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heroine.txt
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The Project Gutenberg eBook, The Heroine, by Eaton Stannard Barrett, et al
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Heroine
Author: Eaton Stannard Barrett
Release Date: June 30, 2013 [eBook #43065]
Language: English
***START OF THE PROJECT GUTENBERG EBOOK THE HEROINE***
THE HEROINE
by
EATON STANNARD BARRETT
With an Introduction by Walter Raleigh
London
Henry Frowde
1909
Oxford: Horace Hart
Printer to the University
INTRODUCTION
'In Glamorganshire, of a rapid decline, occasioned by the bursting of a
blood-vessel, Eaton Stannard Barrett, esq., a native of Ireland, and a
student of the Middle Temple. He published "All the Talents", a Poem,
8vo. 1817.--"The Comet", a mock newspaper, 8vo. 1803.--A very pleasing
poem intituled "Woman", 8vo. 1810.--"The Heroine, or Adventures of
Cherubina", 3 vols. 12mo, 2d. edit. 1814. This volume is said to abound
in wit and humour.'
Very little can now be added to this obituary notice, which appeared
in the __ for April, 1820. The young Irishman whose death it records
was born at Cork in 1786, received his education chiefly in London,
addicted himself to the law, and was early diverted into the
profession of letters, which he practised with great energy and
versatility. Besides the works mentioned above, he wrote a serio-comic
romance called _The Rising Sun_, and a farcical comedy, full of noise
and bustle, called _My Wife, What Wife?_ The choice of this last
phrase (sacred, if any words in poetry are sacred) for the title of a
rollicking farce indicates a certain bluntness of sensibility in the
author. He was young, and fell head over ears in love with cleverness;
he was a law-student, and took to political satire as a duck takes to
the rain; he was an Irishman, and found himself the master of a happy
Irish wit, clean, quick, and dainty, but no ways searching or
profound. At the back of all his satire there lies a simple social
creed, which he accepts from the middle-class code of his own time,
and does not question. The two of his works which achieved something
like fame, _Woman, a Poem_, and _The Heroine_, here reprinted, set
forth that creed, describing the ideal heroine in verse, and warning
her, in prose, against the extravagances that so easily beset her. The
mode in female character has somewhat changed since George was king,
and the pensive coyness set up as a model in the poem seems to a
modern reader almost as affected as the vagaries described in the
novel. Yet the poem has all the interest and brilliancy of an old
fashion-plate. Here is woman as she wished to be in the days of the
Regency, or perhaps as man wished her to be, for it is impossible to
say which began it. Both gloried in the contrast of their habits. If
man, in that age of the prize-ring and the press-gang, was
pre-eminently a drinking, swearing, fighting animal, his indelicacy
was redeemed by the shrinking graces of his mate.
For woman is not undevelopt man,
But diverse:
as the poet of the later nineteenth century sings. But Tennyson was
anticipated in this discovery by Mr. Barrett:
Yes, heaven a contrast not unmeet, designed
Between the bearded and the blushing kind.
Those who often see the bearded kind clad in overcoats, carrying
umbrellas, and timorous of social greetings, may have some difficulty
in recognizing the essential truth of the following lines, which
describe man in his grandeur, as his blushing consort loves to think of
him:
Man, from those moments, when his infant age
Cried for the moon, ambitious aims engage,
One world subdued, more worlds he wishes given,
He piles his impious tower to clamber heaven;
Scoops cities under earth; erects his home
On mountains of wild surges, vales of foam;
Soars air, and high above the thunder runs,
Now flaked with sleet, now reddened under suns.
Even in his pastime man his soul reveals;
Raised with carousing shout, his goblet reels.
Now from his chase imperial lions fly,
And now he stakes a princedom on a die.
What would he more? The consecrated game
Of murder must transmit his epic name,
Some empire tempts him; at his stern command,
An armed cloud hails iron o'er the land.
Earth thunders underneath the pondrous tread,
Son slaughters sire, the dying stab the dead.
The vallies roar, that loved a warbling mood,
Their mutilated lilies float on blood;
And corpses sicken streams, and towns expire,
And colour the nocturnal clouds with fire.
Last, vultures pounce upon the finished strife,
And dabble in the plash of human life.
Such is man, all magnificence and terror. And now a softly trilling
note ushers in the partner of his cares:
But the meek female far from war removes,
Girt with the Graces and endearing Loves.
To rear the life we destine to destroy,
To bind the wound we plant, is her employ.
Her rapine is to press from healing bud,
Or healthful herb, the vegetable blood;
Her answer, at the martial blast abhorred,
Harmonic noise along the warbling chord.
To her belong light roundelay and reel,
To her the crackling hearth and humming wheel;
(Sounds of content!) to her the milky kine,
And Peace, O Woman, gentle Peace is thine.
Their studies are as dissimilar as their tastes. Nothing less than a
comet will excite the curiosity of man; for woman the flower-garden is
science enough:
Prone o'er abstruse research, let man expound
Dark causes; what abyss our planet drowned;
And where the fiery star its hundred years
Of absence travels, ere it re-appears.
To Woman, whose best books are human hearts,
Wise heaven a genius less profound imparts.
His awful, her's is lovely; his should tell
How thunderbolts, and her's how roses fell.
