Part 4
It is, I hope, by this time evident, that, whatever her virtues or her defects, Lady Holland was an extraordinarily interesting character. I have quoted from her guests and friends much that was bitter. But a careful search brings out also testimony all the more favorable when we consider the extent of the abuse. Thus Greville admits that “though often capricious and impertinent, she was never out of temper, and bore with good-humor and calmness the indignant and resentful outbreaks which she sometimes provoked in others.” And while asserting that “She was always intensely selfish,” he adds in the next sentence that “To those who were ill and suffering, to whom she could show any personal kindness and attention, among her intimate friends, she never failed to do so.” Sydney Smith writes to her with a tenderness, an obviously genuine affection, which would prove fine qualities in any woman: “I am not always confident of your friendship for me at particular times; but I have great confidence in it from one end of the year to the other: above all, I am confident that I have a great affection for you.” “I have heard five hundred people assert that there is no such agreeable house in Europe as Holland House: why should you be the last person to be convinced of this and the first to make it true?” “I love the Hollands so much that I would go to them in any spot, however innocent, sequestered and rural.” Finally, the most sympathetic, as well as one of the shrewdest judgments, comes from Sir Henry Holland, the physician, who had studied Lady Holland in all her aspects perhaps as carefully as any one. “In my long and intimate knowledge of Lady Holland, I never knew her to desert an old friend, whatever his condition might be. Many things seemingly wilful and incongruous in her might be explained through this happier quality of mind blended with that love of power, which, fostered by various circumstances, pervaded every part of her life.... Her manner of conversation at the dinner-table—sometimes arbitrary and in rude arrest of others, sometimes courteously inviting the subject—furnished a study in itself. Every guest felt her presence, and generally more or less succumbed to it. She was acute in distinguishing between real and false merit, and merciless in her treatment of the latter. Not a woman of wit in words, she had what might well be called consummate wit in all her relations to society. Once only, and that very late in life, she spoke to me of the labor she underwent in maintaining the position thus acquired.”
May we not accept Greville’s dictum that she was a very strange woman, adding that, after all, she played her rôle of a great lady in not unseemly fashion? And perhaps it was with some justice that on her deathbed she spoke—most characteristically—of her life “with considerable satisfaction, asserting that she had done as much good and as little harm as she could during her existence.”
III
MISS AUSTEN
CHRONOLOGY
Jane Austen. Born December 16, 1775. Wrote “Pride and Prejudice,” 1796-1797. “Sense and Sensibility,” published 1811. “Pride and Prejudice,” published 1813. “Mansfield Park,” published 1814. “Emma,” published 1816. Died July 18, 1817. “Northanger Abbey” and “Persuasion,” published 1818.
[Illustration: _Jane Austen_]
III
MISS AUSTEN
Jane Austen lived her brief life in two or three quiet English towns. She had no adventures, no experiences, no great fortunes or misfortunes. She began to do her best writing when she was little more than a girl. She left a few immortal works, surpassed by no others in the painting of the human heart. What sort of woman was she herself? Not very remarkable to look at, it appears. Round, full cheeks—“for the most part, they are foolish that are so,” Cleopatra tells us—bright, hazel eyes, brown curls about her face. No doubt, in every point a lady. But her soul?
At first sight, it seems that she laughed, mocked, at all things, very gently and decorously, but still mocked. “I dearly love a laugh,” says the heroine who surely most resembles her creatress. And again it is said of this same Elizabeth Bennett: “She had a lively, playful disposition which delighted in anything ridiculous.”
Those who love Miss Austen best will recognize, far beyond any testimony of quoted instances, this incessant, pervading spirit of gentle mockery which appears in all her books, courteous, infinitely well-bred, but sometimes very far from amiable.
That she should mock at woman’s education was, perhaps, at the beginning of the nineteenth century, natural enough. But it would be hard to find any one in any century who has mocked at it more cruelly. “Where people wish to attach, they should always be ignorant. To come with a well-informed mind is to come with an inability of administering to the vanity of others, which a sensible person would always wish to avoid. A woman, especially, if she have the misfortune of knowing anything, should conceal it as well as she can.” Which was also the opinion of Lady Mary Wortley Montagu, considered one of the most learned women of her time. Now we have changed all that.
But if you suppose that Miss Austen wishes to contrast with learning the sweets of domesticity, you are far astray indeed. I do not know whether she read La Rochefoucauld. She hardly needed to. In any case, she well supports his dictum that there are comfortable marriages, but no delicious ones. The motive of most she lashes with her whip of silken scorn. “His temper might perhaps be a little soured by finding, like many others of his sex, that through some unaccountable bias in favor of beauty, he was the husband of a very silly woman.” Though she had a sister whom she loved better than anything on earth, the kindest thing she could find to say of two most affectionate sisters was: “Among the merits and the happiness of Elinor and Marianne, let it not be ranked as the least considerable, that, though sisters, and living almost within sight of each other, they could live without disagreement between themselves, or producing coolness between their husbands.”
