Part 2

She was twenty-three years old when her first book of poems was published; so we read in her letters, in which she entreats her father not to curtail ANY of the verses addressed to him; there is no reason, she says, except his EXTREME MODESTY why the verses should be suppressed,--she speaks not only with the fondness of a daughter but with the sensibility of a poet. Our young authoress is modest, although in print; she compares herself to Crabbe (as Jane Austen might have done), and feels 'what she supposes a farthing candle would experience when the sun rises in all its glory.' Then comes the Publisher's bill for 59 pounds; she is quite shocked at the bill, which is really exorbitant! In her next letter Miss Mitford reminds her father that the taxes are still unpaid, and a correspondence follows with somebody asking for a choice of the Doctor's pictures in payment for the taxes. The Doctor is in London all the time, dining out and generally amusing himself. Everybody is speculating whether Sir Francis Burdett will go to the Tower.* 'Oh, my darling, how I envy you at the fountain-head of intelligence in these interesting times! How I envy Lady Burdett for the fine opportunity she has to show the heroism of our sex!' writes the daughter, who is only encountering angry tax-gatherers at home.... Somehow or other the bills are paid for the time, and the family arrangements go on as before.

*Here, in our little suburban garden at Wimbledon, are the remains of an old hedgerow which used to grow in the kitchen garden of the Grange where Sir Francis Burdett then lived. The tradition is that he was walking in the lane in his own kitchen garden when he was taken up and carried off to honourable captivity.--A.T.R.

Besides writing to the members of her own home, Miss Mitford started another correspondent very early in life; this was Sir William Elford, to whom she describes her outings and adventures, her visits to Tavistock House, where her kind friends the Perrys receive her. Mr. Perry was the editor of the Morning Chronicle; he and his beautiful wife were the friends of all the most interesting people of the day. Here again the present writer's own experiences can interpret the printed page, for her own first sight of London people and of London society came to her in a little house in Chesham Place, where her father's old friends, Mrs. Frederick Elliot and Miss Perry, the daughters of Miss Mitford's friends, lived with a very notable and interesting set of people, making a social centre, by that kindly unconscious art which cannot be defined; that quick apprehension, that benevolent fastidiousness (I have to use rather far-fetched words) which are so essential to good hosts and hostesses. A different standard is looked for now, by the rising generations knocking at the doors, behind which the dignified past is lying as stark as King Duncan himself!

Among other entertainments Miss Mitford went to the fetes which celebrated the battle of Vittoria; she had also the happiness of getting a good sight of Mme. de Stael, who was a great friend of the Perrys. 'She is almost as much followed in the gardens as the Princess,' she says, pouring out her wonders, her pleasures, her raptures. She begins to read Burns with youthful delight, dilates upon his exhaustless imagination, his versatility, and then she suggests a very just criticism. 'Does it not appear' she says, 'that versatility is the true and rare characteristic of that rare thing called genius--versatility and playfulness;' then she goes on to speak of two highly-reputed novels just come out and ascribed to Lady Morley, 'Pride and Prejudice' and 'Sense and Sensibility.'

She is still writing from Bertram House, but her pleasant gossip continually alternates with more urgent and less agreeable letters addressed to her father. Lawyers' clerks are again calling with notices and warnings, tax-gatherers are troubling. Dr. Mitford has, as usual, left no address, so that she can only write to the 'Star Office,' and trust to chance. 'Mamma joins in tenderest love,' so the letters invariably conclude.

Notwithstanding the adoration bestowed by the ladies of the family and their endearing adjectives, Mr. Harness is very outspoken on the subject of the handsome Doctor! He disliked his manners, his morals, his self-sufficiency, his loud talk. 'The old brute never informed his friends of anything; all they knew of him or his affairs, or whatever false or true he intended them to believe, came out carelessly in his loose, disjointed talk.'

In 1814 Miss Mitford is living on still with her parents at Bertram House, but a change has come over their home; the servants are gone, the gravel turned to moss, the turf into pasture, the shrubberies to thickets, the house a sort of new 'ruin half inhabited, and a Chancery suit is hanging over their heads.' Meantime some news comes to cheer her from America. Two editions of her poems have been printed and sold. 'Narrative Poems on the Female Character' proved a real success. 'All who have hearts to feel and understandings to discriminate, must wish you health and leisure to complete your plan,' so write publishers in those golden days, with complimentary copies of the work....