Here is the genesis of the Early Victorian ideal of female beauty. The
author describes, with heart-felt sentiment, its graces and charms,
The beautiful rebuke that looks surprise,
The gentle vengeance of averted eyes;
--which last line so pleased him that it occurs again in _The
Farewell_ (Letter XXV of _The Heroine_). The shorter poem, like the
longer, has the indescribable old-world charm of a pressed rose-leaf,
an elegant tarnished mirror, a faded silken fan, a vanished mode. The
secret of this sentimental type of beauty perhaps lies here, that the
simplicity and shyness and ardour of youth are reduced, not by a
conscious science, but by the timid rules of propriety and modesty, to
the service of an all-prevailing coquetry. Ovid, as expounded by Mrs.
Chapone or Miss Hannah More, gains something in the delicacy of his
methods, and loses nothing of his empire:
Ut quondam iuvenes, ita nunc, mea turba, puellae
Inscribant spoliis: Naso magister erat.
It must be said, however, that the author of _Woman, a Poem_ does not
confine himself to the alluring graces. His best known and most quoted
lines are written in praise of courage and fidelity:
Not she denied her God with recreant tongue,
Not she with traitrous kisses round him clung;
She, while Apostles shrank, could danger brave,
Last at his cross and earliest at his grave.
If he were to survive in a single quotation, it is probably by these
lines that the author, who spent much labour on the revision and
polishing of his poem, would wish to be remembered.
It may seem strange that the author of this romantic poem on Woman
should have been so ready to parody the new school of prose romance.
Miss Cherry Wilkinson, when she took the name of Cherubina, and
commenced heroine, might certainly have found some useful hints for her
behaviour in this earlier treatise. But the fact is that no parodist is
successful who has not at some time fallen deeply under the spell of
the literature that he parodies. Parody is, for the most part, a weak
and clinging kind of tribute to the force of its original. Very perfect
parodies, which catch the soul, as well as the form, of the models that
they imitate, almost lose their identity and become a part of that
which they were meant to ridicule. Feeble parodies, where poor matter,
not strong enough to speak for itself, claims notice by the aid of a
notorious tune, are even more conspicuously dependent on the vogue of
their original. The art of a tailor is seen in the cut of a coat; to
make a mechanical copy of it, substituting tartan or fustian for
velvet, is what any Chinese slave can do. It is form in literature
which is difficult to invent. When a poem or a story, by the
individuality and novelty of its form, has caught the public taste,
there are always some among its victims who are nothing if not
critical. They cannot forget it, yet it does not content them. They
think it narrow and partial in its conception; it does not mirror
Nature exactly as they see her; in short, they have ideas of their own.
These ideas perhaps have not vitality enough to create their own
definite form, so when a form is presented to them they seize on it for
their purpose. Hence every new and original kind in literature produces
a tribe of imitators, some of them contented imitators, who undersell
the first author with colourable copies; others discontented imitators,
or parodists, who offer their own substitute for the author's wares,
yet stamp it with his brand. The compliment is the same in either case;
and the effect is not much different, for nothing so quickly exhausts
the popularity of a work of art as its power of multiplying its kind.
Some congenital weakness, it is fair to say, there must have been in
the original, when the form designed for a single purpose serves so
many others. The weakness is not always easy to detect; but it is
always there. It may be the weakness of excess; an ample and
loose-folded robe like Walt Whitman's is characteristic of its wearer,
but can soon be adapted to a borrower. Or it may be the weakness of
defect; the music and solemnity of the _Psalm of Life_ are a world too
wide for the shrunken body of the thought that they conceal. A perfect
conception expressing itself inevitably in the form that has grown
with its growth defies imitators. The great things of Virgil and of
Dante suffer no parody. And this is what is meant by a classic.
Yet lesser books have their day; and young authors, or old authors
trying a new kind of work, often begin by imitation. They discover
their genius by their failure. The famous parodies (so to call them)
are not parodies at all; their freedom from the servility of parody is
what has given them their place in literature. Cervantes may have
thought that he could criticize and banter the romances of chivalry by
telling the adventures of a poor and high-minded gentleman travelling
on the roads of Spain; but once the new situation was created it called
for a new treatment. Fielding doubtless intended to parody Richardson
by a tale of the chastity of a serving-man; and it is easy to see how a
mere wit would have carried out the design. But Fielding, like
Cervantes, was too rich in ideas, and too brave in purpose, to be
another man's mocking servitor. First Mrs. Slipslop incommodes the
framework by her intrusion, and then Parson Adams enters to complete
the disaster. The breakdown of these pretended parodies is always due
to the same cause--the appearance on an artificially designed scene of
real character. Character, where it is fully conceived, will not take
its orders from the scene-shifter; it reacts in surprising ways to
slight accidental provocations; it will not play the part or speak the
words assigned to it; it is consistent with nothing but itself; from
self-revelation it soon passes to self-assertion, and subdues the world
to its will, disordering all the puppet-show.
