A Book of Sibyls Part 11

Pour briser leurs ma.s.ses profondes, Qui conduit nos drapeaux sanglants, C'est la Liberte de deux mondes, C'est Lafayette en cheveux blancs.

Mrs. Opie was full of enthusiasm for n.o.ble Lafayette surveying his court of turbulent intrigue and s.h.i.+fting politics; for Cuvier in his own realm, among more tranquil laws, less mutable decrees. She should have been born a Frenchwoman, to play a real and brilliant part among all these scenes and people, instead of only looking on. Something stirred in her veins too eager and bubbling for an Englishwoman's scant share of life and outward events. No wonder that her friends at Norwich were anxious, and urged her to return. They heard of her living in the midst of excitement, of admiration, and with persons of a different religion and way of thinking to themselves. Their warning admonitions carried their weight; that little Quaker bonnet which she took so much care of was a talisman, drawing the most friendly of Friends away from the place of her adoption. But she came back unchanged to her home, to her quiet a.s.sociations; she had lost none of her spirits, none, of her cheerful interest in her natural surroundings. As life burnt on her kind soul seemed to s.h.i.+ne more and more brightly. Every one came to see her, to be cheered and warmed by her genial spirit. She loved flowers, of which her room was full. She had a sort of pa.s.sion for prisms, says her biographer; she had several set in a frame and mounted like a screen, and the colour flew about the little room. She kept up a great correspondence; she was never tired of writing, though the letters on other people's business were apt to prove a serious burden at times.

But she lives on only to be of use. 'Take care of indulging in little selfishnesses,' she writes in her diary; 'learn to consider others in trifles: the mind so disciplined will find it easier to fulfil the greater duties, and the character will not exhibit that trying inconsistency which one sees in great and often in pious persons.' Her health fails, but not her courage. She goes up to London for the last time to her cousin's house. She is interested in all the people she meets, in their wants and necessities, in the events of the time. She returns home, contented with all; with the house which she feels so 'desirable to die in,' with her window through which she can view the woods and rising ground of Thorpe. 'My prisms to-day are quite in their glory,' she writes; 'the atmosphere must be very clear, for the radiance is brighter than ever I saw it before;' and then she wonders whether the mansions in heaven will be draped in such brightness; and so to the last the gentle, bright, _rainbow_ lady remained surrounded by kind and smiling faces, by pictures, by flowers, and with the light of her favourite prismatic colours s.h.i.+ning round about the couch on which she lay.

_JANE AUSTEN._

1775-1817.

'A mesure qu'on a plus d'esprit on trouve qu'il y a plus d'hommes originaux. Les gens du commun ne trouvent pas de difference entre les hommes.'--PASCAL.

'I did not know that you were a studier of character,' says Bingley to Elizabeth. 'It must be an amusing study.'

'Yes, but intricate characters are the most amusing. They have at least that advantage.'

'The country,' said Darcy, 'can in general supply but few subjects for such a study. In a country neighbourhood you move in a very confined and unvarying society.'

'But people themselves alter so much,' Elizabeth answers, 'that there is something new to be observed in them for ever.'

'Yes, indeed,' cried Mrs. Bennet, offended by Darcy's manner of mentioning a country neighbourhood; 'I a.s.sure you that we have quite as much of _that_ going on in the country as in town.'

'Everybody was surprised, and Darcy, after looking at her for a moment, turned silently away. Mrs. Bennet, who fancied she had gained a complete victory over him, continued her triumph.'

These people belong to a whole world of familiar acquaintances, who are, notwithstanding their old-fas.h.i.+oned dresses and quaint expressions, more alive to us than a great many of the people among whom we live. We know so much more about them to begin with. Notwithstanding a certain reticence and self-control which seems to belong to their age, and with all their quaint dresses, and ceremonies, and manners, the ladies and gentlemen in 'Pride and Prejudice' and its companion novels seem like living people out of our own acquaintance transported bodily into a bygone age, represented in the half-dozen books that contain Jane Austen's works. Dear books! bright, sparkling with wit and animation, in which the homely heroines charm, the dull hours fly, and the very bores are enchanting.

