In her manner of telling her story there is an absence of all exaggeration, which gives the reader a constant sense of security. That virtue of style and thought was one she proposed to herself and attained with exact consciousness of success. It would be almost enough (in the perfection of her practice) to make a great writer; even a measure of it goes far to make a fair one. Her moderation of statement is never shaken; and if she now and then glances aside from her direct narrative road to hazard a conjecture, the error she may make is on the generous side of hope and faith. For instance, she is too sure that her Friends (so she always calls the _Girondins_, using no nicknames) are safe, whereas they were then all doomed; a young man who had carried a harmless message for her--a mere notification to her family of her arrest--receives her cheerful commendation for his good feeling; from a note we learn that for this action he suffered on the scaffold and that his father soon thereafter died of grief. But Madame Roland never matched such a delirious event as this by any delirium of her own imagination. The delirium was in things and in the acts of men; her mind was never hurried from its sane self-possession, when the facts raved.

It was only when she used the rhetoric ready to her hand that she stooped to verbal violence; _et encore_! References to the banishment of Aristides and the hemlock of Socrates had become toy daggers and bending swords in the hands of her compatriots, and she is hardly to be accused of violence in brandishing those weapons. Sometimes, refuse rhetoric being all too ready, she takes it on her pen, in honest haste, as though it were honest speech, and stands committed to such a phrase as this: "The dregs of the nation placed such a one at the helm of affairs."

But her manner was not generally to write anything but a clear and efficient French language. She never wrote for the love of art, but without some measure of art she did not write; and her simplicity is somewhat altered by that importunate love of the Antique. In "Bleak House" there is an old lady who insisted that the name "Mr. Turveydrop,"

as it appeared polished on the door-plate of the dancing master, was the name of the pretentious father and not of the industrious son--albeit, needless to say, one name was common to them. With equal severity I aver that when Madame Roland wrote to her husband in the second person singular she was using the _tu_ of Rome and not the _tu_ of Paris. French was indeed the language; but had it been French in spirit she would (in spite of the growing Republican fashion) have said _vous_ to this "homme eclaire, de moeurs pures, a qui l'on ne peut reprocher que sa grande admiration pour les anciens aux depens des modernes qu'il meprise, et le faible de trop aimer a parler de lui." There was no French _tu_ in her relations with this husband, gravely esteemed and appraised, discreetly rebuked, the best pa.s.sages of whose Ministerial reports she wrote, and whom she observed as he slowly began to think he himself had composed them. She loved him with a loyal, obedient, and discriminating affection, and when she had been put to death, he, still at liberty, fell upon his sword.

This last letter was written at a moment when, in order to prevent the exposure of a public death, Madame Roland had intended to take opium in the end of her cruel imprisonment. A little later she chose that those who oppressed her country should have their way with her to the last.

But, while still intending self-destruction, she had written to her husband: "Forgive me, respectable man, for disposing of a life that I had consecrated to thee." In quoting this I mean to make no too-easy effect with the word "respectable," grown grotesque by the tedious gibe of our own present fashion of speech.

Madame Roland, I have said, was twice inarticulate; she had two s.p.a.ces of silence, one when she, pure and selfless patriot, had heard her condemnation to death. Pa.s.sing out of the court she beckoned to her friends, and signified to them her sentence "by a gesture." And again there was a pause, in the course of her last days, during which her speeches had not been few, and had been spoken with her beautiful voice unmarred; "she leant," says Riouffe, "alone against her window, and wept there three hours."

FELLOW TRAVELLERS WITH A BIRD

To attend to a living child is to be baffled in your humour, disappointed of your pathos, and set freshly free from all the preoccupations. You cannot antic.i.p.ate him. Blackbirds, overheard year by year, do not compose the same phrases; never two leitmotifs alike. Not the tone, but the note alters. So with the uncovenanted ways of a child you keep no tryst. They meet you at another place, after failing you where you tarried; your former experiences, your doc.u.ments are at fault. You are the fellow traveller of a bird. The bird alights and escapes out of time to your footing.

No man's fancy could be beforehand, for instance, with a girl of four years old who dictated a letter to a distant cousin, with the sweet and unimaginable message: "I hope you enjoy yourself with your loving dolls."

