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Had the "resolution and independence" which dignify the lowly, and strengthen the unhappy, when no visible eye befriends them, been among the rich endowments of Chatterton's wonderful mind—had he possessed and cherished the courage that bears up against obloquy and neglect—had he pursued the rough tenour of his way undaunted, in spite of "solitude, pain of heart, distress, and poverty," how different must have been the fate of the inspired boy of Bristol! He might be alive yet; he would be ninety years old, graced with honour, love, obedience, troops of friends, and all that should accompany old age. He might have achieved some great epic, or some gorgeous historical dramas,—have finished the Fairy Queen, or given us a Fairy King of his own creation.

Among the lighter honours of social distinction, we can fancy his reception as a London "lion," by the fair and noble in proud places. Still pleasanter is the vision of his less public hours of idleness spent among congenial spirits. We can fancy him, the patriarch of living poets, seated as a guest at the breakfast-table of Samuel Rogers, who is about twelve years his junior, and those fine lads, Lisle Bowles, James Montgomery, and William Wordsworth, and those promising children, Tom Moore and Tom Campbell, and that braw chiel John Wilson—(palmam qui meruit ferat)—the youngest of the party something, perhaps, but not much, under seventy, except the bard of the Isle of Palms, who is no chicken; and unless the master of the feast have summoned those pretty babes from the Wood, the two Tennysons. But alas for Chatterton! the vision will not hold: he disappears from his chair at the feast, like Banquo—"and, when all's done, you look but on a stool." The ghost of the slayer of himself, after long haunting Strawberry Hill, to rebuke the senile complacency of the chronicler of royal and noble authors, repaired, after the death of that prosperous man of wit and fashion, to his native town, to prowl in Redcliff church, and about the graves of his fathers in its churchyard, and the graves which they had successively dug there during a century and a half. His bones were left to moulder among those of other pauper strangers in the burial-ground of Shoelane workhouse. We attach no credit to the story of the exhumation of his body, and its mysterious reinterment in Redcliff. His fathers were sextons; and he, too, was in some sort a sexton also—but spiritually and transcendantly. He buried his genius in the visionary grave of Rowley, "an old chest in an upper room over the chapel on the north side of Redcliff church;" and thence, most rare young conjurer, he evoked its spirit in the shape of fragments of law-parchment, quaintly inscribed with spells of verse and armorial hieroglyphics, to puzzle antiquaries and make fools of scholiasts. Puzzle them he did; and they could not forgive a clever stripling, whom hunger had tempted to don an ancient mask, and impose himself on their spectacled eyes as a reverend elder. Rogue!—vagabond! Profligate impostor! The slim, sleek, embroidered juggler of the Castle of Otranto had not a kind word for this ragged orphan of his own craft. He, whose ambition was to shine among writers who have given intellectual grace to their noble lineage—among whom assuredly he does and will shine—but whose acute consciousness of something meretricious in his metal, made him doubt if the public would accept coinage from his mint; and so caused him to wear tentative disguises, whether he elaborated a romance or a keen and playful witticism—and who really did injustice to his own powers,—not from modesty but meanness,—even he, the son of a prime minister and heir to a peerage—a man who was himself always something of a trickster, now mystifying a blind old woman at Paris; now sending open letters, privately nullified, recommending the bearers to his friend the envoy at Florence; now, with the mechanic aid of village carpenters and bricklayers, rearing a frail edifice bristling with false points, and persuading the world that it was all pure Gothic, perhaps chuckling at his assurance—even this shrewd mummer gravely shook his head at Chatterton, and frowned on him as a cheat! True; they were both cheats; Horace Walpole from apprehensive vanity; Chatterton from proud oblique humility. The Bristol boy knew his worth; but, doubting the equity as well as the sagacity of his judges, he did not venture to produce it as his own. He supposed that an obscure and penniless youth, such as he, could have little chance of attention or fair play in the world if he appeared in his proper character; so he painfully assumed another, of a nature that could not long have been supported even had he been a various linguist deeply versed in etymologies, and especially proficient in our extinct idioms, and their several dates of usage, instead of wanting even Latin enough to understand the easiest parts of Skinner's Etymology of the English tongue, one of the books that he consulted and guessed at.

Of all modern suicides this youth was the most interesting; of all literary impostors the least unpardonable, though his ways were, unhappily for himself, of indefensible crookedness. He neither ascribed his fictions to a great name as Ireland did, nor did he, like Macpherson, steal the heart out of national ballads and traditions, to stuff a Bombastes Penseroso of his own making.

Any competent, yet moderately indulgent reader, who should for the first time take up Chatterton's works, and beginning at the beginning, in Tyrwhitt's first edition, for example, peruse no more than sixty or seventy pages, would probably lay down the volume somewhat disappointed not to have found the very extraordinary merit he had expected. The compositions that this partial examination would take in are three—Eclogues, Elinour and Juga, Verses to Lydgate, with Song to Ella, Lydgate's Answer, and the Tournament.

