s ballad on the coronation was the best, “When to Westminster the Royal Spinster and the Duke of Leinster all in order did repair!” Thackeray in some of his attempts has been equally droll and equally graphic. That on The Cristal Palace,—not that at Sydenham, but its forerunner, the palace of the Great Exhibition,—is very good, as the following catalogue of its contents will show;

In writing this Thackeray was a little late with his copy for Punch; not, we should say, altogether an uncommon accident to him. It should have been with the editor early on Saturday, if not before, but did not come till late on Saturday evening. The editor, who was among men the most good-natured and I should think the most forbearing, either could not, or in this case would not, insert it in the next week’s issue, and Thackeray, angry and disgusted, sent it to The Times. In The Times of next Monday it appeared,—very much I should think to the delight of the readers of that august newspaper.

Mr. Molony’s account of the ball given to the Nepaulese ambassadors by the Peninsular and Oriental Company, is so like Barham’s coronation in the account it gives of the guests, that one would fancy it must be by the same hand.

All these are very good fun,—so good in humour and so good in expression, that it would be needless to criticise their peculiar dialect, were it not that Thackeray has made for himself a reputation by his writing of Irish. In this he has been so entirely successful that for many English readers he has established a new language which may not improperly be called Hybernico-Thackerayan. If comedy is to be got from peculiarities of dialect, as no doubt it is, one form will do as well as another, so long as those who read it know no better. So it has been with Thackeray’s Irish, for in truth he was not familiar with the modes of pronunciation which make up Irish brogue. Therefore, though he is always droll, he is not true to nature. Many an Irishman coming to London, not unnaturally tries to imitate the talk of Londoners. You or I, reader, were we from the West, and were the dear County Galway to send either of us to Parliament, would probably endeavour to drop the dear brogue of our country, and in doing so we should make some mistakes. It was these mistakes which Thackeray took for the natural Irish tone. He was amused to hear a major called “Meejor,” but was unaware that the sound arose from Pat’s affection of English softness of speech. The expression natural to the unadulterated Irishman would rather be “Ma-ajor.” He discovers his own provincialism, and trying to be polite and urbane, he says “Meejor.” In one of the lines I have quoted there occurs the word “troat.” Such a sound never came naturally from the mouth of an Irishman. He puts in an h instead of omitting it, and says “dhrink.” He comes to London, and finding out that he is wrong with his “dhrink,” he leaves out all the h’s he can, and thus comes to “troat.” It is this which Thackeray has heard. There is a little piece called the Last Irish Grievance, to which Thackeray adds a still later grievance, by the false sounds which he elicits from the calumniated mouth of the pretended Irish poet. Slaves are “sleeves,” places are “pleeces,” Lord John is “Lard Jahn,” fatal is “fetal,” danger is “deenger,” and native is “neetive.” All these are unintended slanders. Tea, Hibernicé, is “tay,” please is “plaise,” sea is “say,” and ease is “aise.” The softer sound of e is broadened out by the natural Irishman,—not, to my ear, without a certain euphony;—but no one in Ireland says or hears the reverse. The Irishman who in London might talk of his “neetive” race, would be mincing his words to please the ear of the cockney.

The Chronicle of the Drum would be a true ballad all through, were it not that there is tacked on to it a long moral in an altered metre. I do not much value the moral, but the ballad is excellent, not only in much of its versification and in the turns of its language, but in the quaint and true picture it gives of the French nation. The drummer, either by himself or by some of his family, has drummed through a century of French battling, caring much for his country and its glory, but understanding nothing of the causes for which he is enthusiastic. Whether for King, Republic, or Emperor, whether fighting and conquering or fighting and conquered, he is happy as long as he can beat his drum on a field of glory. But throughout his adventures there is a touch of chivalry about our drummer. In all the episodes of his country’s career he feels much of patriotism and something of tenderness. It is thus he sings during the days of the Revolution:

And so it goes on. I will not continue the stanza, because it contains the worst rhyme that Thackeray ever permitted himself to use. The Chronicle of the Drum has not the finish which he achieved afterwards, but it is full of national feeling, and carries on its purpose to the end with an admirable persistency;

The White Squall,—which I can hardly call a ballad, unless any description of a scene in verse may be included in the name,—is surely one of the most graphic descriptions ever put into verse. Nothing written by Thackeray shows more plainly his power over words and rhymes. He draws his picture without a line omitted or a line too much, saying with apparent facility all that he has to say, and so saying it that every word conveys its natural meaning.

Peg of Limavaddy has always been very popular, and the public have not, I think, been generally aware that the young lady in question lived in truth at Newton Limavady (with one d). But with the correct name Thackeray would hardly have been so successful with his rhymes.

The Cane-bottomed Chair is another, better, I think, than Peg of Limavaddy, as containing that mixture of burlesque with the pathetic which belonged so peculiarly to Thackeray, and which was indeed the very essence of his genius.

This, in the volume which I have now before me, is followed by a picture of Fanny in the chair, to which I cannot but take exception. I am quite sure that when Fanny graced the room and seated herself in the chair of her old bachelor friend, she had not on a low dress and loosely-flowing drawing-room shawl, nor was there a footstool ready for her feet. I doubt also the headgear. Fanny on that occasion was dressed in her morning apparel, and had walked through the streets, carried no fan, and wore no brooch but one that might be necessary for pinning her shawl.

The Great Cossack Epic is the longest of the ballads. It is a legend of St. Sophia of Kioff, telling how Father Hyacinth, by the aid of St. Sophia, whose wooden statue he carried with him, escaped across the Borysthenes with all the Cossacks at his tail. It is very good fun; but not equal to many of the others. Nor is the Carmen Lilliense quite to my taste. I should not have declared at once that it had come from Thackeray’s hand, had I not known it.

But who could doubt the Bouillabaisse? Who else could have written that? Who at the same moment could have been so merry and so melancholy,—could have gone so deep into the regrets of life, with words so appropriate to its jollities? I do not know how far my readers will agree with me that to read it always must be a fresh pleasure; but in order that they may agree with me, if they can, I will give it to them entire. If there be one whom it does not please, he will like nothing that Thackeray ever wrote in verse.

I am not disposed to say that Thackeray will hold a high place among English poets. He would have been the first to ridicule such an assumption made on his behalf. But I think that his verses will be more popular than those of many highly reputed poets, and that as years roll on they will gain rather than lose in public estimation.

[7] Chair— i.e. Chairman.

[8] I.e. The P. and O. Company.