A boy, still younger, persuading his mother to come down from the heights and play with him on the floor, but sensible, perhaps, that there was a dignity to be observed none the less, entreated her, "Mother, do be a lady frog." None ever said their good things before these indeliberate authors. Even their own kind--children--have not preceded them. No child in the past ever found the same replies as the girl of five whose father made that appeal to feeling which is doomed to a different, perverse, and unforeseen success. He was rather tired with writing, and had a mind to snare some of the yet uncaptured flock of her sympathies.

"Do you know, I have been working hard, darling? I work to buy things for you." "Do you work," she asked, "to buy the lovely puddin's?" Yes, even for these. The subject must have seemed to her to be worth pursuing. "And do you work to buy the fat? I don't like fat."

The sympathies, nevertheless, are there. The same child was to be soothed at night after a weeping dream that a skater had been drowned in the Kensington Round Pond. It was suggested to her that she should forget it by thinking about the one unfailing and gay subject--her wishes. "Do you know," she said, without loss of time, "what I should like best in all the world? A thundred dolls and a whistle!" Her mother was so overcome by this tremendous numeral, that she could make no offer as to the dolls. But the whistle seemed practicable. "It is for me to whistle for cabs," said the child, with a sudden moderation, "when I go to parties." Another morning she came down radiant. "Did you hear a great noise in the miggle of the night? That was me crying. I cried because I dreamt that Cuckoo [a brother] had swallowed a bead into his nose."

The mere errors of children are unforeseen as nothing is--no, nothing feminine--in this adult world. "I've got a lotter than you," is the word of a very young egotist. An older child says, "I'd better go, bettern't I, mother?" He calls a little s.p.a.ce at the back of a London house, "the backy-garden." A little creature proffers almost daily the reminder at luncheon--at tart-time: "Father, I hope you will remember that I am the favourite of the crust." Moreover, if an author set himself to invent the naif things that children might do in their Christmas plays at home, he would hardly light upon the device of the little _troupe_ who, having no footlights, arranged upon the floor a long row of candle-shades.

"It's _jolly_ dull without you, mother," says a little girl who--gentlest of the gentle--has a dramatic sense of slang, of which she makes no secret. But she drops her voice somewhat to disguise her feats of metathesis, about which she has doubts and which are involuntary: the "stand-wash," the "sweeping-crosser," the "sewing chamine." Genoese peasants have the same prank when they try to speak Italian.

Children forget last year so well that if they are Londoners they should by any means have an impression of the country or the sea annually. A London little girl watches a fly upon the wing, follows it with her pointing finger, and names it "bird." Her brother, who wants to play with a bronze j.a.panese lobster, asks "Will you please let me have that tiger?"

At times children give to a word that slight variety which is the most touching kind of newness. Thus, a child of three asks you to save him.

How moving a word, and how freshly said! He had heard of the "saving" of other things of interest--especially chocolate creams taken for safe-keeping--and he asks, "Who is going to save me to-day? Nurse is going out, will you save me, mother?" The same little variant upon common use is in another child's courteous reply to a summons to help in the arrangement of some flowers, "I am quite at your ease."

A child, unconscious little author of things told in this record, was taken lately to see a fellow author of somewhat different standing from her own, inasmuch as he is, among other things, a Sat.u.r.day Reviewer. As he dwelt in a part of the South-west of the town unknown to her, she noted with interest the shops of the neighbourhood as she went, for they might be those of the _fournisseurs_ of her friend. "That is his bread shop, and that is his book shop. And that, mother," she said finally, with even heightened sympathy, pausing before a blooming _parterre_ of confectionery hard by the abode of her man of letters, "that, I suppose, is where he buys his sugar pigs."

In all her excursions into streets new to her, this same child is intent upon a certain quest--the quest of a genuine collector. We have all heard of collecting b.u.t.terflies, of collecting china-dogs, of collecting c.o.c.ked hats, and so forth; but her pursuit gives her a joy that costs her nothing except a sharp look-out upon the proper names over all shop-windows. No h.o.a.rd was ever lighter than hers. "I began three weeks ago next Monday, mother," she says with precision, "and I have got thirty- nine." "Thirty-nine what?" "Smiths."

The mere gathering of children's language would be much like collecting together a handful of flowers that should be all unique, single of their kind. In one thing, however, do children agree, and that is the rejection of most of the conventions of the authors who have reported them. They do not, for example, say "me is"; their natural reply to "are you?" is "I are." One child, p.r.o.nouncing sweetly and neatly, will have nothing but the nominative p.r.o.noun. "Lift I up and let I see it raining," she bids; and told that it does not rain resumes, "Lift I up and let I see it not raining."