The first Eclogue is a conversation between two fugitive shepherds, who bewail the wretched condition to which the barons' wars have reduced them. It contains some pleasing lines.

As the rustics discuss their grievances in a valley under cover of

In the second Eclogue, a good son invokes blessings on his father, who is gone with the crusaders to Palestine. He describes with much animation the voyage, the landing in Syria, the warring Saracens, King Richard of lion's heart, and anticipates victory and the return to England.

The third Eclogue, if divested of certain exuberances—for Chatterton was precocious in every thing, and many of his fancies want the Bowdler pruning-knife—might be seasonably transferred to some of the penny publications for the benefit of Mr Frost's disciples. A poor man and woman, on their way to the parson's hayfield, complain to each other of their hard lot in being obliged to earn their bread by the sweat of their brows. "Why," asks the woman, "should I be more obligated to work than the fine Dame Agnes? What is she more than me? The man, unable to solve so knotty a point, says he doesn't see how he himself is not as good as a lord's son, but he will ask Sir Roger the parson, whom he consults accordingly.

Sir Roger's moral is trite enough, yet it seems to have escaped the consideration of our Chartists and Socialists.

Elinour the nut-brown, and Juga the fair, are two pining maidens, who, seated on the banks of the Redbourne, a river near St Alban's, are each bemoaning their lovers, gone to fight in that neighbourhood for the Rose of York. Presently, racked with suspense, they hasten nearer to the scene of action.

The verses to Lydgate consist of ten lines of no merit at all, and supposed to be sent to him by Rowley, with the Ode to Ella, which has a movement that recalls Collins, a lyrical artist perhaps unexcelled in our language, and in whose manner Chatterton so obviously and frequently composes, that the fact alone might have settled the Rowley question, though we are not aware that it was ever particularly insisted on in the controversy.

The quatrains entitled Lydgate's answer, are amply complimentary on the foregoing song, but otherwise as prosaic as the lines that introduce it.

The next is the Tournament, an interlude. Sir Simon de Burton, its hero, is supposed to have been the first founder, in accomplishment of a vow made on the occasion, of a church dedicated to Our Lady, in the place where the church of St Mary Redcliff now stands. There is life and force in the details of this tourney; and the songs of the minstrel are good, especially the first, which is a gallant hunting stave in honour of William the Red King, who hunts the stag, the wolf, and "the lion brought from sultry lands." The sentiment conveyed in the burden of this spirited chorus sounds oddly considerate, as the command issued by William Rufus:—

To the paternity of the next in order—the Bristol Tragedy, or Death of Sir Charles Baldwin—Chatterton confessed; and such an admission might have satisfied any one but Dean Milles. The language is modern—the measure flowing without interruption; and, though the orthography affects to be antiquated, there is but one word (bataunt) in the whole series of quatrains, ninety-eight in number, that would embarrass any reader in his teens; though a boy that could generate such a poem as that, might well be believed the father of other giants whom he chose to disown. It is a masterpiece in its kind, almost unexceptionable in all its parts. The subject is supposed to have been suggested by the fate of Sir Baldwin Fulford, a zealous Lancastrian, beheaded at Bristol in 1461, the first year of the reign of Edward IV., who, it is believed, was actually present at the execution.

Now comes Ella, a tragical interlude, or discoursing tragedy, by Thomas Rowley, prefaced by two letters to Master Canning, and an introduction. In the first letter, among various sarcasms on the age, is one, complaining that

A proposition, we fear, at least as true in our day as in the fifteenth century. From the same epistle we would recommend to the consideration of the Pontius Pilates of our era, the numerous poets who choose none but awfully perilous themes, and who re-enact tremendous mysteries more confidently than if they were all Miltons, the annexed judicious admonition:—

And the following piece of advice, from the same letter, would not be ill bestowed on modern shopocracy:—

Yet he who could give this sensible counsel did by no means follow it. Chatterton, who really could trace back his ancestors for 150 years as a family of gravediggers, drew out for himself a pedigree which would have astonished Garter king-at-arms, and almost abashed a Welsh or German genealogy. He derived his descent from Sire de Chasteautonne, of the house of Rollo, the first Duke of Normandy, who made an incursion on the coast of Britain in the ninth century, and was driven away by Alfred the Great! Nine shields, exhibiting the family arms, were carefully prepared by him, and are preserved, with many other and very various inventions by the same hand, in the British Museum; and neat engravings of those Chatterton escutcheons are furnished by Mr Cottle, in his excellent essays on this tortuous genius. He was equally liberal in providing a pedigree for his friend Mr Burgham, a worthy and credulous pewterer in his native town, convincing him, by proofs that were not conclusive at the Herald's College, that he was descended from the De Burghams, who possessed the estate and manor of Brougham in the reign of Edward the Confessor, and so allying the delighted hearer with the forefathers of an illustrious Ex-Chancellor of our day. No less a personage, too, than Fitz-Stephen, son of Stephen Earl of Ammerle in 1095, grandson of Od, Earl of Bloys and Lord of Holderness, was the progenitor gravely assigned to Chatterton's relative, Mr Stephens, leather-breeches-maker of Salisbury. Evidence of all sorts was ever ready among the treasures in the Redcliff muniment room, the Blue-Coat boy's "Open Sesame!"