It cannot be claimed for Eaton Stannard Barrett that he proved
superior to the task which he undertook. There is little or no real
character in _The Heroine_. Perhaps Jerry Sullivan, the faithful Irish
servitor, with his ready speech and bold resourcefulness, comes
nearest to the life, but even he is drawn, like Lever's comic
Irishmen, not intimately. A few touches of verisimilitude are
sufficient to portray a servant, whose business is to come when he is
called and to help others in their necessities. The heroine herself
has no breath in her; she is inconceivably credulous, impossibly
ignorant, and even while she talks the author often forgets her very
existence and speaks in her stead, so that she seems to be quizzing
her own fatuity. Perhaps this incompetent portraiture was to be
expected from the author of _Woman, a Poem_, but it takes some of the
edge off the fun of the book. Cherubina is not a girl, with silly,
flighty notions in her head, such as romance engenders, but a pedantic
female lawyer, determined to order her life, down to the smallest
detail, on precedents borrowed from her favourite reading. Miss
Austen's girls, in _Northanger Abbey_, talk like girls; Cherubina
talks like a book. Nevertheless, Miss Austen herself read _The
Heroine_, and confessed to the pleasure she had from it. It enjoyed a
high and brief reputation. The first edition appeared in 1813; the
second followed it in the space of a year; and in 1816 the author,
before he was thirty years old, may have read a notice of himself in
the _Biographical Dictionary of the Living Authors of Great Britain
and Ireland_ concluding with the following eulogy: 'This work (_The
Heroine_) has been pronounced not inferior in wit and humour to
Tristram Shandy, and in point of plot and interest infinitely beyond
Don Quixote.'
Let us save what remnants we can of this monstrous pronouncement. Of
character, as has been said, there is next to none in _The Heroine_;
so that only those who can read _Don Quixote_ and _Tristram Shandy_,
careless of the characters portrayed, might possibly be able to return
a verdict on the comparison. There are many readers of books who
grudge labour spent on character-drawing; the long colloquies between
Don Quixote and Sancho or between my Uncle Toby and Corporal Trim they
would be glad to see abbreviated, so they might get back to the
confusion and bustle of life. Why all this dissection of the heart,
while there are crowns to be broke? What the soldier said is not
evidence; it is what he did that they desire to hear. For readers of
this temper there is abundance of entertainment in _The Heroine_, if
once they can bring themselves to accept the perilously slender
illusion. The scenes described are as full of movement as a
harlequinade. No Irish fair is richer in incident. And there is such a
flow of high spirits; the author carries the whole business through
with such unflagging zest, that the farce, though it hardly ever
touches on the confines of comedy, is pleasant farce, instinct with
good nature and good fellowship. Those who like a book that saves them
from the more exacting companionship of their own thoughts might do
worse than read _The Heroine_.
This is lukewarm praise; but the book has a stronger claim than this
on the interest of the reader; it marks a crisis in literary history.
The author was a well-read man, and all the fashionable literature of
his day is reflected in his pages. He was familiar with the essayists
and moralists of the eighteenth century; indeed, he often falls into
their attitude in his opposition to the extravagances of the Romantic
movement. His parody of Johnson's later style is one of the very best
of the multitude of Johnsonian imitations. Boswell, writing before
1791, was able to enumerate a distinguished array of disciples and
copyists, among them Hugh Blair, Professor of Rhetoric at Edinburgh,
George Colman the elder, Robertson the historian, Gibbon, Miss Burney,
Mrs. Barbauld, Henry Mackenzie, Vicesimus Knox, and last, John Young,
Professor of Greek at Glasgow, whose _Criticism on the Elegy written
in a Country Church-yard, being a continuation of Dr. Johnson's
Criticism on the Poems of Gray_ (1783) is rightly praised by Boswell
as the most perfect of all professed imitations of Johnson's style. It
is only half a parody; Johnson's method in criticism has been so
thoroughly assimilated by the author, that some of Johnson's strong
sense filters in here and there as if by oversight. Horace Walpole
said of it, acutely enough, that the author seemed to wish to be taken
by Gray's admirers for a ridiculer of Johnson, and by Johnson's
admirers for a censurer of Gray. But if this is the best imitation of
Johnson's critical manner, his biographical style and his light
occasional verse have never been so happily mimicked as in the
_Memoirs of James Higginson, by Himself_, which occur in Letter X of
_The Heroine_. Johnson continued to be the most influential teacher of
English prose until Macaulay, by introducing a more glittering kind of
antithesis and a freer use of the weapons of offence in criticism,
usurped his supremacy.
A more voluminous and easier literature had enthralled the popular
taste for some thirty or forty years before the author of _The
Heroine_ delivered his attack. Only a few are now remembered even by
name of that horde of romances which issued from the cheap presses, in
the train of Mrs. Radcliffe. It is reasonable to suppose that many of
them, which had not the help of that great preservative of a bad book,
good binding, have perished from off the face of the earth. They are
not yet old enough to be precious, as Elizabethan trash is precious,
and doubtless the surviving copies of some of them are even now being
cast out from lumber-rooms and remote country libraries, to suffer
their fate by fire. Their names are scattered plentifully up and down
the _Bibliotheca Britannica_ and other monumental compilations, where
books that go under in their fight against time have Christian burial
and a little headstone reserved for them. In _The Heroine_ only the
chief of them are referred to by name. The romances of Mrs.