An elder child had a rooted dislike to a brown corduroy suit ordered for her by maternal authority. She wore the garments under protest, and with some resentment. At the same time it was evident that she took no pleasure in hearing her praises sweetly sung by a poet, her friend. He had imagined the making of this child in the counsels of Heaven, and the decreeing of her soft skin, of her brilliant eyes, and of her hair--"a brown tress." She had gravely heard the words as "a brown dress," and she silently bore the poet a grudge for having been the accessory of Providence in the mandate that she should wear the loathed corduroy. The unpractised ear played another little girl a like turn. She had a phrase for snubbing any anecdote that sounded improbable. "That," she said, more or less after Sterne, "is a cotton-wool story."

The learning of words is, needless to say, continued long after the years of mere learning to speak. The young child now takes a current word into use, a little at random, and now makes a new one, so as to save the interruption of a pause for search. I have certainly detected, in children old enough to show their motives, a conviction that a word of their own making is as good a communication as another, and as intelligible. There is even a general implicit conviction among them that the grown-up people, too, make words by the wayside as occasion befalls. How otherwise should words be so numerous that every day brings forward some hitherto unheard? The child would be surprised to know how irritably poets are refused the faculty and authority which he thinks to belong to the common world.

There is something very cheerful and courageous in the setting-out of a child on a journey of speech with so small baggage and with so much confidence in the chances of the hedge. He goes free, a simple adventurer. Nor does he make any officious effort to invent anything strange or particularly expressive or descriptive. The child trusts genially to his hearer. A very young boy, excited by his first sight of sunflowers, was eager to describe them, and called them, without allowing himself to be checked for the trifle of a name, "summersets." This was simple and unexpected; so was the comment of a sister a very little older. "Why does he call those flowers summersets?" their mother said; and the girl, with a darkly brilliant look of humour and penetration, answered, "because they are so big." There seemed to be no further question possible after an explanation that was presented thus charged with meaning.

To a later phase of life, when a little girl's vocabulary was, somewhat at random, growing larger, belong a few brave phrases hazarded to express a meaning well realized--a personal matter. Questioned as to the eating of an uncertain number of buns just before lunch, the child averred, "I took them just to appetize my hunger." As she betrayed a familiar knowledge of the tariff of an attractive confectioner, she was asked whether she and her sisters had been frequenting those little tables on their way from school. "I sometimes go in there, mother," she confessed; "but I generally speculate outside."

Children sometimes attempt to cap something perfectly funny with something so flat that you are obliged to turn the conversation. Dryden does the same thing, not with jokes, but with his sublimer pa.s.sages. But sometimes a child's deliberate banter is quite intelligible to elders.

Take the letter written by a little girl to a mother who had, it seems, allowed her family to see that she was inclined to be satisfied with something of her own writing. The child has a full and gay sense of the sweetest kinds of irony. There was no need for her to write, she and her mother being both at home, but the words must have seemed to her worthy of a pen:--"My dear mother, I really wonder how you can be proud of that article, if it is worthy to be called a article, which I doubt. Such a unletterary article. I cannot call it letterature. I hope you will not write any more such unconventionan trash."

This is the saying of a little boy who admired his much younger sister, and thought her forward for her age: "I wish people knew just how old she is, mother, then they would know she is onward. They can see she is pretty, but they can't know she is such a onward baby."

Thus speak the naturally unreluclant; but there are other children who in time betray a little consciousness and a slight _mefiance_ as to where the adult sense of humour may be lurking in wait for them, obscure. These children may not be shy enough to suffer any self-checking in their talk, but they are now and then to be heard slurring a word of which they do not feel too sure. A little girl whose sensitiveness was barely enough to cause her to stop to choose between two words, was wont to bring a cup of tea to the writing-table of her mother, who had often feigned indignation at the weakness of what her Irish maid always called "the infusion." "I'm afraid it's bosh again, mother," said the child; and then, in a half-whisper, "Is bosh right, or wash, mother?" She was not told, and decided for herself, with doubts, for bosh. The afternoon cup left the kitchen an infusion, and reached the library "bosh"

thenceforward.

