It is nearly a century since George Crabbe, then a young man of five-and-twenty, put three pounds in his pocket and started from his native town of Aldborough, with a box of clothes and a case of surgical instruments, to make his fortune in London. Few men have attempted that adventure with less promising prospects. Any sensible adviser would have told him to prefer starvation in his native village to starvation in the back lanes of London. The adviser would, perhaps, have been vexed, but would not have been confuted, by Crabbe's good fortune. We should still recommend a youth not to jump into a river, though, of a thousand who try the experiment, one may happen to be rescued by a benevolent millionaire, and be put in the road to fortune. The chances against Crabbe were enormous. Literature, considered as a trade, is a good deal better at the present day than it was towards the end of the last century, and yet anyone who has an opportunity of comparing the failures with the successes, would be more apt to quote Chatterton than Crabbe as a precedent for youthful aspirants. Crabbe, indeed, might say for himself that literature was the only path open to him. His father was collector of salt duties at Aldborough, a position, as one may imagine, of no very great emolument. He had, however, given his son the chance of acquiring a smattering of 'scholarship,' in the My Mira, shepherds, is as fair As sylvan nymphs who haunt the vale; As sylphs who dwell in purest air, As fays who skim the dusky dale. Moreover, he won a prize for a poem on Hope, and composed an 'Allegorical Fable' and a piece called 'The Atheist reclaimed;' and, in short, added plentifully to the vast rubbish-heap of old-world verses, now decayed beyond the industry of the most persevering of Dryasdusts. Nay, Champagne the courtier drinks the spleen to chase, The colonel Burgundy, and Port his Grace. From the satirical the poet diverges into the mock heroic:— See Inebriety! her wand she waves, And lo! her pale, and lo! her purple slaves. The interstices of the box of clothing which went with him from Aldborough to London were doubtless crammed with much waste paper scribbled over with these feeble echoes of Pope's Satires, and with appeals to nymphs, muses, and shepherds. Crabbe was one of those men who are born a generation after their natural epoch, and was as little accessible to the change of fashion in poetry as in costume. When, therefore, he finally resolved to hazard his own fate and Mira's upon the results of his London adventure, the literary goods at his disposal were already somewhat musty in character. The year 1780, in which he reached London, marks the very nadir of English poetry. From the days of Elizabeth to our own there has never been so absolutely barren a period. People had become fairly tired of the jingle of Pope's imitators, and the new era had not dawned. Goldsmith and Gray, both recently dead, serve to illustrate the condition in which the most exquisite polish and refinement of language has been developed until there is a danger of sterility. The 'Elegy' and the 'Deserted Village' are in their way inimitable poems: but we feel that the intellectual fibre of the poets has become dangerously delicate. Ah! Shelburne, blest with all that's good or great, T' adorn a rich or save a sinking State. He added a letter saying that, as Lord North had not answered him, Lord Shelburne would probably be glad to supply the needs of a starving apothecary turned poet. Another copy of verses was enclosed, pointing out that Shelburne's reputed liberality would be repaid in the usual coin: Then shall my grateful strains his ear rejoice, His name harmonious thrilled on Mira's voice; Round the reviving bays new sweets shall spring, And Shelburne's fame through laughing valleys ring! Nobody can blame North and Shelburne for not acting the part of Good Samaritans. He, at least, may throw the first stone who has always taken the trouble to sift the grain from the chaff amidst all the begging letters which he has received, and who has never lamented that his benevolence outran his discretion. But there was one man in England at the time who had the rare union of qualities necessary for Crabbe's purpose. Burke is a name never to be mentioned without reverence; not only because Burke was The inward Crabbe remained to the end of his days what nature and education had already made him; the outward Crabbe, by the help of Burke, rapidly put on a more prosperous appearance. His poems were published and achieved success. He took orders and found patrons. Thurlow gave him £100, and afterwards presented him to two small livings, growling out with an oath that he was 'as like Parson Adams as twelve to a dozen.' The Duke of Rutland appointed him chaplain, a position in which he seems to have been singularly out of his element. Further patronage, however, made him independent, and he married his Mira and lived very happily ever afterwards. Perhaps, with his old-fashioned ideas, he would not quite have satisfied some clerical critics of the present day. His views about non-residence and pluralities seem to have been lax for the time; and his hearty