The Vagabond in Literature

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Title: The Vagabond in Literature

Author: Arthur Rickett

Release Date: August 5, 2010 [eBook #33356]

Language: English

Character set encoding: ISO-646-US (US-ASCII)

***START OF THE PROJECT GUTENBERG EBOOK THE VAGABOND IN LITERATURE***

Transcribed from the 1906 J. M. Dent & Co. edition by David Price, email ccx074@pglaf.org

THE VAGABOND

IN LITERATURE

by

ARTHUR RICKETT

with

six portraits

1906

london

J. M. DENT & CO.

29 & 30 BEDFORD STREET, W.C.

All Rights Reserved

to

my friend

ALFRED E. FLETCHER

FOREWORD

In the introductory paper to this volume an attempt is made to justify the epithet Vagabond as applied to writers of a certain temperament.  This much may be said here: the term Vagabond is used in no derogatory sense.  Etymologically it signifies a wanderer; and such is the meaning attached to the term in the following pages.  Differing frequently in character and in intellectual power, a basic similarity of temperament gives the various writers discussed a remarkable spiritual affinity.  For in each one the wandering instinct is strong.  Sometimes it may take a physical, sometimes an intellectual expression—sometimes both.  But always it shows itself, and always it is opposed to the routine and conventions of ordinary life.

These papers are primarily studies in temperament; and the literary aspects have been subordinated to the personal element.  In fact, they are studies of certain forces in modern literature, viewed from a special standpoint.  And the standpoint adopted may, it is hoped, prove suggestive, though it does not pretend to be exhaustive.

If the papers on Hazlitt and De Quincey are more fragmentary than the others, it is because these writers have been already discussed by the author in a previous volume.  It has been thought unnecessary to repeat the points raised there, and these studies may be regarded therefore as at once supplementary and complementary.

My cordial thanks are due to Mr. Theodore Watts-Dunton, who has taken so kindly and friendly an interest in this little volume.  He was good enough to read the proofs, and to express his appreciation, especially of the Borrow and Thoreau articles, in most generous terms.  I had hoped, indeed, that he would have honoured these slight studies by a prefatory note, and he had expressed a wish to do so.  Unhappily, prior claims upon his time prevented this.  The book deals largely, it will be seen, with those Children of the Open Air about whom the eloquent author of Aylwin so often has written.  I am especially glad, therefore, to quote (with Mr. Watts-Dunton’s permission) his fine sonnet, where the Vagabond spirit in its happiest manifestation is expressed.

"A TALK ON WATERLOO BRIDGE

"the last sight of george borrow

"We talked of ‘Children of the Open Air,’

Who once on hill and valley lived aloof,

Loving the sun, the wind, the sweet reproof

Of storms, and all that makes the fair earth fair,

Till, on a day, across the mystic bar

Of moonrise, came the ‘Children of the Roof,’

Who find no balm ’neath evening’s rosiest woof,

Nor dews of peace beneath the Morning Star.

We looked o’er London, where men wither and choke,

Roofed in, poor souls, renouncing stars and skies,

And lore of woods and wild wind prophecies,

Yea, every voice that to their fathers spoke:

And sweet it seemed to die ere bricks and smoke

Leave never a meadow outside Paradise." [0]

A. R.

London, October, 1906

CONTENTS

LIST OF ILLUSTRATIONS

INTRODUCTION

the vagabond element in modern literature

There’s night and day, brother, both sweet things; sun, moon, and stars, brother, all sweet things; there’s likewise a wind on the heath.—Lavengro.

I

There are some men born with a vagrant strain in the blood, an unsatiable inquisitiveness about the world beyond their doors.  Natural revolutionaries they, with an ingrained distaste for the routine of ordinary life and the conventions of civilization.  The average common-sense Englishman distrusts the Vagabond for his want of sympathy with established law and order.  Eccentricity and unconventionality smack to him always of moral obliquity.  And thus it is that the literary Vagabond is looked at askance.  One is reminded of Mr. Pecksniff: Pagan, I regret to state, observed that gentleman of the Sirens on one occasion.  Unhappily no one pointed out to this apostle of purity that the naughtiness of the Sirens was not necessarily connected with paganism, and that the siren disposition has been found even in choirs and places where they sing.

Restlessness, then, is one of the notes of the Vagabond temperament.

Sometimes the Vagabond is a physical, sometimes only an intellectual wanderer; but in any case there is about him something of the primal wildness of the woods and hills.

Thus it is we find in the same spiritual brotherhood men so different in genius and character as Hazlitt, De Quincey, Thoreau, Whitman, Borrow, Jefferies, Stevenson.

Thoreau turned his back on civilization, and found a new joy of living in the woods at Maine.  ’Tis the Open Road that inspired Whitman with his rude, melodic chants.  Not the ways of men and women, but the flaunting pageant of summer unlocked the floodgates of Jefferies’ heart.  Hazlitt was never so gay, never wrote of books with such relish, as when he was recounting a country walk.  There are few more beautiful passages than those where he describes the time when he walked between Wrexham and Llangollen, his imagination aglow with some lines of Coleridge.  De Quincey loved the shiftless, nomadic life, and gloried in uncertainties and peradventures.  A wandering, open-air life was absolutely indispensable to Borrow’s happiness; and Stevenson had a schoolboy’s delight in the make-believe of Romance.

II

Another note now discovers itself—a passion for the Earth.  All these men had a passion for the Earth, an intense joy in the open air.  This feeling differs from the Nature-worship of poets like Wordsworth and Shelly.  It is less romantic, more realistic.  The attitude is not so much that of the devotee as that of the lover.  There is nothing mystical or abstract about it.  It is direct, personal, intimate.  I call it purposely a passion for the Earth rather than a passion for Nature, in order to distinguish it from the pronounced transcendentalism of the romantic poets.

The poet who has expressed most nearly the attitude of these Vagabonds towards Nature—more particularly that of Thoreau, Whitman, Borrow, and Jefferies—is Mr. George Meredith.

Traces of it may be found in Browning with reference to the old brown earth, and in William Morris, who exclaimed—

My love of the earth and the worship of it!

but Mr. Meredith has given the completest expression to this Earth-worship.

One thinks of Thoreau and Jefferies when reading Melampus—

"With love exceeding a simple love of the things

That glide in grasses and rubble of woody wreck;

Or change their perch on a beat of quivering wings

From branch to branch, only restful to pipe and peck;

Or, bristled, curl at a touch their snouts in a ball;

Or, cast their web between bramble and thorny hook;

The good physician