THE CHILD OF TUMULT

A poppy bud, packed into tight bundles by so hard and resolute a hand that the petals of the flower never afterwards lose the creases, is a type of the child. Nothing but the unfolding, which is as yet in the non- existing future, can explain the manner of the close folding of character. In both flower and child it looks much as though the process had been the reverse of what it was--as though a finished and open thing had been folded up into the bud--so plainly and certainly is the future implied, and the intention of compressing and folding-close made manifest.

With the other incidents of childish character, the crowd of impulses called "naughtiness" is perfectly perceptible--it would seem heartless to say how soon. The naughty child (who is often an angel of tenderness and charm, affectionate beyond the capacity of his fellows, and a very ascetic of penitence when the time comes) opens early his brief campaigns and raises the standard of revolt as soon as he is capable of the desperate joys of disobedience.

But even the naughty child is an individual, and must not be treated in the ma.s.s. He is numerous indeed, but not general, and to describe him you must take the unit, with all his incidents and his organic qualities as they are. Take then, for instance, one naughty child in the reality of his life. He is but six years old, slender and masculine, and not wronged by long hair, curls, or effeminate dress. His face is delicate and too often haggard with tears of penitence that Justice herself would be glad to spare him. Some beauty he has, and his mouth especially is so lovely as to seem not only angelic but itself an angel. He has absolutely no self-control and his pa.s.sions find him without defence.

They come upon him in the midst of his usual brilliant gaiety and cut short the frolic comedy of his fine spirits.

Then for a wild hour he is the enemy of the laws. If you imprison him, you may hear his resounding voice as he takes a running kick at the door, shouting his justification in unconquerable rage. "I'm good now!" is made as emphatic as a shot by the blow of his heel upon the panel. But if the moment of forgiveness is deferred, in the hope of a more promising repentance, it is only too likely that he will betake himself to a hostile silence and use all the revenge yet known to his imagination.

"Darling mother, open the door!" cries his touching voice at last; but if the answer should be "I must leave you for a short time, for punishment,"

the storm suddenly thunders again. "There (crash!) I have broken a plate, and I'm glad it is broken into such little pieces that you can't mend it. I'm going to break the 'lectric light." When things are at this pa.s.s there is one way, and only one, to bring the child to an overwhelming change of mind; but it is a way that would be cruel, used more than twice or thrice in his whole career of tempest and defiance.

This is to let him see that his mother is troubled. "Oh, don't cry! Oh, don't be sad!" he roars, unable still to deal with his own pa.s.sionate anger, which is still dealing with him. With his kicks of rage he suddenly mingles a dance of apprehension lest his mother should have tears in her eyes. Even while he is still explicitly impenitent and defiant he tries to pull her round to the light that he may see her face.

It is but a moment before the other pa.s.sion of remorse comes to make havoc of the helpless child, and the first pa.s.sion of anger is quelled outright.

Only to a trivial eye is there nothing tragic in the sight of these great pa.s.sions within the small frame, the small will, and, in a word, the small nature. When a large and sombre fate befalls a little nature, and the stage is too narrow for the action of a tragedy, the disproportion has sometimes made a mute and unexpressed history of actual life or sometimes a famous book; it is the manifest core of George Eliot's story of _Adam Bede_, where the suffering of Hetty is, as it were, the eye of the storm. All is expressive around her, but she is hardly articulate; the book is full of words--preachings, speeches, daily talk, aphorisms, but a s.p.a.ce of silence remains about her in the midst of the story. And the disproportion of pa.s.sion--the inner disproportion--is at least as tragic as that disproportion of fate and action; it is less intelligible, and leads into the intricacies of nature which are more difficult than the turn of events.

It seems, then, that this pa.s.sionate play is acted within the narrow limits of a child's nature far oftener than in those of an adult and finally formed nature. And this, evidently, because there is unequal force at work within a child, unequal growth and a jostling of powers and energies that are hurrying to their development and pressing for exercise and life. It is this helpless inequality--this untimeliness--that makes the guileless comedy mingling with the tragedies of a poor child's day.

He knows thus much--that life is troubled around him and that the fates are strong. He implicitly confesses "the strong hours" of antique song.