Could we but study our own bores as Miss Austen must have studied hers in her country village, what a delightful world this might be!--a world of Norris's economical great walkers, with dining-room tables to dispose of; of Lady Bertrams on sofas, with their placid 'Do not act anything improper, my dears; Sir Thomas would not like it;' of Bennets, G.o.ddards, Bates's; of Mr. Collins's; of Rushbrooks, with two-and-forty speeches apiece--a world of Mrs. Eltons.... Inimitable woman! she must be alive at this very moment, if we but knew where to find her, her basket on her arm, her nods and all-importance, with Maple Grove and the Sucklings in the background. She would be much excited were she aware how she is esteemed by a late Chancellor of the Exchequer, who is well acquainted with Maple Grove and Selina too. It might console her for Mr. Knightly's shabby marriage.

All these people nearly start out of the pages, so natural and unaffected are they, and yet they never lived except in the imagination of one lady with bright eyes, who sat down some seventy years ago to an old mahogany desk in a quiet country parlour, and evoked them for us.

One seems to see the picture of the unknown friend who has charmed us so long--charmed away dull hours, created neighbours and companions for us in lonely places, conferring happiness and harmless mirth upon generations to come. One can picture her as she sits erect, with her long and graceful figure, her full round face, her bright eyes cast down,--Jane Austen, 'the woman of whom England is justly proud'--whose method generous Macaulay has placed near Shakespeare. She is writing in secret, putting away her work when visitors come in, unconscious, modest, hidden at home in heart, as she was in her sweet and womanly life, with the wisdom of the serpent indeed and the harmlessness of a dove.

Some one said just now that many people seem to be so proud of seeing a joke at all, that they impress it upon you until you are perfectly wearied by it. Jane Austen was not of these; her humour flows gentle and spontaneous; it is no elaborate mechanism nor artificial fountain, but a bright natural stream, rippling and trickling over every stone and sparkling in the suns.h.i.+ne. We should be surprised now-a-days to hear a young lady announce herself as a studier of character. From her quiet home in the country lane this one reads to us a real page from the absorbing pathetic humorous book of human nature--a book that we can most of us understand when it is translated into plain English; but of which the quaint and illegible characters are often difficult to decipher for ourselves. It is a study which, with all respect for Darcy's opinion, must require something of country-like calm and concentration and freedom of mind. It is difficult, for instance, for a too impulsive student not to attribute something of his own moods to his specimens instead of dispa.s.sionately contemplating them from a critical distance.

Besides the natural fun and wit and life of her characters, 'all perfectly discriminated,' as Macaulay says, Jane Austen has the gift of telling a story in a way that has never been surpa.s.sed. She rules her places, times, characters, and marshals them with unerring precision.

In her special gift for organisation she seems almost unequalled. Her picnics are models for all future and past picnics; her combinations of feelings, of conversation, of gentlemen and ladies, are so natural and lifelike that reading to criticise is impossible to some of us--the scene carries us away, and we forget to look for the art by which it is recorded. Her machinery is simple but complete; events group themselves so vividly and naturally in her mind that, in describing imaginary scenes, we seem not only to read them, but to live them, to see the people coming and going: the gentlemen courteous and in top-boots, the ladies demure and piquant; we can almost hear them talking to one another. No retrospects; no abrupt flights; as in real life days and events follow one another. Last Tuesday does not suddenly start into existence all out of place; nor does 1790 appear upon the scene when we are well on in '21. Countries and continents do not fly from hero to hero, nor do long and divergent adventures happen to unimportant members of the company. With Jane Austen days, hours, minutes succeed each other like clockwork, one central figure is always present on the scene, that figure is always prepared for company. Miss Edwards's curl-papers are almost the only approach to dishabille in her stories. There are postchaises in readiness to convey the characters from Bath or Lyme to Uppercross, to Fullerton, from Gracechurch Street to Meryton, as their business takes them. Mr. Knightly rides from Brunswick Square to Hartfield, by a road that Miss Austen herself must have travelled in the curricle with her brother, driving to London on a summer's day. It was a wet ride for Mr. Knightly, followed by that never-to-be-forgotten afternoon in the shrubbery, when the wind had changed into a softer quarter, the clouds were carried off, and Emma, walking in the suns.h.i.+ne, with spirits freshened and thoughts a little relieved, and thinking of Mr. Knightly as sixteen miles away, meets him at the garden door; and everybody, I think, must be the happier, for the happiness and certainty that one half-hour gave to Emma and her 'indifferent' lover.

There is a little extract from one of Miss Austen's letters to a niece, which shows that all this successful organisation was not brought about by chance alone, but came from careful workmans.h.i.+p.

'Your aunt C.,' she says, 'does not like desultory novels, and is rather fearful that yours will be too much so--that there will be too frequent a change from one set of people to another, and that circ.u.mstances will be sometimes introduced of apparent consequence, which will lead to nothing. It will not be so great an objection to me. I allow much more lat.i.tude than she does, and think nature and spirit cover many sins of a wandering story....'

But, though the sins of a wandering story may be covered, the virtues of a well-told one make themselves felt unconsciously, and without an effort. Some books and people are delightful, we can scarce tell why; they are not so clever as others that weary and fatigue us. It is a certain effort to read a story, however touching, that is disconnected and badly related. It is like an ill-drawn picture, of which the colouring is good. Jane Austen possessed both gifts of colour and of drawing. She could see human nature as it was; with near-sighted eyes, it is true; but having seen, she could combine her picture by her art, and colour it from life. How delightful the people are who play at cards, and pay their addresses to one another, and sup, and discuss each other's affairs! Take Mr. Bennet's reception of his sons-in-law. Take Sir Walter Elliot compa.s.sionating the navy and Admiral Baldwin--'nine grey hairs of a side, and nothing but a dab of powder at top--a wretched example of what a seafaring life can do, for men who are exposed to every climate and weather until they are not fit to be seen. It is a pity they are not knocked on the head at once, before they reach Admiral Baldwin's age....' Or shall we quote the scene of f.a.n.n.y Price's return when she comes to visit her family at Portsmouth; in all daughterly agitation and excitement, and the brother's and father's and sister's reception of her.... 'A stare or two at f.a.n.n.y was all the voluntary notice that her brother bestowed, but he made no objection to her kissing him, though still entirely engaged in detailing further particulars of the "Thrush's" going out of harbour, in which he had a strong right of interest, being about to commence his career of seamans.h.i.+p in her at this very time. After the mother and daughter have received her, f.a.n.n.y's seafaring father comes in, and does not notice her at first in his excitement. "Captain Walsh thinks you will certainly have a cruise to the westward with the 'Elephant' by ---- I wish you may. But old Scholey was saying just now that he thought you would be sent first to the 'Texel.' Well, well, we are ready whatever happens. But by ---- you lost a fine sight by not being here in the morning to see the 'Thrush' go out of harbour. I would not have been out of the way for a thousand pounds.

Old Scholey ran in at breakfast time to say she had slipped her moorings and was coming out. I jumped up and made but two steps to the platform.

If ever there was a perfect beauty afloat she is one; and there she lies at Spithead, and anybody in England would take her for an eight-and-twenty. I was upon the platform for two hours this afternoon looking at her. She lies close to the 'Endymion,' between her and the 'Cleopatra,' just to the eastward of the sheer hulk."'

'"Ha!" cried William, "_that's_ just where I should have put her myself.

It's the best berth in Spithead. But here is my sister, sir; here is f.a.n.n.y, turning and leading her forward--it is so dark you do not see her."'

'With an acknowledgment that he had quite forgot her, Mr. Price now received his daughter, and having given her a cordial hug and observed that she was grown into a woman and he supposed would be wanting a husband soon, seemed very much inclined to forget her again.'

How admirably it is all told! how we hear them all talking!

