FullReads

Seamen three! What men be ye?
Gotham’s three wise men we be.
Whither in your bowl so free?
To rake the moon from out the sea.
The bowl goes trim, the moon doth shine,
And our ballast is old wine;
And your ballast is old wine.

Who art thou so fast adrift?
I am he they call Old Care.
Here on board we will thee lift.
No: I may not enter there.
Wherefore so? ‘Tis Jove’s decree
In a bowl Care may not be;
In a bowl Care may not be.

Fear ye not the waves that roll?
No: in charmed bowl we swim.
What the charm that floats the bowl?
Water may not pass the brim.
The bowl goes trim, the moon doth shine,
And our ballast is old wine;
And your ballast is old wine.

A third song sung by Marionetta, “Why are thy looks so blank, Grey Friar?” is as good in another way; nor should it be forgotten that the said Marionetta, who has been thought to have some features of the luckless Harriet Shelley, is Peacock’s first lifelike study of a girl, and one of his pleasantest.

The book which came out four years after, Maid Marian, has, I believe, been much the most popular and the best known of Peacock’s short romances. It owed this popularity, in great part, doubtless, to the fact that the author has altered little in the well-known and delightful old story, and has not added very much to its facts, contenting himself with illustrating the whole in his own satirical fashion. But there is also no doubt that the dramatisation of Maid Marian by Planche and Bishop as an operetta helped, if it did not make, its fame. The snatches of song through the novel are more frequent than in any other of the books, so that Mr. Planche must have had but little trouble with it. Some of these snatches are among Peacock’s best verse, such as the famous “Bramble Song,” the great hit of the operetta, the equally well-known “Oh, bold Robin Hood,” and the charming snatch:–

For the tender beech and the sapling oak,
That grow by the shadowy rill,
You may cut down both at a single stroke,
You may cut down which you will;

But this you must know, that as long as they grow,
Whatever change may be,
You never can teach either oak or beech
To be aught but a greenwood tree.

This snatch, which, in its mixture of sentiment, truth, and what may be excusably called “rollick,” is very characteristic of its author, and is put in the mouth of Brother Michael, practically the hero of the piece, and the happiest of the various workings up of Friar Tuck, despite his considerable indebtedness to a certain older friar, whom we must not call “of the funnels.” That Peacock was a Pantagruelist to the heart’s core is evident in all his work; but his following of Master Francis is nowhere clearer than in Maid Marian, and it no doubt helps us to understand why those who cannot relish Rabelais should look askance at Peacock. For the rest, no book of Peacock’s requires such brief comment as this charming pastoral, which was probably little less in Thackeray’s mind than Ivanhoe itself when he wrote Rebecca and Rowena. The author draws in (it would be hardly fair to say drags in) some of his stock satire on courts, the clergy, the landed gentry, and so forth; but the very nature of the subject excludes the somewhat tedious digressions which mar Melincourt, and which once or twice menace, though they never actually succeed in spoiling, the unbroken fun of Nightmare Abbey.