‘Hardacre Poems’ is listed in the ‘Haworth Parsonage Sale catalogue’ of 1 Oct. 1861 — Source: BST, 14: 5 (1965), 48.
Hardacre was the Haworth apothecary, a friend of the Brontë family and a local poet. He also published The Æropteron, or Steam Carriage (Keighley, 1830) and The Bridal of Tomar (Keighley, 1831).
Marie Campbell sees ‘some of the elements of Heathcliff and Cathy’ in his poem ‘The Foundling’ (1822):
Who comes uncall’d for on stage of life,
A helpless, poor, unwelcome, child of man
His country’s laws no sanction give his birth
He is in the world merely to live
A wand’ring outcast, indigent, and poor:
He on bounty of benevolence,
Of soft compassion never bursts o’er him
Sometimes the foundling finds a rougher way
No! no! a harder destiny his:
His morals watch’d with scrutinising eye,
Shakes hands with charity, and in the world
Tries for himself, and seeks his fortune there;
Still! still! Full oft his destiny is hard.
He sighs, and silent this reflection makes: –
No loving brother, no fond sister, e’er
Stand at the door, and welcom’d my return;
Whilst I, less favour’d, here abandon’d live,
A brother spurn’d, an unacknowledg’d son,
Cast on the wild waste of this weary world.
To be base-born, is it to be cast off?
Teach me, O Heav’n! submission to my fate …
When strech’d or struggling on her dying bed,
Beneath the cold, the iron grasp of death?
When her wild eyes in dreadful phrenzy start,
When recollection on its hinges turns,
Grates on her soul, unravels all her schemes,
Displays her guilt in all its dread array?
For conscience softens at the approach of death:
For deep contrition, what field is here!
For him no less, the accomplice of her guilt!
Tis all recorded in a great black book.
(Marie Campbell, Strange World of the Brontës (2001), 52.)
CB to WSW, 13 Sept. 1849:
Sent to CB by Smith, Elder & Co., probably in November 1848 (cf. CB to WSW, 2 Nov. 1848; LCB, II, 133.)
CB to WSW, 1 Feb. 1849:
There were two volumes in the first parcel which—having seen—I cannot bring myself to part with, and must beg Mr. Smith’s permission to retain … “Testimony to the Truth” … is indeed a book after my own heart. I do like the mind it discloses—it is of a fine and high order. Alexander Harris may be a clown by birth but he is a nobleman by nature. When I could read no other book, I read his and derived comfort from it. No matter whether or not I can agree in all his views, it is the principles, the feelings, the heart of the man I admire. (LCB, II, 175.)
Parcel by Smith, Elder & Co. reached Haworth probably on 24 Feb. 1849 (cf. CB to James Taylor, [? 1 March 1849]; LCB, II, 187, 188.)
CB to WSW, 5 April 1849:
We [i.e. CB and AB] have read “The Emigrant Family”; the characters in the work are good, full of quiet truth and nature, and the local colouring is excellent—yet I can hardly call it a good novel. Reflective, truth-loving and even elevated as is Alexander Harris’s mind—I should say he scarcely possesses the creative faculty in sufficient vigour to excel as a writer of fiction. He creates nothing—he only copies: his characters are portraits—servilely accurate—
it appearswhatever is at all ideal is not original. The Testimony to the Truth is a better book than any tale he can write will ever be—Am I too dogmatical in saying this? (LCB, II, 197.)
A collection of seventeen essays: ‘My first acquaintance with Poets’ (Apr. 1823), ‘Of Persons One Would Wish To Have Seen’ (Jan. 1826), ‘On the Party Spirit’, ‘On the Feeling of Immortality in Youth’ (March 1827), ‘On Public Opinion’, ‘On Personal Identity, Mind and Motive’, ‘On Means and Ends, Matter and Manner’, ‘On Consistency of Opinion’, ‘Project for a New Theory of Civil and Criminal Legislation, ‘On the Character of Burke’, ‘On the Character of Fox’, ‘On the Character of Mr. Pitt’, ‘On the Character of Lord Chatham’, ‘Belief, Whether Voluntary?’ ‘A Farewell to Essay-writing’ (March 1828) — Source: www.blupete.com
Sent to CB by her publishers. See CB’s ‘List of Books from Smith & Elder, March 18th 1850’.