Radcliffe--_The Mysteries of Udolpho_, _The Italian_, and _The Bravo
of Venice_--are praised as being 'often captivating and seldom
detrimental'. The rivals of Mrs. Radcliffe who wrote those enormously
popular works, _The Children of the Abbey_ and _Caroline of
Lichtfield_, receive a less respectful treatment. At the close of his
book the author of _The Heroine_ summarizes his indictment against
these and their kind: 'They present us with incidents and characters
which we can never meet in the world; and act upon the mind like
intoxicating stimulants; first elevate, and then enervate it. They
teach us to revel in ideal scenes of transport and distraction; and
harden our hearts against living misery, by making us so refined as to
feel disgust at its unpoetical accompaniments.' Throughout the book he
keeps up a running fire of criticism. When Cherubina visits
Westminster Abbey, 'It is the first,' she says, 'that I have ever
seen, though I had read of thousands.' She apologizes for using the
vulgar word 'home'--'you know that a mere home is my horror'. She
confesses that she is very inadequately armed with religion--'I knew
nothing of religion except from novels; and in these, though the
devotion of heroines is sentimental and graceful to a degree, it never
influences their acts, or appears connected with their moral duties.
It is so speculative and generalized, that it would answer the Greek
or the Persian church, as well as the Christian; and none but the
picturesque and enthusiastic part is presented; such as kissing a
cross, chanting a vesper with elevated eyes, or composing a
well-worded prayer.'
The notable thing is that this attack on the novels of the day was not
an isolated protest; it expressed the general mind and echoed the
current opinion. Miss Austen, with more suavity and art, had long
before said the same thing. The romance was declining; it had become a
cheap mechanical thing; and the mind of the nation was turning away
from it to reinstate those teachers of moral prudence whose influence
had been impaired by the flood, but not destroyed. If any one had been
rash enough, in the year 1814, to prophesy the future of literature, he
would have been justified in saying that, to all appearances, the prose
romance was dead. It had fallen into its dotage, and the hand of Eaton
Stannard Barrett had killed it. _The Heroine_ seemed to mark the end
of an age of romance, and the beginning of a new era of sententious
prose.
Such a prophet would have been approved by _The Edinburgh Review_ and
all the best judges of the time. He would have been wrong, for he
could not foresee the accident of genius. Walter Scott, like Cherubina
(whose adventures he read and applauded), had fallen a victim to the
fascinations of the writers of romance, yet, unlike her, had not
allowed them to deprive him of all acquaintance with 'a more useful
class of composition' and the toils of active life. Romance was what
he cared for, and he brought the sobriety and learning of a judge to
the task of vindicating his affection. He proved that the old romantic
stories are convincing enough if only the blood of life flows through
them. His great panoramas of history are exhibited in the frame-work
of a love-plot. In place of the feeble comic interest of the earlier
romances he supplied a rich and various tissue of national character
and manners. Ancient legend and song, fable and superstition, live
again in his work. And, as if Cherubina's unhappy experiences had all
been in vain, there is always a heroine. The readers who had been
laughed into scepticism by the wit of the enemy were within a few
years won back to poetry and romance; Cherubina was deposed, and in
her place there reigned the Bride of Lammermoor.
WALTER RALEIGH.
OXFORD,
_Christmas, 1908._
THE HEROINE,
OR
ADVENTURES OF A FAIR ROMANCE READER,
BY
EATON STANNARD BARRETT, ESQ.
* * * * *
"L'Histoire d'une femme est toujours un Roman."
* * * * *
_IN THREE VOLUMES._
VOL. I.
* * * * *
LONDON:
PRINTED FOR HENRY COLBURN,
PUBLIC LIBRARY, CONDUIT-STREET, HANOVER-SQUARE;
AND SOLD BY GEORGE GOLDIE, EDINBURGH,
AND JOHN CUMMING, DUBLIN.
1813.
TO THE RIGHT HONORABLE GEORGE CANNING &c. &c. &c.
Sir,
It was the happiness of STERNE to have dedicated his volumes to a
PITT. It is my ambition to inscribe this work to you. My wishes
would be complete, could I resemble the writer as you do the
statesman.
I have the honor to be,
Sir,
Your most sincere, and most humble servant,
E. S. BARRETT.
THE HEROINE TO THE READER
Attend, gentle and intelligent reader; for I am not the fictitious
personage whose memoirs you will peruse in 'The Heroine;' but I am a
corporeal being, and an inhabitant of another world.
Know, that the moment a mortal manuscript is written out in a legible
hand, and the word End or Finis annexed thereto, whatever characters
happen to be sketched in it (whether imaginary, biographical, or
historical), acquire the quality of creating and effusing a sentient
soul or spirit, which instantly takes flight, and ascends through the
regions of air, till it arrives at the MOON; where it is then embodied,
and becomes a living creature; the precise counterpart, in mind and
person, of its literary prototype.
Know farther, that all the towns, villages, rivers, hills, and vallies
of the moon, owe their origin, in a similar manner, to the descriptions
given by writers of those on earth; and that all the lunar trades and
manufactures, fleets and coins, stays for men, and boots for ladies,
receive form and substance here, from terrestrial books on war and
commerce, pamphlets on bullion, and fashionable magazines.
Works consisting of abstract argument, ethics, metaphysics, polemics,
&c. which, from their very nature, cannot become tangible essences,
send up their ideas, in whispers, to the moon; where the tribe of
talking birds receive, and repeat them for the Lunarians. So that it is
not unusual to hear a mitred parrot screaming a political sermon, or a
fashionable jay twittering unfigurative canzonets. These birds then are
our philosophers; and so great is their value, that they sell for as
much as your patriots.
The moment, however, that a book becomes obsolete on earth, the
personages, countries, manners, and things recorded in it, lose, by the
law of sympathy, their existence in the moon.