dislike for dissent was coupled with a general dislike for enthusiasm of all kinds. He liked to ramble about after flowers and fossils, and to hammer away at his poems in a study where chaos reigned supreme. For twenty-two years after his first success as an author, he never managed to get a poem into a state fit for publication, though periodical conflagrations of masses of manuscript—too vast to be burnt in the chimney—testified to his continuous industry. His reappearance seems to have been caused chiefly by his desire to send a son to the University. His success was repeated, though a new school had arisen Nor one so old has left this world of sin More like the being that he entered in. The peculiar homeliness of Crabbe's character and poetry is excellently hit off in the 'Rejected Addresses,' and the lines beginning John Richard William Alexander Dwyer Was footman to Justinian Stubbs, Esquire, are probably more familiar to the present generation than any of the originals. 'Pope in the worsted stockings' is the title hit off for him by Horace Smith, and has about the same degree of truth as most smart sayings of the kind. The 'worsted stockings' at least are characteristic. Crabbe's son and biographer indicates some of the surroundings of his father's early life in a description of the uncle, a Mr. Tovell, with whom the poet's wife, the Mira of his Journal, passed her youth. He was a sturdy yeoman, living in an old house with a moat, a rookery, and fishponds. The hall was paved with black and white marble, and the staircase was of black oak, slippery as ice, with a chiming clock and a barrel-organ on the landing-places. The handsome drawing-room and dining-rooms were only used on grand occasions, such as the visit of a neighbouring peer. Mrs. Tovell jealously reserved for herself the duty of scrubbing these state apartments, and sent any servant to the right-about who dared to lay unhallowed hands upon them. The family sat habitually in the old-fashioned kitchen, by a huge open chimney, where the blaze of a whole pollard sometimes eclipsed the feeble glimmer of the single candle in an iron candlestick, intended to illuminate Mrs. Tovell's labours with the needle. Masters and servants, with any travelling tinker or ratcatcher, all dined together, and the nature of their meals has been described by Crabbe himself:— But when the men beside their station took, The maidens with them, and with these the cook; When one huge wooden bowl before them stood, Filled with huge balls of farinaceous food; With bacon, mass saline, where never lean Beneath the brown and bristly rind was seen; When from a single horn the party drew Their copious draughts of heavy ale and new; then, the poet goes on to intimate, squeamish persons might feel a little uncomfortable. After dinner followed a nap of precisely one hour. Then bottles appeared on the table, and neighbouring farmers, with faces rosy with brandy, drifted in for a chat. One of these heroes never went to bed sober, but scandalised all teetotallers by retaining all his powers and coursing after he was ninety. Bowl after bowl of punch was emptied, and the conversation took so convivial a character that Crabbe generally found it expedient to withdraw, though his son, who records these performances, was held to be too young to be injured, and the servants were too familiar for their presence to be a restraint. It was in this household that the poet found his Mira. Crabbe's own father was apparently at a lower point of the social scale; and during his later years took to drinking and to flinging dishes about the room whenever he was out of temper. Crabbe always drew from the life; most of his characters might have joined in his father's drinking bouts, or told stories over Mr. Tovell's punchbowls. Doubtless a social order of the same kind survived till a later period in various corners of the island. The Tovells of to-day get their fashions from London, and their labourers, instead of dining with them in their kitchen, have taken to forming unions and making speeches about their rights. If, here and there, in some remote nooks we find an approximation to the coarse, hearty patriarchal mode of life, we regard it as a naturalist regards a puny modern reptile, the representative of gigantic lizards of old geological epochs. A sketch or two of its peculiarities, sufficiently softened and idealised to suit modern tastes, forms a picturesque background to a modern picture. Some of Miss BrontË's rough Crabbe's rough style is indicative of his general temper. It is in places at least the most slovenly and slipshod that was ever adopted by any true poet. The authors of the 'Rejected Addresses' had simply to copy, without attempting the impossible task of caricaturing. One of their familiar couplets, for example, runs thus:— Emmanuel Jennings brought his youngest boy Up as a corn-cutter, a safe employ! And here is the original Crabbe:— Swallow, a poor attorney, brought his boy Up at his desk, and gave him his employ. When boy cannot be made to rhyme with employ, Crabbe is very fond of dragging in a hoy. In the 'Parish Register' he introduces a narrative about a