Great things are happening all this time; battles are being fought and won, Napoleon is on his way to St. Helena; London is in a frenzy of rejoicings, entertainings, illuminations. To Mary Mitford the appearance of 'Waverley' seems as great an event as the return of the Bourbons; she is certain that 'Waverley' is written by Sir Walter Scott, but 'Guy Mannering,' she thinks, is by another hand: her mind is full of a genuine romantic devotion to books and belles lettres, and she is also rejoicing, even more, in the spring-time of 1816. Dr. Mitford may be impecunious and their affairs may be threadbare, but the lovely seasons come out ever in fresh beauty and abundance. The coppices are carpeted with primroses, with pansies and wild strawberry blossom,--the woods are spangled with the delicate flowers of the woodsorrel and wood anemone, the meadows enamelled with cowslips.... Certainly few human beings were ever created more fit for this present world, and more capable of admiring and enjoying its beauties, than Miss Mitford, who only desired to be beautiful herself, she somewhere says, to be perfectly contented.

III.

Most people's lives are divided into first, second and third volumes; and as we read Miss Mitford's history it forms no exception to the rule. The early enthusiastic volume is there, with its hopes and wild judgments, its quaint old-fashioned dress and phraseology; then comes the second volume, full of actual work and serious responsibility, with those childish parents to provide for, whose lives, though so protracted, never seem to reach beyond their nurseries. Miss Mitford's third volume is retrospective; her growing infirmities are courageously endured, there is the certainty of success well earned and well deserved; we realise her legitimate hold upon the outer world of readers and writers, besides the reputation which she won upon the stage by her tragedies.

The literary ladies of the early part of the century in some ways had a very good time of it. A copy of verses, a small volume of travels, a few tea-parties, a harp in one corner of the room, and a hat and feathers worn rather on one side, seemed to be all that was wanted to establish a claim to fashion and inspiration. They had footstools to rest their satin shoes upon, they had admirers and panegyrists to their heart's content, and above all they possessed that peculiar complacency in which (with a few notable exceptions) our age is singularly deficient. We are earnest, we are audacious, we are original, but we are not complacent. THEY were dolls perhaps, and lived in dolls' houses; WE are ghosts without houses at all; we come and go wrapped in sheets of newspaper, holding flickering lights in our hands, paraffin lamps, by the light of which we are seeking our proper sphere. Poor vexed spirits! We do not belong to the old world any more! The new world is not yet ready for us. Even Mr. Gladstone will not let us into the House of Commons; the Geographical Society rejects us, so does the Royal Academy; and yet who could say that any of their standards rise too high! Some one or two are happily safe, carried by the angels of the Press to little altars and pinnacles all their own; but the majority of hard-working, intelligent women, 'contented with little, yet ready for more,' may they not in moments of depression be allowed to picture to themselves what their chances might have been had they only been born half a century earlier?

Miss Mitford, notwithstanding all her troubles (she has been known to say she had rather be a washerwoman than a literary lady), had opportunities such as few women can now obtain. One is lost in admiration at the solidity of one's grandparents' taste, when one attempts to read the tragedies they delighted in, and yet 'Rienzi' sold four thousand copies and was acted forty-five times; and at one time Miss Mitford had two tragedies rehearsed upon the boards together; one at Covent Garden and one at Drury Lane, with Charles Kemble and Macready disputing for her work. Has not one also read similar descriptions of the triumphs of Hannah More, or of Johanna Baillie; cheered by enthusiastic audiences, while men shed tears.*

*Mem. Hannah More, v.i. p.124.

'Julian' was the first of Miss Mitford's acted plays. It was brought out at Covent Garden in 1823, when she was thirty-six years old; Macready played the principal part. 'If the play do reach the ninth night,' Miss Mitford writes to Macready, 'it will be a very complete refutation of Mr. Kemble's axiom that no single performer can fill the theatre; for except our pretty Alfonso (Miss Foote) there is only Julian, one and only one. Let him imagine how deeply we feel his exertions and his kindness.*...'

