[2] In 1834, after Crabbe's death, Wordsworth wrote to his son: "Your father's works ... will last, from their combined merit as poetry and truth, full as long as anything that has been expressed in verse since the date of their first appearance." A very different estimate by Wordsworth of Crabbe has been published in Mr. Clayden's _Rogers and his Contemporaries_. Here he argues at great length that "Crabbe's verses can in no sense be called poetry," and that "nineteen out of twenty of his pictures are mere matter of fact." It is fair to say that this was in 1808, before the appearance of "The Borough" and of almost all Crabbe's best work. [3] _Great Writers; Crabbe_: by T. E. Kebbel. London, 1888. [4] Although constantly patronised by the Rutland family in successive generations, and honoured by the attentions of "Old Q." and others, his poems are full of growls at patrons. These cannot be mere echoes of Oldham and Johnson, but their exact reason is unknown. His son's reference to it is so extremely cautious that it has been read as a confession that Crabbe was prone to his cups, and quarrelsome in them--a signal instance of the unwisdom of not speaking out. [5] Rogers told Ticknor in 1838 that "Crabbe was nearly ruined by grief and vexation at the conduct of his wife for above seven years, at the end of which time she proved to be insane." But this was long after her death and Crabbe's, and it is not clear that while she was alive Rogers knew Crabbe at all. Nor is there the slightest reason for attaching to the phrase "vexation at the conduct" the sense which it would usually have. A quatrain found after Crabbe's death wrapped round his wife's wedding-ring is touching, and graceful in its old-fashioned way. The ring so worn, as you behold, So thin, so pale, is yet of gold: The passion such it was to prove; Worn with life's cares, love yet was love. [6] See below, Essay on Hazlitt. II HOGG