The English Novel - George Saintsbury (read novel full .TXT) 📗

Richardson's appearance, accumulated patterns and examples of the novel in all sorts of forms, hardly one of which lacked numerous and almost innumerable imitators and followers. By these later years of the century the famous "Minerva Press" and many others issued deluges of novel-work which were eagerly absorbed by readers. "Absorbed" in more senses than one: for the institution of circulating libraries, while it facilitated reading, naturally tended towards the destruction of the actual volumes read. Novels were rarely produced in a very careful or sumptuous fashion, and good copies of those that were in any way popular are now rather hard to obtain: while even in the British Museum it will frequently be found that only the later editions are represented. We shall finish this chapter with some instances, taken not quite at random, of the work of the last decades of the eighteenth and the beginning of the nineteenth century, winding up with more general notice of two remarkable writers who represent--though at least one of them lived far later--the period before Scott, and who also, as it happens, represent the contrast of novel and romance in a fashion unusually striking. The description, as some readers will have anticipated, refers to Miss Edgeworth and to Maturin. But the smaller fry must be taken first.

It is not uninteresting to compare two such books as Mrs. Bennett's
Anna and Mrs. Opie's Adeline Mowbray . Published at twenty years' distance (1785 and 1804) they show the rapid growth of the novel, even during a time when nothing of the first class appeared. Anna, or the Memoirs of a Welsh Heiress, interspersed with Anecdotes of a Nabob , is a kind of bad imitation of Miss Burney, with a catchpenny "interspersion" to suit the day. Adeline Mowbray , written with more talent, chimes in by infusing one of the tones of its day--Godwinian theories of life. The space between was the palmy time of that now almost legendary "Minerva Press" which, as has been said, flooded the ever-absorbent market with stuff of which The Libertine , masterpiece of Mrs. Byrne, alias Charlotte Dacre, alias "Rosa Matilda," is perhaps best worth singling out from its companions, Hours of Solitude, The Nun of St. Omers, Zofloya , etc., because it specially shocked the censor of the style who will be mentioned presently. It is pure (or not-pure) rubbish. Angelo (the libertine) seduces the angelic Gabrielle de Montmorency, who follows him to Italy in male attire, saves him from the wicked courtesan Oriana and her bravo Fiorenz a ( sic ), is married by him, but made miserable, and dies. He continues his misbehaviour to their children, and finally blows his brains out. "Bah! it is bosh!" as the Master observes of something else.

It may seem iniquitous to say that some tolerably good novel-writers must be more summarily treated than some bad ones here: but there is reason for it. Such, for instance, as Charlotte Smith and the Miss Lees are miles above such others as the just-mentioned polyonymous "Rosa," as Sarah Wilkinson, or as Henrietta Mosse-Rouvière. The first three would make a very good group for a twenty-page causerie. Charlotte Smith, who was tolerably expert in verse as well as prose; who anticipated, and perhaps taught, Scott in the double use of the name "Waverley"; and whose Old Manor House (1793) is a solid but not heavy work of its kind--is something of a person in herself, but less of a figure in history, because she neither innovates nor does old things consummately. Harriet and Sophia Lee claimed innovation for the latter's Recess (1783-1786), as Miss Porter did for Thaddeus of Warsaw , but the claim can be even less allowed. There is nothing of real historical spirit, and very little goodness of any kind, in The Recess. The Canterbury Tales (1797-1805) (so named merely because they are supposed to be told by different persons) were praised by Byron, as he praised the Percy Anecdotes and other things--either irresponsibly or impishly. They are not exactly bad: but also as far as possible from consummateness.

On the other hand, The Convent of Grey Penitents , one of the crops which rewarded Miss Wilkinson for tilling the lands of her imagination with the spade of her style, is very nearly consummate--in badness. It is a fair example of the worst imitations of Mrs. Radcliffe and Mat Lewis conjointly, though without the latter's looseness. The Marquis di Zoretti was an Italian nobleman--"one of those characters in whose bosom resides an unquenchable thirst of avarice" [" thirst of avarice " is good!], etc. He marries, however, a lovely signora of the odd name of Rosalthe, without a fortune, "which circumstance was overlooked by his lordship" for a very short time only. He plots to be free of her: she goes to England and dies there to the genteelest of slow music. Their son Horatio falls in love with a certain Julietta, who is immured by wicked arts in the "Convent of Grey Penitents," tormented by the head, Gradisca, but rescued, and so forth. The book, if harmless, is about as worthless as a book can be: but it represents, very fairly, the ruck, if not indeed even the main body, of the enormous horde of romances which issued from the press towards the end of the eighteenth century and the beginning of the nineteenth, and which, in their different action on persons of genius, gave us Zastrozzi on the one side and Northanger Abbey on the other.

As for Miss Henrietta Mosse, otherwise Rouvière, she represents the other school of abortive historical novel. A Peep at Our Ancestors (1807) is fairly worthy of its ridiculous name. It is preceded by expressions of thanks to the authorities of "the British Museum and the Heralds' Office" for the "access to records" vouchsafed to its author. As the date of the story is 1146 (it was long before Mr. Freeman wrote) access to records would certainly not have been superfluous. The actual results of it are blocks of spiritless and commonplace historic narrative--it is nearly all narrative, not action--diversified by utterances like this of Malcolm III. of Scotland, "O my Edward! the deed which struck my son's life has centred [ sic ] thy noble youthful bosom also," or this of the heroine (such as there is), "the gentle elegant Adelaise," "And do I not already receive my education of thee, mamma?" It is really a pity that the creator of this remarkable peep-show did not give references to her "records," so that one might look up this "elegant" young creature of the twelfth century who talked about "education" and said "mamma!" But this absolute failure in verisimilitude is practically universal before Scott.

The works of the very beautifully named Regina Maria Roche should probably be read, as they were for generations, in late childhood or early youth. Even then an intelligent boy or girl would perceive some of the absurdity, but might catch a charm that escapes the less receptive oldster. They were, beyond all question, immensely popular, and continued to be so for a long time: in fact it is almost sufficient evidence that there is, if I mistake not, in the British Museum no edition earlier than the tenth of the most famous of them, The Children of the Abbey (1798). This far-renowned work opens with the exclamation of the heroine Amanda, "Hail, sweet sojourn of my infancy!" and we are shortly afterwards informed that in the garden "the part appropriated to vegetables was divided from the part sacred to Flora." Otherwise, the substance of the thing is a curious sort of watered-down Richardson, passed through successive filtering beds of Mackenzie, and even of Mrs. Radcliffe. It is difficult for even the most critical taste to find much savour or stimulus in the resulting liquid. But, like almost everybody mentioned here, Regina is a document of the demands of readers and the faculty of writers: and so she "standeth," if not exactly "crowned," yet ticketed.

Work--somewhat later--of some interest, but not of first-class quality, is to be found in the Discipline (1811) and Self-Control (1814) of Mary Brunton. A Balfour of Orkney on the father's side and a Ligonier on the mother's, the authoress had access to the best English as well as Scottish society, and seems to have had more than a chance of taking a place in the former: but preferred to marry a minister-professor and settled down to country manse life. She died in middle age and her husband wrote a memoir of her. Discipline seems to represent a sort of fancy combination of the life she might have led and the life she did lead. Ellen Percy, the heroine, starts in the highest circles; forgets herself so far as to "waltz e " with a noble ne'er-do-weel, thereby earning the "stern disapprobation" of a respectable lover; comes down in the world; has Highland experiences which, at the book's early date, are noteworthy; marries (like her creatress) a minister; but "retains a little of her coquettish sauciness." "Bless her, poor little dear!" one can imagine Thackeray exclaiming in his later and mellowed days. Mrs. Brunton's letters breathe a lady-like and not unamiable propriety, and she is altogether a sort of milder, though actually earlier, Miss Ferrier.

Ireland vindicated its claim to comparative liveliness in the work of a better known contemporary and survivor. Lady Morgan's (Miss Sydney Owenson's) Wild Irish Girl (1806) is one of the books whose titles have prolonged for them a kind of shadowy existence. It is written in letters: and the most interesting thing about it for some readers now is that the heroine supplied Thackeray with the name Glorvina, which, it seems, means in Irish "sweet voice," if Lady Morgan is to be trusted in rebus Celticis . It is to be hoped she is: for the novel is a sort of
macédoine of Irish history, folk-lore, scenery, and what not, done up in a syrup of love-making quant. suff. Its author wrote many more novels and became a butt for both good- and ill-natured satire with the comic writers of the twenties, thirties, and forties. The title was actually borrowed by Maturin in The Wild Irish "Boy," and it is fair to say that the book preceded Scott's, though not Miss Edgeworth's, experiments in the line of the "national" novel. The earlier Reviewers were discreditably savage on women-writers, and Lady Morgan had her share of their truculence. She did not wholly deserve it: but it must be said that nothing she wrote can really be ranked as literature, save on the most indiscriminate and uncritical estimate. It is, however, difficult to see much harm in her.

Ida of Athens , for instance, which shocked contemporaries, and which, by the way, has the very large first title of Woman , could only bring a blush to cheeks very tickle of that sere: a yawn might come much more easily. The most shocking thing that the heroine, who is "an attempt to delineate woman in her natural state," does (and that not of malice) is to receive her lover in a natural bathroom. But her adventures are told in a style which is the oddest compound of Romantesque and Johnsonese. ("The hour was ardent. The bath was cool. He calculated upon the probable necessity of its enjoyment .") The spirit is the silliest and most ignorant Philhellenism--all the beauty, virtue, wisdom, of the ancient Greeks being supposed to be inherited by their mongrel successors of the early nineteenth century. An English and a Turkish lover dispute Ida's affection