The plot of Ella may be told in a few words. Ella, a renowned English warrior, the same who is invoked in the fine song already quoted, marries Bertha, of whom his friend and fellow warrior, Celmond, is secretly enamoured. On the wedding-day he is called suddenly away to oppose a Danish force, which he defeats, but not without receiving wounds severe enough to prevent his immediate return home. Celmond takes advantage of this circumstance, and under pretence of conducting Bertha to her husband, betrays her into a forest that chances to be the covert of Hurra, the Danish general, and other of the discomfited invaders. Her shrieks bring Hurra and his companions to her aid. They kill Celmond, and generously resolve to restore Bertha to her lord. He in the mean time, impatient to rejoin his bride, has contrived to get home, where, when he hears of her ill-explained departure, believing her false, he stabs himself. She arrives only in time to see him die.

Celmond, soliloquizing on the charms of Bertha, exclaims,—

At the wedding-feast, so unexpectedly interrupted by news of the Danes, the following pretty stanzas are sung by minstrels representing a young man and woman.

The two Danish generals, Hurra and Magnus, warm their blood to the fighting temperature before the battle by quarreling with and abusing each other, like Grecian heroes. They are both bullies, but Hurra is brave and Magnus a craven. Chatterton's sarcastic humour plays them off admirably. The result of the struggle between the two armies is pithily announced by one of the fugitives:—

In this drama is the exquisite melody, "O, sing unto my roundelay!" with which every one is familiar, as it is introduced into all our popular selections from the poets.

Here is a cunning description of dawn.

Such extracts do not, and are not intended to, convey any notion of Chatterton's dramatic power in this play. Mere extracts would not do justice to that, and therefore we confine ourselves to selections of a few out of many passages that can stand independent of plot or action, without detriment to their effect. The same remark will not apply to the next piece, or rather fragment. Godwin, a Tragedy, by Thomas Rowley. It is short, and the dramatic interest weak. In the following noble chorus, however, we recognise the genius of Chatterton:—

A short prologue by Master William Canning, informs us that this tragedy of Godwin was designed to vindicate the Kentish earl's memory from prejudices raised against him by monkish writers, who had mistaken his character, and accused him of ungodliness "for that he gifted not the church." There are but three scenes in the play. In the first, Godwin and Harold confer together on the distressed state of the nation, and the weakness of the king, whose court is overrun with Norman favourites to the exclusion of the English knights, and the great oppression of the people. Harold, young and impetuous, is for instant rebellion; but the father tries to moderate his rage, recommending patience and calm preparation.

An allusion, says Chatterton, to the arms of Kent, a horse salient, argent. As to the cloak of wit, it may possibly be preserved in Somersetshire; but the mantle certainly was not tied as an indefeasible heirloom over the broad shoulders of the county of Kent. No ancient Saxons, or even Britons, ever displayed prowess so stolid as those brave wild-wood savages of Boughton Blean, near Canterbury, who recently fell in battle with her Majesty's 45th regiment, opposing sticks to balls and bayonets, under their doughty leader Sir William Courtenay, Earl of Devonshire, Knight of Malta, King of Jerusalem, and much more. And there were other blockheads, substantial dunces, of respectable station in East Kent, among this ignorant and ambitious madman's supporters; men who had been at school to little purpose. Such an insurrection of satyrs, and such a Pan, in the middle of the nineteenth century, within earshot of the bells of Christchurch! But this by the bye.

The next poem is styled English Metamorphosis, by T. Rowley. It consists of eleven stanzas of ten lines each, all fluent and spirited, and some of very superior merit. It is the fable of Sabrina, Milton's "daughter of Locrine," transliquefied to the river Severn, while her mother, Elstrida, was changed to the ridge of stones that rises on either side of it, Vincent's rocks at Clifton, and their enemy, the giant, was transformed to the mountain Snowdon. This giant was a very Enceladus.

In illustration of Elstrida's beauty,—

The most vulgar and outworn simile is refreshed with a grace by the touch of Chatterton.

Of the next poem—An excellent ballad of Charity, by the good priest, Thomas Rowley, 1454—it is clear that the young author thought highly, by a note that he transmitted with it to the printer of the "Town and Country Magazine," July 4, 1770, the month preceding that of his death. Unlike too many bearers of sounding appellations, it has certainly something more than its title to recommend it.

