Leigh Hunt's Relations with Byron, Shelley and Keats
John Stuart Mill · en
The word "Cockney" says Bulwer-Lytton, signifies the "archetype of the
Londoner east of Temple Bar, and is as grotesquely identified with the
Bells of Bow as Quasimodo with those of Notre Dame."[446] The epithet
remains doubtful in origin but is proverbially significant of odium and of
ridicule. R. H. Horne asserts that, in its first application, it meant
merely "pastoral, minus nature."[447] The word did not long carry so
harmless a connotation. It was first applied to Hunt by the Tory journals
in 1817 and, in the phrase "Cockney School," was gradually extended until
it included most of his associates. The group of men thus arbitrarily
banded together did not form a _school_ or cult, and themselves resented
such a classification. They differed widely in their fundamental
principles of life and art. They were not all of one vocation. On the
other hand they had certain superficial points in common which made them
collectively vulnerable to the dart of the enemy. They were Londoners[448]
by birth or by adoption; with the exception of Shelley they may all be
said to have belonged to the middle class; the most Cockneyfied of them
had certain vulgar mannerisms; they egotistically paraded their personal
affairs in public; they praised each other somewhat fulsomely in
dedications and elsewhere, though not always to the full satisfaction of
everybody concerned; they presented each other with wreaths of bay,
laurel, and roses, and with locks of hair; they agreed in liking Thomas
Moore and in disliking Southey; they moved with complacency within a
limited circle to the exclusion of a large city; in general they were
liberal in politics and in religion; they were in revolt against French
criticism; they chose Elizabethan or Italian models, and, as a rule, they
conceitedly ignored or contemned contemporary writers.
The gatherings of the coterie have been nowhere better described than by
Cowden Clarke:
"Evenings of Mozartian operatic and chamber music at Vincent
Novello's own house, where Leigh Hunt, Shelley, Keats and the Lambs
were invited guests; the brilliant supper parties at the alternate
dwellings of the Novellos, the Hunts and the Lambs, who had mutually
agreed that bread and cheese, with celery, and Elia's immortalized
'Lutheran beer' were to be the sole cates provided; the meetings at
the theatres, when Munden, Dowton, Liston, Bannister, Elliston and
Fanny Kelly were on the stage; the picnic repasts enjoyed together by
appointment in the fields that lay spread in green breadth and
luxuriance between the west end of Oxford Street and the western
slope of Hampstead Hill--are things never to be forgotten."[449]
Miss Mitford relates a ludicrous incident of one of these meetings: