INTRODUCTORY NOTE
WILLIAM MAKEPEACE THACKERAY, one of the greatest of English novelists, was born at Calcutta, India, on July 18, 1811, where his father held an administrative position. He was sent to England at six for his education, which he received at the Charterhouse and Cambridge, after which he began, but did not prosecute, the study oflaw. Having lost his means, in part by gambling, he made up his mindto earn his living as an artist, and went to Paris to study. He had some natural gift for drawing, which he had already employed in caricature, but, though he made interesting and amusing illustrations for his books, he never acquired any marked technical skill.
He now turned to literature, and, on the strength of an appointment as Paris correspondent of a short-lived radical newspaper, he married. On the failure of the newspaper he took to miscellaneous journalism and the reviewing of books and pictures, his most important work appearing in Fraser's Magazine and Punch. In 1840 his wife's mind became clouded, and, though she never recovered, she lived on till 1894.
Success came to Thackeray very slowly. “Catherine,” “The Great Hoggarty Diamond,” “Barry Lyndon,” and several volumes of travel had failed to gain much attention before the “Snob Papers,” issued in Punch in 1846, brought him fame. In the January of the next year “Vanity Fair” began to appear in monthly numbers, and by the time it was finished Thackeray had taken his place in the front rank of his profession. “Pendennis” followed in 1850, and sustained the prestige he had won.
The next year he began lecturing, and delivered in London the lectures on “The English Humourists,” which he repeated the following winter in America with much success. “Esmond” had appeared on the eve of his setting sail, and revealed his style at its highest point of perfection, and a tenderer if less powerful touch than “Vanity Fair” had displayed. In 1855 “The Newcomes” appeared, and was followed by a second trip to America, when he lectured on “The Four Georges.” After an unsuccessful attempt to enter Parliament, the novelist resumed his writing with “The Virginians”(1857-59), in which he availed himself of his American experiences.
In January of 1860 the Cornhill Magazine was founded, with Thackeray as first editor, and launched on a distinguished career. Most of his later work was published in its pages, but “Lovel the Widower” and the “Adventures of Philip” have not taken a place beside his greater work. In the essays constituting the “Roundabout Papers,” however, he appeared at his easiest and most charming. After a little more than two years he resigned the editorship: and on December 23, 1863, he died.
Thackeray's greatest distinction is, of course, as a novelist, and an estimate of his work in this field is not in place here. But as an essayist he is also great. The lectures on “The English Humourists,” of which the following paper on “Swift” was the first, were the fruit of an intimate knowledge of the time of Queen Anne, and a warm sympathy with its spirit. And here, as in all his mature work, Thackeray is the master of a style that for ease, suppleness, and range of effect has seldom been equaled in English.
JONATHAN SWIFT
IN treating of the English humourists of the past age, it is of the men and of their lives, rather than of their books, that I ask permission to speak to you; and in doing so, you are aware that I cannot hope to entertain you with a merely humorous or facetious story. Harlequin without his mask is known to present a very sober countenance, and was himself, the story goes, the melancholy patient whom the Doctor advised to go and see Harlequin—a man full of cares and perplexities like the rest of us, whose Self must always be serious to him, under whatever mask or disguise or uniform he presents it to the public. And as all of you here must needs be grave when you think of your own past and present, you will not look to find, in the histories of those whose lives and feelings I am going to try and describe to you, a story that is otherwise than serious, and often very sad. If Humour only meant laughter, you would scarcely feel more interest about humorous writers than about the private life of poor Harlequin just mentioned, who possesses in common with these the power of making you laugh. But the men regarding whose lives and stories your kind presence here shows that you have curiosity and sympathy, appeal to a great number of our other faculties, besides our mere sense of ridicule. The humorous writer professes to awaken and direct your love, your pity, your kindness—your scorn for untruth, pretension, imposture—your tenderness for the weak, the poor, the oppressed, the unhappy. To the best of his means and ability he comments on all the ordinary actions and passions of life almost. He takes upon himself to be himself to be the week-day preacher, so to speak. Accordingly, as he finds, and speaks, and feels the truth best we regard him, esteem him—sometimes love him. And, as his business is to mark other people's lives and peculiarities, we moralize upon his life when he is gone—and yesterday's preacher becomes the text for to-day's sermon.
Of English parents, and of a good English family of clergymen, Swift was born in Dublin in 1667, seven months after the death of his father, who had come to practise there as a lawyer. The boy went to school at Kilkenny, and afterwards to Trinity College, Dublin, where he got a degree with difficulty, and was wild, and witty, and poor. In 1688, by the recommendation of his mother, Swift was received into the family of Sir William Temple, who had known Mrs. Swift in Ireland. He left his patron in 1694, and the next year took orders in Dublin. But he threw up the small Irish preferment which he got and returned to Temple, in whose family he remained until Sir William's death in 1699. His hopes of advancement in England failing, Swift returned to Ireland, and took the living of Laracor. Hither he invited Hester Johnson, Temple's natural daughter, with whom he had contracted a tender friendship, while they were both dependants of Temple's. And with an occasional visit to England, Swift now passed nine years at home.