Nor is she much more enthusiastic about the charms of society. Her heroines do, indeed, love an outing or a ball; but much more stress is laid on untoward accidents that blight enjoyment than on its rapturous completeness. And this is life, as we all know. Only—As for the little distresses of social converse, who has ever depicted them more subtly? “To Elizabeth it appeared, that had her family made an agreement to expose themselves as much as they could during the evening, it would have been impossible for them to play their parts with more spirit, or finer success.”
No one probably will maintain that Miss Austen treats love very seriously. Its common youthful ardors, “what is so often described as arising on a first interview with its object, and even before two words have been exchanged,” she makes matter for derision or dismisses with indifference. Isabella utters a platitude on the subject. “This charming sentiment, recommended as much by sense as novelty, gave Catherine a most pleasing remembrance of all the heroines of her acquaintance.” With the author’s own serious heroines love is an emotion of such reverend profundity that the ladies themselves require years to discover it, and even then it has to be forced upon their notice.
Religion and the deeper concerns of life generally, where they are mentioned at all, fare no better. They are touched with an irony of somewhat dubious effect on the profane, as at the end of Northanger Abbey, where those it may concern are left to wonder “Whether the tendency of this work be altogether to recommend parental tyranny, or reward filial disobedience.” There is no doubt, however, that Miss Austen sincerely honored sacred things. She would have said with her own Elizabeth, “I hope I never ridicule what is wise or good.” She appeared to think she would attain this end by keeping matters of the soul mainly out of her work. But she miscalculated a little. I do not know how one could more discredit religion than by exhibiting it in such representatives as Dr. Grant, Mr. Elton, and Mr. Collins: a glutton, a ninny, and an imbecile. If any reader holds that the prosy sermonizing of Edward Bertram helps the divine end of the matter, I disagree totally.
And as she mocked all things in human life, so she had a peculiar fancy for mocking the departure out of it. We know much mockable is there; but it seems odd matter for a young girl to deal with. “It was felt as such things must be felt. Everybody had a degree of gravity and sorrow; tenderness toward the departed, solicitude for the surviving friends; and, in a reasonable time, curiosity to know where she would be buried. Goldsmith tells us that when lovely woman stoops to folly, she has nothing to do but to die; and when she stoops to be disagreeable, it is equally to be recommended as a clearer of ill-fame.”
Obviously Miss Austen’s mocking was not all sweet, sunny, natural gaiety. It had too much ill-nature in it. This shows, I think, in her fundamental conception of character. Read over her list of _dramatis personæ_ and see how many are attractive or agreeable. It is not that she presents set types of evil or folly. Far from it. Her people are all human, vividly human, walking figures of flesh and blood humanity. But like all true human beings, they have good and evil both, and her vision usually turns towards the evil, the mildly evil, the foolish and ridiculous. This perversion is slight, but constant, and its very slightness makes it more true—and more depressing. What doubles the hideousness of the hideous scene between Mr. and Mrs. Dashwood (“Sense and Sensibility,” chapter II) is its perfect humanity and the possibility that it might have been you and I.
She will brand a whole company with a touch: they “almost all labored under one or other of these disqualifications for being agreeable—want of sense, either natural or improved—want of elegance—want of spirits—or want of temper.” As any company might, to be sure—if you took it so. She will brand a whole sex. Mr. Palmer had “no traits at all unusual in his sex and time of life. He was nice in his eating, uncertain in his hours; fond of his child, though affecting to slight it; and idled away the morning at billiards, which ought to have been devoted to business.”
Above all, she is severe upon women past middle life. Few indeed has she drawn that are even tolerable. Yet I have known some who were charming. With what infinite, subtle, loving art are Mrs. Jennings and Mrs. Norris made odious! And the best illustration of all for Miss Austen’s methods is Miss Bates. Her creatress starts with a heroic determination to be amiable for once. God has given this poor old specimen excellent qualities. For heaven’s sake, let us dwell upon them and leave the defects in shadow. “She was a happy woman, and a woman whom no one named without good will. It was her own universal good will and contented temper which worked such wonders. She loved everybody, was interested in everybody’s happiness, quick-sighted to everybody’s merits.” Yet the turning of a page makes Miss Bates ridiculous, and the turning of more makes her almost as tedious to us as the author evidently found her. In the end she drives even Emma to open insult, which Emma speedily regrets, and would probably as speedily renew.
