Here, my dear aunt, I was interrupted in a manner that will surprise you as much as it surprised me, by the coming in of Monsieur Edelcrantz, a Swedish gentleman, whom we have mentioned to you, of superior understanding and mild manners; he came to offer me his hand and heart!!

My heart, you may suppose, cannot return his attachment, for I have seen very little of him, and have not had time to form any judgment, except that I think nothing could tempt me to leave my own dear friends and my own country to live in Sweden. My dearest aunt, I write to you the first moment, as, next to my father and mother, no person in the world feels so much interest in all that concerns me. I need not tell you that my father,

"Such in this moment as in all the past,"

is kindness itself--kindness far superior to what I deserve, but I am grateful for it.

A few days later she writes to her cousin:--

I take it for granted, my dear friend, that you have by this time seen a letter I wrote a few days ago to my aunt. To you, as to her, every thought of my mind is open. I persist in refusing to leave my country and friends to live at the court of Stockholm. And he tells me (of course) that there is nothing he would not sacrifice for me except his duty; he has been all his life in the service of the King of Sweden, has places under him, and is actually employed in collecting information for a large political establishment. He thinks himself bound in honor to finish what he has begun. He says he should not fear the ridicule or blame that would be thrown upon him by his countrymen for quitting his country at his age, but that he would despise himself if he abandoned his duty for any pa.s.sion. This is all very reasonable, but reasonable for him only, not for me, and I have never felt anything for him but esteem and grat.i.tude.

Mrs. Edgeworth supplements these letters in the unpublished memoir of her stepdaughter, which she wrote for her family and nearest friends.

She says:--

Even after her return to Edgeworthstown it was long before Maria recovered the elasticity of her mind. She exerted all her powers of self-command, and turned her attention to everything which her father suggested for her to write. But _Leonora_, which she began immediately after our return home, was written with the hope of pleasing the Chevalier Edelcrantz; it was written in a style which he liked, and the idea of what he would think of it was, I believe, present to her in every page she wrote. She never heard that he had even read it. From the time they parted at Paris there was no sort of communication between them; and beyond the chance which brought us sometimes into company with travellers who had been in Sweden, or the casual mention of M. Edelcrantz in the newspapers or the scientific journals, we never heard more of one who had been of such supreme interest to her, as to us all at Paris, and of whom Maria continued to have all her life the most romantic recollection.

Miss Edgeworth's self-control was manifested at once. In none of her other letters does the matter recur; they are as chatty and lively as ever; but the incident throws much light both upon her character and the precepts of repression of feelings she loved to inculcate. She had not merely preached, but practiced them.

In January, 1803, Mr. Edgeworth suddenly received a peremptory order from the French Government to quit Paris in twenty-four hours and France in fifteen days. Much amazed, he went to Pa.s.sy, taking Miss Edgeworth with him, and quietly awaited the solution of the riddle. It proved that Bonaparte believed him to be brother to the Abbe Edgeworth, the devoted friend of Louis XVI., and not till it was explained to him that the relationship was more distant was Mr. Edgeworth allowed to return. The cause for the order, as for its withdrawal, was petty. The Edgeworths'

visit was, however, after all, brought to an abrupt conclusion. Rumors of imminent hostilities began to be heard, and though the reports circulated were most contradictory, Mr. Edgeworth thought it wise to be ready for departure. It was decided that M. Le Breton, who was well informed about Bonaparte's plans, should, at a certain evening party, give Mr. Edgeworth a hint, and, as he dared neither speak nor write, he was suddenly to put on his hat if war were probable. The hat was put on, and Mr. Edgeworth and his family hurried away from Paris. They were but just in time. Mr. Lovell Edgeworth, who was on his way from Geneva, and never received his father's warning letter, was stopped on his journey, made prisoner, and remained among the _detenus_ till 1814.

After a short stay in London the family went to Edinburgh to visit Henry Edgeworth, who had shown signs of the family malady. Here they spent an agreeable time, seeing the many men of learning who in those days made Edinburgh a delightful residence. Warm friendships were formed with the Alisons, the Dugald Stewarts, and Professor Playfair.

Returned to Edgeworthstown, Miss Edgeworth set to work industriously to prepare for the press her _Popular Tales_, and write _Leonora_ and several of the _Tales of Fashionable Life_. She exerted all her powers of self-command to throw her energy into her writing, and to follow up every suggestion made by her father; but it was clear to those who observed her closely that she had not forgotten the man of whom, all her life, she retained a tender memory. It was long before she thoroughly recovered her elasticity of spirits, and the mental struggle did not pa.s.s over without leaving its mark. Early in 1805 Miss Edgeworth fell seriously ill with a low, nervous fever; it was some while before she could leave her room, read, or even speak. As she got better she liked to be read to, though scarcely able to express her thanks. The first day she was really convalescent was destined to mark an era in her life.