From her own brothers Jane Austen learned her accurate knowledge of s.h.i.+ps and seafaring things, from her own observation she must have gathered her delightful droll science of men and women and their ways and various destinations. Who will not recognise Mrs. Norris in that master-touch by which she removes the curtain to save Sir Thomas's feelings, that curtain which had been prepared for the private theatricals he so greatly disapproved of? Mrs. Norris thoughtfully carries it off to her cottage, where she happened to be particularly in want of green baize.

II.

The charm of friends of pen-and-ink is their unchangeableness. We go to them when we want them. We know where to seek them; we know what to expect from them. They are never preoccupied; they are always 'at home;'

they never turn their backs nor walk away as people do in real life, nor let their houses and leave the neighbourhood, and disappear for weeks together; they are never taken up with strange people, nor suddenly absorbed into some more genteel society, or by some nearer fancy. Even the most volatile among them is to be counted upon. We may have neglected them, and yet when we meet again there are the familiar old friends, and we seem to find our own old selves again in their company.

For us time has, perhaps, pa.s.sed away; feelings have swept by, leaving interests and recollections in their place; but at all ages there must be days that belong to our youth, hours that will recur so long as men forbear and women remember, and life itself exists. Perhaps the most fas.h.i.+onable marriage on the _tapis_ no longer excites us very much, but the sentiment of an Emma or an Anne Elliot comes home to some of us as vividly as ever. It is something to have such old friends who are so young. An Emma, blooming, without a wrinkle or a grey hair, after twenty years' acquaintance; an Elizabeth Bennet, sprightly and charming ever....

In the 'Roundabout Papers' there is a pa.s.sage about the pen-and-ink friends my father loved:--

'They used to call the good Sir Walter the "Wizard of the North." What if some writer should appear who can write so _enchantingly_ that he shall be able to call into actual life the people whom he invents? What if Mignon, and Margaret, and Goetz von Berlichingen are alive now (though I don't say they are visible), and Dugald Dalgetty and Ivanhoe were to step in at that open window by the little garden yonder? Suppose Uncas and our n.o.ble old Leather Stocking were to glide in silent?

Suppose Athos, Porthos, and Aramis should enter, with a noiseless swagger, curling their moustaches? And dearest Amelia Booth, on Uncle Toby's arm; and t.i.ttlebat t.i.tmouse with his hair dyed green; and all the Crummles company of comedians, with the Gil Blas troop; and Sir Roger de Coverley; and the greatest of all crazy gentlemen, the Knight of La Mancha, with his blessed squire? I say to you, I look rather wistfully towards the window, musing upon these people. Were any of them to enter, I think I should not be very much frightened....'

Are not such friends as these, and others unnamed here, but who will come unannounced to join the goodly company, creations that, like some people, do actually make part of our existence, and make us the better for theirs? To express some vague feelings is to stamp them. Have we any one of us a friend in a Knight of La Mancha, a Colonel Newcome, a Sir Roger de Coverley? They live for us even though they may have never lived. They are, and do actually make part of our lives, one of the best and n.o.blest parts. To love them is like a direct communication with the great and generous minds that conceived them.

It is difficult, reading the novels of succeeding generations, to determine how much each book reflects of the time in which it was written; how much of its character depends upon the mind and the mood of the writer. The greatest minds, the most original, have the least stamp of the age, the most of that dominant natural reality which belongs to all great minds. We know how a landscape changes as the day goes on, and how the scene brightens and gains in beauty as the shadows begin to lengthen. The clearest eyes must see by the light of their own hour.

Jane Austen's literary hour must have been a midday hour: bright, unsuggestive, with objects standing clear, without much shadow or elaborate artistic effect. Our own age is more essentially an age of strained emotion, little remains to us of starch, or powder, or courtly reserve. What we have lost in calm, in happiness, in tranquillity, we have gained in emphasis. Our danger is now, not of expressing and feeling too little, but of expressing more than we feel.