CB to WSW, [19 March 1850]:
The books came yesterday evening just as I was wishing for them very much. … Amongst the specially welcome works are … “Hazlitt’s Essays” … (LCB, II, 364.)
CB to WSW, 25 Oct. 1850: ‘I liked Hazlitt’s essays much.’ (LCB, II, 488.)
Cf. CB’s transcription in EN’s notebook, 13 Feb. 1835 [BPM 14] (BMCB, no. 497, 204.)
See also EN, ‘Reminiscences’: ‘Heber’s “Missionary Hymn” … was a very great favourite with [CB] … (LCB, I, 609.)
Edward Chitham notes that AB’s poem ‘Yes, thou art gone’ (written in April 1844) ‘seems almost to be an extension of Heber’s … [hymn], which Anne copied about this time into her music manuscript book.’ (LAB, 108.)
CB to JT, 20 Sept. 1849: ‘I read with pleasure “the Friends in Council”…’ (LCB, II, 259.)
Margaret Smith notes:
The essays and conversations are pleasantly urbane, the moral arguments persuasive and enlightened, designed to inculcate a strong sense of integrity and responsability in personal and public relationships. In ‘moral education’, for example, ‘truth, courage and kindness’ are to be instilled. Book II (1849) begins with a similar series of five essays on general topics (‘On giving and taking Criticism’, ‘Improvement of the Condition of the Rural Poor’, and so on) but the greater part consists of six forceful essays on slavery: it is cruel, needless, unauthorized, ‘mischievous to the Master as well as the Slave’ for all races, and finally it ‘can be done away’. CB’s later comment on Harriet Beecher Stowe—‘I doubt not Mrs. Stowe had felt the iron of slavery enter into her heart’ … —shows that she would be entirely in sympathy with the views of the Friends in Council. (LCB, II, 259)
‘On the death of the Princess Charlotte’ (April 1818); ‘The meeting of Wallace and Bruce on the banks of the Carron’ (later title: ‘Wallace’s invocation to Bruce’) (Sept. 1819); ‘The heart’s dirge’, XX (Aug. 1826); ‘The homes of England’, XXI (April 1827); ‘Song of emigration’, XXII (July 1827); ‘The graves of the dead’, XXII (Aug. 1827); ‘The tomb of de Bruce’, XXII (Oct. 1827); ‘To the memory of Lord Charles Murray’, ‘Woman on the field of battle’, XXII (Nov. 1827); ‘The death-day of Körner’, XXII (Dec. 1827), 730; ‘The broken lute’, XXIII (March 1828); ‘The bridal day’, XXIII (May 1828); ‘Nature’s Farewell’, XXIII (June 1828); ‘The message to the dead’, XXIV (Sept. 1828); ‘The two voices’, XXIV (Oct. 1828); ‘Tasso’s coronation’, ‘The voice of the wind’, XXIV (Nov. 1828); ‘The land of dreams’, ‘The Vaudois wife’, XXIV (Dec. 1828); ‘The ancestral song’, ‘The storm-painter in his dungeon’, XXV (Feb. 1829), 221–222, 227–228; ‘Songs of the affections’ (I): i. ‘The recall’, ii. ‘The Indian with his dead child’, iii. ‘The two homes’, XXV (April 1829), 498–504; ‘Songs of the affections’ (II): iv. ‘The return’, v. ‘The wish’, XXV (May 1829), 570–576; ‘Songs of the affections’ (III): vi. ‘The soldier’s death-bed’, vii. ‘The charmed picture’, viii. ‘The dreaming child’, XXV (June 1829), 714–716; ‘Songs of the affections’ (IV): ix. ‘The guerilla leader’s vow’, x. ‘Parting word’, xi. ‘The summons’, XXVI (July 1829); ‘The heart of Bruce in Melrose Abbey’, XXVI (Oct. 1829); ‘Love and death’, XXVII (Jan. 1830); ‘The lady of Provence’, XXVII (Feb. 1830); ‘The requiem of genius’, XXVII (March 1830); ‘Triumphant music’, XXVII (April 1830); ‘Music in a room of sickness’, XXVII (June 1830); ‘We return no more’, XXVIII (July 1830); ‘The shepherd poet of the Alps’, XXVIII (Sept. 1830); ‘To the mountain winds’, XXVIII (Nov. 1830); ‘The palmer’, ‘A thought of paradise’, ‘To a picture of the Madonna’, XXVIII (Dec. 1830); ‘Last song of Sappho’, ‘The penitent’s return’, XXIX (Jan. 1831), 129, …; ‘Communings with thought’, ‘Flowers in a room of sickness’, ‘The necromancer’, ‘The sisters’, XXIX (Feb. 1831); ‘The burial in the desert’, ‘The procession’, XXIX (March 1831); ‘Hymn of the mountain Christian’, XXIX (June 1831); ‘Dreams of heaven’, ‘To a butterfly near a tomb’, XXX (Sept. 1831); ‘The freed bird’, ‘Marguerite of France’, XXX (Oct. 1831). — Source: Bibliography of Felicia Hemans
Put up for auction at Sotheby's, 16 Dec. 2004 (Sale L04413, lot 117)
Little Henry consists of a series of hand-colored paper-outfits, a movable head, and an accompanying story book, all fitting into a slipcase.