village grocer and his friend in these lines:— Aged were both, that Dawkins, Ditchem this, Who much of marriage thought and much amiss. Or to quote one more opening of a story:— Counter and Clubb were men in trade, whose pains, Credit, and prudence, brought them constant gains; Partners and punctual, every friend agreed Counter and Clubb were men who must succeed. But of such gems anyone may gather as many as he pleases by simply turning over Crabbe's pages. In one sense, they are rather pleasant than otherwise. They are so characteristic and put forward with such absolute simplicity that they have the same effect as a good old provincialism in the mouth of a genuine countryman. It must, however, As various colours in a painted ball, While it has rest are seen distinctly all; Till, whirl'd around by some exterior force, They all are blended in the rapid course; So in repose and not by passion swayed We saw the difference by their habits made; But, tried by strong emotions, they became Filled with one love, and were in heart the same. The conceit is ingenious enough in one sense, but painfully ingenious. It requires some thought to catch the likeness suggested, and then it turns out to be purely superficial. The resemblance of such a writer to Pope obviously does not go deep. Crabbe imitates Pope because everybody Such forms as glitter in the muses' ray, With orient hues, unborrowed of the sun. We shall find no vehement outbursts of passion, breaking loose from the fetters of sacred convention. Crabbe is perfectly content with the British Constitution, with the Thirty-nine Articles, and all respectabilities in Church and State, and therefore he is quite content also with the good old jogtrot of the recognised metres; his language, halting invariably, and for the most part clumsy enough, is sufficiently differentiated from prose by the mould into which it is run, and he never wants to kick over the traces with his more excitable contemporaries. The good old rule Sufficeth him, the simple plan that each verse should consist of ten syllables, with an occasional Alexandrine to accommodate a refractory epithet, and should rhyme peaceably with its neighbour. From all which it may be too harshly inferred that Crabbe is merely a writer in rhyming prose, and deserving of no attention from the more enlightened adherents of a And does not he, the pious man, appear, He, 'passing rich with forty pounds a year?' Ah! no; a shepherd of a different stock, And far unlike him, feeds this little flock: A jovial youth, who thinks his Sunday's task As much as God or man can fairly ask; The rest he gives to loves and labours light, To fields the morning, and to feasts the night. None better skilled the noisy pack to guide, To urge their chase, to cheer them, or to chide; A sportsman keen, he shoots through half the day, And, skilled at whist, devotes the night to play. This fox-hunting parson (of whom Cowper has described a duplicate) lets the pauper die as he pleases; and afterwards allows him to be buried without attending, performing the funerals, it seems, in a lump upon Sundays. Crabbe admits in a note that such negligence was uncommon, but adds that it is not unknown. The flock is, on the whole, worthy of the shepherd. The old village sports have died out in favour of smuggling and wrecking. The poor are not, as rich men fancy, healthy and well fed. Their work makes them premature victims to ague and rheumatism; their food is Homely, not wholesome, plain, not plenteous, such As you who praise would never deign to touch. The ultimate fate of the worn-out labourer is the poorhouse, described in lines of which it is enough to say that Scott and Wordsworth learnt them by heart, and the melancholy deathbed already noticed. Are we reading a poem or a Blue Book done into rhyme? may possibly be the question of some readers. The answer should perhaps be that a good many Blue Books contain an essence which only requires to be properly extracted and refined to become genuine poetry. If Crabbe's verses retain rather too much of the earthly elements, he is capable of transmuting his minerals into genuine gold, as well as of simply collecting them. Nothing, for example, is more characteristic than the mode in which the occasional descriptions of nature are harmoniously blended with the human life in his poetry. Crabbe is an ardent lover of a certain type of scenery, to which justice has not often been done. We are told how, after a long absence from Suffolk, he rode sixty miles from his house to have a dip in the sea. Some of his poems appear to be positively impregnated with a briny, or rather perhaps a tarry, odour. The sea which he loved was by no means a Byronic sea. It has no grandeur of storm, and still less has it the Mediterranean blue. It is the sluggish muddy element which washes the flat shores of his beloved Suffolk. He likes even the shelving beach, with fishermen's boats and decaying nets and remnants of stale fish. He loves the dreary estuary, where the slow tide sways backwards and forwards, and whence High o'er the restless deep, above the reach Of gunner's hope, vast flocks of wildfowl stretch. The coming