LITMIR.BIZ

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not know many things more surprising in the long list of contradictory criticisms of man and genius alike, than Mr. Herbert Paul's disapproval of the Journal to Stella as letters while admitting its excellence as "narrative."12 To other judges these are some of the most perfect letters in existence, some of the most absolutely genuine and free from the slightest taint of writing for publication; some of the most extraordinarily blended of intense intimacy which is neither ridiculous nor productive of the shame-faced feeling that you ought not to have heard it; and full of that dealing with matters less intimate but still interesting to both correspondents which displays the "narrative" excellence conceded by this acute critic. It must of course be remembered that these "Journal-letters" are by no means Swift's only proofs of his epistolary expertness. The Vanessa ones perhaps display a little of the hopelessly enigmatic character which spreads like a mist over the whole of that ill-starred relationship: but they make all the more useful contrast to the "wholeheartedness" – one may even use that word in reference to the little bit of what we may call constructive deception as to "the other person" – of those to her rival.13 Those to Pope (of which so shabby a use was made by their strangely constituted recipient), to Bolingbroke and others are among the best of friendly letters: and the curious batch to the Duchess of Queensberry might be classed with those "court-paying" letters of man to woman which are elsewhere more particularly noted. But the "Stella" or "Stella-cum-Dingley" division (if that most singular of value-completing zeros is to be brought in) is a thing by itself. Perhaps appreciating or not appreciating the "little language" is a matter very largely of personal constitution, and the failure to appreciate is (like colour-blindness or other physical deficiencies) a thing to be sorry for, not to condemn. But one might have thought that even if what we may call "feeling" of this were absent there would be an intellectual understanding of the way in which it completes the whole-heartedness just mentioned – the manner in which the writer deals with politics, society, letters, the common ways of life, and his own passion – this last sometimes in the fore-sometimes in the background, but never far off. Other letters, from Horace Walpole's downwards, may contain a panorama of life as brilliant as these give, or more brilliant. Yet it is too frequently a panorama or a puppet show, or at the best a marvellously acted but somewhat bloodless drama. On the other hand, the pure passion-letters lack as a rule this many-sidedness. With Swift we get both. Seldom has any collection shown us more varied interests. But through it all there is an anticipation of the knell of this commerce of his – "Only a woman's hair" – and that hair threads, in subtle fashion, the whole of the Journal, turning the panorama to something felt as well as seen, and the puppet-show to realities of flesh and blood.

      That this magical transforming element is wanting in a most remarkable pair of contemporaries, Chesterfield and "Lady Mary," has been generally allowed; though a strong fight has been made by some of her sisters for "my lady" and though the soundest criticism allows that "my lord" did not so much lack as dissemble heart and even sometimes showed the heart he had. It would be out of our proper line to discuss such questions here at any length. It may be enough to warn readers who have not yet had time to look into the matter for themselves that Pope's coarse attacks on Lady Mary and Johnson's fine rhetorical rebuff of Chesterfield were unquestionably outbursts of hurt personal pride. Horace Walpole made hits at both for reasons which we may call personal at second-hand, because the one was a friend of his sister-in-law and the other an enemy of his father. As for Dickens' caricature of "Sir John Chester" in Barnaby Rudge it is not so much a caricature as a sheer and inexcusable libel. Anyhow, the letters of the Earl and the Lady are exceedingly good reading. Persons of no advanced years who have been introduced to them in the twentieth century have been known to find them positively captivating: and their attractions are, not merely as between the two but even in each case by itself, singularly various. Lady Mary's forte – perhaps in direct following of her great forerunner and part namesake, Marie de Sévigné, though she spoke inadvisedly of her – lies in description of places and manners, and in literary criticism.14 Her accounts of her Turkish journey in earlier days, and of some scenes in Italy later, of her court and other experiences, etc., rank among the best things of the kind in English; and her critical acuteness, assisted as it was by no small possession of what might almost be called scholarship, was most remarkable for her time. Also, she does all these things naturally – with that naturalness at which – when they possess it at all – women are so much better than men. People say a lady can never pass a glass without looking at herself. (One thinks by the way one has seen men do that.) But after all what the glass gives is a reflection and record of nature: and women learn to see it in others as well as in themselves.

CHESTERFIELD

      Few English writers have suffered more injustice in popular estimation than Chesterfield. Even putting aside the abuse by which, as above mentioned, Johnson showed (on Fluellen's principles convincingly) that he had more in common with the Goddess Juno than the J in both their names – that is to say an insanabile vulnus of vanity – there remain sources of mistakes and prejudice which have been all too freely tapped. The miscellaneous letters – which show sides of him quite different from those most in evidence throughout the "Letters to his Son" – are rarely read: these latter have been, at least once and probably oftener, made into a schoolbook for translation into other languages – an office by no means likely to conciliate affection. And even when they are not suspected of positive immorality there is a too general idea that they are frivolously and trivially didactic – the sort of thing that Mr. Turveydrop the elder might have written on Deportment – if he had had brains enough. Yet again, unbiassed appreciation of them has been hampered by all sorts of idle controversies as to the kind of man that young Stanhope actually turned out to be – a point of merely gossiping importance in any case, and, whatever be the facts of this one, having no more to do with the merit of the letters than the other fact that some people make mistakes in their accounts after having learnt the multiplication table has to do with the value of that composition. As a matter of relevant fact the letters – except (and even here the accusations against them are much exaggerated) from the point of view of very severe morality in regard to one or two points – perhaps no more than one – are full of sound advice, clear common-sense, and ripe experience of the world. The manners they recommend are not those of any but a very exceptional "dancing master," they are those of a gentleman. The temper that they inculcate and that they exhibit in the inculcator is positively kindly and relatively correct. Both these and the other batch of "Letters to his Godson" and successor in the Earldom (the Lord Chesterfield for forging whose name Dr. Dodd was hanged) show the most curious and unusual pains on the part of a man admitted to be in the highest degree a man of the world, and sometimes accused of being nothing else, to make himself intelligible and agreeable to young – at first very young – boys. In his letters to older folk, both men and women, qualities for which there was no room in the others arise – the thoughts of a statesman and a philosopher, the feelings of a being quite different from the callous, frivolous, sometimes "insolent"15 worldling who has been so often put in the place of the real Chesterfield. And independently of all this there is present in all these letters – though most attractively in those to his son – a power of literary expression which would have made the fortune of any professional writer of the time. If Chesterfield's literary taste was too often decided by the fashionable limitations of this time, it was, within those limitations, accomplished: and it was accompanied, as mere taste very often is not, by no small command of literary production. He could and did write admirable light verse; his wit in conversation is attested in the most final fashion by his enemy Horace Walpole, and some of the passages in the letters where he indulges in description or even dialogue are by no means unworthy of the best genteel comedy of the time. But he could also, as was said of someone else, be "nobly serious," as in his "character" writing and elsewhere. His few contributions to the half-developed periodical literature of his day show how valuable he would have been to the more advanced Review or Magazine of the nineteenth century: and if he had chosen to write Memoirs they would probably have been among the best in English.16 Now the Memoir and the Letter are perhaps the most straitly and intimately connected forms of literature.

HORACE WALPOLE

      Horace Walpole – like his two contemporaries, fellow-members

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