In 1709 he came to England, and, with a brief visit to Ireland, during which he took possession of his deanery of St. Patrick, he now passed five years in England, taking the most distinguished part in the political transactions which terminated with the death of Queen Anne. After her death, his party disgraced, and his hopes of ambition over, Swift returned to Dublin, where he remained twelve years. In this time he wrote the famous “Drapier's Letters” and “Gulliver's Travels.” He married Hester Johnson, Stella, and buried Esther Vanhomrigh, Vanessa, who had followed him to Ireland from London, where she had contracted a violent passion for him. In 1726 and 1727 Swift was in England, which he quitted for the last time on hearing of his wife's illness. Stella died in January, 1728, and Swift not until 1745, having passed the last five of the seventy-eight years of his life with an impaired intellect and keepers to watch him.
You know, of course, that Swift has had many biographers; his life has been told by the kindest and most good-natured of men, Scott, who admires but can't bring himself to love him; and by stout old Johnson, who, forced to admit him into the company of poets, receives the famous Irishman, and takes off his hat to him with a bow of surly recognition, scans him from head to foot, and passes over to the other side of the street. Dr. Wilde of Dublin, who has written a most interesting volume on the closing years of Swift's life, calls Johnson “the most malignant of his biographers”: it is not easy for an English critic to please Irishmen—perhaps to try and please them. And yet Johnson truly admires Swift: Johnson does not quarrel with Swift's change of politics, or doubt his sincerity of religion: about the famous Stella and Vanessa controversy the Doctor does not bear very hardly on Swift. But he could not give the Dean that honest hand of his; the stout old man puts it into his breast, and moves off from him.
Would we have liked to live with him? That is a question which, in dealing with these people's works, and thinking of their lives and peculiarities, every reader of biographies must put to himself. Would you have liked to be a friend of the great Dean? I should like to have been Shakespeare's shoeblack—just to have lived in his house, just to have worshipped him—to have run on his errands, and seen that sweet serene face. I should like, as a young man, to have lived on Fielding's staircase in the Temple, and after helping him up to bed perhaps, and opening his door with his latch-key, to have shaken hands with him in the morning, and heard him talk and crack jokes over his breakfast and his mug of small beer. Who would not give something to pass a night at the club with Johnson, and Goldsmith, and James Boswell, Esq., of Auchinleck? The charm of Addison's companionship and conversation has passed to us by fond tradition—but Swift? If you had been his inferior in parts (and that, with a great respect for all persons present, I fear is only very likely), his equal in mere social station, he would have bullied, scorned, and insulted you; if, undeterred by his great reputation, you had met him like a man, he would have quailed before you, and not had the pluck to reply, and gone home, and years after written a foul epigram about you—watched for you in a sewer, and come out to assail you with a coward's blow and a dirty bludgeon. If you had been a lord with a blue riband, who flattered his vanity, or could help his ambition, he would have been the most delightful company in the world. He would have been so manly, so sarcastic, so bright, odd, and original, that you might think he had no object in view but the indulgence of his humour and that he was the most reckless, simple creature in the world. How he would have torn your enemies to pieces for you! and made fun of the Opposition! His servility was so boisterous that it looked like independence; he would have done your errands, but with the air of patronizing you, and after fighting your battles, masked, in the street or the press, would have kept on his hat before your wife aod daughters in the drawing-room, content to take that sort of pay for his tremendous services as a bravo.
He says as much himself in one of his letters to Bolingbroke:—“All my endeavours to distinguish myself were only for want of a great title and fortune, that I might be used like a lord by those who have an opinion of my parts; whether right or wrong is no great matter. And so the reputation of wit and great learning does the office of a blue riband or a coach and six.”
Could there be a greater candour? It is an outlaw, who says, “These are my brains; with these I'll win titles and compete with fortune. These are my bullets; these I'll turn into gold”; and he hears the sound of coaches and six, takes the road like Macheath, and makes society stand and deliver. They are all on their knees before him. Down go my lord bishop's apron, and his Grace's blue riband, and my lady's brocade petticoat in tie mud. He eases the one of a living, the other of a patent place, the third of a little snug post about the Court, and gives them over to followers of his own. The great prize has not come yet. The coach with the mitre and crosier in it, which he intends to have for his share, has been delayed on the way from St. James'; and he waits and waits until nightfall, when his runners come and tell him that the coach has taken a different road, and escaped him. So he fires his pistols into the air with a curse, and rides away into his own country.
Swift's seems to me to be as good a name to point a moral or adorn a tale of ambition, as any hero's that ever lived and failed. But we must remember that the morality was lax—that other gentlemen besides himself took the road in his day—that public society was in a strange disordered condition, and the State was ravaged by other condottieri. The Boyne was being fought and won, and lost—the bells rung in William's victory, in the very same tone with which they would have pealed for James'. Men were loose upon politics, and had to shift for themselves. They, as well as old beliefs and institutions, had lost their moorings and gone adrift in the storm. As in the South Sea Bubble, almost everybody gambled; as in the Railway mania—not many centuries ago—almost every one took his unlucky share: a man of that time, of the vast talents and ambition of Swift, could scarce do otherwise than grasp at his prize, and make his spring at his opportunity. His bitterness, his scorn, his rage, his subsequent misanthropy, are ascribed by some panegyrists to a deliberate conviction of mankind's unworthiness, and a desire to amend them by castigating. His youth was bitter, as that of a great genius bound down by ignoble ties, and powerless in a mean dependence; his age was bitter, like that of a great genius that had fought the battle and nearly won it, and lost it, and thought of it afterwards writhing in a lonely exile. A man may attribute to the gods, if he likes, what is caused by his own fury, or disappointment, or self-will. What public man—what statesman projecting a coup—what king determined on an invasion of his neighbour—what satirist meditating an onslaught on society or an individual, can't give a pretext for his move? There was a French general the other day who proposed to march into this country and put it to sack and pillage, in revenge for humanity outraged by our conduct at Copenhagen: there is always some excuse for men of the aggressive turn. They are of their nature warlike, predatory, eager for fight, plunder, dominion.
As fierce a beak and talon as ever struck—as strong a wing as ever beat, belonged to Swift. I am glad, for one, that fate wrested the prey out of his claws, and cut his wings and chained him. One can gaze, and not without awe and pity, at the lonely eagle chained behind the bars.
That Swift was born at No. 7, Hoey's Court, Dublin, on the 30th November, 1667, is a certain fact, of which nobody will deny the sister island the honour and glory; but, it seems to me, he was no more an Irishman than a man born of English parents at Calcutta is a Hindoo. Goldsmith was an Irishman, and always an Irishman: Steele was an Irishman, and always an Irishman: Swift's heart was English and in England, his habits English, his logic eminently English; his statement is elaborately simple; he shuns tropes and metaphors, and uses his ideas and words with a wise thrift and economy, as he used his money: with which he could be generous and splendid upon great occasions, but which he husbanded when there was no need to spend it. He never indulges in needless extravagance of rhetoric, lavish epithets, profuse imagery. He lays his opinion before you with a grave simplicity and a perfect neatness. Dreading ridicule too, as a man of his humour—above all an Englishman of his humour—certainly would, he is afraid to use the poetical power which he really possessed; one often fancies in reading him that he dares not be eloquent when he might; that he does not speak above his voice, as it were, and the tone of society.
His initiation into politics, his knowledge of business, his knowledge of polite life, his acquaintance with literature even, which he could not have pursued very sedulously during that reckless career at Dublin, Swift got under the roof of Sir William Temple. He was fond of telling in after life what quantities of books he devoured there, and how King William taught him to cut asparagus in the Dutch fashion. It was at Shene and at Moor Park, with a salary of twenty pounds and a dinner at the upper servants' table, that this great and lonely Swift passed a ten years' apprenticeship—wore a cassock that was only not a livery—bent down a knee as proud as Lucifer's to supplicate my lady's good graces, or run on his honour's errands. It was here, as he was writing at Temple's table, or following his patron's walk, that he saw and heard the men who had governed the great world—measured himself with them, looking up from his silent corner, gauged their brains, weighed their wits, turned them, and tried them, and marked them. Ah! what platitudes he must have heard! what feeble jokes! what pompous commonplaces! what small men they must have seemed under those enormous periwigs, to the swarthy, uncouth, silent Irish secretary. I wonder whether it ever struck Temple, that that Irishman was his master? I suppose that dismal conviction did not present itself under the ambrosial wig, or Temple could never have lived with Swift. Swift sickened, rebelled, left the service—ate humble pie and came back again; and so for ten years went on, gathering learning, swallowing scorn, and submitting with a stealthy rage to his fortune.
Temple's style is the perfection of practised and easy good-breeding. If he does not penetrate very deeply into a subject, he professes a very gentlemanly acquaintance with it; if he makes rather a parade of Latin, it was the custom of his day, as it was the custom for a gentleman to envelope his head in a periwig and his hands in lace ruffles. If he wears buckles and square-toed shoes, he steps in them with a consummate grace, and you never hear their creak, or find them treading upon any lady's train or any rival's heels in the Court crowd. When that grows too hot or too agitated for him, he politely leaves it. He retires to his retreat of Shene or Moor Park; and lets the King's party and the Prince of Orange's party battle it out among themselves. He reveres the Sovereign (and no man perhaps ever testified to his loyalty by so elegant a bow); he admires the Prince of Orange; but there is one person whose ease and comfort he loves more than all the princes in Christendom, and that valuable member of society is himself, Gulielmus Temple, Baronettus. One sees him in his retreat; between his study-chair and his tulip-beds, clipping his apricots and pruning his essays,—the statesman, the ambassador no more; but the philosopher, the Epicurean, the fine gentleman and courtier at St. James' as at Shene; where in place of kings and fair ladies, he pays his court to the Ciceronian majesty; or walks a minuet with the Epic Muse; or dallies by the south wall with the ruddy nymph of gardens.
Temple seems to have received and exacted a prodigious deal of veneration from his household, and to have been coaxed, and warmed, and cuddled by the people round about him, as delicately as any of the plants which he loved. When he fell ill in 1693, the household was aghast at his indisposition: mild Dorothea, his wife, the best companion of the best of men—
“Mild Dorothea, peaceful, wise, and great,
Trembling beheld the doubtful hand of fate.”
As for Dorinda, his sister,—
“Those who would grief describe, might come and trace
Its watery footsteps in Dorinda's face.
To see her weep, joy every face forsook,
And grief flung sables on each menial look.
The humble tribe mourned for the quickening soul,
That furnished spirit and motion through the whole.”