The octosyllabic lines—twenty only—on Redcliff Church, by T.R., show what nice feeling Chatterton had for the delicacies of that florid architecture:—

Of its majesty he speaks in another measure:—

The "Battle of Hastings" is the longest of Chatterton's poems, and the reader who arrives at its abrupt termination will probably not grieve that it is left unfinished. The whole contains about 1300 lines in stanzas of ten, describing archery fights and heroic duels that are rather tedious by their similarity, and offensive from the smell of the shambles; and which any quick-witted stripling with the knack of rhyming might perhaps have done as well, and less coarsely, after reading Chapman's or Ogilby's Homer, or the fighting scenes in Spenser, the Border Ballads, &c. But even this composition is not unconscious of the true afflatus, such as is incommunicable by learning, not to be inhaled by mere imitative powers, and which might be vainly sought for in hundreds of highly elaborated prize poems.

There is nothing more interesting in British history than the subject; and it is one which Chatterton, with all his genius, was much too young to treat in a manner at all approaching to epic completeness. Yet a few specimens might show that he is not deficient in the energy of the Homeric poetry of action. But here is metal more attractive, a young Saxon wife:—

The next poem, and the last of the modern-antiques that it may be worth while to note, is the story of William Canning, the illustrious founder of Redcliff Church, and is worthy of the author and his subject.

The few words then spoken by this angelical lady—who unhappily favoured Chatterton but with "angel visits, short and far between"—throw him into a reverie on the life of William Canning, whose boyhood was more fortunate than the poet's; for it is here reported of Canning, that

Chatterton, poor fellow, had neither fine bread to eat, nor fine learning within the possibility of his acquisition. Yet even the worthy Corporation of his native city will, we doubt not, be willing to allow that the Blue-Coat Charity boy might be entitled to the praise he gives Canning in the next couplet: that he—

We have limited these slight notices to the Rowley Poems; and such readers of our extracts as have been repelled from the perusal of those poems, by the formidable array of uncouth diction and strange spelling, may enquire what has become of the hard words. Here are long quotations, and not an obsolete term or unfamiliar metre among them. Chatterton took great pains to encrust his gold with verd-antique; it requires little to remove the green rubbish from the coin. By the aid of little else than his own glossary, "the Gode Preeste Rowleie, Aucthoure," is restored to his true form and pressure, and is all the fairer for the renovation.

We have no space for examination of the "numerous verse," and verses numerous, that Chatterton left undisguised by barbarous phraseology. His modern poems, morally exceptionable as is much of the matter, are affluent of the genius that inspired the old. African Eclogues, Elegies, Political Satires, Amatory Triflings, Lines on the Copernican System, the Consuliad, Lines on Happiness, Resignation, The Art of Puffing, and Kew Gardens—to say nothing of his equally remarkable prose writings—attest the versatility of his powers, and the variety of his perception of men and manners. His knowledge of the world appears to have been almost intuitive; for surely no youth of his years ever displayed so much. Bristol, it is true, was, of all great towns in England, one of the most favourable to the development of his peculiar and complicated faculties. His passion for antiquarian lore, and his poetical enthusiasm, found a nursing mother in a city so rich in ancient architecture, heraldic monuments, and historical interest; his caustic humour was amply fed from the full tide of human life, with all its follies, in that populous mart; and his exquisite sensibility to the beautiful and magnificent in nature, was abundantly ministered to by the surrounding country. We are told that he had been by some odd chance taught his alphabet, and his first lesson in "reading made easy," out of a black-letter Bible! That accident may have had its share in forming his taste for old-fashioned literature. But he was an attorney's clerk! The very name of a lawyer's office seems to suggest a writ of ejectment against all poetical influences in the brain of his indented apprentice. Yet Chatterton's anomalous genius was in all likelihood fostered by that dark, yet subtle atmosphere. His duty of copying precedents must have initiated him in many of the astute wiles and twisted lines of reasoning that lead to what is termed sharp practice, and so may have confirmed and aided his propensities to artifice; while the mere manual operation tutored his fingers to dexterity at quaint penmanship. He had much leisure too; for it is recorded that his master's business seldom occupied him more than two hours a-day. He was left to devote the rest of his time unquestioned to all the devices of an inordinate imagination.

After all, it is no unreasonable charity to believe, that what was unworthy and unsound in his character, and probably in his physical temperament, might, under more auspicious circumstances of condition and training, have been kept in check till utterly expelled by the force of his own maturer mind. In weighing his faults against his genius and its better fruits, it should never be forgotten that when he terminated his existence he was only seventeen years and nine months old.

May we not even dare to hope, then, though he "perished in his pride," that he is still a living genius, assoiled of that foul stain of self-murder, and a chartered spiritualized melody where want and trouble madden not?

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