The Temptation of Eve
"My Love in her attire doth shew her wit."
It is an old and honoured jest that Eve—type of eternal womanhood—sacrificed the peace of Eden for the pleasures of dress. We see this jest reflected in the satire of the Middle Ages, in the bitter gibes of mummer and buffoon. We can hear its echoes in the invectives of the reformer,—"I doubt," said a good fifteenth-century bishop to the ladies of England in their horned caps,—"I doubt the Devil sit not between those horns." We find it illustrated with admirable naïveté in the tapestries which hang in the entrance corridor of the Belle Arti in Florence.
These tapestries tell the downfall of our first parents. In one we see the newly created and lovely Eve standing by the side of the sleeping Adam, and regarding him with pleasurable anticipation. Another shows us the animals marching in line to be inspected and named. The snail heads the procession and sets the pace. The lion and the tiger stroll gossiping together. The unicorn walks alone, very stiff and proud. Two rats and two mice are closely followed by two sleek cats, who keep them well covered, and plainly await the time when Eve's amiable indiscretion shall assign them their natural prey. In the third tapestry the deed has been done, the apple had been eaten. The beasts are ravening in the background. Adam, already clad, is engaged in fastening a picturesque girdle of leaves around the unrepentant Eve,—for all the world like a modern husband fastening his wife's gown,—while she for the first time gathers up her long fair hair. Her attitude is full of innocent yet indescribable coquetry. The passion for self-adornment had already taken possession of her soul. Before her lies a future of many cares and some compensations. She is going to work and she is going to weep, but she is also going to dress. The price was hers to pay.
In the hearts of Eve's daughters lies an unspoken convincement that the price was not too dear. As far as feminity is known, or can ever be known, one dominant impulse has never wavered or weakened. In every period of the world's history, in every quarter of the globe, in every stage of savagery or civilization, this elementary instinct has held, and still holds good. The history of the world is largely the history of dress. It is the most illuminating of records, and tells its tale with a candour and completeness which no chronicle can surpass. We all agree in saying that people who reached a high stage of artistic development, like the Greeks and the Italians of the Renaissance, expressed this sense of perfection in their attire; but what we do not acknowledge so frankly is that these same nations encouraged the beauty of dress, even at a ruthless cost, because they felt that in doing so they coöperated with a great natural law,—the law which makes the "wanton lapwing" get himself another crest. They played into nature's hands.
The nations which sought to bully nature, like the Spartans and the Spaniards, passed the severest sumptuary laws; and for proving the power of fundamental forces over the unprofitable wisdom of reformers, there is nothing like a sumptuary law. In 1563 Spanish women of good repute were forbidden to wear jewels or embroideries,—the result being that many preferred to be thought reputationless, rather than abandon their finery. Some years later it was ordained that only women of loose life should be permitted to bare their shoulders; and all dressmakers who furnished the interdicted gowns to others than courtesans were condemned to four years' penal servitude. These were stern measures,—"root and branch" was ever the Spaniard's cry; but he found it easier to stamp out heresy than to eradicate from a woman's heart something which is called vanity, but which is, in truth, an overmastering impulse which she is too wise to endeavour to resist.
As a matter of fact it was a sumptuary law which incited the women of Rome to make their first great public demonstration, and to besiege the Forum as belligerently as the women of England have, in late years, besieged Parliament. The Senate had thought fit to save money for the second Punic War by curtailing all extravagance in dress; and, when the war was over, showed no disposition to repeal a statute which—to the simple masculine mind—seemed productive of nothing but good. Therefore the women gathered in the streets of Rome, demanding the restitution of their ornaments, and deeply scandalizing poor Cato, who could hardly wedge his way through the crowd. His views on this occasion were expressed with the bewildered bitterness of a modern British conservative. He sighed for the good old days when women were under the strict control of their fathers and husbands, and he very plainly told the Senators that if they had maintained their proper authority at home, their wives and daughters would not then be misbehaving themselves in public. "It was not without painful emotions of shame," said this outraged Roman gentleman, "that I just now made my way to the Forum through a herd of women. Our ancestors thought it improper that women should transact any private business without a director. We, it seems, suffer them to interfere in the management of state affairs, and to intrude into the general assemblies. Had I not been restrained by the modesty and dignity of some among them, had I not been unwilling that they should be rebuked by a Consul, I should have said to them: 'What sort of practice is this of running into the streets, and addressing other women's husbands? Could you not have petitioned at home? Are your blandishments more seductive in public than in private, and with other husbands than your own?'"
How natural it all sounds, how modern, how familiar! And with what knowledge of the immutable laws of nature, as opposed to the capricious laws of man, did Lucius Valerius defend the rebellious women of Rome! "Elegance of apparel," he pleaded before the Senate, "and jewels, and ornaments,—these are a woman's badges of distinction; in these she glories and delights; these our ancestors called the woman's world. What else does she lay aside in mourning save her purple and gold? What else does she resume when the mourning is over? How does she manifest her sympathy on occasions of public rejoicing, but by adding to the splendour of her dress?"[1]
[Footnote 1: Livy.]
Of course the statute was repealed. The only sumptuary laws which defied resistance were those which draped the Venetian gondolas and the Milanese priests in black, and with such restrictions women had no concern.
The symbolism of dress is a subject which has never received its due share of attention, yet it stands for attributes in the human race which otherwise defy analysis. It is interwoven with all our carnal and with all our spiritual instincts. It represents a cunning triumph over hard conditions, a turning of needs into victories. It voices desires and dignities without number, it subjects the importance of the thing done to the importance of the manner of doing it. "Man wears a special dress to kill, to govern, to judge, to preach, to mourn, to play. In every age the fashion in which he retains or discards some portion of this dress denotes a subtle change in his feelings." All visible things are emblematic of invisible forces. Man fixed the association of colours with grief and gladness, he made ornaments the insignia of office, he ordained that fabric should grace the majesty of power.