The living writers of to-day lead us into distant realms and worlds undreamt of in the placid and easily contented gigot age. Our characters travel by rail and are no longer confined to postchaises. There is certainly a wide difference between Miss Austen's heroines and, let us say, a Maggie Tulliver. One would be curious to know whether, between the human beings who read Jane Austen's books to-day and those who read them fifty years ago, there is as great a contrast. One reason may be, perhaps, that characters in novels are certainly more intimate with us and on less ceremonious terms than in Jane Austen's days, when heroines never gave up a certain gentle self-respect and humour and hardness of heart in which some modern types are a little wanting. Whatever happens they could for the most part speak of quietly and without bitterness.

Love with them does not mean a pa.s.sion so much as an interest, deep, silent, not quite incompatible with a secondary flirtation. Marianne Dashwood's tears are evidently meant to be dried. Jane Bennet smiles, sighs and makes excuses for Bingley's neglect. Emma pa.s.ses one disagreeable morning making up her mind to the unnatural alliance between Mr. Knightly and Harriet Smith. It was the spirit of the age, and, perhaps, one not to be unenvied. It was not that Jane Austen herself was incapable of understanding a deeper feeling. In the last written page of her last written book, there is an expression of the deepest and truest experience. Annie Elliot's talk with Captain Benfield is the touching utterance of a good woman's feelings. They are speaking of men and of women's affections. 'You are always labouring and toiling,' she says, 'exposed to every risk and hards.h.i.+p. Your home, country, friends, all united; neither time nor life to be called your own. It would be too hard, indeed (with a faltering voice), if a woman's feelings were to be added to all this.'

Further on she says, eagerly: 'I hope I do justice to all that is felt by you, and by those who resemble you. G.o.d forbid that I should undervalue the warm and faithful feelings of any of my fellow-creatures.

I should deserve utter contempt if I dared to suppose that true attachment and constancy were known only by woman. No! I believe you capable of everything good and great in your married lives. I believe you equal to every important exertion, and to every domestic forbearance so long as--if I may be allowed the expression--so long as you have an object; I mean while the woman you love lives and lives for you. _All the privilege I claim for my own s.e.x (it is not a very enviable one, you need not court it) is that of loving longest when existence or when hope is gone._'

She could not immediately have uttered another sentence--her heart was too full, her breath too much oppressed.

Dear Anne Elliot!--sweet, impulsive, womanly, tender-hearted--one can almost hear her voice, pleading the cause of all true women. In those days when, perhaps, people's nerves were stronger than they are now, sentiment may have existed in a less degree, or have been more ruled by judgment, it may have been calmer and more matter-of-fact; and yet Jane Austen, at the very end of her life, wrote thus. Her words seem to ring in our ears after they have been spoken. Anne Elliot must have been Jane Austen herself, speaking for the last time. There is something so true, so womanly about her, that it is impossible not to love her most of all.

She is the bright-eyed heroine of the earlier novels, matured, softened, cultivated, to whom fidelity has brought only greater depth and sweetness instead of bitterness and pain.

What a difficult thing it would be to sit down and try to enumerate the different influences by which our lives have been affected--influences of other lives, of art, of nature, of place and circ.u.mstance,--of beautiful sights pa.s.sing before our eyes, or painful ones: seasons following in their course--hills rising on our horizons--scenes of ruin and desolation--crowded thoroughfares--sounds in our ears, jarring or harmonious--the voices of friends, calling, warning, encouraging--of preachers preaching--of people in the street below, complaining, and asking our pity! What long processions of human beings are pa.s.sing before us! What trains of thought go sweeping through our brains! Man seems a strange and ill-kept record of many and bewildering experiences.

Looking at oneself--not as oneself, but as an abstract human being--one is lost in wonder at the vast complexities which have been brought to bear upon it; lost in wonder, and in disappointment perhaps, at the discordant result of so great a harmony. Only we know that the whole diapason is beyond our grasp: one man cannot hear the note of the gra.s.shoppers, another is deaf when the cannon sounds. Waiting among these many echoes and mysteries of every kind, and light and darkness, and life and death, we seize a note or two of the great symphony, and try to sing; and because these notes happen to jar, we think all is discordant hopelessness. Then come pressing onward in the crowd of life, voices with some of the notes that are wanting to our own part--voices tuned to the same key as our own, or to an accordant one; making harmony for us as they pa.s.s us by. Perhaps this is in life the happiest of all experience, and to few of us there exists any more complete ideal.