*In Macready's diary we find an entry which is not over gracious. '"Julian" acted March the 15th. Had but moderate success. The C. G. company was no longer equal to the support of plays containing moral characters. The authoress in her dedication to me was profuse in her acknowledgments and compliments, but the performance made little impression, and was soon forgotten.'

'Julian' was stopped on the eighth night, to her great disappointment, but she is already engaged on another--on several more---tragedies; she wants the money badly; for the editor of her magazine has absconded, owing her 50 pounds. Some trying and bewildering quarrel then ensues between Charles Kemble and Macready, which puts off her tragedies, and sadly affects poor Miss Mitford's nerves and profits. She has one solace. Her father, partly instigated, she says, by the effect which the terrible feeling of responsibility and want of power has had upon her health and spirits, at last resolves to try if he can HIMSELF obtain any employment that may lighten the burthen of the home. It is a good thing that Dr. Mitford has braced himself to this heroic determination. 'The addition of two or even one hundred a year to our little income, joined to what I am, in a manner, sure of gaining by mere industry, would take a load from my heart of which I can scarcely give you an idea... even "Julian" was written under a pressure of anxiety which left me not a moment's rest....' So she fondly dwells upon the delightful prospects. Then comes the next letter to Sir William Elford, and we read that her dear father, 'relying with a blessed sanguineness on my poor endeavours, has not, I believe, even inquired for a situation, and I do not press the matter, though I anxiously wish it; being willing to give one more trial to the theatre.'

On one of the many occasions when Miss Mitford writes to her trustee imploring him to sell out the small remaining fragment of her fortune, she says, 'My dear father has, years ago, been improvident, is still irritable and difficult to live with, but he is a person of a thousand virtues... there are very few half so good in this mixed world; it is my fault that this money is needed, entirely my fault, and if it be withheld, my dear father will be overthrown, mind and body, and I shall never know another happy hour.'

No wonder Mr. Harness, who was behind the scenes, remonstrated against the filial infatuation which sacrificed health, sleep, peace of mind, to gratify every passing whim of the Doctor's. At a time when she was sitting up at night and slaving, hour after hour, to earn the necessary means of living, Dr. Mitford must needs have a cow, a stable, and dairy implements procured for his amusement, and when he died he left 1,000 pounds of debts for the scrupulous woman to pay off. She is determined to pay, if she sells her clothes to do so. Meanwhile, the Doctor is still alive, and Miss Mitford is straining every nerve to keep him so. She is engaged (in strict confidence) on a grand historical subject, Charles and Cromwell, the finest episode in English history, she says. Here, too, fresh obstacles arise. This time it is the theatrical censor who interferes. It would be dangerous for the country to touch upon such topics; Mr. George Colman dwells upon this theme, although he gives the lady full credit for no evil intentions; but for the present all her work is again thrown away. While Miss Mitford is struggling on as best she can against this confusion of worries and difficulty (she eventually received 200 pounds for 'Julian' from a Surrey theatre), a new firm 'Whittaker' undertakes to republish the 'village sketches' which had been written for the absconding editor. The book is to be published under the title of 'Our Village.'

IV.

'Are your characters and descriptions true?' somebody once asked our authoress. 'Yes, yes, yes, as true, as true as is well possible,' she answers. 'You, as a great landscape painter, know that in painting a favourite scene you do a little embellish and can't help it; you avail yourself of happy accidents of atmosphere; if anything be ugly you strike it out, or if anything be wanting, you put it in. But still the picture is a likeness.'