Yet though we know this well, it is our careless custom to talk about dress, and to write about dress, as if it had no meaning at all; as if the breaking waves of fashion which carry with them the record of pride and gentleness, of distinction and folly, of the rising and shattering of ideals,—"the cut which betokens intellect and talent, the colour which betokens temper and heart,"—were guided by no other law than chance, were a mere purposeless tyranny. Historians dwell upon the mad excesses of ruff and farthingale, of pointed shoe and swelling skirt, as if these things stood for nothing in a society forever alternating between rigid formalism and the irrepressible spirit of democracy.
Is it possible to look at a single costume painted by Velasquez without realizing that the Spanish court under Philip the Fourth had lost the mobility which has characterized it in the days of Ferdinand and Isabella, and had hardened into a formalism, replete with dignity, but lacking intelligence, and out of touch with the great social issues of the day? French chroniclers have written page after page of description—aimless and tiresome description, for the most part—of those amazing head-dresses which, at the court of Marie Antoinette, rose to such heights that the ladies looked as if their heads were in the middle of their bodies. They stood seven feet high when their hair was dressed, and a trifle over five when it wasn't. The Duchesse de Lauzun wore upon one memorable occasion a head-dress presenting a landscape in high relief on the shore of a stormy lake, ducks swimming on the lake, a sportsman shooting at the ducks, a mill which rose from the crown of her head, a miller's wife courted by an abbé, and a miller placidly driving his donkey down the steep incline over the lady's left ear.
It sounds like a Christmas pantomime; but when we remember that the French court, that model of patrician pride, was playing with democracy, with republicanism, with the simple life, as presented by Rousseau to its consideration, we see plainly enough how the real self-sufficiency of caste and the purely artificial sentiment of the day found expression in absurdities of costume. Women dared to wear such things, because, being aristocrats, they felt sure of themselves: and they professed to admire them, because, being engulfed in sentiment, they had lost all sense of proportion. A miller and his donkey were rustic (Marie Antoinette adored rusticity); an abbé flirting with a miller's wife was as obviously artificial as Watteau. It would have been hard to find a happier or more expressive combination. And when Rousseau and republicanism had won the race, we find the ladies of the Directoire illustrating the national illusions with clinging and diaphanous draperies; and asserting their affinity with the high ideals of ancient Greece by wearing sandals instead of shoes, and rings on their bare white toes. The reaction from the magnificent formalism of court dress to this abrupt nudity is in itself a record as graphic and as illuminating as anything that historians have to tell. The same great principle was at work in England when the Early Victorian virtues asserted their supremacy, when the fashionable world, becoming for a spell domestic and demure, expressed these qualities in smoothly banded hair, and draperies of decorous amplitude. There is, in fact, no phase of national life or national sentiment which has not betrayed itself to the world in dress.
And not national life only, but individual life as well. Clothes are more than historical, they are autobiographical. They tell their story in broad outlines and in minute detail. Was it for nothing that Charles the First devised that rich and sombre costume of black and white from which he never sought relief? Was it for nothing that Garibaldi wore a red shirt, and Napoleon an old grey coat? In proof that these things stood for character and destiny, we have but to look at the resolute but futile attempt which Charles the Second made to follow his father's lead, to express something beyond a fluctuating fashion in his dress. In 1666 he announced to his Council—which was, we trust, gratified by the intelligence—that he intended to wear one unaltered costume for the rest of his days. A month later he donned this costume, the distinguishing features of which were a long, close-fitting, black waistcoat, pinked with white, a loose embroidered surtout, and buskins. The court followed his example, and Charles not unnaturally complained that so many black and white waistcoats made him feel as though he were surrounded by magpies. So the white pinking was discarded, and plain black velvet waistcoats substituted. These were neither very gay, nor very becoming to a swarthy monarch; and the never-to-be-altered costume lasted less than two years, to the great relief of the courtiers, especially of those who had risked betting with the king himself on its speedy disappearance. Expressing nothing but a caprice, it had the futility and the impermanence of all caprices.
Within the last century, men have gradually, and it would seem permanently, abandoned the effort to reveal their personality in dress. They have allowed themselves to be committed for life to a costume of ruthless utilitarianism, which takes no count of physical beauty, or of its just display. Comfort, convenience, and sanitation have conspired to establish a rigidity of rule never seen before, to which men yield a docile and lamblike obedience. Robert Burton's axiom, "Nothing sooner dejects a man than clothes out of fashion," is as true now as it was three hundred years ago. Fashion sways the shape of a collar, and the infinitesimal gradations of a hat-brim; but the sense of fitness, and the power of interpreting life, which ennobled fashion in Burton's day, have disappeared in an enforced monotony.
Men take a strange perverted pride in this mournful sameness of attire,—delight in wearing a hat like every other man's hat, are content that it should be a perfected miracle of ugliness, that it should be hot, that it should be heavy, that it should be disfiguring, if only they can make sure of seeing fifty, or a hundred and fifty, other hats exactly like it on their way downtown. So absolute is this uniformity that the late Marquess of Ailesbury bore all his life a reputation for eccentricity, which seems to have had no other foundation than the fact of his wearing hats, or rather a hat, of distinctive shape, chosen with reference to his own head rather than to the heads of some odd millions of fellow citizens. The story is told of his standing bare-headed in a hatter's shop, awaiting the return of a salesman who had carried off his own beloved head-gear, when a shortsighted bishop entered, and, not recognizing the peer, took him for an assistant, and handed himhishat, asking him if he had any exactly like it. Lord Ailesbury turned the bishop's hat over and over, examined it carefully inside and out, and gave it back again. "No," he said, "I haven't, and I'll be damned if I'd wear it, if I had."
