No More Learning

He went to Knowsley, and the drawings in the "Knowsley Menagerie"
(now a rare and highly-prized work among book collectors) are by Lear's
hand. At Knowsley he became a permanent favorite; and it was there that he
composed in prolific succession his charming and wonderful series of
utterly nonsensical rhymes and drawings. Lear had already begun seriously
to study landscape. When English winters began to threaten his health, Lord
Derby started a subscription which enabled him to go to Rome as a student
and artist, and no doubt gave him recommendations among Anglo-Roman
society which laid the foundations of a numerous _clientele_. It was in the
Roman summers that Lear first began to exercise the taste for pictorial
wandering which grew into a habit and a passion, to fill vivid and copious
note-books as he went, and to illustrate them by spirited and accurate
drawings; and his first volume of "Illustrated Excursions in Italy,"
published in 1846, is gratefully dedicated to his Knowsley patron.

Only those who have travelled with him could know what a delightful comrade
he was to men whose tastes ran more or less parallel to his own. It was not
everybody who could travel with him; for he was so irrepressibly anxious
not to lose a moment of the time at his disposal for gathering into his
garners the beauty and interest of the lands over which he journeyed, that
he was careless of comfort and health. Calabria, Sicily, the Desert of
Sinai, Egypt and Nubia, Greece and Albania, Palestine, Syria, Athos,
Candia, Montenegro, Zagori (who knows now where Zagori is, or was? ), were
as thoroughly explored and sketched by him as the more civilized localities
of Malta, Corsica, and Corfu. He read insatiably before starting all the
recognized guide-books and histories of the country he intended to draw;
and his published itineraries are marked by great strength and literary
interest quite irrespectively of the illustrations. And he had his reward.
It is not any ordinary journalist and sketcher who could have compelled
from Tennyson such a tribute as lines "To E. L. on his Travels in Greece":--

"Illyrian woodlands, echoing falls
Of water, sheets of summer glass,
The long divine Peneian pass,
The vast Akrokeraunian walls,

"Tomohrit, Athos, all things fair,
With such a pencil, such a pen,
You shadow forth to distant men,
I read and felt that I was there. "

Lear was a man to whom, as to Tennyson's Ulysses,

"All experience is an arch wherethrough
Gleams that untravelled world.
"

After settling at San Remo, and when he was nearly sixty years old, he
determined to visit India and Ceylon. He started once and failed, being
taken so ill at Suez that he was obliged to return. The next year he
succeeded, and brought away some thousands of drawings of the most striking
views from all three Presidencies and from the tropical island. His
appetite for travel continued to grow with what it fed upon; and although
he hated a long sea-voyage, he used seriously to contemplate as possible a
visit to relations in New Zealand. It may safely, however, be averred that
no considerations would have tempted him to visit the Arctic regions.

A hard-working life, checkered by the odd adventures which happen
to the odd and the adventurous and pass over the commonplace; a
career brightened by the high appreciation of unimpeachable
critics; lightened, till of late, by the pleasant society and good
wishes of innumerable friends; saddened by the growing pressure of
ill health and solitude; cheered by his constant trust in the love
and sympathy of those who knew him best, however far away,--such
was the life of Edward Lear.

--_The London Saturday Review,_ Feb. 4, 1888.

Among the writers who have striven with varying success during the last
thirty or forty years to awaken the merriment of the "rising generation" of
the time being, Mr. Edward Lear occupies the first place in seniority, if
not in merit. The parent of modern nonsense-writers, he is distinguished
from all his followers and imitators by the superior consistency with which
he has adhered to his aim,--that of amusing his readers by fantastic
absurdities, as void of vulgarity or cynicism as they are incapable of
being made to harbor any symbolical meaning. He "never deviates into
sense;" but those who appreciate him never feel the need of such deviation.
He has a genius for coining absurd names and words, which, even when they
are suggested by the exigencies of his metre, have a ludicrous
appropriateness to the matter in hand. His verse is, with the exception of
a certain number of cockney rhymes, wonderfully flowing and even
melodious--or, as he would say, _meloobious_--while to all these
qualifications for his task must finally be added the happy gift of
pictorial expression, enabling him to double, nay, often to quadruple, the
laughable effect of his text by an inexhaustible profusion of the quaintest
designs. Generally speaking, these designs are, as it were, an idealization
of the efforts of a clever child; but now and then--as in the case of the
nonsense-botany--Mr. Lear reminds us what a genuine and graceful artist he
really is.