This, most grave reader, is but a short and imperfect sketch of the way
we Moonites live and die. I shall now give you some account of what has
happened to me since my coming hither.
It is something more than three lunar hours; or, in other words, about
three terrestrial days ago, that, owing to the kindness of some human
gentleman or other (to whom I take this opportunity of returning my
grateful thanks), I became conscious of existence. Like the Miltonic
Eve, almost the first thing I did was to peep into the water, and
admire my face;--a very pretty one, I assure you, dear reader. I then
perceived advancing a lank and grimly figure in armour, who introduced
himself as Don Quixote; and we soon found each other kindred souls.
We walked, hand in hand, through a beautiful tract of country called
Terra Fertilitatis; for your Selenographers, Langrenus, Florentius,
Grimaldus, Ricciolus, and Hevelius of Dantzic, have given proper names
to the various portions of our hemisphere.
As I proceeded, I met the Radcliffian, Rochian, and other heroines; but
they tossed their heads, and told me pertly that I was a slur on the
sisterhood; while some went so far as to say I had a design upon their
lives. They likewise shunned the Edgeworthian heroines, whom they
thought too comic, moral, and natural.
I met the Lady of the Lake, and shook hands with her; but her hand felt
rather hard from the frequent use of the oar; and I spoke to the Widow
Dido, but she had her old trick of turning on her heel, without
answering a civil question.
I found the Homeric Achilles broiling his own beefsteaks, as usual; the
Homeric Princesses drawing water, and washing linen; the Virgilian
Trojans eating their tables, and the Livian Hannibal melting mountains
with the patent vinegar of an advertisement.
The little boy in the Æneid had introduced the amusement of whipping
tops; and Musidora had turned bathing-woman at a halfpenny a dip.
A Cæsar, an Alexander, and an Alfred, were talking politics, and
quaffing the Horatian Falernian, at the Garter Inn of Shakespeare. A
Catiline was holding forth on Reform, and a Hanno was advising the
recall of a victorious army.
As I walked along, a parcel of Moonites, fresh from your newspapers,
just popped up their heads, nodded, and died. About twenty statesmen
come to us in this way almost every day; and though some of them are of
the same name, and drawn from the same original, they are often as
unlike each other as so many clouds. The Buonapartes, thus sent, are,
in general, hideous fellows. However, your Parliamentary Reports
sometimes agreeably surprise us with most respectable characters of
that name.
On my way, I could observe numbers of patients dying, according as the
books that had created them were sinking into oblivion. The Foxian
James was paraded about in a sedan chair, and considered just gone; and
a set of politicians, entitled All the Talents, who had once made a
terrible noise among us, lay sprawling in their last agonies. But the
most extensive mortality ever known here was caused by the burning of
the Alexandrian Library. This forms quite an æra in the Lunar Annals;
and it is called The great Conflagration.
I had attempted to pluck an apple from a tree that grew near the road;
but, to my surprise, grasped a vacuum; and while Don Quixote was
explaining to me that this phænomenon arose from the Berkeleian system
of immaterialism; and that this apple was only a globular idea, I heard
a squeaking voice just beside me cry:
'I must remark, Madam, that the writer who sent you among us had far
too much to say, and too little to do.'
I looked round, but saw nobody.
''Tis Junius,' observed Don Quixote. 'He was invisible on earth, and
therefore must be so here. Do not mind his bitter sayings.'
'An author,' continued the satirist, 'who has judgment enough to write
wit, should have judgment enough to prevent him from writing it.'
'Sir,' said Don Quixote, 'if, by his works of wit, he can attain
popularity, he will ensure a future attention to his works of judgment.
So here is at thee, caitiff!' and closing his visor, he ran atilt at
pure space.
'Nay,' cried Junius, 'let us not quarrel, though we differ. Mind
unopposed by mind, fashions false opinions of its own, and degenerates
from its original rectitude. The stagnant pool resolves into putridity.
It is the conflict of the waters which keeps them pure.'
'Except in dropsical cases, I presume,' said Tristram Shandy, who just
then came up, with his Uncle Toby. 'How goes it, heroine? How goes
it?--By the man in the moon, the moment I heard of your arrival here, I
gave three exulting flourishes of my hand, thus 1 2 3 then applying my
middle finger to my thumb, and compressing them, by means of the
flexory muscles, I shot them asunder transversely; so that the finger
coming plump upon the aponeurosis--
* * * * *
In short,--for I don't much like the manner in which I am getting on
with the description--I snapped my fingers.