Even before the establishment of the invincible despotism which clothes the gentlemen of Christendom in a livery, we find the masculine mind disposed to severity in the ruling of fashions. Steele, for example, tells us the shocking story of an English gentleman who would persist in wearing a broad belt with a hanger, instead of the light sword then carried by men of rank, although in other respects he was a "perfectly well-bred person." Steele naturally regarded this acquaintance with deep suspicion, which was justified when, twenty-two years afterwards, the innovator married his cook-maid. "Others were amazed at this," writes the essayist, "but I must confess that I was not. I had always known that his deviation from the costume of a gentleman indicated an ill-balanced mind."
Now the adoption of a rigorous and monotonous utilitarianism in masculine attire has had two unlovely results. In the first place, men, since they ceased to covet beautiful clothes for themselves, have wasted much valuable time in counselling and censuring women; and, in the second place, there has come, with the loss of their fine trappings, a corresponding loss of illusions on the part of the women who look at them. Black broadcloth and derby hats are calculated to destroy the most robust illusions in Christendom; and men—from motives hard to fathom—have refused to retain in their wardrobes a single article which can amend an imperfect ideal. This does not imply that women fail to value friends in black broadcloth, nor that they refuse their affections to lovers and husbands in derby hats. Nature is not to be balked by such impediments. But as long as men wore costumes which interpreted their strength, enhanced their persuasiveness, and concealed their shortcomings, women accepted their dominance without demur. They made no idle claim to equality with creatures, not only bigger and stronger, not only more capable and more resolute, not only wiser and more experienced, but more noble and distinguished in appearance than they were themselves. What if the assertive attitude of the modern woman, her easy arrogance, and the confidence she places in her own untried powers, may be accounted for by the dispiriting clothes which men have determined to wear, and the wearing of which may have cost them no small portion of their authority?
The whole attitude of women in this regard is fraught with significance. Men have rashly discarded those details of costume which enhanced their comeliness and charm (we have but to look at Van Dyck's portraits to see how much rare distinction is traceable to subdued elegance of dress); but women have never through the long centuries laid aside the pleasant duty of self-adornment. They dare not if they would,—too much is at stake; and they experience the just delight which comes from coöperation with a natural law. The flexibility of their dress gives them every opportunity to modify, to enhance, to reveal, and to conceal. It is in the highest degree interpretative, and through it they express their aspirations and ideals, their thirst for combat and their realization of defeat, their fluctuating sentiments and their permanent predispositions.
"A winning wave, deserving note,In the tempestuous petticoat;A careless shoe-string, in whose tieI see a wild civility."
Naturally, in a matter so vital, they are not disposed to listen to reason, and they cannot be argued out of a great fundamental instinct. Women are constitutionally incapable of being influenced by argument,—a limitation which is in the nature of a safeguard. The cunning words in which M. Marcel Provost urges them to follow the example of men, sounds, to their ears, a little like the words in which the fox which had lost its tail counsels its fellow foxes to rid themselves of so despicable an appendage. "Before the Revolution," writes M. Provost, in his "Lettres à François," "the clothes worn by men of quality were more costly than those worn by women. To-day all men dress with such uniformity that a Huron, transported to Paris or to London, could not distinguish master from valet. This will assuredly be the fate of feminine toilets in a future more or less near. The time must come when the varying costumes now seen at balls, at the races, at the theatre, will all be swept away; and in their place women will wear, as men do, a species of uniform. There will be a 'woman's suit,' costing sixty francs at Batignolles, and five hundred francs in the rue de la Paix; and, this reform once accomplished, it will never be possible to return to old conditions. Reason will have triumphed."
Perhaps! But reason has been routed so often from the field that one no longer feels confident of her success. M. Baudrillart had a world of reason on his side when, before the Chamber of Deputies, he urged reform in dress, and the legal suppression of jewels and costly fabrics. M. de Lavaleye, the Belgian statist, was fortified by reason when he proposed his grey serge uniform for women of all classes. If we turn back a page or two of history, and look at the failure of the sumptuary laws in England, we find the wives of London tradesmen, who were not permitted to wear velvet in public, lining their grogram gowns with this costly fabric, for the mere pleasure of possession, for the meaningless—and most unreasonable—joy of expenditure. And when Queen Elizabeth, who considered extravagance in dress to be a royal prerogative, attempted to coerce the ladies of her court into simplicity, the Countess of Shrewsbury comments with ill-concealed irony on the result of such reasonable endeavours. "How often hath her majestie, with the grave advice of her honourable Councell, sette down the limits of apparell of every degree; and how soon again hath the pride of our harts overflown the chanell."
There are two classes of critics who still waste their vital forces in a futile attempt to reform feminine dress. The first class cherish artistic sensibilities which are grievously wounded by the caprices of fashion. They anathematize a civilization which tolerates ear-rings, or feathered hats, or artificial flowers. They appear to suffer vicarious torments from high-heeled shoes, spotted veils, and stays. They have occasional doubts as to the moral influence of ball-dresses. An unusually sanguine writer of this order has assured us, in the pages of the "Contemporary Review," that when women once assume their civic responsibilities, they will dress as austerely as men. The first fruits of the suffrage will be seen in sober and virtue-compelling gowns at the opera.
The second class of critics is made up of economists, who believe that too much of the world's earnings is spent upon clothes, and that this universal spirit of extravagance retards marriage, and blocks the progress of the race. It is in an ignoble effort to pacify these last censors that women writers undertake to tell their women readers, in the pages of women's periodicals, how to dress on sums of incredible insufficiency. Such misleading guides would be harmless, and even in their way amusing, if nobody believed them; but unhappily somebody always does believe them, and that somebody is too often a married man. There is no measure to the credulity of the average semi-educated man when confronted by a printed page (print carries such authority in his eyes), and with rows of figures, all showing conclusively that two and two make three, and that with economy and good management they can be reduced to one and a half. He has never mastered, and apparently never will master, the exact shade of difference between a statement and a fact.