Isn't that line in which grief is described as putting the menials into a mourning livery, a fine image? One of the menials wrote it, who did not like that Temple livery nor those twenty-pound wages. Cannot one fancy the uncouth young servitor, with downcast eyes, books and papers in hand, following at his honour's heels in the garden walk; or taking his honour's orders as he stands by the great chair, where Sir William has the gout, and his feet all blistered with moxa? When Sir William has the gout or scolds it must be hard work at the second table; the Irish secretary owned as much afterwards: and when he came to dinner, how he must have lashed and growled and torn the household with his gibes and scorn! What would the steward say about the pride of them Irish schollards—and this one had got no great credit even at his Irish college, if the truth were known—and what a contempt his Excellency's own gentleman must have had for Parson Teague from Dublin. (The valets and chaplains were always at war. It is hard to say which Swift thought the more contemptible.) And what must have been the sadness, the sadness and terror, of the housekeeper's little daughter with the curling black ringlets and the sweet smiling face, when the secretary who teaches her to read and write, and whom she loves and reverences above all things—above mother, above mild Dorothea, above that tremendous Sir William in his square-toes and periwig,—when Mr. Swift comes down from his master with rage in his heart, and has not a kind word even for little Hester Johnson?
Perhaps, for the Irish secretary, his Excellency's condescension was even more cruel than his frowns. Sir William would perpetually quote Latin and the ancient classics àpropos of his gardens and his Dutch statues and plates-bandes, and talk about Epicurus and Diogenes Lærtius, Julius Caesar, Semiramis, and the gardens of the Hesperides, Mæcenas, Strabo describing Jericho, and the Assyrian kings. ?propos of beans, he would mention Pythagoras' precept to abstain from beans, and that this precept probably meant that wise men should abstain from public affairs. He is a placid Epicurean; he is a Pythagorean philosopher; he is a wise man—that is the deduction. Does not Swift think so? One can imagine the downcast eyes lifted up for a moment, and the flash of scorn which they emit. Swift's eyes were as azure as the heavens; Pope says nobly (as everything Pope said and thought of his friend was good and noble), “His eyes are as azure as the heavens, and have a charming archness in them.” And one person in that household, that pompous, stately, kindly Moor Park, saw heaven nowhere else.
But the Temple amenities and solemnities did not agree with Swift. He was half-killed with a surfeit of Shene pippins; and in a garden-seat which he devised for himself at Moor Park, and where he devoured greedily the stock of books within his reach, he caught a vertigo and deafness which punished and tormented him through life. He could not bear the place or the servitude. Even in that poem of courtly condolence, from which we have quoted a few lines of mock melancholy, he breaks out of the funeral procession with a mad shriek, as it were, and rushes away crying his own grief, cursing his own fate, foreboding madness, and forsaken by fortune, and even hope.
I don't know anything more melancholy than the letter to Temple, in which, after having broke from his bondage, the poor wretch crouches piteously towards his cage again, and deprecates his master's anger. He asks for testimonials for orders. “The particulars required of me are what relate to morals and learning; and the reasons of quitting your honour's family—that is, whether the last was occasioned by any ill action. They are left entirely to your honour's mercy, though in the first I think I cannot reproach myself for anything further than for infirmities. This is all I dare at present beg from your honour, under circumstances of life not worth your regard: what is left me to wish (next to the health and prosperity of your honour and family) is that Heaven would one day allow me the opportunity of leaving my acknowledgments at your feet. I beg my most humble duty and service be presented to my ladies, your honour's lady and sister.”—Can prostration fall deeper? could a slave bow lower?
Twenty years afterwards Bishop Kennet, describing the same man, says, “Dr. Swift came into the coffee-house and had a bow from everybody but me. When I came to the antechamber ［at Court］ to wait before prayers, Dr. Swift was the principal man of talk and business. He was soliciting the Earl of Arran to speak to his brother, the Duke of Ormond, to get a place for a clergyman. He was promising Mr. Thorold to undertake, with my Lord Treasurer, that he should obtain a salary of 200l. per annum as member of the English Church at Rotterdam. He stopped F. Gwynne, Esq., going into the Queen with the red bag, and told him aloud, he had something to say to hie from my Lord Treasurer. He took out his gold watch, and telling the time of day, complained that it was very late. A gentleman said he was too fast. ‘How can I help it,’ says the Doctor, ‘if the courtiers give me a watch that won't go right?’ Then he instructed a young nobleman, that the best poet in England was Mr. Pope (a Papist), who had begun a translation of Homer into English, for which he would have them all subscribe: ‘For,’ says he, ‘he shall not begin to print till I have a thousand guineas for him.’ Lord Treasurer, after leaving the Queen, came through the room, beckoning Dr. Swift to follow him,—both went off just before prayers.” There's a little malice in the Bishop's “just before prayers.”
This picture of the great Dean seems a true one, and is harsh, though not altogether unpleasant. He was doing good, and to deserving men too, in the midst of these intrigues and triumphs. His journals and a thousand anecdotes of him relate his kind acts and rough manners. His hand was constantly stretched out to relieve an honest man—he was cautious about his money, but ready.—If you were in a strait would you like such a benefactor? I think I would rather have had a potato and a friendly word from Goldsmith than have been beholden to the Dean for a guinea and a dinner. He insulted a man as he served him, made women cry, guests look foolish, bullied unlucky friends, and flung his benefactions into poor men's faces. No; the Dean was no Irishman—no Irishman ever gave but with a kind word and a kind heart.