'Now, Madam, I will bet the whole of Kristmanus's, Capuanus's,
Schihardus's, Phocylides's, and Hanzelius's estates,--which are the
best on our disk,--to as much landed property as could be shovelled
into your shoe--that you will get miserably mauled by their reverences,
the Scotch Reviewers. My life for it, these lads will say that your
character is a mere daub drawn in distemper--the colouring too
rich--the hair too golden--an eyelash too much--then, that the book
itself has too little of the rational and argumentative;--that the
fellow merely wrote it to make the world laugh,--which, an' please your
reverences, is the gravest occupation an author can chuse;--that some
of its incidents are plastered as thick as butter on the bread of
Mamma's darling; others so diluted, that they wash down the bread and
butter most unpalatably, and the rest unconducive to the plot, moral,
and peripeteia. In short, Madam, it will appear that the work has every
fault which must convict it Aristotellically and Edinburgo--reviewically,
in the eyes of ninety-nine barbati; but which will leave it not the
ninety-ninth part of a gry the worse in the eyes of fifteen millions
of honest Englishmen; besides several very respectable ladies and
gentlemen yet unborn, and nations yet undiscovered, who will read
translations of it in languages yet unspoken. Bless me, what hacking
they will have at you! Small sword and broad sword--staff and
stiletto--flankonnade and cannonade--hurry-scurry--right wing and
left wing----'
But Tristram paused short in consternation; for his animated
description of a fight had roused the military spirits of Don Quixote
and Captain Shandy, who were already at hard knocks; the one with his
spear, and the other with his crutch. I therefore took this occasion of
escaping.
And now day begins to decline; and your globe, which never sets to us,
will soon shed her pale earthshine over the landscape. O how serene,
how lovely these regions! Here are no hurricanes, or clouds, or
vapours. Here heroines cannot sigh; for here there is no air to sigh
withal. Here, in our great pits, poetically called vallies, we retire
from all moonly cares; or range through the meads of Cysatus or
Gruemberget, and luxuriate in the coolness of the Conical Penumbra.
I trust you will feel, dear reader, that you now owe more to my
discoveries than to those of Endymion, Copernicus, Tycho Brahe,
Galileus, and Newton. I pray you, therefore, to reward my services with
a long and happy life; though much I fear I shall not obtain it. For, I
am told, that two little shining specks, called England and Ireland
(which we can just see with our glasses on your globe), are the places
that I must depend upon for my health and prosperity. Now, if they
fall, I must fall with them; and I fancy they have seen the best of
their days already. A parrot informs me, that they are at daggers drawn
with a prodigious blotch just beside them; and that their most approved
patriots daily indite pamphlets to shew how they cannot hold out ten
years longer. The Sternian Starling assured me just now that these
patriots write the triumphs of their country in the most commiserating
language; and portray her distresses with exultation. Of course,
therefore, they conceive that her glories would undo her, and that
nothing can save her but her calamities. So, since she is conquering
away at a great rate, I may fairly infer that she is on her last legs.
Before I conclude, I must inform you of how I shall have this letter
conveyed to your world. Laplace, and other philosophers, have already
proved, that a stone projected by a volcano, from the moon, and with
the velocity of a mile and a half per second, would be thrown beyond
the sphere of the moon's attraction, and enter into the confines of the
earth's. Now, hundreds have attested on oath, that they have seen
luminous meteors moving through the sky; and that these have fallen on
the earth, in stony or semi-metallic masses. Therefore, say the
philosophers, these masses came all the way from the moon. And they say
perfectly right. Believe it piously, dear reader, and quote me as your
authority.
It is by means of one of these stones that I shall contrive to send you
this letter. I have written it on asbestus, in liquid gold (as both
these substances are inconsumable by fire); and I will fasten it to the
top of a volcanic mountain, which is expected to explode in another
hour.
Alas, alas, short-sighted mortals! how little ye foresee the havoc that
will happen hereafter, from the pelting of these pitiless stones. For,
about the time of the millenium, the doctrine of projectiles will be so
prodigiously improved, that while there is universal peace upon earth,
the planets will go to war with each other. Then shall we Lunarians,
like true satellites, turn upon our benefactors, and instead of merely
trying our small shot (as at present), we will fire off whole
mountains; while you, from your superior attraction, will find it
difficult to hit us at all. The consequence must be, our losing so much
weight, that we shall approach, by degrees, nearer and nearer to you;
'till at last, both globes will come slap together, flatten each other
out, like the pancakes of Glasse's Cookery, and rush headlong into
primeval chaos.
Such will be the consummation of all things.
Adieu.
THE HEROINE
LETTER I
My venerable Governess, guardian of my youth, must I then behold you no
more? No more, at breakfast, find your melancholy features shrouded in
an umbrageous cap, a novel in one hand, a cup in the other, and tears
springing from your eyes, at the tale too tender, or at the tea too
hot? Must I no longer wander with you through painted meadows, and by
purling rivulets? Motherless, am I to be bereft of my more than mother,
at the sensitive age of fifteen? What though papa caught the Butler
kissing you in the pantry? What though he turned you by the shoulder
out of his house? I am persuaded that the kiss was maternal, not
amorous, and that the interesting Butler is your son.
Perhaps you married early in life, and without the knowledge of your
parents. A gipsy stole the pretty pledge of your love; and at length,
you have recognized him by the scar on his cheek. Happy, happy mother!
Happy too, perhaps, in being cast upon the world, unprotected and
defamed; while I am doomed to endure the security of a home, and the
dullness of an unimpeached reputation. For me, there is no hope
whatever of being reduced to despair. I am condemned to waste my
health, bloom, and youth, in a series of uninterrupted prosperity.