While paper dolls had for several years been used for fashion display, notably in European fashion centers, … Little Henry was the first specifically designed for play, complete with an accompanying story. …
Little Henry was a coveted possession, and compared to other children’s books of the time the … books were quite expensive, costing from five to eight shillings. …
Henry, the child of well-off parents, is lost by his careless nursemaid, stolen by a gypsy, sold into labor as a chimney-sweep, escapes to become a drummer, gains renown in the navy, and is at last reunited with his parents. (www.uniquariat.com)
For illustrations of the book, see http://www.uniquariat.com.
A similar toy book, published by the same publisher in the same year, The History of Little Fanny, can be viewed online at the Hockliffe Project. See also the section on S. and J. Fuller in Pop-up and Movable Books: A Tour Through Their History on the website of the rare books collection of the University of Northern Texas.
… Mrs. Hofland, … next to Scott, was the best-represented novelist in the Keighley Mechanics’ Institute where the Brontës borrowed books. She wrote a very large number of short novels, or ‘Tales for Youth’, stretching right across the ’20s, ’30s and ’40s. They are stories mostly about young boys or girls who struggle along the straight and narrow path, achieving, as they do so, the most amazing victories over temptations, poverty and misfortune, inevitably ending up in economic prosperity and successful marriage. The appeal, akin to that of Robinson Crusoe, of seeing an individual persevere and prosper against impossible odds, raises them above the level of mere Sunday school tracts; and it is not difficult to imagine the young Brontës, severe literary critics as they were, being carried away by them. Without wishing to press the point I even think it possible that a story like Ellen, The Teacher, about a poor orphan girl who suffers miserably in a boarding school, eventually makes good as a governess and ultimately marries her cousin, Sir Charles Selby, might have been one of the germs from which Jane Eyre grew. (Ewbank, 20–21.)
The Brontës may also have known Sir Walter Scott’s article ‘On the Supernatural in Fictitious Composition, and particularly on the works of E. T. W. Hoffmann’, in the Foreign Quarterly Review, I: 1 (July 1827), 60-98, which included long excerpts of the tale.
This tale has often been compared to WH. The contrast between the rough climate at Rolandsitten and the milder one at the new abode of the family, the third person narrative, legal elements in the plot, and the appearance of a ghost to the young stranger spending the night there could all have had an influence on EJB’s novel. It could also be an indirect influence via James Hogg or Walter Scott.
For more information on Hoffmann works available in Britain at this time see Petra Bauer’s ‘The Reception of E. T. A. Hoffmann in 19th Century Britain’.
John Hewish writes:
Another haunted castle of romanticism in of the most terrifying and complex of Hoffmann’s stories, The Devil’s Elixir, may be more closely related to the opening of Wuthering Heights. This is the lodge of the forest ranger where the monk Medardus takes refuge during his tortuous wanderings and encounters with his Doppelgänger. The interior of Wuthering Heights is a regional variant of this tealistic German lodge and (announced by an old servant, ‘Christian’) Medardus’s first encounter with the Oberrevier-förster is strikingly similar to Lockwood’s with Heathcliff. The ways of life centred on the houses have something in common, and both are places of salutory ordeal for their visitors. ‘To such people every situation in the country appears both lonely and stupid’, says the Förster, ‘but much depends on the temper and disposition of the party by whom a house like this is inhabited.’ The details of the subsequent nightmare in which Medardus encounters and grapples with his Doppelgänger only to wake and find it true seem to me much closer to Lockwood’s experience with Catherine’s ghost than anything in The Entail [Das Majorat]. (Hewish, 127.)