It is told, as if it were to Swift's credit, that the Dean of St. Patrick's performed his family devotions every morning regularly, but with such secrecy that the guests in his house were never in the least aware of the ceremony. There was no need surely why a church dignitary should assemble his family privily in a crypt, and as if he was afraid of heathen persecution. But I think the world was right, and the bishops who advised Queen Anne, when they counselled her not to appoint the author of the “Tale of a Tub” to a bishopric, gave perfectly good advice. The man who wrote the arguments and illustrations in that wild book, could not but be aware what must be the sequel of the propositions which he laid down. The boon companion of Pope and Bolingbroke, who chose these as the friends of his life, and the recipients of his confidence and affection, must have heard many an argument, and joined in many a conversation over Pope's port, or St. John's burgundy, which would not bear to be repeated at other men's boards.
I know of few things more conclusive as to the sincerity of Swift's religion than his advice to poor John Gay to turn clergyman, and look out for a seat on the Bench. Gay, the author of the “Beggar's Opera”—Gay, the wildest of the wits about town—it was this man that Jonathan Swift advised to take orders—to invest in a cassock and bands—just as he advised him to husband his shillings and put his thousand pounds out at interest. The Queen, and the bishops, and the world, were right in mistrusting the religion of that man.
I am not here, of course, to speak of any man's religious views, except in so far as they influence his literary character, his life, his humour. The most notorious sinners of all those fellow-mortals whom it is our business to discuss—Harry Fielding and Dick Steele, were especially loud, and I believe really fervent, in their expressions of belief; they belaboured freethinkers, and stoned imaginary atheists on all sorts of occasions, going out of their way to bawl their own creed, and persecute their neighbour's, and if they sinned and stumbled, as they constantly did with debt, with drink, with all sorts of bad behaviour, they got upon their knees and cried “Peccavi” with a most sonorous orthodoxy. Yes; poor Harry Fielding and poor Dick Steele were trusty and undoubting Church of England men; they abhorred Popery, Atheism, and wooden shoes, and idolatries in general; and hiccupped Church and State with fervour.
But Swift? His mind had had a different schooling, and possessed a very different logical power. He was not bred up in a tipsy guard-room, and did not learn to reason in a Covent Garden tavern. He could conduct an argument from beginning to end. He could see forward with a fatal clearness. In his old age, looking at the “Tale of a Tub,” when he said, “Good God, what a genius I had when I wrote that book!” I think he was admiring not the genius, but the consequences to which the genius had brought him—a vast genius, a magnificent genius, a genius wonderfully bright, and dazzling, and strong,—to seize, to know, to see, to flash upon falsehood and scorch it into perdition, to penetrate into the hidden motives, and expose the black thoughts of men,—an awful, an evil spirit.
Ah man! you, educated in Epicurean Temple's library, you whose friends were Pope and St. John—what made you to swear to fatal vows, and bind yourself to a life-long hypocrisy before the Heaven which you adored with such real wonder, humility, and reverence? For Swift was a reverent, was a pious spirit—for Swift could love and could pray. Through the storms and tempests of his furious mind, the stars of religion and love break out in the blue, shining serenely, though hidden by the driving clouds and the maddened hurricane of his life.
It is my belief that he suffered frightfully from the consciousness of his own scepticism, and that he had bent his pride so far down as to put his apostasy out to hire. The paper left behind him, called “Thoughts on Religion,” is merely a set of excuses for not professing disbelief. He says of his sermons that he preached pamphlets: they have scarce a Christian characteristic; they might be preached from the steps of a synagogue, or the floor of a mosque, or the box of a coffee-house almost. There is little or no cant—he is too great and too proud for that; and, in so far as the badness of his sermons goes, he is honest. But having put that cassock on, it poisoned him: he was strangled in his bands. He goes through life, tearing, like a man possessed with a devil. Like Abudah in the Arabian story, he is always looking out for the Fury, and knows that the night will come and the inevitable hag with it. What a night, my God, it was! what a lonely rage and long agony—what a vulture that tore the heart of that giant! It is awful to think of the great sufferings of this great man. Through life he always seems alone, somehow. Goethe was so. I can't fancy Shakespeare otherwise. The giants must live apart. The kings can have no company. But this man suffered so; and deserved so to suffer. One hardly reads anywhere of such a pain.
The “sæva indignatio” of which he spoke as lacerating his heart, and which he dares to inscribe on his tombstone—as if the wretch who lay under that stone waiting God's judgment had a right to be angry,—breaks out from him in a thousand pages of his writing, and tears and rends him. Against men in office, he having been overthrown; against men in England, he having lost his chance of preferment there, the furious exile never fails to rage and curse. Is it fair to call the famous “Drapier's Letters” patriotism? They are masterpieces of dreadful humour and invective: they are reasoned logically enough too, but the proposition is as monstrous and fabulous as the Lilliputian island. It is not that the grievance is so great, but there is his enemy—the assault is wonderful for its activity and terrible rage. It is Samson, with a bone in his hand, rushing on his enemies and felling them: one admires not the cause so much as the strength, the anger, the fury of the champion. As is the case with madmen, certain subjects provoke him, and awaken his fits of wrath. Marriage is one of these; in a hundred passages in his writings he rages against it; rages against children; an object of constant satire, even more contemptible in his eyes than a lord's chaplain, is a poor curate with a large family. The idea of this luckless paternity never fails to bring down from him gibes and foul language. Could Dick Steele, or Goldsmith, or Fielding, in his most reckless moment of satire, have written anything like the Dean's famous “modest proposal” for eating children? Not one of these but melts at the thoughts of childhood, fondles and caresses it. Mr. Dean has no such softness, and enters the nursery with the tread and gaiety of an ogre. “I have been assured,” says he in the “Modest Proposal,” “by a very knowing American of my acquaintance in London, that a young healthy child, well nursed, is, at a year old, a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt it will equally serve in a ragoût.” And taking up this pretty joke, as his way is, he argues it with perfect gravity and logic. He turns and twists this subject in a score of different ways: he hashes it; and he serves it up cold; and he garnishes it; and relishes it always. He describes the little animal as “dropped from its dam,” advising that the mother should let it suck plentifully in the last month, so as to render it plump and fat for a good table!