generation of poets took to the mountains; but Crabbe remained faithful to the dismal and yet, in his hands, the impressive scenery of his native salt-marshes. Lo! where the heath, with withering brake grown o'er, Lends the light turf that warms the neighbouring poor; From thence a length of burning sand appears, Where the thin harvest waves its withered ears; Rank weeds, that every art and care defy, Reign o'er the land, and rob the blighted rye; There thistles stretch their prickly arms afar, And to the ragged infant threaten war; There poppies nodding, mock the hope of toil; There the blue bugloss paints the sterile soil; Hardy and high, above the slender sheaf, The slimy mallow waves her silky leaf; O'er the young shoot the charlock throws a shade, And clasping tares cling round the sickly blade. The writer is too obviously a botanist; but the picture always remains with us as the only conceivable background for the poverty-stricken population whom he is about to describe. The actors in the 'Borough' are presented to us in a similar setting; and it may be well to put a sea-piece beside this bit of barren common. Crabbe's range of descriptive power is pretty well confined within the limits so defined. He is scarcely at home beyond the tide-marks:— Be it the summer noon; a sandy space The ebbing tide has left upon its place; Then just the hot and stony beach above, Light twinkling streams in bright confusion move; There the broad bosom of the ocean keeps Then slowly sinking; curling to the strand, Faint lazy waves o'ercreep the ridgy sand, Or tap the tarry boat with gentle blow, And back return in silence, smooth and slow. Ships in the calm seem anchored: for they glide On the still sea, urged slowly by the tide: Art thou not present, this calm scene before Where all beside is pebbly length of shore, And far as eye can reach, it can discern no more? I have omitted a couplet which verges on the scientific; for Crabbe is unpleasantly anxious to leave nothing unexplained. The effect is, in its way, perfect. Anyone who pleases may compare it with Wordsworth's calm in the verses upon Peele Castle, where the sentiment is given without the minute statement of facts, and where, too, we have the inevitable quotation about the 'light that never was on sea or land,' and is pretty nearly as rare in Crabbe's poetry. What he sees we can all see, though not so intensely, and his art consists in selecting the precise elements that tell most forcibly towards bringing us into the required frame of mind. To enjoy Crabbe fully, we ought perhaps to be acclimatised on the coast of the Eastern Counties; we should become sensitive to the plaintive music of the scenery, which is now generally drowned by the discordant sounds of modern watering-places, and would seem insipid to a generation which values excitement in scenery as in fiction. Readers, who measure the beauty of a district by its average height above the sea-level, and who cannot appreciate the charm of a 'waste enormous marsh,' may find Crabbe uncongenial. The human character is determined, as Mr. Buckle and other philosophers have assured us, by the climate and the His worship ever was a Churchman true, And held in scorn the Methodistic crew, the scorn is only objectionable to him in so far as it is a cynical cloak for scorn of good morals. He tells how boys run away to sea, or join strolling players, and have in consequence to beg their bread at the end of their days. The almshouse or the county gaol is the natural end of his villains, and he paints to the life the evil courses which generally lead to such a climax. Nobody describes better the process of going to the dogs. And most of all, he sympathises with the village maiden who has listened too easily to the voice of the charmer, in the shape of a gay sailor or a smart London footman, and has to reap the bitter consequences of her too easy faith. Most of his stories might be paralleled by the experience of any country clergyman who has entered into the life of his parishioners. They are as commonplace and as pathetic as the things which are happening round us every day, and which fill a The more humorous of these performances may be briefly dismissed. Crabbe possesses the faculty, but not in any eminent degree; his hand is a little heavy, and one must remember that Mr. Tovell and his like were of the race who require to have a joke driven into their heads with a sledge-hammer. Once or twice we come upon a sketch which may help to explain Miss Austen's admiration. There is an old maid devoted to Mira, and rejoicing in stuffed puppies and parrots, who might have been ridiculed by Emma Woodhouse, and a parson who would have suited the Eltons admirably:— Fiddling and fishing were his arts; at times He altered sermons and he aimed at rhymes; And his fair friends, not yet intent on cards, Oft he amused with riddles and charades. Such sketches are a pleasant relief to his more sombre portraiture; but it is in the tragic elements that his true power comes out. The motives of his stories may be trivial, but never the sentiment. The deep manly emotion makes us forget not only the frequent clumsiness of