But, it will be urged, I am making the old mistake of interpreting an author from her writings, of transferring to her the sentiments of her characters, or, at any rate, her merely formal literary expression.
Very well, let us turn to Miss Austen’s letters, and see what we find there. To begin with, they are charming letters, full of life, spirit, and vivacity, quite as charming as her novels. Her editors and biographers seem to feel it necessary to apologize for them. Why? It is true, they contain no reference to topics of the day. She might never have heard of Napoleon, or known that America was discovered. But, as letters, they are none the worse for that. Also, they are not formally literary, have no set pieces, or elaborate disquisitions. There is hardly a general thought in the whole of them. Who cares? They are literary as being the work of one of the most exquisite masters of expression. Indeed, an occasional odd glimpse of her constant literary preoccupation slips out. “Benjamin Portal is here. How charming that is! I do not know exactly why, but the phrase followed so naturally that I could not help putting it down.” And again: “Your letter is come. It came, indeed, twelve lines ago, but I could not stop to acknowledge it before, and I am glad it did not arrive till I had completed my first sentence, because the sentence had been made ever since yesterday, and I think forms a very good beginning.” But, in general, they are merely the swiftest, lightest chronicle of little daily happenings, made eternal by a sense of fun as keen as Lamb’s. Is there in Lamb any bit of happier nonsense than the sketch of Mr. Haden? “You seem to be under a mistake as to Mr. H. You call him an apothecary. He is no apothecary; he has never been an apothecary; there is not an apothecary in this neighbourhood.... He is a Haden, nothing but a Haden, a sort of wonderful nondescript creature on two legs, something between a man and an angel, but without the least spice of an apothecary. He is, perhaps, the only person _not_ an apothecary hereabouts. He has never sung to us. He will not sing without a pianoforte accompaniment.”
Yet, minute as they are, and natural as they are, Miss Austen’s letters tell us little about herself, that is, the inmost self that we wish to get at. Those we have were almost all written to her nearest and dearest sister, Cassandra. To Cassandra, if to any one, she must have opened her soul. But, if so, she did it by lip and not by letter. It is rare indeed that she goes so far as to say, “I am sick of myself and my bad pens.” To be sure, such concealment of personal feeling and emotion is a most significant trait of character. The gleam and glitter of those sparkling pages with all their implication and suggestion recalls the charming speech of Birnheim to Fanny Lear, “_Ce qui fait le charme de votre conversation, ce n’est pas seulement ce que vous dites; c’est encore et surtout ce que vous ne dites pas._” But when we try to get any definite picture of the writer, she eludes us like a kind of elfin spirit, in perpetual glimmering, mazy dance, refusing to stand still.
At any rate, mockery is the prominent feature in the letters, as in the novels; and in letters as in novels, the mockery, though sometimes sunny and sweet, is too often unkindly and leaves a sting. Miss Austen herself once at least recognizes this. She describes a certain person as “the sort of woman who gives me the idea of being determined never to be well and who likes her spasms and nervousness, and the consequence they give her, better than anything else. This is an ill-natured statement to send all over the Baltic.” Doubtless, her modesty prevented her from thinking of the ill-natured statements she was to send for ages all over the world.
But let us see, again, with more minuteness how completely she spins this gauze web of satire over every phase of life. Is learning in question? “I think I may boast myself to be, with all possible vanity, the most unlearned and uninformed female who ever dared to be an authoress.” Or is she discussing family relations? “The possessor of one of the finest estates in England and of more worthless nephews and nieces than any other private man in the United Kingdom.” A prospective marriage is summarily disposed of. Mr. Blackall is “a piece of perfection—noisy perfection.... I could wish Miss Lewis to be of a silent turn and rather ignorant, but naturally intelligent and wishing to learn, fond of cold veal pies, green tea in the afternoon, and a green window-blind at night.” Mrs. Austen is disturbed by receiving an unamiable letter from a relative. Miss Austen is not. “The discontentedness of it shocked and surprised her—but _I_ see nothing in it out of nature.”
As to society she resembles her heroines in liking balls, and, like her heroines, she finds many drawbacks in them. “Our ball was chiefly made up of Jervoises and Terrys, the former of whom were apt to be vulgar, the latter to be noisy.... I had a very pleasant evening, however, though you will probably find out that there was no particular reason for it; but I do not think it worth while to wait for enjoyment until there is some real opportunity for it.” On beauty she comments freely. “There were very few beauties, and such as there were were not very handsome. Miss Iremonger did not look well, and Mrs. Blount was the only one much admired. She appeared exactly as she did in September, with the same broad face, diamond bandeau, white shoes, pink husband, and fat neck.” As in this passage, she often refers to dress and too often unkindly. “Mrs. Powlett was at once expensively and nakedly dressed; we have had the satisfaction of estimating her lace and her muslins; and she said too little to afford us much other amusement.” In regard to one special company she seems to express naïvely her general attitude. “I cannot anyhow continue to find people agreeable.”