“A child,” says his Reverence, “will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish,” and so on; and, the subject being so delightful that he can't leave it, he proceeds to recommend, in place of venison for squires' tables, “the bodies of young lads and maidens not exceeding fourteen or under twelve.” Amiable humourist! laughing castigator of morals! There was a process well known and practised in the Dean's gay days: when a lout entered the coffee-house, the wags proceeded to what they called “roasting” him. This is roasting a subject with a vengeance. The Dean had a native genius for it. As the “Almanach des Gourmands” says, On nait rôtisseur.
And it was not merely by the sarcastic method that Swift exposed the unreasonableness of loving and having children. In Gulliver, the folly of love and marriage is urged by graver arguments and advice. In the famous Lilliputian kingdom, Swift speaks with approval of the practice of instantly removing children from their parents and educating them by the State; and amongst his favourite horses, a pair of foals are stated to be the very utmost a well-regulated equine couple would permit themselves. In fact, our great satirist was of opinion that conjugal love was unadvisable, and illustrated the theory by his own practice and example—God help him—which made him about the most wretched being in God's world.
The grave and logical conduct of an absurd proposition, as exemplified in the cannibal proposal just mentioned, is our author's constant method through all his works of humour. Given a country of people six inches or sixty feet high, and by the mere process of the logic, a thousand wonderful absurdities are evolved, at so many stages of the calculation. Turning to the first minister who waited behind him with a white staff near as tall as the mainmast of the “Royal Sovereign,” the King of Brobdingnag observes how contemptible a thing human grandeur is as represented by such a contemptible little creature as Gulliver. “The Emperor of Lilliput's features are strong and masculine” (what a surprising humour there is in this description!)—“The Emperor's features.” Gulliver says “are strong and masculine, with an Austrian lip, an arched nose, his complexion olive, his countenance erect, his body and limbs well proportioned, and his deportment majestic. He is taller by the breadth of my nail than any of his court, which alone is enough to strike an awe into beholders.”
What a surprising humour there is in these descriptions! How noble the satire is here! how just and honest! How perfect the image! Mr. Macaulay has quoted the charming lines of the poet, where the king of the pigmies is measured by the same standard. We have all read in Milton of the spear that was like “the mast of some tall admiral,” but these images are surely likely to come to the comic poet originally. The subject is before him. He is turning it in a thousand ways. He is full of it. The figure suggests itself naturally to him, and comes out of his subject, as in that wonderful passage when Gulliver's box having been dropped by the eagle into the sea, and Gulliver having been received into the ship's cabin, he calls upon the crew to bring the box into the cabin, and put it on the table, the cabin being only a quarter the size of the box. It is the veracity of the blunder which is so admirable. Had a man come from such a country as Brobdingnag he would have blundered so.
But the best stroke of humour, if there be a best in the abounding book, is that where Gulliver, in the unpronounceable country, describes his parting from his master the horse. “I took,” he says, “a second leave of my master, but as I was going to prostrate myself to kiss his hoof, he did me the honour to raise it gently to my mouth. I am not ignorant how much I have been censured for mentioning this last particular. Detractors are pleased to think it improbable that so illustrious a person should descend to give so great a mark of distinction to a creature so inferior as I. Neither have I forgotten how apt some travellers are to boast of extraordinary favours they have received. But if these censurers were better acquainted with the noble and courteous disposition of the Houyhnhnms they would soon change their opinion.”
The surprise here, the audacity of circumstantial evidence, the astounding gravity of the speaker, who is not ignorant how much he has been censured, the nature of the favour conferred, and the respectful exultation at the receipt of it, are surely complete; it is truth topsy-turvy, entirely logical and absurd.
As for the humour and conduct of this famous fable, I suppose there is no person who reads but must admire; as for the moral, I think it horrible, shameful, unmanly, blasphemous; and giant and great as this Dean is, I say we should hoot him. Some of this audience mayn't have read the last part of Gulliver, and to such I would recall the advice of the venerable Mr. Punch to persons about to marry, and say “Don't.” When Gulliver first lands among the Yahoos, the naked howling wretches clamber up trees and assault him, and he describes himself as “almost stifled with the filth which fell about him.” The reader of the fourth part of “Gulliver's Travels” is like the hero himself in this instance. It is Yahoo language: a monster gibbering shrieks, and gnashing imprecations against mankind—tearing down all shreds of modesty, past all sense of manliness and shame; filthy in word, filthy in thought, furious, raging, obscene.