And so now and then in our lives, when we learn to love a sweet and n.o.ble character, we all feel happier and better for the goodness and charity which is not ours, and yet which seems to belong to us while we are near it. Just as some people and states of mind affect us uncomfortably, so we seem to be true to ourselves with a truthful person, generous-minded with a generous nature; life seems less disappointing and self-seeking when we think of the just and sweet and unselfish spirits, moving untroubled among dinning and distracting influences. These are our friends in the best and n.o.blest sense. We are the happier for their existence,--it is so much gain to us. They may have lived at some distant time, we may never have met face to face, or we may have known them and been blessed by their love; but their light s.h.i.+nes from afar, their life is for us and with us in its generous example; their song is for our ears, and we hear it and love it still, though the singer may be lying dead.

III.

A little book, written by one of Jane Austen's nephews, tells with a touching directness and simplicity the story of this good and gifted woman, whose name has long been a household word among us, but of whose history nothing was known until this little volume appeared. It is but the story of a country lady, of quiet days following quiet days of seasons in their course of common events; and yet the history is deeply interesting to those who loved the writer of whom it is written; and as we turn from the story of Jane Austen's life to her books again, we feel more than ever that she, too, was one of those true friends who belong to us inalienably--simple, wise, contented, living in others, one of those whom we seem to have a right to love. Such people belong to all humankind by the very right of their wide and generous sympathies, of their gentle wisdom and loveableness. Jane Austen's life, as it is told by Mr. Austen Legh, is very touching, sweet, and peaceful. It is a country landscape, where the cattle are grazing, the boughs of the great elm-tree rocking in the wind: sometimes, as we read, they come falling with a crash into the sweep; birds are flying about the old house, homely in its simple rule. The rafters cross the whitewashed ceilings, the beams project into the room below. We can see it all: the parlour with the horsehair sofa, the scant, quaint furniture, the old-fas.h.i.+oned garden outside, with its flowers and vegetables combined, and along the south side of the garden the green terrace sloping away.

There is a pretty description of the sisters' devotion to one another (when Ca.s.sandra went to school little Jane accompanied her, the sisters could not be parted), of the family party, of the old place, 'where there are hedgerows winding, with green shady footpaths within the copse; where the earliest primroses and hyacinths are found.' There is the wood-walk, with its rustic seats, leading to the meadows; the church-walk leading to the church, 'which is far from the hum of the village, and within sight of no habitation, except a glimpse of the grey manor-house through its circling screen of sycamores. Sweet violets, both purple and white, grow in abundance beneath its south wall. Large elms protrude their rough branches, old hawthorns shed their blossoms over the graves, and the hollow yew-tree must be at least coeval with the church.'

One may read the account of Catherine Morland's home with new interest, from the hint which is given of its likeness to the old house at Steventon, where dwelt the unknown friend whose voice we seem to hear at last, and whose face we seem to recognise, her bright eyes and brown curly hair, her quick and graceful figure. One can picture the children who are playing at the door of the old parsonage, and calling for Aunt Jane. One can imagine her pretty ways with them, her sympathy for the active, their games and imaginations. There is Ca.s.sandra. She is older than her sister, more critical, more beautiful, more reserved. There is the mother of the family, with her keen wit and clear mind; the handsome father--'the handsome proctor,' as he was called; the five brothers, driving up the lane. Tranquil summer pa.s.ses by, the winter days go by; the young lady still sits writing at the old mahogany desk, and smiling, perhaps, at her own fancies, and hiding them away with her papers at the sound of coming steps. Now, the modest papers, printed and reprinted, lie in every hand, the fancies disport themselves at their will in the wisest brains and the most foolish.