his style but the pettiness of the incident, and what is more difficult, the rather bread-and-butter tone of morality. If he is a little too fond of bringing his villains to the gallows, he is preoccupied less by the external consequences than by the natural working of evil passions. With him sin is not punished by being found out, but by disintegrating the character and blunting the higher sensibilities. He shows—and the moral, if not new, is that which possesses the Praying, however, cannot bring back the dead; and the fratricide, for such he feels himself to be, is a melancholy man to the end of his days. In Balzac's hands repentance would have had no place, and selfishness have been finally triumphant and unabashed. We need not ask which would be the most effective or the truest treatment; though I must put in a word for the superior healthiness of Crabbe's mind. There is nothing morbid about him. Still it would be absurd to push such a comparison far. Crabbe's portraits are only spirited vignettes compared with the elaborate full-lengths drawn by the intense imagination of the French novelist; and Crabbe's whole range of thought is incomparably narrower. The two writers have a real resemblance only in so far as in each case a powerful accumulation of life-like details enables them to produce a pathos, powerful by its vivid reality. The singular power of Crabbe is in some sense more conspicuous in the stories where the incidents are almost audaciously trifling. One of them begins with this not very impressive and very ungrammatical couplet:— With our late Vicar, and his age the same, His clerk, hight Jachin, to his office came. Jachin is a man of oppressive respectability; so oppressive, indeed, that some of the scamps of the borough try to get In each lone place, dejected and dismayed, Shrinking from view, his wasting form he laid, Or to the restless sea and roaring wind Gave the strong yearnings of a ruined mind; On the broad beach, the silent summer day, Stretched on some wreck, he wore his life away; Or on the mud-bank by the elder tree, Or by the bounding marsh-dyke, there was he. Nor would he have been a more pitiable object if he had betrayed a nation or sold his soul for a Garter instead of the pillage of a subscription plate. Poor old Jachin's story may seem to be borrowed from a commonplace tract; but the detected pilferer, though he has only lost the respect of the parson, the overseer, and the beadle, touches us as deeply as the Byronic hero who has fallen out with the whole system of the world. If we refuse to sympathise with the pang due to so petty a catastrophe—though our sympathy should surely be proportioned to the keenness of the suffering rather than the absolute height of the fall—we may turn to tragedy of a deeper dye. Peter Grimes, as his name indicates, was a ruffian from his infancy. He once knocked down his poor old father, who warned him of the consequences of his brutality:— On an inn-settle, in his maudlin grief, This he revolved, and drank for his relief. Adopting such a remedy, he sank from bad to worse, and gradually became a thief, a smuggler, and a social outlaw. In those days, however, as is proved by the history of Mrs. Brownrigg, parish authorities practised the 'boarding-out system' after a reckless fashion. Peter was allowed to take two or three apprentices in succession, whom he bullied, starved, and maltreated, and who finally died under suspicious circumstances. The last was found dead in Peter's fishing-boat after a rough voyage: and though nothing could be proved, the Mayor told him that he should have no more slaves to belabour. Peter, pursuing his trade in solitude, gradually became morbid and depressed. The Thus by himself compelled to live each day, To wait for certain hours the tide's delay; At the same time the same dull views to see, The bounding marsh-bank and the blighted tree; The water only, when the tides were high, When low, the mud half-covered and half-dry; The sun-burnt tar that blisters on the planks, And bank-side stakes in their uneven ranks; Heaps of entangled weeds that slowly float, As the tide rolls by the impeded boat. Peter grew more sullen, and the scenery became more weird and depressing. The few who watched him remarked that there were three places where Peter seemed to be more than usually moved. For a time he hurried past them, whistling as he rowed; but gradually he seemed to be fascinated. The idle loungers in the summer saw a man and boat lingering in the tideway, apparently watching the gliding waves without casting a net or looking at the wildfowl. At last his delirium becoming stronger, he is carried to the poorhouse, and tells his story to the clergyman. Nobody has painted with greater vigour that kind of externalised conscience which may still survive in a brutalised mind. Peter Grimes, of course, sees his victims' spirits and hates them. He fancies that his father torments him out of spite, characteristically forgetting that the ghost had some excuse for his anger:— 'Twas one hot noon, all silent, still, serene, No living being had I lately seen; I paddled up and down and dipped my net, But (such his pleasure) I could nothing get— A father's pleasure, when his toil was done, To plague and torture thus an only son! How it ran on, and felt as in a dream; But dream it was not; no!—I fixed my eyes On the mid stream and saw the spirits rise; I saw my father on the water stand, And hold a thin pale boy in either hand; And there they glided ghastly on the top Of the salt flood, and never touched a drop; I would have struck them, but they knew the intent, And smiled upon the oar, and down they went. Remorse in Peter's mind takes the shape of bitter hatred for his victims; and with another characteristic confusion, he partly attributes his sufferings to some evil influence intrinsic in the locality:— There were three places, where they ever rose— The whole long river has not such as those— Places accursed, where, if a man remain, He'll see the things which strike him to the brain. And then the malevolent ghosts forced poor Peter to lean on his oars, and showed him visions of coming horrors. Grimes dies impenitent, and fancying that his tormentors are about to seize him. Of all haunted men in fiction, it is not easy to think of a case where the horror is more terribly realised. The blood-boulter'd Banquo tortured a noble victim, but scarcely tortured him more effectually. Peter Grimes was doubtless a close relation of Peter Bell. Bell having the advantage of Wordsworth's interpretation, leads us to many thoughts which lie altogether beyond Crabbe's reach; but, looking simply at the sheer tragic force of the two characters, Grimes is to Bell what brandy is to small beer. He would never have shown the white feather like his successor, who, After ten months' melancholy, Became a good and honest man. If, in some sense, Peter Grimes is the most effective of Crabbe's heroes, he would, if taken alone, give a very distorted impression of the general spirit of the poetry. It is only at intervals that he introduces us to downright criminals. There is, indeed, a description of a convicted felon, which, according to Macaulay, has made 'many a rough and cynical reader cry like a child,' and which, if space were unlimited, would make a striking pendant to the agony of the burdened Grimes. But, as a rule, Crabbe can find motives enough for tenderness in sufferings which have nothing to do with the criminal law, and of which the mere framework of the story is often interesting enough. His peculiar power is best displayed in so presenting to us the sorrows of commonplace characters as to make us feel that a shabby coat and a narrow education, and the most unromantic of characters, need not cut off our sympathies with a fellow-creature; and that the dullest tradesman who treads on our toes in an omnibus may want only a power of articulate expression to bring before us some of the deepest of all problems. The parish clerk and the grocer—or whatever may be the proverbial epitome of human dulness—may swell the chorus of lamentation over the barrenness and the hardships and the wasted energies and the harsh discords of life which is always 'steaming up' from the world, and to which it is one, though perhaps not the highest, of the poet's functions to make us duly sensible. Crabbe, like all realistic writers, must be studied at full length, and therefore quotations are necessarily unjust. It will be sufficient if I refer—pretty much at random—to the short story of 'Phoebe Dawson' in the 'Parish Register,' to the more elaborate stories of 'Edward Shore' and the 'Parting Hour' in the 'Tales,' or to the story of 'Ruth' in the 'Tales of It is time, however, to conclude with a word or two as to Crabbe's peculiar place in the history of English literature. I said that, unlike his contemporaries, Cowper and Burns, he adhered rigidly to the form of the earlier eighteenth-century school, and partly for this reason excited the wayward admiration of Byron, who always chose to abuse the bridge which carried him to fame. But Crabbe's clumsiness of expression makes him a very inadequate successor of Pope or of Goldsmith, and his claims are really founded on the qualities which led Byron to call him 'nature's sternest painter, yet her best.' On this side he is connected with some tendencies of the school which supplanted his early models. So far as Wordsworth and his followers represented the reaction from the artificial to a love of unsophisticated nature, Crabbe is entirely at one with them. He did not share that unlucky taste for the namby-pamby by which Wordsworth annoyed his contemporaries, and spoilt some of his earlier poems. Its place was filled in Crabbe's mind by an even more unfortunate disposition for the simply humdrum and commonplace, which, it must be confessed, makes it almost as hard to read a good many of his verses as to consume large quantities of suet pudding, and has probably destroyed his popularity with the present generation. Still, Crabbe's influence was powerful as against the old conventionality. He did not, like his predecessors, write upon the topics which interested 'persons of quality,' and never gives us the impression of having composed his rhymes in a full-bottomed wig or even in a Grub Street FOOTNOTES: |