And dreadful it is to think that Swift knew the tendency of his creed—the fatal rocks towards which his logic desperately drifted. That last part of “Gulliver” is only a consequence of what has gone before; and the worthlessness of all mankind, the pettiness, cruelty, pride, imbecility, the general vanity, the foolish pretension, the mock greatness, the pompous dulness, the mean aims, the base successes—all these were present to him; it was with the din of these curses of the world, blasphemies against heaven, shrieking in his ears, that he began to write his dreadful allegory—of which the meaning is that man is utterly wicked, desperate and imbecile, and his passions are so monstrous, and his boasted powers so mean, that he is and deserves to be the slave of brutes, and ignorance is better than his vaunted reason. What had this man done? what secret remorse was rankling at his heart? what fever was boiling in him, that he should see all the world bloodshot? We view the world with our own eyes, each of us; and we make from within us the world we see. A weary heart gets no gladness out of sunshine; a selfish man is sceptical about friendship, as a man with no ear doesn't care for music. A frightful self-consciousness it must have been, which looked on mankind do darkly through those keen eyes of Swift.
A remarkable story is told by Scott, of Delany, who interrupted Archbishop King and Swift in a conversation which left the prelate in tears, and from which Swift rushed away with marks of strong terror and agitation in his countenance, upon which the Archbishop said to Delany, “You have just met the most unhappy man on earth; but on the subject of his wretchedness you must never ask a question.”
The most unhappy man on earth;—Miserrimus—what a character of him! And at this time all the great wits of England had been at his feet. All Ireland had shouted after him, and worshipped him as a liberator, a saviour, the greatest Irish patriot and citizen. Dean Drapier Bickerstaff Gulliver—the most famous statesmen, and the greatest poets of his day, had applauded him, and done him homage; and at this time writing over to Bolingbroke from Ireland, he says, “It is time for me to have done with the world, and so I would if I could get into a better before I was called into the best, and not die here in a rage, like a poisoned rat in a hole.”
We have spoken about the men, and Swift's behaviour to them; and now it behoves us not to forget that there are certain other persons in the creation who had rather intimate relations with the great Dean. Two women whom he loved and injured are known by every reader of books so familiarly that if we had seen them, or if they had been relatives of our own, we scarcely could have known them better. Who hasn't in his mind an image of Stella? Who does not love her? Fair and tender creature: pure and affectionate heart! Boots it to you, now that you have been at rest for a hundred and twenty years, not divided in death from the cold heart which caused yours, whilst it beat, such faithful pangs of love and grief—boots it to you now, that the whole world loves and deplores you? Scarce any man, I believe, ever thought of that grave, that did not cast a flower of pity on it, and write over it a sweet epitaph. Gentle lady, so lovely, so loving, so unhappy! you have had countless champions; millions of manly hearts mourning for you. From generation to generation we take up the fond tradition of your beauty; we watch and follow your tragedy, your bright morning love and purity, your constancy, your grief, your sweet martyrdom. We know your legend by heart. You are one of the saints of English story.
And if Stella's love and innocence are charming to contemplate, I will say that in spite of ill-usage, in spite of drawbacks, in spite of mysterious separation and union, of hope delayed and sickened heart—in the teeth of Vanessa, and that little episodical aberration which plunged Swift into such woful pitfalls and quagmires of amorous perplexity—in spite of the verdicts of most women, I believe, who, as far as my experience and conversation go, generally take Vanessa's part in the controversy—in spite of the tears which Swift caused Stella to shed, and the rocks and barriers which fate and temper interposed, and which prevented the pure course of that true love from running smoothly—the brightest part of Swift's story, the pure star in that dark and tempestuous life of Swift's, is his love for Hester Johnson. It has been my business, professionally of course, to go through a deal of sentimental reading in my time, and to acquaint myself with love-making, as it has been described in various languages, and at various ages of the world; and I know of nothing more manly, more tender, more exquisitely touching, that some of these brief note, written in what Swift calls “his little language” in his journal to Stella.
He writes to her night and morning often. He never sends away a letter to her but he begins a new one on the same day. He can't bear to let go her kind little hand, as it were. He knows that she is thinking of him, and longing for him far away in Dublin yonder. He takes her letters from under his pillow and talks to them, familiarly, paternally, with fond epithets and pretty caresses—as he would to the sweet and artless creature who loved him. “Stay,” he writes one morning—it is the 14th of December, 1710—“Stay, I will answer some of your letter this morning in bed. Let me see. Come and appear, little letter! Here I am, says he, and what say you to Stella this morning fresh and fasting? And can Stella read this writing without hurting her dear eyes?” he goes on, after more kind prattle and fond whispering. The dear eyes shine clearly upon him then—the good angel of his life is with him and blessing him. Ah, it was a hard fate that wrung from them so many tears, and stabbed pitilessly that pure and tender bosom. A hard fate: but would she have changed it? I have heard a woman say that she would have taken Swift's cruelty to have had his tenderness. He had a sort of worship for her whilst he wounded her. He speaks of her after she is gone; of her wit, of her kindness, of her grace, of her beauty, with a simple love and reverence that are indescribably touching; in contemplation of her goodness his hard heart melts into pathos; his cold rhyme kindles and glows into poetry, and he falls down on his knees, so to speak, before the angel whose life he had embittered, confesses, his own wretchedness and unworthiness, and adores her with cries of remorse and love:—
“When on my sickly couch I lay,
Impatient both of night and day,
And groaning in unmanly strains,
Called every power to ease my pains,
Then Stella ran to my relief,
With cheerful face and inward grief,
And though by heaven's severe decree
She suffers hourly more than me,
No cruel master could require
From slaves employed for daily hire,
What Stella, by her friendship warmed,
With vigour and delight performed.
