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her fear to offend. . . . I have often seen them exchange characters for a whole day together. A suit of mourning has transformed my coquette into a prude, and a new set of ribbands has given her younger sister more than natural vivacity."

      III

      It is a picture that makes one wish the more that the good doctor had carried his complaisance a little farther and told us what color his girls' eyes and hair were of, and which was the taller or slighter. In the absence of positive information one is left to suppose from the internal evidence that Olivia was large and fair, and Sophia of a low stature and a brunette complexion; or the reverse, as one likes. As to their dress, that is not so wholly matter of conjecture, for their father tells us that even after the loss of his fortune, when they were forced to live humbly like their country neighbors, he "still found them attached to their former finery. They still loved laces, ribbands, bugles and catgut; my wife herself retained a passion for her crimson paduasoy. . . . When we were to assemble in the morning at breakfast, down came my wife and daughters dressed out in all their former splendor: their hair plastered up with pomatum, their faces patched to taste, their trains bundled up into a heap behind, and rustling at every motion."

      It is well known how the ladies were portrayed in the famous picture of the Primrose family, which, when the wandering limner had finished it out-doors, was found too big to be got into the house. "My wife desired to be represented as Venus, and the painter was requested not to be too frugal of his diamonds in her stomacher and hair. . . . Olivia would be drawn as an Amazon, sitting upon a bank of flowers, dressed in a green joseph, richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing."

      The behavior of the ladies was in conformity to the dispositions respectively assigned to them; but all the world has long been too familiar with it to suffer more than one or two illustrative instances. When young Thornhill first presented himself without invitation among them, it is known how coldly they received him, but how, when he refused to be repulsed, they relented, and the girls, at their mother's bidding, played and sang for him. "Mr. Thornhill seemed highly delighted with their performance and choice, and then took up the guitar himself. He played very indifferently; but my eldest daughter repaid his former applause with interest, and assured him that his tones were louder even than those of her master. . . . As soon as he was gone my wife called a council. . . . 'Tell me, Sophia, my dear, what do you think of our new visitor? Don't you think he seemed to be very good-natured?' 'Immensely so, indeed, mamma,' replied she. 'I think he has a great deal to say upon every subject, and is never at a loss; and the more trifling the subject the more he has to say.' 'Yes,' cried Olivia, 'he is well enough for a man, but for my part I don't much like him, he is so extremely impudent and familiar; but on the guitar he is shocking.' "

      It is of course in keeping with her character that this mother meets her hapless daughter with cruel upbraiding when she comes back to her ruined home, but wholly forgives her in the end when she finds that Olivia has been incontestably "made an honest woman of" by the machinations of her betrayer's betrayer. Mrs. Primrose, however, is by no means a harsh nature, even if she is a woman so little wiser than some men. She is always a most acceptable presence in the story, and never more so than when she is most foolish. She is very modern in being of the illogical and inconsequent type of her sex which fiction has rather over-delighted in painting since her day. Probably there were hints of her in fiction from the very beginning, but it was Goldsmith who first painted one of the many ancestresses of Mrs. Nickleby in full length. She reasons from her wishes and believes from her hopes, with those vast leaps from premises to conclusions which we have all witnessed in ladies of her mental make, both in and out of novels. She prevails by the qualities of her heart, and her adequacy to most domestic occasions shows that the home may be governed with as little wisdom as the world. She influences the sage Sophia as strongly as the giddy Olivia, and it is pleasant to see how she is held in her motherly supremacy by the affection of her children, and the love of her husband, who perfectly understands her. In fact, a very pretty case might be made out of her as the real heroine of the book.

      She and Olivia are both of much more readily perceptible quality than Sophia. One expects Olivia to do what she does; it is almost inevitable; and then one expects an interval of good sense in her after her misfortunes, which, it is intimated, have chastened without essentially changing her. Sophia is a more difficult nature to deal with, for her charm has to be shown in negative ways. She has a great deal more mind than either her mother or sister, but she is mostly subject to them, and follows their lead as younger daughters and sisters do, or at least used to do. She will practically share in many of Olivia's absurdities in spite of her greater light and knowledge, and she is preserved from her disasters apparently by a fate that does not always befriend passive principle. It is just in her passivity, however, that she is so dear to the heart, so like so many other nice girls who are often so much wiser than anything they do, or even say. One of Mr. Thomas Hardy's heroines is reported to have been able to converse like a philosopher, but to be apt, in emergency, to behave like a robin in a greenhouse. If this was not quite the case with Sophia, it must be owned that her main superiority to Olivia was shown in her being fallen in love with by a better man, and in her refusing to be carried off by the villain who had deceived her sister; though it ought to be said in Olivia's behalf that it is much easier to resist being carried off against your will than with it.

      IV

      It was the age of moral sentiments, and to have them at hand was the sovereignest thing against temptation from without and within. Heroines used to express them whenever the least danger threatened, and sometimes when they were in perfect safety. Under instruction of the good Samuel Richardson they sought the welfare of themselves, their lovers, and their correspondents in formularies prescribing the virtues for every exigency, and praising right conduct with a constancy which ought to have availed rather more promptly than it did. But neither of the girls in "The Vicar of Wakefield" is very profuse of them, and this marks either a lapsing faith in their efficacy, or a rising art in the novelist. Goldsmith, at any rate, confines the precepts and reflections to the father of his heroines, as he might fitly do in the case of the supposed narrator; Richardson, or rather the epistolary form of his novels, obliges his heroines to make them. Yet he was a great master, and, in spite of his preaching, a great artist. He was a man of a mighty middle-class conscience, and in an age not so corrupt as some former ages, but still of abominable social usages, he could not withhold the protest of a righteous soul, though he risked rendering a little tedious the interesting girls who uttered it for him.

      He was blamed for portraying facts which were not so edifying as the morals to be drawn from them; and this may have been why he made his heroines so didactic. Somehow he had to trim the balance, and if the faithful portraiture of vice involved danger of contamination to the reader, virtue must be the more explicit and prodigal of its prophylactics and antidotes. His excess in both directions was corrected by the wiser art if not the purer instinct of the group of great women novelists who inherited his moral ideals and refined upon his materials and methods. Society had perhaps not grown much less licentious when Fanny Burney and Maria Edgeworth and Jane Austen began to write, but it was growing less openly licentious, and it might be studied in pictures less alarming to propriety, if not to innocence.

      These women, who fixed the ideal of the Anglo-Saxon heroines, wrote at the close of the last century and the beginning of this, some thirty years after the masterpieces of Richardson appeared, and fifteen or twenty years after "The Vicar of Wakefield" imparted to all Europe the conception of a more exquisite fiction. In some sort Richardson served them as a model, and Goldsmith as an inspiration, but it was they who characterized the modern Anglo-Saxon novel which these masters had perhaps invented. The most beautiful, the most consoling of all the arts owes its universal acceptance among us, its opportunity of pleasing and helping readers of every age and sex, to this group of high-souled women. They forever dedicated it to decency; as women they were faithful to their charge of the chaste mind; and as artists they taught the reading world to be in love with the sort of heroines who knew how not only to win the wandering hearts of men, hut to keep their homes pure and inviolable. They imagined the heroine who was above all a Nice Girl; who still remains the ideal of our fiction; to whom it returns with a final constancy, after whatever

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