Women are, under most circumstances, even more readily deceived; but, in the matter of dress, they have walked the thorny paths of experience. They know the cruel cost of everything they wear,—a cost which in this country is artificially maintained by a high protective tariff,—and they are not to be cajoled by that delusive word "simplicity," being too well aware that it is, when synonymous with good taste, the consummate success of artists, and the crowning achievement of wealth. Some years ago there appeared in one of the English magazines an article entitled, "How to Dress on Thirty Pounds a Year. As a Lady. By a Lady." Whereupon "Punch" offered the following light-minded amendment: "How to Dress on Nothing a Year. As a Kaffir. By a Kaffir." At least a practical proposition.
Mr. Henry James has written some charming paragraphs on the symbolic value of clothes, as illustrated by the costumes worn by the French actresses of the Comédie,—women to whose unerring taste dress affords an expression of fine dramatic quality. He describes with enthusiasm the appearance of Madame Nathalie, when playing the part of an elderly provincial bourgeoise in a curtain-lifter called "Le Village."
"It was the quiet felicity of the old lady's dress that used to charm me. She wore a large black silk mantilla of a peculiar cut, which looked as if she had just taken it tenderly out of some old wardrobe where it lay folded in lavender, and a large dark bonnet, adorned with handsome black silk loops and bows. The extreme suggestiveness, and yet the taste and temperateness of this costume, seemed to me inimitable. The bonnet alone, with its handsome, decent, virtuous bows, was worth coming to see."
If we compare this "quiet felicity" of the artist with the absurd travesties worn on our American stage, we can better understand the pleasure which filled Mr. James's heart. What, for example, would Madame Nathalie have thought of the modish gowns which Mrs. Fiske introduces into the middle-class Norwegian life of Ibsen's dramas? No plays can less well bear such inaccuracies, because they depend on their stage-setting to bring before our eyes their alien aspect, to make us feel an atmosphere with which we are wholly unfamiliar. The accessories are few, but of supreme importance; and it is inconceivable that a keenly intelligent actress like Mrs. Fiske should sacrificevraisemblanceto a meaningless refinement. In the second act of "Rosmersholm," to take a single instance, the text calls for a morning wrapper, a thing so manifestly careless and informal that the school-master, Kroll, is scandalized at seeing Rebecca in it, and says so plainly. But as Mrs. Fiske plays the scene in a tea-gown of elaborate elegance, in which she might with propriety have received the Archbishop of Canterbury, Kroll's studied apologies for intruding upon her before she has had time to dress, and the whole suggestion of undue intimacy between Rebecca and Rosmer, which Ibsen meant to convey, is irrevocably lost. And to weaken a situation for the sake of being prettily dressed would be impossible to a French actress, trained in the delicacies of her art.
If the feeling for clothes, the sense of their correspondence with time and place, with public enthusiasms and with private sensibilities, has always belonged to France, it was a no less dominant note in Italy during the two hundred years in which she eclipsed and bewildered the rest of Christendom; and it bore fruit in those great historic wardrobes which the Italian chroniclers describe with loving minuteness. We know all about Isabella d' Este's gowns, as if she had worn them yesterday. We know all about the jewels which were the assertion of her husband's pride in times of peace, and his security with the Lombard bankers in times of war. We know what costumes the young Beatrice d' Este carried with her on her mission to Venice, and how favourably they impressed the grave Venetian Senate. We can count the shifts in Lucretia Borgia's trousseau, when that much-slandered woman became Duchess of Ferrara, and we can reckon the cost of the gold fringe which hung from her linen sleeves. We are told which of her robes was wrought with fish scales, and which with interlacing leaves, and which with a hem of pure and flame-like gold. Ambassadors described in state papers her green velvet cap with its golden ornaments, and the emerald she wore on her forehead, and the black ribbon which tied her beautiful fair hair.
These vanities harmonized with character and circumstance. The joy of living was then expressing itself in an overwhelming sense of beauty, and in material splendour which, unlike the material splendour of to-day, never overstepped the standard set by the intellect. Taste had become a triumphant principle, and as women grew in dignity and importance, they set a higher and higher value on the compelling power of dress. They had no more doubt on this score than had wise Homer when he hung the necklaces around Aphrodite's tender neck before she was well out of the sea, winding them row after row in as many circles as there are stars clustering about the moon. No more doubt than had the fair and virtuous Countess of Salisbury, who, so Froissart tells us, chilled the lawless passion of Edward the Third by the simple expedient of wearing unbefitting clothes. Saint Lucy, under somewhat similar circumstances, felt it necessary to put out her beautiful eyes; but Katharine of Salisbury knew men better than the saint knew them. She shamed her loveliness by going to Edward's banquet looking like a rustic, and found herself in consequence very comfortably free from royal attentions.