But Crystal L. Downing begs to disagree:
… reminiscent of Heathciff madly seeking the ghost of Cathy, many critics have sought a firmer grasp on the specter of Emily. And, like Heathcliff, many times they see evidence of a ghostly presence that is hard to prove. For example, John Hewish presents some barely visible plot parallels to suggest the influence on Wuthering Heights of E. T. A. Hoffmann’s story “The Devil’s Elixir,” even though there is no evidence that Emily ever read Hoffmann. Hewish builds his supposition not so much on biographical foundations as upon critical tradition, a tradition begun, it would seem, in 1857 when a reviewer “called Emily ‘petite soeur d’Hoffmann’” … — a questionable metaphor on several counts. … the metaphor … developed into a “source” when Mrs. Humphry Ward prefaced her 1900 Harper and Bros. edition of Wuthering Heights with the suggestion that Hoffmann’s romanticism influenced Emily. By 1928 Romer Wilson had narrowed the evidence to one story, saying that Emily “borrowed outright from The Entail by E. T. W. [sic] Hoffmann” for the “framework” of Wuthering Heights. … Disputing Wilson’s assertion about Emily’s borrowed “framework,” Leicester Bradner presents a different Hoffmann influence in a 1933 PMLA article: “That the opening events of Emily’s story were taken from the Entail seems to me quite certain, particularly the reading of a book at night followed by the appearance of a ghost.” … The problem with his evidence, of course, is that the appearance of a ghost as someone reads a book goes back at least as far as Julius Caesar’s appearance to Brutus in Shakespeare’s play. Like Talmudic recensions, these discussions of Hoffmann’s influence refine and revise their predecessors, giving more insight into the life of criticism than that of Emily Brontë. What most likely began as an unfortunate trope in 1857, “petite soeur d’Hoffmann,” has developed into Hoffmann’s unsubstantiated canonization as a source for Wuthering Heights. (Crystal L. Downing, ‘Unheimliche Heights: The (En)Gendering of Brontë Sources’, Texas Studies in Literature and Language 40 (1998), 347–369.)
CB to Miss Mary Holmes, 22 April 1852:
… I waited the coming of the little book, and when it came—I wished to read it before acknowledging its receipt. Now that I have read it—I cannot help smiling at the notion of my ‘criticising’ it—or the apprehension of my thinking it ‘frivolous’. It seems to [me] very clever and learned. The writer of that small treatise knows more than I do—and has read a score of books I have never handled. You erred in telling me to skip the first chapters; I am glad I disobeyed the injunction. The latter part of the book evinces the author’s knowledge; the former contains more of the author’s self; I own I prefer the study of the human being—to that of the human being’s acquirements.
Though I understand nothing of your art, I cannot but feel interested in your sincere love for it: I feel too that there is both good sense and good feeling in the views you take of—and the principles you lay down for—Music Teaching (LCB, III, 41.)
Margaret Smith notes:
Mary Holmes was an acquaintance of Thackeray’s. In early 1852, a convert to Catholicism, she wrote to him from Gargrave, Skipton, asking for help in ‘getting a hearing for a little book on music that she had written & finding a position as a governess’. His sympathies aroused, he found a friend who would ‘notice’ her book in a leading newspaper, and offered help with the printer’s bill … Writing to his mother … on 26 Feb. 1852, Thackeray reported that Miss Holmes wrote well about music in a book ‘written like an artist & Poet, and Mr [Joseph Alford] Novello says she is uncommonly strong as a musician’ … (LCB, III, 42.)
The ‘Catalogue of Sale at Haworth Parsonage’ (Oct. 1861) lists ‘4 Books of Homer’ — Source: BST, 14: 5 (1965), 48.
CB, ‘The Tragedy and the Essay’ (1833):
Write an essay on it divided into three parts, viz.: washing, starching and ironing. In the first, summon up all your learning. Go back to the old times of Homer when princesses bleached linen in the gardens of Alcinoüs. (EEW, II, 1, 241.)