It is not, my friend, that I wish for ultimate unhappiness, but that I
am anxious to suffer present sorrow, in order to secure future
felicity: an improvement, you will own, on the system of other girls,
who, to enjoy the passing moment, run the risk of being wretched for
ever after. Have not all persons their favorite pursuits in life, and
do not all brave fatigue, vexation, and calumny, for the purpose of
accomplishing them? One woman aspires to be a beauty, another a title,
a third a belle esprit; and to effect these objects, health is
sacrificed, reputation tainted, and peace of mind destroyed. Now my
ambition is to be a Heroine, and how can I hope to succeed in my
vocation, unless I, too, suffer privations and inconveniences? Besides,
have I not far greater merit in getting a husband by sentiment,
adventure, and melancholy, than by dressing, gadding, dancing, and
singing? For heroines are just as much on the alert to get husbands, as
other young ladies; and to say the truth, I would never voluntarily
subject myself to misfortunes, were I not certain that matrimony would
be the last of them. But even misery itself has its consolations and
advantages. It makes one, at least, look interesting, and affords an
opportunity for ornamental murmurs. Besides, it is the mark of a
refined mind. Only fools, children, and savages, are happy.
With these sentiments, no wonder I should feel discontented at my
present mode of life. Such an insipid routine, always, always, always
the same. Rising with no better prospect than to make breakfast for
papa. Then 'tis, 'Good morrow, Cherry,' or 'is the paper come, Cherry?'
or 'more cream, Cherry,' or 'what shall we have to dinner, Cherry?' At
dinner, nobody but a farmer or the Parson; and nothing talked but
politics and turnips. After tea I am made sing some fal lal la of a
ditty, and am sent to bed with a 'Good night, pretty miss,' or 'sweet
dear.' The clowns!
Now, instead of this, just conceive me a child of misery, in a castle,
a convent, or a cottage; becoming acquainted with the hero by his
saving my life--I in beautiful confusion--'Good Heaven, what an angel!'
cries he--then sudden love on both sides--in two days he kisses my
hand. Embarrassments--my character suspected--a quarrel--a
reconciliation--fresh embarrassments.--O Biddy, what an irreparable
loss to the public, that a victim of thrilling sensibility, like me,
should be thus idling her precious time over the common occupations of
life!--prepared as I am, too, by a five years' course of novels (and
you can bear witness that I have read little else), to embody and
ensoul those enchanting reveries, which I am accustomed to indulge in
bed and bower, and which really constitute almost the whole happiness
of my life.
That I am not deficient in the qualities requisite for a heroine, is
indisputable. All the world says I am handsome, and it would be
melancholy were all the world in error. My form is tall and aërial, my
face Grecian, my tresses flaxen, my eyes blue and sleepy. But the great
point is, that I have a remarkable mole just over my left temple. Then,
not only peaches, roses, and Aurora, but snow, lilies, and alabaster,
may, with perfect propriety, be adopted in a description of my skin. I
confess I differ from other heroines in one point. They, you may
remark, are always unconscious of their charms; whereas, I am, I fear,
convinced of mine, beyond all hope of retraction.
There is but one serious flaw in my title to Heroine--the mediocrity of
my lineage. My father is descended from nothing better than a decent
and respectable family. He began life with a thousand pounds, purchased
a farm, and by his honest and disgusting industry, has realized fifty
thousand. Were even my legitimacy suspected, it would be some comfort;
since, in that case, I should assuredly start forth, at one time or
other, the daughter of some plaintive nobleman, who lives retired, and
slaps his forehead.
One more subject perplexes me. It is my name; and what a name--Cherry!
It reminds one so much of plumpness and ruddy health. Cherry--better be
called Pine-apple at once. There is a green and yellow melancholy in
Pine-apple, that is infinitely preferable. I wonder whether Cherry
could possibly be an abbreviation of CHERUBINA. 'Tis only changing y
into ubina, and the name becomes quite classic. Celestina, Angelina,
Seraphina, are all of the same family. But Cherubina sounds so
empyrean, so something or other beyond mortality; and besides I have
just a face for it. Yes, Cherubina I am resolved to be called, now and
for ever.
But you must naturally wish to learn what has happened here, since your
departure. I was in my boudoir, reading the Delicate Distress, when I
heard a sudden bustle below, and 'Out of the house, this moment,'
vociferated by my father. The next minute he was in my room with a face
like fire.
'There!' cried he, 'I knew what your famous romances would do for us at
last.'
'Pray, Sir, what?' asked I, with the calm dignity of injured innocence.
'Only a kissing match between the Governess and the Butler,' answered
he. 'I caught them at the sport in the pantry.'
I was petrified. 'Dear Sir,' said I, 'you must surely mistake.'
'No such thing,' cried he. 'The kiss was too much of a smacker for
that:--it rang through the pantry. But please the fates, she shall
never darken my doors again. I have just discharged both herself and
her swain; and what is better, I have ordered all the novels in the
house to be burnt, by way of purification. As they love to talk of
flames, I suppose they will like to feel them.' He spoke, and ran
raging out of the room.
Adieu, then, ye dear romances, adieu for ever. No more shall I
sympathize with your heroines, while they faint, and blush, and weep,
through four half-bound octavos. Adieu ye Edwins, Edgars, and Edmunds;
ye Selinas, Evelinas, Malvinas; ye inas all adieu! The flames will
consume you all. The melody of Emily, the prattle of Annette, and the
hoarseness of Ugo, all will be confounded in one indiscriminate
crackle. The Casa and Castello will blaze with equal fury; nor will the
virtue of Pamela aught avail to save; nor Wolmar delighting to see his
wife in a swoon; nor Werter shelling peas and reading Homer, nor
Charlotte cutting bread and butter for the children.