In the wise old days when men outshone their consorts, we find their hearts set discerningly on one supreme extravagance. Lace, the most artistic fabric that taste and ingenuity have devised, "the fine web which feeds the pride of the world," was for centuries the delight of every well-dressed gentleman. We know not by what marital cajolery Mr. Pepys persuaded Mrs. Pepys to give him the lace from her best petticoat, "that she had when I married her"; but we do know that he used it to trim a new coat; and that he subsequently noted down in his diary one simple, serious, and heartfelt resolution, which we feel sure was faithfully kept: "Henceforth I am determined my chief expense shall be in lace bands." Charles the Second paid fifteen pounds apiece for his lace-trimmed night-caps; William the Third, five hundred pounds for a set of lace-trimmed night-shirts; and Cinq-Mars, the favourite of Louis the Thirteenth, who was beheaded when he was barely twenty-two, found time in his short life to acquire three hundred sets of lace ruffles. The lace collars of Van Dyck's portraits, the lace cravats which Grahame of Claverhouse and Montrose wear over their armour, are subtly suggestive of the strength that lies in delicacy. The fighting qualities of Claverhouse were not less effective because of those soft folds of lace and linen. The death of Montrose was no less noble because he went to the scaffold in scarlet and fine linen, with "stockings of incarnate silk, and roses on his shoon." Once Carlyle was disparaging Montrose, as (being in a denunciatory mood) he would have disparaged the Archangel Michael; and, finding his hearers disposed to disagree with him, asked bitterly: "What did Montrose do anyway?" Whereupon Irving retorted: "He put on a clean shirt to be hanged in, and that is more than you, Carlyle, would ever have done in his place."
It was the association of the scaffold with an ignoble victim which banished black satin from the London world. Because a foul-hearted murderess[2] elected to be hanged in this material, Englishwomen refused for years to wear it, and many bales of black satin languished on the drapers' shelves,—a memorable instance of the significance which attaches itself to dress. The caprices of fashion do more than illustrate a woman's capacity or incapacity for selection. They mirror her inward refinements, and symbolize those feminine virtues and vanities which are so closely akin as to be occasionally undistinguishable.
[Footnote 2: Mrs. Manning.]
"A saint in crape is twice a saint in lawn,"
mocked Pope; and woman smiles at the satire, knowing more about the matter than Pope could ever have known, and seeing a little sparkle of truth glimmering beneath the gibe. Fashion fluctuates from one charming absurdity to another, and each in turn is welcomed and dismissed; through each in turn woman endeavours to reveal her own elusive personality. Poets no longer praise With Herrick the brave vibrations of her petticoats. Ambassadors no longer describe her caps and ribbons in their official documents. Novelists no longer devote twenty pages, as did the admirable Richardson, to the wedding finery of their heroines. Men have ceased to be vitally interested in dress, but none the less are they sensitive to its influence and enslaved by its results; while women, preserving through the centuries the great traditions of their sex, still rate at its utmost value the prize for which Eve sold her freehold in the Garden of Paradise.
"The Greatest of These is Charity"
Mrs. James Gordon Harrington Balderston to Mrs. Lapham Shepherd
MYDEARMRS.SHEPHERD,
Will you pardon me for this base encroachment on your time? Busy women are the only ones who everhaveany time, so the rest of the world is forced to steal from them. And then all that you organize is so successful that every one turns naturally to you for advice and assistance, as I am turning now. A really charming woman, a Miss Alexandrina Ramsay, who has lived for years in Italy, is anxious to give a series of lectures on Dante. I am sure they will be interesting, for she can put so much local colour into them, and I understand she is a fluent Italian scholar. Her uncle was the English Consul in Florence or Naples, I don't remember which, so she has had unusual opportunities for study; and her grandfather was Dr. Alexander Ramsay, who wrote a history of the Hebrides. Unfortunately her voice is not very strong, so she would be heard to the best advantage in a drawing-room. I am wondering whether you would consent to lend yours, which is so beautiful, or whether you could put Miss Ramsay in touch with the Century Club, or the Spalding School. You will find her attractive, I am sure. The Penhursts knew her well in Munich, and have given her a letter to me.
Pray allow me to congratulate you on your new honours as a grandmother. I trust that both your daughter and the baby are well.
Very sincerely yours,IRENEBALDERSTON.
I forgot to tell you that Miss Ramsay's lectures are on
Dante, the Lover.Dante, the Poet.Dante, the Patriot.Dante, the Reformer.
There was a fifth on Dante, the Prophet, but I persuaded her to leave it out of the course.
I. B.
Mrs. Lapham Shepherd to Mrs. Wilfred Ward Hamilton
DEARMRS.HAMILTON,—
Mrs. James Balderston has asked me to do what I can for a Miss Alexandrina Ramsay (granddaughter of the historian), who wants to give four lectures on Dante in Philadelphia. She has chopped him up into poet, prophet, lover, etc. I cannot have any lectures or readings in my house this winter. Jane is still far from strong, and we shall probably go South after Christmas. Please don't let me put any burden on your shoulders; but if Dr. Hamilton could persuade those nice Quakers at Swarthmore that there is nothing so educational as a course of Dante, it would be the best possible opening for Miss Ramsay. Mrs. Balderston seems to think her voice would not carry in a large room, but as students never listen to anybody, this would make very little difference. The Century Club has been suggested, but I fancy the classes there have been arranged for the season. There are preparatory schools, aren't there, at Swarthmore, which need to know about Dante? Or would there be any chance at all at Miss Irington's?
Miss Ramsay has been to see me, and I feel sorry for the girl. Her uncle was the English Consul at Milan, and the poor thing loved Italy (who doesn't!), and hated to leave it. I wish she could establish herself as a lecturer, though there is nothing I detest more ardently than lectures.
I missed you sorely at the meeting of the Aubrey Home house-committee yesterday. Harriet Maline and Mrs. Percy Brown had a battle royal over the laying of the new water-pipes, and overmyprostrate body, which still aches from the contest. I wish Harriet would resign. She is the only creature I have ever known, except the Bate's parrot and my present cook, who is perpetually out of temper. If she were not my husband's stepmother's niece, I am sure I could stand up to her better.
Cordially yours,ALICELEIGHSHEPHERD.