This same boy--the tempestuous child of pa.s.sion and revolt--went out with quiet cheerfulness for a walk lately, saying as his cap was put on, "Now, mother, you are going to have a little peace." This way of accepting his own conditions is shared by a sister, a very little older, who, being of an equal and gentle temper, indisposed to violence of every kind and tender to all without disquiet, observes the boy's brief frenzies as a citizen observes the climate. She knows the signs quite well and can at any time give the explanation of some particular outburst, but without any attempt to go in search of further or more original causes. Still less is she moved by the virtuous indignation that is the least charming of the ways of some little girls. _Elle ne fait que constater_.

Her equanimity has never been overset by the wildest of his moments, and she has witnessed them all. It is needless to say that she is not frightened by his drama, for Nature takes care that her young creatures shall not be injured by sympathies. Nature encloses them in the innocent indifference that preserves their brains from the more hara.s.sing kinds of distress.

Even the very frenzy of rage does not long dim or depress the boy. It is his repentance that makes him pale, and Nature here has been rather forced, perhaps--with no very good result. Often must a mother wish that she might for a few years govern her child (as far as he is governable) by the lowest motives--trivial punishments and paltry rewards--rather than by any kind of appeal to his sensibilities. She would wish to keep the words "right" and "wrong" away from his childish ears, but in this she is not seconded by her lieutenants. The child himself is quite willing to close with her plans, in so far as he is able, and is reasonably interested in the results of her experiments. He wishes her attempts in his regard to have a fair chance. "Let's hope I'll be good all to-morrow," he says with the peculiar cheerfulness of his ordinary voice. "I do hope so, old man." "Then I'll get my penny. Mother, I was only naughty once yesterday; if I have only one naughtiness to-morrow, will you give me a halfpenny?" "No reward except for real goodness all day long." "All right."

It is only too probable that this system (adopted only after the failure of other ways of reform) will be greatly disapproved as one of bribery.

It may, however, be curiously inquired whether all kinds of reward might not equally be burlesqued by that word, and whether any government, spiritual or civil, has ever even professed to deny rewards. Moreover, those who would not give a child a penny for being good will not hesitate to fine him a penny for being naughty, and rewards and punishments must stand or fall together. The more logical objection will be that goodness is ideally the normal condition, and that it should have, therefore, no explicit extraordinary result, whereas naughtiness, being abnormal, should have a visible and unusual sequel. To this the rewarding mother may reply that it is not reasonable to take "goodness" in a little child of strong pa.s.sions as the normal condition. The natural thing for him is to give full sway to impulses that are so violent as to overbear his powers.

But, after all, the controversy returns to the point of practice. What is the thought, or threat, or promise that will stimulate the weak will of the child, in the moment of rage and anger, to make a sufficient resistance? If the will were naturally as well developed as the pa.s.sions, the stand would be soon made and soon successful; but as it is there must needs be a bracing by the suggestion of joy or fear. Let, then, the stimulus be of a mild and strong kind at once, and mingled with the thought of distant pleasure. To meet the suffering of rage and frenzy by the suffering of fear is a.s.suredly to make of the little unquiet mind a battle-place of feelings too hurtfully tragic. The penny is mild and strong at once, with its still distant but certain joys of purchase; the promise and hope break the mood of misery, and the will takes heart to resist and conquer.

It is only in the lesser naughtiness that he is master of himself. The lesser the evil fit the more deliberate. So that his mother, knowing herself to be not greatly feared, once tried to mimic the father's voice with a menacing, "What's that noise?" The child was persistently crying and roaring on an upper floor, in contumacy against his French nurse, when the baritone and threatening question was sent pealing up the stairs. The child was heard to pause and listen and then to say to his nurse, "Ce n'est pas Monsieur; c'est Madame," and then, without further loss of time, to resume the interrupted clamours.

Obviously, with a little creature of six years, there are two things mainly to be done--to keep the delicate brain from the evil of the present excitement, especially the excitement of painful feeling, and to break the habit of pa.s.sion. Now that we know how certainly the special cells of the brain which are locally affected by pain and anger become hypertrophied by so much use, and all too ready for use in the future at the slightest stimulus, we can no longer slight the importance of habit.

Any means, then, that can succeed in separating a little child from the habit of anger does fruitful work for him in the helpless time of his childhood. The work is not easy, but a little thought should make it easy for the elders to avoid the provocation which they--who should ward off provocations--are apt to bring about by sheer carelessness. It is only in childhood that our race knows such physical abandonment to sorrow and tears, as a child's despair; and the theatre with us must needs copy childhood if it would catch the note and action of a creature without hope.

THE CHILD OF SUBSIDING TUMULT