The Letters of Charles Dickens by Charles Dickens (which ebook reader TXT) đź“•
The two letters to Mr. Macready, at the end of this year, refer to a farce which Charles Dickens wrote, with an idea that it might be suitable for Covent Garden Theatre, then under Mr. Macready's management.
[Sidenote: Mrs. Charles Dickens.]
GRETA BRIDGE, Thursday, Feb. 1st, 1838.
MY DEAREST KATE,
I am afraid you will receive this later than I could wish, as the mail does not come through this place until two o'clock to-morrow morning. However, I have availed myself of the very first opportunity of writing, so the fault is that mail's, and not this.
We reached Grantham between nine and ten on Thursday night, and found everything prepared for our reception in the very best inn I have ever put up at. It is odd enough that an old lady, who had been outside all day and came in towards dinner time, turned out to be the mistress of a Yorkshire school returning from the holiday stay in London. She was a very queer old lady, and showed us a long letter she was carryin
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We are expecting Mary Boyle too, shortly.
I have just been propounding to Forster if it is not a wonderful testimony to the homely force of truth, that one of the most popular books on earth has nothing in it to make anyone laugh or cry? Yet I think, with some confidence, that you never did either over any passage in "Robinson Crusoe." In particular, I took Friday's death as one of the least tender and (in the true sense) least sentimental things ever written. It is a book I read very much; and the wonder of its prodigious effect on me and everyone, and the admiration thereof, grows on me the more I observe this curious fact.
Kate and Georgina send you their kindest loves, and smile approvingly on me from the next room, as I bend over my desk. My dear Landor, you see many I daresay, and hear from many I have no doubt, who love you heartily; but we silent people in the distance never forget you. Do not forget us, and let us exchange affection at least.
Villa des Moulineaux, near Boulogne,
Saturday Night, July 5th, 1856.
From this place where I am writing my way through the summer, in the midst of rosy gardens and sea airs, I cannot forbear writing to tell you with what uncommon pleasure I received your interesting letter, and how sensible I always am of your kindness and generosity. You were always in the mind of my household during your illness; and to have so beautiful, and fresh, and manly an assurance of your recovery from it, under your own hand, is a privilege and delight that I will say no more of.
I am so glad you like Flora. It came into my head one day that we have all had our Floras, and that it was a half-serious, half-ridiculous truth which had never been told. It is a wonderful gratification to me to find that everybody knows her. Indeed, some people seem to think I have done them a personal injury, and that their individual Floras (God knows where they are, or who!) are each and all Little Dorrit's.
We were all grievously disappointed that you were ill when we played Mr. Collins's "Lighthouse" at my house. If you had been well, I should have waited upon you with my humble petition that you would come and see it; and if you had come I think you would have cried, which would have charmed me. I hope to produce another play at home next Christmas, and if I can only persuade you to see it from a special arm-chair, and can only make you wretched, my satisfaction will be intense. May I tell you, to beguile a moment, of a little "Tag," or end of a piece, I saw in Paris this last winter, which struck me as the prettiest I had ever met with? The piece was not a new one, but a revival at the Vaudeville—"Les Mémoires du Diable." Admirably constructed, very interesting, and extremely well played. The plot is, that a certain M. Robin has come into possession of the papers of a deceased lawyer, and finds some relating to the wrongful withholding of an estate from a certain baroness, and to certain other frauds (involving even the denial of the marriage to the deceased baron, and the tarnishing of his good name) which are so very wicked that he binds them up in a book and labels them "Mémoires du Diable." Armed with this knowledge he goes down to the desolate old château in the country—part of the wrested-away estate—from which the baroness and her daughter are going to be ejected. He informs the mother that he can right her and restore the property, but must have, as his reward, her daughter's hand in marriage. She replies: "I cannot promise my daughter to a man of whom I know nothing. The gain would be an unspeakable happiness, but I resolutely decline the bargain." The daughter, however, has observed all, and she comes forward and says: "Do what you have promised my mother you can do, and I am yours." Then the piece goes on to its development, in an admirable way, through the unmasking of all the hypocrites. Now, M. Robin, partly through his knowledge of the secret ways of the old château (derived from the lawyer's papers), and partly through his going to a masquerade as the devil—the better to explode what he knows on the hypocrites—is supposed by the servants at the château really to be the devil. At the opening of the last act he suddenly appears there before the young lady, and she screams, but, recovering and laughing, says: "You are not really the ——?" "Oh dear no!" he replies, "have no connection with him. But these people down here are so frightened and absurd! See this little toy on the table; I open it; here's a little bell. They have a notion that whenever this bell rings I shall appear. Very ignorant, is it not?" "Very, indeed," says she. "Well," says M. Robin, "if you should want me very much to appear, try the bell, if only for a jest. Will you promise?" Yes, she promises, and the play goes on. At last he has righted the baroness completely, and has only to hand her the last document, which proves her marriage and restores her good name. Then he says: "Madame, in the progress of these endeavours I have learnt the happiness of doing good for its own sake. I made a necessary bargain with you; I release you from it. I have done what I undertook to do. I wish you and your amiable daughter all happiness. Adieu! I take my leave." Bows himself out. People on the stage astonished. Audience astonished—incensed. The daughter is going to cry, when she looks at the box on the table, remembers the bell, runs to it and rings it, and he rushes back and takes her to his heart; upon which we all cry with pleasure, and then laugh heartily.