Copy, inscribed by PB on the title page (c. 1804-1806) ‘My Prize Book, for having always kept in the first Class, at St John’s College – Cambridge – P. Brontê, A.B. To be retained – semper –’ now in the BPM (bb207, Bonnell 35) — Source: BoB, Barker, 10, 837.
See also: PBB’s studies with PB, 1839.
Homer’s Hymns: ‘No. I. The Poem of Pan’, BM, XXX (July 1831), 128–130, ‘No. II. The Ballad of Bacchus’, XXX (Aug. 1831 I), 227–229, ‘No. III. Apollo’, XXX (Oct. 1831), 669–680; ‘No. IV. The Humours of Hermes’, XXXI (Feb. 1832), 319–327; ‘No. V. Ceres’, XXXI (May 1832), 742–752; ‘No. VI. Helius, or the Sun’, ‘No. VII. Minerva’, ‘No. VIII. Diana’, XXXII (July 1832), 33–34.
Cf. Gilbert’s homœopathical approach to manage his love interests in TWH, VI:
‘However,’ thought I, ‘I ought not to marry Eliza since my mother so strongly objects to it, and I ought not to delude the girl with the idea that I intended to do so. Now, if this mood continue, I shall have less difficulty in emancipating my affections from her soft, yet unrelenting sway; and, though Mrs. Graham might be equally objectionable, I may be permitted, like the doctors, to cure a greater evil by a less; for I shall not fall seriously in love with the young widow, I think,—nor she with me—that’s certain … (TWHOUP, 49.)
Source: TWHOUP, 474.
See also Curie, Paul Francis.
Partly copied by AB in her music manuscript book (June 1843–1844), BPM (bb. 133), (entry no. 14: ‘I remember’). She combines several stanzas of Hood’s poem with the first stanza of Praed’s ‘I remember, I remember’. — Source: Higuchi, 24–26, 96–98; see also LAB, 107.
See Appendix: PBB’s studies with PB, 1839, and PBB’s translations of Odes, Book I (The Odes of Quintus Horatius Flaccus. Book I. Transl. Patrick Branwell Brontë. Ed. John Drinkwater. (London: Privately published, 1923) [rpt. in MUW, II, 433–465] and WPBB, III, 299–334.)
Margaret Smith convincingly argues that CB’s mention of ‘some Maecenas who shall discern and encourage my rising talent’ in the draft of her letter to Hartley Coleridge [Dec. 1840] could be a hidden reference to the translations PBB had sent to Coleridge earlier that year and Coleridge’s positive response to them. (See LCB, I, 239, and Coleridge’s unsent letter of 1840.)
The latin text was studied by PB and PBB in 1839.
An undated manuscript with fragments of a translation by EJB (c. 1838) is now in the Walpole Collection, The King’s School, Canterbury. — Source: Edward Chitham, ‘Emily Brontë’s Latin’, BST, 21: 6 (1996), 233-36. The facsimile appears in ‘The Radical Emily Brontë’ – an interview with Robert Barnard at fathom.com 
Chitham gives a detailed description of the manuscript:
What we have … is (a) the bottom part of sheet 1, giving us lines 61b–85 and on the verso lines 132–159 and (b) most of sheet 2, part torn, but with tiny fragments of sheet 1 still adhering, … covering lines 159-232 on the recto and 233–316 on the verso …
The version of sheet 2 contains just over eighty lines, and it must seem probable that the recto of sheet 1 contained about the same number. As the final line is 85, it must seem almost certain that Emily began to translate at the beginning. The translation therefore is virtually certain to have contained lines 1–316. Ars Poetica contains altogether 476 lines, and I should be inclined to think that lines 317 to 476 may have appeared on a third sheet, now lost. (Edward Chitham, ‘Emily Brontë’s Latin’, BST, 21: 6 (1996), 234.)
The first way in which Ars Poetica might be seen as influencing Wuthering Heights is the way in which it begins by highlighting anomaly and muddle.
Friends, if a painter decided to fit a horse’s neck to a human head, and paint all sorts of feathers on limbs collected from various places, so that a beautiful woman above ended in a dusky fish, and if you looked at this sight, could you refrain from a smile? [Horace, Ars Poetica, lines 1–5, my [i. e. Chitham’s] translation.]