You, too, my loved governess, I regret extremely.
Adieu.
CHERUBINA.
LETTER II
It was not till this morning, that a thought of the most interesting
nature flashed across my mind. Pondering on the cruel conduct of my
reputed father, in having burnt my novels, and discharged you, without
even allowing us to take a hysterical farewell, I was struck with the
sudden notion that the man is not my father at all. In short, I began
with wishing this the case, and have ended with believing it. My
reasons are irresistible, and deduced from strong and stubborn facts.
For, first, there is no likeness between this Wilkinson and me. 'Tis
true, he has blue eyes, like myself, but has he my pouting lip and
dimple? He has the flaxen hair, but can he execute the rosy smile?
Next, is it possible, that I, who was born a heroine, and who must
therefore have sprung from an idle and illustrious family, should be
the daughter of a farmer, a thrifty, substantial, honest farmer? The
thing is absurd on the face of it, and never will I tamely submit to
such an indignity.
Full of this idea, I dressed myself in haste, resolving to question
Wilkinson, to pierce into his inmost soul, to speak daggers to him; and
if he should not unfold the mystery of my birth, to fly from his house
for ever. With a palpitating heart, I descended the stairs, rushed into
the breakfast-room, and in a moment was at the feet of my persecutor.
My hands were folded across my bosom, and my blue eyes raised to his
face.
'Heyday, Cherry,' said he, laughing, 'this is a new flourish. There,
child, now fancy yourself stabbed, and come to breakfast.'
'Hear me,' cried I.
'Why,' said he, 'you keep your countenance as stiff and steady as the
face on our rapper.'
'A countenance,' cried I, 'is worth keeping, when the features are a
proof of the descent, and vindicate the noble birth from the baseness
of the adoption.'
'Come, come,' said he, 'your cup is full all this time.'
'And so is my heart,' cried I, pressing it expressively.
'What is the meaning of this mummery?' said he.
'Hear me, Wilkinson,' cried I, rising with dignified tranquillity.
'Candor is at once the most amiable and the most difficult of virtues;
and there is more magnanimity in confessing an error, than in never
committing one.'
'Confound your written sentences,' cried he, 'can't you come to the
point?'
'Then, Sir,' said I, 'to be plain and explicit, learn, that I have
discovered a mystery in my birth, and that you--you, Wilkinson, are
not--my real Father!'
I pronounced these words with a measured emphasis, and one of my
ineffable looks. Wilkinson coloured like scarlet and stared steadily in
my face.
'Would you scandalize the mother that bore you?' cried he, fiercely.
'No, Wilkinson,' answered I, 'but you would, by calling yourself my
father.'
'And if I am not,' said he, 'what the mischief must _you_ be?'
'An illustrious heiress,' cried I, 'snatched from my parents in her
infancy;--snatched by thee, vile agent of the diabolical conspiracy!'
He looked aghast.
'Tell me then,' continued I, 'miserable man, tell me where my dear, my
distracted father lingers out the remnant of his wretched days? My
mother too--or say, am I indeed an orphan?'
Still he remained mute, and gazed on me with a searching intensity. I
raised my voice:
'Expiate thy dire offences, restore an outcast to her birthright, make
atonement, or _tremble at retribution_!'
I thought the farmer would have sunk into the ground.
'Nay,' continued I, lowering my voice, 'think not I thirst for
vengeance. I myself will intercede for thee, and stay the sword of
Justice. Poor wretch! I want not thy blood.'
The culprit had now reached the climax of agony, and writhed through
every limb and feature.
'What!' cried I, 'can nothing move thee to confess thy crimes? Then
hear me. Ere Aurora with rosy fingers shall unbar the eastern gate----'
'My child, my child, my dear darling daughter!' exclaimed this
accomplished crocodile, bursting into tears, and snatching me to his
bosom, 'what have they done to you? What phantom, what horrid disorder
is distracting my treasure?'
'Unhand me, guileful adulator,' cried I, 'and try thy powers of
tragedy elsewhere, for--_I know thee!_' I spoke, and extricated myself
from his embrace.
'Dreadful, dreadful!' muttered he. 'Her sweet senses are lost.' Then
turning to me: 'My love, my life, do not speak thus to your poor old
father.'
'Father!' exclaimed I, accomplishing with much accuracy that hysterical
laugh, which (gratefully let me own) I owe to your instruction;
'Father!'
The fat farmer covered his face with his hands, and rushed out of the
room.
I relate the several conversations, in a dramatic manner, and word for
word, as well as I can recollect them, since I remark that all heroines
do the same. Indeed I cannot enough admire the fortitude of these
charming creatures, who, while they are in momentary expectation of
losing their lives, or their honours, or both, sit down with the utmost
unconcern, and indite the wittiest letters in the world. They have even
sufficient presence of mind to copy the vulgar dialect, uncooth
phraseology, and bad grammar, of the villains whom they dread; and all
this in the neatest and liveliest style imaginable.
Adieu.
LETTER III
Soon after my last letter, I was summoned to dinner. What heroine in
distress but loaths her food? so I sent a message that I was unwell,
and then solaced myself with a volume of the Mysteries of Udolpho,
which had escaped the conflagration. At ten, I flung myself on my bed,
in hopes to have dreams portentous of my future fate; for heroines are
remarkably subject to a certain prophetic sort of night-mare. You