Mrs. Wilfred Ward Hamilton to Miss Violet Wray
DEARVIOLET,—
You know Margaret Irington better than I do. Do you think she would like to have a course of Dante in her school this winter? A very clever and charming woman, a Miss Alexandrina Ramsay, has four lectures on the poet which she is anxious to give before schools, or clubs, or—if she can—in private houses. I have promised Mrs. Shepherd to do anything in my power to help her. It occurred to me that the Contemporary Club might like to have one of the lectures, and you are on the committee. That would be the making of Miss Ramsay, if only she could be heard in that huge Clover Room. I understand she has a pleasant cultivated voice, but is not accustomed to public speaking. There must be plenty of smaller clubs at Bryn Mawr, or Haverford, or Chestnut Hill, for which she would be just the thing. Her grandfather wrote a history of England, and I have a vague impression that I studied it at school. I should write to the Drexel Institute, but don't know anybody connected with it. Do you? It would be a real kindness to give Miss Ramsay a start, and I know you do not begrudge trouble in a good cause. You did such wonders for Fräulein Breitenbach last winter.
Love to your mother,Affectionately yours,HANNAHGALEHAMILTON.
Miss Violet Wray to Mrs. J. Lockwood Smith
DEARANN,—
I have been requested by Hannah Hamilton—may Heaven forgive her!—to find lecture engagements for a Miss Ramsay, Miss Alexandrina Ramsay, who wants to tell the American public what she knows about Dante. Why a Scotchwoman should be turned loose in the Inferno, I cannot say; but it seems her father or her grandfather wrote school-books, and she is carrying on the educational traditions of the family. Hannah made the unholy suggestion that she should speak at the Contemporary Club, and offered as an inducement the fact that she couldn't be heard in so large a room. But we are supposed to discuss topics of the day, and Dante happened some little while ago. He has no bearing upon aviation, or National Insurance Bills (that is our subject next Monday night); but he is brimming over with ethics, and it is the duty of your precious Ethical Society to grapple with him exhaustively. I always wondered what took you to that strange substitute for church; but now I see in it the hand of Providence pointing the way to Miss Ramsay's lecture field. Please persuade your fellow Ethicals that four lectures—or even one lecture—on Dante will be what Alice Hunt calls an "uplift." I feel that I must try and find an opening for Hannah's protégée, because she helped me with Fräulein Breitenbach's concert last winter,—a circumstance she does not lightly permit me to forget. Did I say, "May Heaven forgive her" for saddling me with this Scotch schoolmaster's daughter? Well, I take back that devout supplication. May jackals sit on her grandmother's grave! Meantime here is Miss Ramsay to be provided for. If your Ethicals (disregarding their duty) will have none of her, please think up somebody with a taste for serious study, and point out that Dante, elucidated by a Scotchwoman, will probably be as serious as anything that has visited Philadelphia since the yellow fever.
If you want one of Grisette's kittens, there are still two left. The handsomest of all has gone to live in regal splendour at the Bruntons, and I have promised another to our waitress who was married last month. Such are the vicissitudes of life.
Ever yours,VIOLETWRAY.
Mrs. J. Lockwood Smith to Mrs. James Gordon Harrington Balderston
DEARMRS.BALDERSTON,—
I want to enlist your interest in a clever young Scotchwoman, a Miss Alexandrina Ramsay, who hopes to give four lectures on Dante in Philadelphia this winter. Her father was an eminent teacher in his day, and I understand she is thoroughly equipped for her work. Heaven knows I wish fewer lecturers would cross the sea to enlighten our ignorance, and so will you when you get this letter; but I remember with what enthusiasm you talked about Italy and Dante at Brown's Mills last spring, and I trust that your ardour has not waned. The Century Club seems to me the best possible field for Miss Ramsay. Do you know any one on the entertainment committee, and do you think it is not too late in the season to apply? Of course there are always the schools. Dear Mrs. Balderston, I should feel more shame in troubling you, did I not know how capable you are, and how much weight your word carries. Violet Wray and Mrs. Wilfred Hamilton are tremendously interested in Miss Ramsay. May I tell Violet to send her to you, so that you can see for yourself what she is like, and what chances she has of success? Please be quite frank in saying yes or no, and believe me always,
Yours very cordially,ANNHAZELTONSMITH.
The Customary Correspondent
"Letters warmly sealed and coldly opened."—RICHTER.
Why do so many ingenious theorists give fresh reasons every year for the decline of letter writing, and why do they assume, in derision of suffering humanity, that it has declined? They lament the lack of leisure, the lack of sentiment,—Mr. Lucas adds the lack of stamps,—which chill the ardour of the correspondent; and they fail to ascertain how chilled he is, or how far he sets at naught these justly restraining influences. They talk of telegrams, and telephones, and postal cards, as if any discovery of science, any device of civilization, could eradicate from the human heart that passion for self-expression which is the impelling force of letters. They also fail to note that, side by side with telephones and telegrams, comes the baleful reduction of postage rates, which lowers our last barrier of defence. Two cents an ounce leaves us naked at the mercy of the world.
It is on record that a Liverpool tradesman once wrote to Dickens, to express the pleasure he had derived from that great Englishman's immortal novels, and enclosed, by way of testimony, a cheque for five hundred pounds. This is a phenomenon which ought to be more widely known than it is, for there is no natural law to prevent its recurrence; and while the world will never hold another Dickens, there are many deserving novelists who may like to recall the incident when they open their morning's mail. It would be pleasant to associate our morning's mail with such fair illusions; and though writing to strangers is but a parlous pastime, the Liverpool gentleman threw a new and radiant light upon its possibilities. "The gratuitous contributor is,ex vi termini, an ass," said Christopher North sourly; but then he never knew, nor ever deserved to know, this particular kind of contribution.