While she was lying on the library sofa her sister Charlotte read out to her _The Lay of the Last Minstrel_, then just published. It was the beginning of Miss Edgeworth's enthusiastic admiration of Scott, which resulted in a warm friendship between the two authors.

From the time of the Edgeworths' return Ireland had been agitated with the fears of a French invasion, and Mr. Edgeworth once more exerted himself to establish telegraphic communication across the country. As usual, his family joined him in his pursuits, and Miss Edgeworth, with the rest, was kept employed in copying out the vocabularies used in conversations. The year 1804 was almost engrossed by this. Nevertheless she found time to write _Griselda_ at odd moments in her own room. Her father knew nothing either of the plan of the book or of its execution, and she sent it on her own account to her publisher, Johnson, with the request to print the t.i.tle-page of a single copy without her name, and to send it over to Mr. Edgeworth as a new novel just come out. Miss Sneyd, who was in the secret, led him to peruse it quickly. He read it with surprise and admiration, and feeling convinced that Miss Edgeworth had not had the actual time to write it, and yet seeing it was like her style, he fancied his daughter Anna (Mrs. Beddoes) must have written it to please him. When at last he was told that it was by his favorite daughter, he was amused at the trick, and delighted at having admired the book without knowing its author. This was one of the many little ways in which the Edgeworths loved to please one another. A happier, more united household it would be hard to find among circ.u.mstances fraught with elements of domestic discord--the children and relatives of four wives, of the most diverse characters and tastes, living peaceably under one roof. Vitality, unwearying activity free from restlessness, distinguished most of its members, and especially the father and eldest daughter. Nor was there anything prim or starched in the home atmosphere; though ethically severe and maintained at a high level of thought, gaiety, laughter and all the lighter domestic graces prevailed.

Miss Edgeworth's letters reflect a cheerful, united home of the kind she loves to paint. Like many united families, the Edgeworths were strong in a belief in their own relations; they had the clan feeling well developed. Not a member went forth from the paternal nest but was held in constant remembrance, in constant intercourse with home, and it was usually Miss Edgeworth's ready pen that kept the link well knit. Hence the large number of her family letters extant, many of which have no separate interest for the world, but which, taken as a whole, reflect both her own unselfish personality and the busy life of young and old around her. In her letters she never dwells on troubles; they overflow with spirits, life and hope. As they are apt to be long and diffuse, it is not easy to quote from them; but every one presents a nature that beat in unison with all that is n.o.ble and good. She was alive to everything around her, full of generous sympathies, enthusiastic in her admiration of all that had been achieved by others. Her praises came fresh and warm from a warm and eloquent Irish heart. That these utterances are toned down and tamed in her books, is yet another proof how the need to ill.u.s.trate her father's ulterior aims cramped her in the expression of her feelings. His mind, though she knew it not, was inferior to hers, and though it was in some respects like her own, it yet hung heavy on the wings of her fancy. In later life she wrote more letters to acquaintances than at this time. In these years she says to a friend who upbraided her for not writing oftener:--

I do not carry on what is called a regular correspondence with anybody except with one or two of my very nearest relations. And it is best to tell you the plain truth, that my father particularly dislikes to see me writing letters; therefore I write as few as I possibly can.

Of herself she speaks least of all, of her writings seldom, and when she does, but incidentally. Without certainly intending it, she painted herself when she writes of Mrs. Emma Granby ("the modern Griselda"):--

All her thoughts were intent upon making her friends happy. She seemed to live in them more than in herself, and from sympathy rose the greatest pleasure and pain of her existence. Her sympathy was not of that useless kind which is called forth only by the elegant fict.i.tious sorrows of a heroine of romance; hers was ready for all the occasions of real life; nor was it to be easily checked by the imperfections of those to whom she could be of service.

It is one of the most delightful features in Miss Edgeworth, that in her the dignity of the author is sustained by the moral worth of the individual--a combination unhappily not common.