This looks dreadfully long, and perhaps you know it already. If so, I will endeavour to make amends with Flora in future numbers.
Mrs. Dickens and her sister beg to present their remembrances to your Grace, and their congratulations on your recovery. I saw Paxton now and then when you were ill, and always received from him most encouraging accounts. I don't know how heavy he is going to be (I mean in the scale), but I begin to think Daniel Lambert must have been in his family.
Villa des Moulineaux, Boulogne,
Tuesday, July 8th, 1856.
I perfectly agree with you in your appreciation of Katie's poem, and shall be truly delighted to publish it in "Household Words." It shall go into the very next number we make up. We are a little in advance (to enable Wills to get a holiday), but as I remember, the next number made up will be published in three weeks.
We are pained indeed to read your reference to my poor boy. God keep him and his father. I trust he is not conscious of much suffering himself. If that be so, it is, in the midst of the distress, a great comfort.
"Little Dorrit" keeps me pretty busy, as you may suppose. The beginning of No. 10—the first line—now lies upon my desk. It would not be easy to increase upon the pains I take with her anyhow.
We are expecting Stanfield on Thursday, and Peter Cunningham and his wife on Monday. I would we were expecting you! This is as pretty and odd a little French country house as could be found anywhere; and the gardens are most beautiful.
In "Household Words," next week, pray read "The Diary of Anne Rodway" (in two not long parts). It is by Collins, and I think possesses great merit and real pathos.
Being in town the other day, I saw Gye by accident, and told him, when he praised —— to me, that she was a very bad actress. "Well!" said he, "you may say anything, but if anybody else had told me that I should have stared." Nevertheless, I derived an impression from his manner that she had not been a profitable speculation in respect of money. That very same day Stanfield and I dined alone together at the Garrick, and drank your health. We had had a ride by the river before dinner (of course he would go and look at boats), and had been talking of you. It was this day week, by-the-bye.
I know of nothing of public interest that is new in France, except that I am changing my moustache into a beard. We all send our most tender loves to dearest Miss Macready and all the house. The Hammy boy is particularly anxious to have his love sent to "Misr Creedy."
Most affectionately yours.
Villa des Moulineaux, Boulogne, Sunday, July 13th, 1856.
We are all sorry that you are not coming until the middle of next month, but we hope that you will then be able to remain, so that we may all come back together about the 10th of October. I think (recreation allowed, etc.), that the play will take that time to write. The ladies of the dram. pers. are frightfully anxious to get it under way, and to see you locked up in the pavilion; apropos of which noble edifice I have omitted to mention that it is made a more secluded retreat than it used to be, and is greatly improved by the position of the door being changed. It is as snug and as pleasant as possible; and the Genius of Order has made a few little improvements about the house (at the rate of about tenpence apiece), which the Genius of Disorder will, it is hoped, appreciate.
I think I must come over for a small spree, and to fetch you. Suppose I were to come on the 9th or 10th of August to stay three or four days in town, would that do for you? Let me know at the end of this month.
I cannot tell you what a high opinion I have of Anne Rodway. I took "Extracts" out of the title because it conveyed to the many-headed an idea of incompleteness—of something unfinished—and is likely to stall some readers off. I read the first part at the office with strong admiration, and read the second on the railway coming back here, being in town just after you had started on your cruise. My behaviour before my fellow-passengers was weak in the extreme, for I cried as much as you could possibly desire. Apart from the genuine force and beauty of the little narrative, and the admirable personation of the girl's identity and point of view, it is done with an amount of honest pains and devotion to the work which few men have better reason to appreciate than I, and which no man
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