Generally speaking, the unknown correspondent does not write to praise. His guiding principle is the diffusion of useless knowledge, and he demands or imparts it according to the exigencies of the hour. It is strange that a burning thirst for information should be combined with such reluctance to acquire it through ordinary channels. A man who wishes to write a paper on the botanical value of Shakespeare's plays does not dream of consulting a concordance and a botany, and then going to work. The bald simplicity of such a process offends his sense of magnitude. He writes to a distinguished scholar, asking a number of burdensome questions, and is apparently under the impression that the resources of the scholar's mind, the fruits of boundless industry, should be cheerfully placed at his disposal. A woman who meditates a "literary essay" upon domestic pets is not content to track her quarry through the long library shelves. She writes to some painstaking worker, enquiring what English poets have "sung the praises of the cat," and if Cowper was the only author who ever domesticated hares? One of Huxley's most amusing letters is written in reply to a gentleman who wished to compile an article on "Home Pets of Celebrities," and who unhesitatingly applied for particulars concerning the Hodeslea cat.
These are, of course, labour-saving devices, but economy of effort is not always the ambition of the correspondent. It would seem easier, on the whole, to open a dictionary of quotations than to compose an elaborately polite letter, requesting to know who said—
"Fate cannot harm me; I have dined to-day."
It is certainly easier, and far more agreeable, to read Charles Lamb's essays than to ask a stranger in which one of them he discovered the author's heterodox views on encyclopædias. It involves no great fatigue to look up a poem of Herrick's, or a letter of Shelley's, or a novel of Peacock's (these things are accessible and repay enquiry), and it would be a rational and self-respecting thing to do, instead of endeavouring to extort information (like an intellectual footpad) from writers who are in no way called upon to furnish it.
One thing is sure. As long as there are people in this world whose guiding principle is the use of other people's brains, there can be no decline and fall of letter-writing. The correspondence which plagued our great-grandfathers a hundred years ago, plagues their descendants to-day. Readers of Lockhart's "Scott" will remember how an Edinburgh minister named Brunton, who wished to compile a hymnal, wrote to the poet Crabbe for a list of hymns; and how Crabbe (who, albeit a clergyman, knew probably as little about hymns as any man in England) wrote in turn to Scott, to please help him to help Brunton; and how Scott replied in desperation that he envied the hermit of Prague who never saw pen nor ink. How many of us have in our day thought longingly of that blessed anchorite! Surely Mr. Herbert Spencer must, consciously or unconsciously, have shared Scott's sentiments, when he wrote a letter to the public press, explaining with patient courtesy that, being old, and busy, and very tired, it was no longer possible for him to answer all the unknown correspondents who demanded information upon every variety of subject. He had tried to do this for many years, but the tax was too heavy for his strength, and he was compelled to take refuge in silence.
Ingenious authors and editors who ask for free copy form a class apart. They are not pursuing knowledge for their own needs, but offering themselves as channels through which we may gratuitously enlighten the world. Their questions, though intimate to the verge of indiscretion, are put in the name of humanity; and we are bidden to confide to the public how far we indulge in the use of stimulants, what is the nature of our belief in immortality, if—being women—we should prefer to be men, and what incident of our lives has most profoundly affected our careers. Reticence on our part is met by the assurance that eminent people all over the country are hastening to answer these queries, and that the "unique nature" of the discussion will make it of permanent value to mankind. We are also told in soothing accents that our replies need not exceed a few hundred words, as the editor is nobly resolved not to infringe upon our valuable time.
Less commercial, but quite as importunate, are the correspondents who belong to literary societies, and who have undertaken to read, before these select circles, papers upon every conceivable subject, from the Bride of the Canticle to the divorce laws of France. They regret their own ignorance—as well they may—and blandly ask for aid. There is no limit to demands of this character. The young Englishwoman who wrote to Tennyson, requesting some verses which she might read as her own at a picnic, was not more intrepid than the American school-girl who recently asked a man of letters to permit her to see an unpublished address, as she had heard that it dealt with the subject of her graduation paper, and hoped it might give her some points. It is hard to believe that the timidity natural to youth—or which we used to think natural to youth—could be so easily overcome; or that the routine of school work, which makes for honest if inefficient acquirements, could leave a student still begging or borrowing her way.
We must in justice admit, however, that the unknown correspondent is as ready to volunteer assistance as to demand it. He is ingenious in criticism, and fertile in suggestions. He has inspirations in the way of plots and topics,—like that amiable baronet, Sir John Sinclair, who wanted Scott to write a poem on the adventures and intrigues of a Caithness mermaiden, and who proffered him, by way of inducement, "all the information I possess." The correspondent's tone, when writing to humbler drudges in the field, is kind and patronizing. He admits that he likes your books, or at least—here is a veiled reproach—that he "has liked the earlier ones"; he assumes, unwarrantably, that you are familiar with his favourite authors; and he believes that it would be for you "an interesting and congenial task" to trace the "curious connection" between American fiction and the stock exchange. Sometimes, with thinly veiled sarcasm, he demands that you should "enlighten his dulness," and saywhyyou gave your book its title. If he cannot find a French word you have used in his "excellent dictionary," he thinks it worth while to write and tell you so. He fears you do not "wholly understand or appreciate the minor poets of your native land"; and he protests, more in sorrow than in anger, against certain innocent phrases with which you have disfigured "your otherwise graceful pages."
Now it must be an impulse not easily resisted which prompts people to this gratuitous expression of their opinions. They take a world of trouble which they could so easily escape; they deem it their privilege to break down the barriers which civilization has taught us to respect; and if they ever find themselves repaid, it is assuredly by something remote from the gratitude of their correspondents. Take, for example, the case of Mr. Peter Bayne, journalist, and biographer of Martin Luther, who wrote to Tennyson,—with whom he was unacquainted,—protesting earnestly against a line in "Lady Clare":—
"'If I'm a beggar born,' she said."
