Critical and Historical Essays - Volume 2 by Thomas Babington Macaulay (fun to read .txt) 📕

a taciturnity that, in the midst of such renowned interlocutors, produced as narcotic a torpor as could have been caused by a dearth the most barren of all human faculties." In truth, it is impossible to look at any page of Madame D'Arblay's later works without finding flowers of rhetoric like these. Nothing in the language of those jargonists at whom Mr. Gosport laughed, nothing in the language of Sir Sedley Clarendel, approaches this new Euphuism.

It is from no unfriendly feeling to Madame D'Arblay's memory that we have expressed ourselves so strongly on the subject of her style. On the contrary, we conceive that we have really rendered a service to her reputation. That her later works were complete failures, is a fact too notorious to be dissembled: and some persons, we believe, have consequently taken up a notion that she was from the first an overrated writer, and that she had not the powers which were necessary to maintain her on the eminence on which good luck and fashion had placed her. We believe, on the contrary, that her early popularity was no more than the just reward of distinguished merit, and would never have undergone an eclipse, if she had only been content to go on writing in her mother tongue. If she failed when she quitted her own province, and attempted to occupy one in which she had neither part nor lot, this reproach is common to her with a crowd of distinguished men. Newton failed when he turned from the courses of the stars, and the ebb and flow of the ocean, to apocalyptic seals and vials. Bentley failed when he turned from Homer and Aristophanes, to edit the Paradise Lost. Inigo failed when he attempted to rival the Gothic churches of the fourteenth century. Wilkie failed when he took it into his head that the Blind Fiddler and the Rent Day were unworthy of his powers, and challenged competition with Lawrence as a portrait painter. Such failures should be noted for the instruction of posterity; but they detract little from the permanent reputation of those who have really done great things.

Yet one word more. It is not only on account of the intrinsic merit of Madame D'Arblay's early works that she is entitled to honourable mention. Her appearance is an important epoch in our literary history. Evelina was the first tale written by a woman, and purporting to be a picture of life and manners, that lived or deserved to live. The Female Quixote is no exception. That work has undoubtedly great merit, when considered as a wild satirical harlequinade; but, if we consider it as a picture of life and manners, we must pronounce it more absurd than any of the romances which it was designed to ridicule.

Indeed, most of the popular novels which preceded Evelina were such as no lady would have written; and many of them were such as no lady could without confusion own that she had read. The very name of novel was held in horror among religious people. In decent families, which did not profess extraordinary sanctity, there was a strong feeling against all such works. Sir Anthony Absolute, two or three years before Evelina appeared, spoke the sense of the great body of sober fathers and husbands, when he pronounced the circulating library an evergreen tree of diabolical knowledge. This feeling on the part of the grave and reflecting, increased the evil from which it had sprung. The novelist having little character to lose, and having few readers among serious people, took without scruple liberties which in our generation seem almost incredible.

Miss Burney did for the English novel what Jeremy Collier did for the English drama; and she did it in a better way. She first showed that a tale might be written in which both the fashionable and the vulgar life of London might be exhibited with great force, and with broad comic humour, and which yet should not contain a single line inconsistent with rigid morality, or even with virgin delicacy. She took away the reproach which lay on a most useful and delightful species of composition. She vindicated the right of her sex to an equal share in a fair and noble province of letters. Several accomplished women have followed in her track. At present, the novels which we owe to English ladies form no small part of the literary glory of our country. No class of works is more honourably distinguished by fine observation, by grace, by delicate wit, by pure moral feeling. Several among the successors of Madame D'Arblay have equalled her; two, we think, have surpassed her. But the fact that she has been surpassed gives her an additional claim to our respect and gratitude for, in truth, we owe to her not only Evelina, Cecilia, and Camilla, but also Mansfield Park and the Absentee.


MOORE'S LIFE OF LORD BYRON

(June 1831)

Letters and Journals of Lord Byron; with Notices of his Life. By THOMAS MOORE, Esq. 2 vols. 4to. London: 1830.

WE have read this book with the greatest pleasure. Considered merely as a composition, it deserves to be classed among the best specimens of English prose which our age has produced. It contains, indeed, no single passage equal to two or three which we could select from the Life of Sheridan. But, as a whole, it is immeasurably superior to that work. The style is agreeable, clear, and manly, and when it rises into eloquence, rises without effort or ostentation. Nor is the matter inferior to the manner. It would be difficult to name a book which exhibits more kindness, fairness, and modesty. It has evidently been written, not for the purpose of showing, what, however, it often shows, how well its author can write, but for the purpose of vindicating, as far as truth will permit, the memory of a celebrated man who can no longer vindicate himself. Mr. Moore never thrusts himself between Lord Byron and the public. With the strongest temptations to egotism, he has said no more about himself than the subject absolutely required.