Visits to and from neighbors or friends, more or less eminent, visits from nephews and nieces, letters from all quarters of the globe, prevented the life at Edgeworthstown from ever becoming stagnant, even if a home so full of young people could be devoid of life. Then, too, though the Edgeworths kept themselves aloof from politics, the course of public affairs did not always hold aloof from them, and at various times the disturbed state of Ireland caused them discomfort and fears. Sorrows and sickness, too, did not refrain from entering that happy home. There were the usual juvenile illnesses, there were births, there were sicknesses among the elder branches. In 1807 Charlotte, the darling of the family, died after much suffering, a victim to hereditary consumption. In 1809 Mr. Edgeworth himself was seriously ill, and Henry's health, too, became so precarious that it was needful to send him to Madeira. For a long time it seemed likely that Miss Edgeworth would go out to nurse him, but the project fell to the ground; and a few years later this brother, her especial nursling, also died of pulmonary disease.

The sorrow for Charlotte's death cast a cloud over all the year 1807.

During its course Miss Edgeworth's greatest pleasure was the planting of a new garden her father had laid out for her near her own room, that had been enlarged and altered, together with some alterations to the main building. She was at all times an enthusiastic gardener, finding pleasure and health in the pursuit. "My garden adds very much to my happiness, especially as Honora and all the children have shares in it."

Then, too, Miss Edgeworth was kept constantly employed attending to the affairs of the tenants; no rapid, easy or routine task in Ireland. Thus she writes on one occasion:--

This being May day, one of the wettest I have ever seen, I have been regaled, not with garlands of May flowers, but with the legal pleasures of the season. I have heard nothing but giving notices to quit, taking possession, ejectments, flittings, etc. What do you think of a tenant who took one of the nice new houses in this town, and left it with every lock torn off the doors, and with a large stone, such as John Langan[8] could not lift, driven actually through the boarded floor of the parlor? The brute, however, is rich; and if he does not die of whiskey before the law can get its hand into his pocket, he will pay for this waste.

No wonder she once sighs, "I wish I had time to write some more _Early Lessons_, or to do half the things I wish to do." With the calls on her time, domestic, philanthropic and social, it is only amazing that she wrote so much. Her method of working is described by herself in some detail. From its very nature it could not fail to induce a certain stiffness and over-anxious finish. She says:--

Whenever I thought of writing anything I always told my father my first rough plans; and always, with the instinct of a good critic, he used to fix immediately upon that which would best answer the purpose. "Sketch that, and show it to me." The words, from the experience of his sagacity, never failed to inspire me with hope of success. It was then sketched. Sometimes, when I was fond of a particular part, I used to dilate on it in the sketch; but to this he always objected. "I don't want any of your painting--none of your drapery! I can imagine all that. Let me see the bare skeleton."

It seemed to me sometimes impossible that he could understand the very slight sketches I made; when, before I was conscious that I had expressed this doubt in my countenance, he always saw it.

"Now, my dear little daughter, I know, does not believe that I understand her." Then he would, in his own words, fill up my sketch, paint the description, or represent the character intended, with such life, that I was quite convinced he not only seized the ideas, but that he saw with the prophetic eye of taste the utmost that could be made of them. After a sketch had his approbation, he would not see the filling up till it had been worked upon for a week or fortnight, or till the first thirty or forty pages were written; then they were read to him, and if he thought them going on tolerably well, the pleasure in his eyes, the approving sound of his voice, even without the praise he so warmly bestowed, were sufficient and delightful incitements to "go on and finish." When he thought that there was spirit in what was written, but that it required, as it often did, great correction, he would say: "Leave that to me; it is my business to cut and correct, yours to write on." His skill in cutting, his decision in criticism, was peculiarly useful to me. His ready invention and infinite resource, when I had run myself into difficulties, never failed to extricate me at my utmost need. It was the happy experience of this, and my consequent reliance on his ability, decision and perfect honesty, that relieved me from the vacillation and anxiety to which I was so much subject, that I am sure I should not have written or finished anything without his support. He inspired in my mind a degree of hope and confidence, essential in the first instance to the full exertion of the mental powers, and necessary to insure perseverance in any occupation. Such, happily for me, was his power over my mind, that no one thing I ever began to write was ever left unfinished.

That such a process was calculated to check inspiration is obvious. To suffer one hand to chisel and clip the productions of another, to insert into a finished frame-work incongruous episodes intended to work out a pet idea, was as inartistic as it was pernicious. The method could not fail to induce a certain self-consciousness on the part of the writer fatal to spontaneity, a certain complacent, careful laying out of plans, apt to disturb if not to distract the reader by drawing his attention from the fabric to the machinery. It was this that laid Miss Edgeworth open to the charge, so often made, of a mechanical spirit in her writings. For our own part, after reading her letters, with which her father certainly did not meddle, we are inclined to lay most of her faults to the charge of the monitor and guide whose a.s.sistance she so much over-rated. He, on the other hand, saw other dangers in their system. Writing to Mrs. Inchbald, he says:--

Maria has one great disadvantage in this house--she has eight or nine auditors who are no contemptible judges of literature, to whom she reads whatever she intends to publish. Now, she reads and acts so admirably well, that she can make what is really dull appear to be lively.