Horace illustrates his point by himself dodging misleadingly from point to point within his exordium. This is exactly how Emily Brontë behaves in the first two chapters of Wuthering Heights … Catherine the second is not Heathcliff’s wife; the ‘obscure cushion’ is not full of small cats, but dead rabbits; Hareton is even less Catherine’s wife [sic.] than Lockwood thinks, but will be more so. …
In lines 153–78 Horace discusses character, in 179–88 the question of action and reported action on stage, in 189–90 and 192 acts and actors, and in 193–201 the role of the chorus …
It will be useful to discuss these sections in the light of the view that Emily Brontë, while translating, is necessarily having to spend mental energy on the concepts being studied, and is metaphorically discussing them with the Roman author as she writes. Horace begins by insisting that actions should be appropriate to age, in lines which may be precursors of Shakespeare’s ‘seven ages’ speech. He insists that the young person ‘is eager to go and play with his peers, is reckless in the way he bursts into anger or lays it by’, and ‘finally escaping his guardian enjoys his horses and dogs, and the grass in the sunny fields’. This (though one does not wish to tie the point too tightly) is exactly what the second Catherine does.
The role of the chorus in Greek plays has been disputed, but Horace sees it as holding together the action of the play. …
The chorus should maintain his identity as an actor and his active role. He should not interpose material between the acts which is irrelevant to the main theme, and is not inherently appropriate. He should support the worthy and give them friendly advice, control the angry and favour those who are loth to do wrong. He should approve feasts involving a modest table, wholesome justice and legality and the peace that allows city gates to be open; he should be discreet about matters entrusted to him and beg and pray to the gods that fortune should return to the underprivileged and depart from the overconfident.
(Ars Poetica, lines 193–201.)
We cannot firmly assert that Nelly is moulded on this pattern, but her role in the plot of the novel seems modelled on Emily’s meditation over this passage. (28–30.)
The sisters had already seen excerpts from this poem in W. A. Butler’s ‘Evenings with our Younger Poets’ in October 1846. The book was a present to CB by Horne, sent via her publishers in December 1847.
CB to WSW, 15 Dec. 1847: ‘I have been greatly pleased with Mr. R. H. Horne’s poem of “Orion”.’ (LCB, I, 576.)
CB to R. H. Horne, 15 Dec. 1847:
Very real, very sweet is the poetry of “Orion”: there are passages I shall recur to again and yet again, passages instinct both with power and beauty. All through it is genuine—pure from one flaw of affectation, rich in noble imagery. How far the applause of critics has rewarded the author of “Orion” I do not know; but I think the pleasure he enjoyed in its composition must have been a bounteous meed in itself. (LCB, I, 577–78.)
CB to WSW, 9 Nov. 1850:
This book contains drawings of the gateway and building of High Sunderland Hall, a possible model for Wuthering Heights, and of Shibden Hall, which is sometimes suggested as a model for Thrushcross Grange. Miss Patchett, the headmistress of Law Hill and EJB’s employer, is named on the list of subscribers. The existence of this book at Law Hill, and E. A. Chadwick’s account of frequent school excursions to the local museum lead to Charles Simpson’s assumption that visits to Sunderland Hall may have been part of the curriculum, too. — Source: Simpson, 67; Chadwick, 128.
Cf. Shirley, Author’s footnote to vol. III, ch. iv (‘The First Blue-Stocking’): ‘And we have nothing more dramatic, nervous, natural!’ (SOUP, 494.):
Remember, reader, that the modern French school of poetry (such as it is) was yet unknown: Lamartine, and Victor Hugo, and Millevoye had their rhymes and their renown to make. Otherwise Louis Moore might partly have satisfied the longing of his strong lungs and large heart by demanding, in his deepest tone:
‘Quels sont ces bruits sourds?… (SOUP, 675-76.)
EN to Mary Gorham, 21 May :
Since my return I am reading Le Rhin by Victor Hugo. It is the most difficult french book I have met with to read but I like it. (LCB, I, 348–349.)
The letter was written after EN had met MT and CB at Hunsworth, shortly after their return from the continent. The book appears in her list of books, so it was probably a present brought from Brussels. If CB was the giver, she would have known the book; if not, she had plenty of opportunities to borrow it from EN afterwards.
CB to JT, 20 Sept. 1849:
I read … with very great pleasure “the Thoughts and Opinions of a Statesman”: it is the record of what may with truth be termed a beautiful mind—serene, harmonious, elevated and pure; it bespeaks too a heart full of kindness and sympathy. I like it much. (LCB, II, 259.)