A great part, indeed the greater part, of these volumes, consists of extracts from the letters and journals of Lord Byron; and it is difficult to speak too highly of the skill which has been shown in the selection and arrangement. We will not say that we have not occasionally remarked in these two large quartos an anecdote which should have been omitted, a letter which should have been suppressed, a name which should have been concealed by asterisks, or asterisks which do not answer the purpose of concealing the name. But it is impossible, on a general survey, to deny that the task has been executed with great judgment and great humanity. When we consider the life which Lord Byron had led, his petulance, his irritability, and his communicativeness, we cannot but admire the dexterity with which Mr. Moore has contrived to exhibit so much of the character and opinions of his friend, with so little pain to the feelings of the living.

The extracts from the journals and correspondence of Lord Byron are in the highest degree valuable, not merely on account of the information which they contain respecting the distinguished man by whom they were written, but on account also of their rare merit as compositions. The letters, at least those which were sent from Italy, are among the best in our language. They are less affected than those of Pope and Walpole; they have more matter in them than those of Cowper. Knowing that many of them were not written merely for the person to whom they were directed, but were general epistles, meant to be read by a large circle, we expected to find them clever and spirited, but deficient in ease. We looked with vigilance for instances of stiffness in the language and awkwardness in the transitions. We have been agreeably disappointed; and we must confess that, if the epistolary style of Lord Byron was artificial, it was a rare and admirable instance of that highest art which cannot be distinguished from nature.

Of the deep and painful interest which this book excites no abstract can give a just notion. So sad and dark a story is scarcely to be found in any work of fiction; and we are little disposed to envy the moralist who can read it without being softened.

The pretty fable by which the Duchess of Orleans illustrated the character of her son the Regent might, with little change, be applied to Byron. All the fairies, save one, had been bidden to his cradle. All the gossips had been profuse of their gifts. One had bestowed nobility, another genius, a third beauty. The malignant elf who had been uninvited came last, and, unable to reverse what her sisters had done for their favourite, had mixed up a curse with every blessing. In the rank of Lord Byron, in his understanding, in his character, in his very person, there was a strange union of opposite extremes. He was born to all that men covet and admire. But in every one of those eminent advantages which he possessed over others was mingled something of misery and debasement. He was sprung from a house, ancient indeed and noble, but degraded and impoverished by a series of crimes and follies which had attained a scandalous publicity. The kinsman whom he succeeded had died poor, and, but for merciful judges, would have died upon the gallows. The young peer had great intellectual powers; yet there was an unsound part in his mind. He had naturally a generous and feeling heart: but his temper was wayward and irritable. He had a head which statuaries loved to copy, and a foot the deformity of which the beggars in the streets mimicked. Distinguished at once by the strength and by the weakness of his intellect, affectionate yet perverse, a poor lord, and a handsome cripple, he required, if ever man required, the firmest and the most judicious training. But, capriciously as nature had dealt with him, the parent to whom the office of forming his character was intrusted was more capricious still. She passed from paroxysms of rage to paroxysms of tenderness. At one time she stifled him with her caresses; at another time she insulted his deformity. He came into the world; and the world treated him as his mother had treated him, sometimes with fondness, sometimes with cruelty, never with justice. It indulged him without discrimination, and punished him without discrimination. He was truly a spoiled child, not merely the spoiled child of his parent, but the spoiled child of nature, the spoiled child of fortune, the spoiled child of fame, the spoiled child of society. His first poems were received with a contempt which, feeble as they were, they did not absolutely deserve. The poem which he published on his return from his travels was, on the other hand, extolled far above its merit. At twenty-four, he found himself on the highest pinnacle of literary fame, with Scott, Wordsworth, Southey, and a crowd of other distinguished writers beneath his feet. There is scarcely an instance in history of so sudden a rise to so dizzy an eminence.

Everything that could stimulate, and everything that could gratify the strongest propensities of our nature, the gaze of a hundred drawing-rooms, the acclamations of the whole nation, the applause of applauded men, the love of lovely women, all this world and all the glory of it were at once offered to a youth to whom nature had given violent passions, and whom education had never taught to control them. He lived as many men live who have no similar excuse to plead for their faults. But his countrymen and his countrywomen would love him and admire him. They were resolved to see