More intimate social relations and the sacred name of friendship are treated at least as lightly. “The neighborhood have quite recovered the death of Mrs. Rider; so much so, that I think they are rather rejoiced at it now; her things were so very dear! And Mrs. Rogers is to be all that is desirable. Not even death itself can fix the friendships of the world.”
And love? Persons who mock at nothing else mock at that. What should we expect, then, from the genius of mockery? Whether she rallied her young men to their faces, I do not know. Assuredly she rallied them behind their backs. One evening she expects an offer, but is determined to refuse, unless he promises to give away his white coat. The next she makes over to a friend all her love interest, even “the kiss which C. Powlett wanted to give me,” everything except Tom Lefroy, “for whom I don’t care sixpence.” And when, writing to her niece in later years, she sketches the man she might have loved, she ends by turning all into laughter. “There are such beings in the world, perhaps one in a thousand, as the creature you and I should think perfection, where grace and spirit are united to worth, where the manners are equal to the heart and understanding, but such a person may not come in your way, or, if he does, he may not be the eldest son of a man of fortune, the near relation of your particular friend and belonging to your own county.”
Also, as in the novels, she is perpetually laughing at religion and virtue, that is, of course, at those elements in religion and virtue which are undeniably laughable. Morals and immorals she can treat lightly in individual cases. “The little flaw of having a mistress now living with him at Ashdown Park seems to be the only unpleasing circumstance about him.” In their general phases she can jumble them happily with physical disorders. “What is become of all the shyness in the world? Moral as well as natural diseases disappear in the progress of time, and new ones take their place. Shyness and the sweating sickness have given way to confidence and paralytic complaints.” On death she is inexhaustible. One would think she found it the most humorous thing in life—as perhaps it is. With what amiable, kid-gloved atrocity does she bury Mrs. Holder. “Only think of Mrs. Holder’s being dead! Poor woman, she has done the only thing in the world she could possibly do to make one cease to abuse her.” Apparently, even this supreme effort of Mrs. Holder’s was not successful, in fact embalmed her in spiced abuse forever. Other interments are quite as sympathetic as hers.
Most curious of all is Miss Austen on the death of a near relative, the trim decorum, the correct restraint, the evident fear of being either over-conventional or under-feeling. So in the first letter; but two days later she rebounds and trifles with her mourning. “_One_ Miss Baker makes my gown and the other my bonnet, which is to be silk covered with crape.” Well could she say of herself, “I can lament in one sentence and laugh in the next.” Only she immensely mistook the proportion.
One bare strong phrase takes us right to the root of all the mocking and perversity. “Pictures of perfection, as you know, make me sick and wicked.”
It is in this spirit that she makes fun even of her own art, novel writing, will not take it seriously, “the art of keeping lovers apart in five volumes,” will not take its professors seriously. She mocks at their machinery, their heroines, their landscape, their morals, and their language, “novel slang,” she calls it, “thorough novel slang, and so old that I daresay Adam met with it in the first novel he opened.” Whatever pains she may have taken with her own work, she does not mention them, unless ironically, when some one praises her. “I am looking about for a sentiment, an illustration, or a metaphor in every corner of the room.” If money and profit are suggested as possible objects, she laughs at them. Fame is all she is thinking of. “I write only for fame and without any view to pecuniary emolument.” But when it is a question of glory, she laughs at that, and toils instead for pounds and shillings. “Though I like praise as well as anybody, I like what Edward calls _Pewter_, too.” Yet at the getting of money, and at the keeping of it, and at the spending of it, and at the lack of it, still she laughs: “They will not come often, I dare say. They live in a handsome style and are rich, and she seemed to like to be rich, and we gave her to understand that we were far from being so; she will soon feel, therefore, that we are not worth her acquaintance.”
One subject only is too sacred for mocking—the British navy. And even that seems sacred chiefly in connection with the Austens; for Sir Walter Elliot is allowed to say that all officers should be killed off after forty because of their weatherbeaten complexion. Miss Austen herself, however, appears to have been possessed, like Louisa Musgrove, with “a fine naval fervour,” which blossoms in Captain Wentworth’s rapturous praise of his calling and fruits in the charming conclusion of “Persuasion”: “She gloried in being a sailor’s wife, but she must pay the tax of quick alarm for belonging to that profession which is, if possible, more distinguished in the domestic virtues than in its national importance.” A sentiment which would have delighted Sir Joseph Porter, K.C.B., though it would have obliged Nelson to turn away his face.