Now, with a soft and silent tread,
Unheard she moves about my bed:
My sinking spirits now supplies
With cordials in her hands and eyes.
Best pattern of true friends! beware;
You pay too dearly for your care
If, while your tenderness secures
My life, it must endanger yours:
For such a fool was never found
Who pulled a palace to the ground,
Only to have the ruins made
Materials for a house decayed.”
One little triumph Stella had in her life—one dear little piece of injustice was performed in her favour, for which I confess, for my part, I can't help thanking fate and the Dean. That other person was sacrificed to her—that—that young woman, who lived five doors from Dr. Swift's lodgings in Bury Street, and who flattered him, and made love to him in such an outrageous manner—Vanessa was thrown over.
Swift did not keep Stella's letters to him in reply to those he wrote to her. He kept Bolingbroke's, and Pope's, and Harley's, and Peterborough's: but Stella, “very carefully,” the Lives say, kept Swift's. Of course: that is the way of the world: and we cannot tell what her style was, or of what sort were the little letters which the Doctor placed there at night, and bade to appear from under his pillow of a morning. But in Letter IV. of that famous collection he describes his lodging in Bury Street, where he has the first floor, a dining-room and bed-chamber, at eight shillings a week; and in Letter VI. he says “he has visited a lady just come to town,” whose name somehow is not mentioned; and in Letter VIII. he enters a query of Stella's—“What do you mean ‘that boards near me, that I dine with now and then’? What the deuce! You know whom I have dined with every day since I left you, better than I do.” Of course she does. Of course Swift has not the slightest idea of what she means. But in a few letters more it turns out that the Doctor has been to dine “gravely” with a Miss Vanhomrigh: then that he has been to “his neighbour”: then that he has been unwell, and means to dine for the whole week with his neighbour! Stella was quite right in her previsions. She saw from the very first hint, what was going to happen; and scented Vanessa in the air. The rival is at the Dean's feet. The pupil and teacher are reading together, and drinking tea together, and going to prayers together, and learning Latin together, and conjugating amo, amas, amavi together. The little language is over for poor Stella. By the rule of grammar and the course of conjugation, doesn't amavi come after amo and amas?
The loves of Cadenus and Vanessa you may peruse in Cadenus’ own poem on the subject, and in poor Vanessa's vehement expostulatory verses and letters to him; she adores him, implores him, admires him, thinks him something godlike, and only prays to be admitted to lie at his feet. As they are bringing him home from church, those divine feet of Dr. Swift's are found pretty often in Vanessa's parlour. He likes to be admired and adored. He finds Miss Vanhomrigh to be a woman of great taste and spirit, and beauty and wit, and a fortune too. He sees her every day; he does not tell Stella about the business; until the impetuous Vanessa becomes too fond of him, until the Doctor is quite frightened by the young woman's ardour, and confounded by her warmth. He wanted to marry neither of them—that I believe was the truth; but if he had not married Stella, Vanessa would have had him in spite of himself. When he went back to Ireland, his Ariadne, not content to remain in her isle, pursued the fugitive Dean. In vain he protested, he vowed, he soothed, and bullied; the news of the Dean's marriage with Stella at last came to her, and it killed her—she died of that passion.
And when she died, and Stella heard that Swift had written beautifully regarding her, “That doesn't surprise me,” said Mrs. Stella, “for we all know the Dean could write beautifully about a broom stick.” A woman—a true woman! Would you have had one of them forgive the other?
In a note in his biography, Scott says that his friend Dr. Tuke of Dublin has a lock of Stella's hair, enclosed in a paper by Swift, on which are written, in the Dean's hand, the words: “Only a woman's hair.” An instance, says Scott, of the Dean's desire to veil his feelings under the mask of cynical indifference.
See the various notions of critics! Do those words indicate indifference or an attempt to hide feeling? Did you ever hear or read four words more pathetic? Only a woman's hair: only love, only fidelity, only purity, innocence, beauty; only the tenderest heart in the world stricken and wounded, and passed away now out of reach of pangs of hope deferred, love insulted, and pitiless desertion:—only that lock of hair left; and memory and remorse, for the guilty, lonely wretch, shuddering over the grave of his victim.
And yet to have had so much love, he must have given some. Treasures of wit and wisdom, and tenderness, too, must that man have had locked up in the caverns of his gloomy heart, and shown fitfully to one or two whom he took in there. But it was not good to visit that place. People did not remain there long, and suffered for having been there. He shrank away from all affections sooner or later. Stella and Vanessa both died near him, and away from him. He had not heart enough to see them die. He broke from his fastest friend, Sheridan; he slunk away from his fondest admirer, Pope. His laugh jars on one's ear after seven score years. He was always alone—alone and gnashing in the darkness, except when Stella's sweet smile came and shone upon him. When that went, silence and utter night closed over him. An immense genius: an awful downfall and ruin. So great a man he seems to me, that thinking of him is like thinking of an empire falling. We have other great names to mention—none I think, however so great or so gloomy.