Margaret Smith notes:
In his Introduction to Thoughts and Opinions Helps praises this statesman and diplomatist who teaches and acts upon the the precepts of Christianity: ‘Never was religion shown in a more amiable light than in the outpourings of his benevolent, yet firm mind.’ (2) CB would appreciate von Humboldt’s response to loss and adversity: ‘I never found that any one but myself could comfort me. It would give me a fresh and yet more unpleasant feeling than that which adversity itself produces, if I became aware that I was not possessed of firmness enough to console myself’ . (LCB, II, 260.)
See CB’s description of the ‘The origin of the Islanders’ play (in December 1827) on 12 March 1829:
The origin of the Islanders was as follows. … I said, ‘Suppose we had each an Island of our own’. … We then chose who should live on our Islands. The chief of Branwell’s were John Bull, Astley Cooper, Leigh Hunt, etc. … (EEW, I, 6.)
S. Adams Lee describes Blackwood’s treatment of Leigh Hunt in the 1820s:
Blackwood’s Magazine took him specially in hand, and if the lash did not sting, it was for no want of vigour in the arm or venom in the heart of his reviewers. The language was tortured for expressions of contempt. He must have been at once the most stupid, most insolent and immoral of mankind, to justify half the bitter taunts of his unrelenting foes. Those who took their opinions from the Tory journals, and forgot that political antagonism was answerable for much of this acrimony, must have wondered that such a man could find readers, publishers, or friends. (S. Adams Lee, ‘Introduction’, The Poetical Works of Leigh Hunt, Vol. I, Boston: Ticknor and Fields, 1857, xii.)
A Christmas present by Smith, Elder & Co., mentioned in CB to WSW, 21 Dec. 1847: ‘Mr. Smith is kind indeed to think of sending me “the Jar of honey” …’ (LCB, I, 580.)
CB to Smith, Elder & Co., 25 Dec. 1847:
Permit me to thank you for your present which reached me yesterday. I was not prepared for anything so truly tasteful, and when I had opened the parcel … and at last got a glimpse of the chastely attractive binding, I was most agreeably surprised. What is better; on examination, I find the contents fully to answer the expectation excited by the charming exterior; the Honey is quite choice as the Jar is elegant. The illustrations too are very beautiful—some of them peculiarly so. I trust the Public will shew itself grateful for the pains you have taken to provide a book so appropriate to the Season. (LCB, I, 586.)
The essays were first published in Ainsworth’s Magazine in 1844. — Source: LCB, I, 581.
Contents: ‘Christmas and Italy’—‘Sicily, and its mythology’—‘Glances at ancient Sicilian history and biography’—‘Theocritus’—‘Norman times; legend of King Robert’—‘Italian and English pastoral’—‘Scotch pastoral’—‘Return to Sicily and Mount Ætna’—‘Bees’—‘Miscellaneous feelings respecting Sicily, its music, its religion, and its modern poetry’—‘Overflowings of the jar’
The engravers included G. and E. Dalziel and W. J. Linton … The binding, designed by Owen Jones, showed a cobalt blue jar wreathed with green tendrils against a honey-yellow background, within an ivy-clad framework. … [The illustrations] were by Richard Doyle (1824–1883), the talented Punch caricaturist … In his later work Doyle developed his taste for for fanciful and delicate ‘faery’ scenes. The frontispiece of the Jar is in this style, with a cloud of winged fairy and satyr figures rising from a honey-jar, and the other illustrations are equally fanciful. (LCB, I, 586.)
Sent to CB by Smith, Elder & Co. See her letter to WSW, 16 April 1849:
I took up Leigh Hunt’s book “the Town" with an impression it would be interesting only to Londoners, and I was surprised, ere I had read many pages, to find myself enchained by his pleasant, graceful, easy style, varied knowledge, just views and kindly spirit. There is something peculiarly anti-melancholic in Leigh Hunt’s writings—and yet they are never boisterous—they resemble sunshine—being at once bright and tranquil. LCB, II, 202.
Sent to CB by her publishers in October 1850. She wrote to WSW on 25 October that she had already ‘seen’ [read] some of the volumes before. The book had appeared in June — Source: LCB, II, 488.
PB’s copy is in the BPM (bb201) — Source: BoB