So wrote Miss Mitford, but with all due respect for her and for Sir William Elford, the great landscape painter, I cannot help thinking that what is admirable in her book, are not her actual descriptions and pictures of intelligent villagers and greyhounds, but the more imaginative things; the sense of space and nature and progress which she knows how to convey; the sweet and emotional chord she strikes with so true a touch. Take at hazard her description of the sunset. How simple and yet how finely felt it is. Her genuine delight reaches us and carries us along; it is not any embellishing of effects, or exaggeration of facts, but the reality of a true and very present feeling... 'The narrow line of clouds which a few minutes ago lay like long vapouring streaks along the horizon, now lighted with a golden splendour, that the eye can scarcely endure; those still softer clouds which floated above, wreathing and curling into a thousand fantastic forms as thin and changeful as summer smoke, defined and deepened into grandeur, and hedged with ineffable, insufferable light. Another minute and the brilliant orb totally disappears and the sky above grows, every moment, more varied and more beautiful, as the dazzling golden lines are mixed with glowing red and gorgeous purple, dappled with small dark specks, and mingled with such a blue as the egg of the hedge-sparrow.... To look up at that glorious sky, and then to see that magnificent picture reflected in the clear and lovely Loddon water, is a pleasure never to be described, and never to be forgotten. My heart swells, and my eyes fill as I write of it, and think of the immeasurable majesty of nature and the unspeakable goodness of God, who has spread an enjoyment so pure, so peaceful, and so intense before the meanest and lowliest of His creatures.'

But it is needless now to go on praising 'Our Village,' or to recount what a success was in store for the little book. Certain books hold their own by individual right and might; they are part of everybody's life as a matter of course. They are not always read, but they tacitly take their place among us. The editions succeeded editions here and in America; artists came down to illustrate the scenes. Miss Mitford, who was so delighted with the drawings by Mr. Baxter, should have lived to see the charming glimpses of rural life we owe to Mr. Thomson. 'I don't mind 'em,' says Lizzy to the cows, as they stand with spirited bovine grace behind the stable door. 'Don't mind them indeed!'

I think the author would assuredly have enjoyed the picture of the baker, the wheelwright and the shoemaker, each following his special Alderney along the road to the village, or of the farmer driving his old wife in the gig.... One design, that of the lady in her pattens, comes home to the writer of these notes, who has perhaps the distinction of being the only authoress now alive who has ever walked out in pattens. At the age of seven years she was provided with a pair by a great-great-aunt, a kind old lady living at Fareham, in Hampshire, where they were still in use. How interesting the little circles looked stamped upon the muddy road, and how nearly down upon one's nose one was at every other step!

But even with all her success, Miss Mitford was not out of her troubles. She writes to Mr. Harness saying: 'You cannot imagine how perplexed I am. There are points in my domestic situation too long and too painful to write about; the terrible improvidence of one dear parent, the failure of memory and decay of faculty in that other who is still dearer, cast on me a weight of care and fear that I can hardly bear up against.' Her difficulties were unending. The new publisher now stopped payment, so that even 'Our Village' brought in no return for the moment; Charles Kemble was unable to make any offer for 'Foscari.' She went up to town in the greatest hurry to try and collect some of the money owing to her from her various publishers, but, as Mr. Harness says, received little from her debtors beyond invitations and compliments. She meditates a novel, she plans an opera, 'Cupid and Psyche.'

At last, better times began to dawn, and she receives 150 pounds down for a new novel and ten guineas from Blackwood as a retaining fee. Then comes a letter from Charles Kemble giving her new hope, for her tragedy, which was soon afterwards produced at Covent Garden.

The tragedies are in tragic English, of course that language of the boards, but not without a simplicity and music of their own. In the introduction to them, in some volumes published by Hurst and Blacket in 1854, Miss Mitford describes 'the scene of indescribable chaos preceding the performance, the vague sense of obscurity and confusion; tragedians, hatted and coated, skipping about, chatting and joking; the only very grave person being Liston himself. Ballet-girls walking through their quadrilles to the sound of a solitary fiddle, striking up as if of its own accord, from amid the tall stools and music-desks of the orchestra, and piercing, one hardly knew how, through the din that was going on incessantly. Oh, that din! Voices from every part; above, below, around, and in every key. Heavy weights rolling here and falling there. Bells ringing, one could not tell why, and the ubiquitous call-boy everywhere.'

She describes her astonishment when the play succeeds. 'Not that I had nerve enough to attend the first representation of my tragedies. I sat still and trembling in some quiet apartment near, and thither some friend flew to set my heart at ease. Generally the messenger of good tidings was poor Haydon, whose quick and ardent spirit lent him wings on such an occasion.'

We have the letter to her mother about 'Foscari,' from which I have quoted; and on the occasion of the production of 'Rienzi' at Drury Lane (two years later in October 1828), the letter to Sir William Elford when the poor old mother was no longer here to rejoice in her daughter's success.