It was Mr. Bayne's opinion that such an expression was not only exaggerated, inasmuch as the nurse was not, and never had been, a beggar; but, coming from a child to her mother, was harsh and unfilial. "The criticism of my heart," he wrote, "tells me that Lady Clare could never have said that."
Tennyson was perhaps the last man in Christendom to have accepted the testimony of Mr. Bayne's heart-throbs. He intimated with some asperity that he knew better than anyone else what Lady Claredidsay, and he pointed out that she had just cause for resentment against a mother who had placed her in such an embarrassing position. The controversy is one of the drollest in literature; but what is hard to understand is the mental attitude of a man—and a reasonably busy man—who could attach so much importance to Lady Clare's remarks, and who could feel himself justified in correcting them.
Begging letters form a class apart. They represent a great and growing industry, and they are too purposeful to illustrate the abstract passion for correspondence. Yet marvellous things have been done in this field. There is an ingenuity, a freshness and fertility of device about the begging letter which lifts it often to the realms of genius. Experienced though we all are, it has surprises in store for every one of us. Seasoned though we are, we cannot read without appreciation of its more daring and fantastic flights. There was, for instance, a very imperative person who wrote to Dickens for a donkey, and who said he would call for it the next day, as though Dickens kept a herd of donkeys in Tavistock Square, and could always spare one for an emergency. There was a French gentleman who wrote to Moore, demanding a lock of Byron's hair for a young lady, who would—so he said—die if she did not get it. This was a very lamentable letter, and Moore was conjured, in the name of the young lady's distracted family, to send the lock, and save her from the grave. And there was a misanthrope who wrote to Peel that he was weary of the ways of men (as so, no doubt, was Peel), and who requested a hermitage in some nobleman's park, where he might live secluded from the world. The best begging-letter writers depend upon the element of surprise as a valuable means to their end. I knew a benevolent old lady who, in 1885, was asked to subscribe to a fund for the purchase of "moderate luxuries" for the French soldiers in Madagascar. "What did you do?" I asked, when informed of the incident. "I sent the money," was the placid reply. "I thought I might never again have an opportunity to send money to Madagascar."
It would be idle to deny that a word of praise, a word of thanks, sometimes a word of criticism, have been powerful factors in the lives of men of genius. We know how profoundly Lord Byron was affected by the letter of a consumptive girl, written simply and soberly, signed with initials only, seeking no notice and giving no address; but saying in a few candid words that the writer wished before she died to thank the poet for the rapture his poems had given her. "I look upon such a letter," wrote Byron to Moore, "as better than a diploma from Göttingen." We know, too, what a splendid impetus to Carlyle was that first letter from Goethe, a letter which he confessed seemed too wonderful to be real, and more "like a message from fairyland." It was but a brief note after all, tepid, sensible, and egotistical; but the magic sentence, "It may be I shall yet hear much of you," became for years an impelling force, the kind of prophecy which insured its own fulfilment.
Carlyle was susceptible to praise, though few readers had the temerity to offer it. We find him, after the publication of the "French Revolution," writing urbanely to a young and unknown admirer; "I do not blame your enthusiasm." But when a less happily-minded youth sent him some suggestions for the reformation of society, Carlyle, who could do all his own grumbling, returned his disciple's complaints with this laconic denial: "A pack of damned nonsense, you unfortunate fool." It sounds unkind; but we must remember that there were six posts a day in London, that "each post brought its batch of letters," and that nine tenths of these letters—so Carlyle says—were from strangers, demanding autographs, and seeking or proffering advice. One man wrote that he was distressingly ugly, and asked what should he do about it. "So profitable have my epistolary fellow creatures grown to me in these years," notes the historian in his journal, "that when the postman leaves nothing, it may well be felt as an escape."
The most patient correspondent known to fame was Sir Walter Scott, though Lord Byron surprises us at times by the fine quality of his good nature. His letters are often petulant,—especially when Murray has sent him tragedies instead of tooth-powder; but he is perhaps the only man on record who received with perfect equanimity the verses of an aspiring young poet, wrote him the cheerfullest of letters, and actually invited him to breakfast. The letter is still extant; but the verses were so little the precursor of fame that the youth's subsequent history is to this day unknown. It was with truth that Byron said of himself: "I am really a civil and polite person, and do hate pain when it can be avoided."
Scott was also civil and polite, and his heart beat kindly for every species of bore. As a consequence, the world bestowed its tediousness upon him, to the detriment of his happiness and health. Ingenious jokers translated his verses into Latin, and then wrote to accuse him of plagiarizing from Vida. Proprietors of patent medicines offered him fabulous sums to link his fame with theirs. Modest ladies proposed that he should publish their effusions as his own, and share the profits. Poets demanded that he should find publishers for their epics, and dramatists that he should find managers for their plays. Critics pointed out to him his anachronisms, and well-intentioned readers set him right on points of morality and law. When he was old, and ill, and ruined, there was yet no respite from the curse of correspondents. A year before his death he wrote dejectedly in his journal:—"A fleece of letters which must be answered, I suppose; all from persons—my zealous admirers, of course—who expect me to make up whatever losses have been their lot, raise them to a desirable rank, and stand their protector and patron. I must, they take it for granted, be astonished at having an address from a stranger. On the contrary, I should be astonished if one of these extravagant epistles came from anybody who had the least title to enter into correspondence."
And there are people who believe, or who pretend to believe, that fallen human nature can be purged and amended by half-rate telegrams, and a telephone ringing in the hall. Rather let us abandon illusions, and echo Carlyle's weary cry, when he heard the postman knocking at his door: "Just Heavens! Does literature lead to this!"