Indeed, everything was done in public in that family. All Miss Edgeworth's works were written in the common sitting-room, with the noise of playing children about her. Her early habits of abstraction stood her in good stead, and, at her little table by the fire, she would sit for half an hour together, without stirring, with her pen in her hand, or else scribble away very fast in the neat writing that never altered to the end. A certain occasional want of closeness in her reasoning may perhaps, however, have resulted from this habit of writing in public, since the effort of abstraction made by the brain must of necessity absorb some of its power. Considering how large was the family continually around her, it is sufficiently astonishing that she could do it at all. Once when such surprise was expressed, Mrs. Edgeworth said: "Maria was always the same; her mind was so rightly balanced, everything was so honestly weighed, that she suffered no inconvenience from what would disturb or distract any ordinary writer."

CHAPTER VIII.

FASHIONABLE AND POPULAR TALES.

When the literary history of the nineteenth century is written, its historians will be amazed to find how important a part the contributions of women have played therein. At the meeting-point of the two centuries it was Miss Edgeworth in Ireland, Miss Austen in England, and Miss Ferrier in Scotland, who for Great Britain inaugurated an era of female authorship that stood and sought to stand simply upon its own merits, neither striving to be masculine nor addressing itself exclusively to women. Fielding, Smollett and the older novelists were not solicitous about virtue. They wrote for men readers only, and if they amused, their end was attained. But when women became readers a new need arose, and with the need came a new supply. The finer ethical instincts of women were revolted by the grossness of the Tom Joneses, the Tristram Shandys of literature; and as society became purer, manners less coa.r.s.e, men too asked for mental food that should be less gross in texture. Miss Burney had led the way to a new era, a new style, both in fict.i.tious literature and in female authorship. It was in her footsteps that Miss Edgeworth trod; but while Miss Burney aimed at amus.e.m.e.nt only, Miss Edgeworth inaugurated the novel with a purpose.

Perhaps no phrase has been more misunderstood than this of "a novel with a purpose."

Obviously it is not only right but imperative that a novel, or any work of art, should have a leading idea, an aim; but this is markedly different from a didactic purpose, which is implied by the phrase.

Readers of novels demand before all else to be entertained, and are justified in that demand, and they merely submit to such instruction or moralizing as can be poured into their minds without giving them too much trouble. Miss Edgeworth lost sight of this too often; indeed, it was a point of view that did not enter into her philosophy, narrowed as her experience was by the boundaries of home and the all-pervading influence of her father's pa.s.sion for the didactic. The omission proved the stumbling-block that hindered her novels from attaining the highest excellence. A moral was ever uppermost in Miss Edgeworth's mind, and for its sake she often strained truth and sacrificed tenderness. She was forever weighted by her purpose; hence her imagination, her talents, had not free play, and hence the tendency in all her writings to make things take a more definite course than they do in real life, where purpose and results are not always immediately in harmony, nor indeed always evident. Miss Kavanagh has aptly said, "Life is more mysterious than Miss Edgeworth has made it." Having said this, however, we have laid our finger upon the weak point of her novels, in which there is so much to praise, such marked ability, such delicious humor, such exuberant creative fancy and variety, that the general public does very ill to have allowed them to sink so much into oblivion.

Between the years 1804 and 1813 Miss Edgeworth published _Leonora_, _Griselda_, and the stories of various length that were issued under the collective t.i.tles of _Tales front Fashionable Life_ and _Popular Tales_.

_Leonora_ was the first work she wrote after her return from France, where she had enlarged the sphere of her mind and heart. It is a marked improvement upon _Belinda_, the fable is better contrived, the language flows more easily. It was penned with a view to please M. Edelcrantz, and in respect of being written for one special reader, _Leonora_ recalls that curious work by Madame Riccoboni, _Lettres de Fanni Butlerd a Milord Charles Alfred_, published as a fiction, but in reality only the collection of the writer's love-letters to the Englishman who had wronged and deserted her. "Mistris Fanni to one reader," was the significant heading to the preface of that book.

Miss Edgeworth's purpose in _Leonora_ certainly led her into an entirely new path. To use her own words, no one would have believed that she could have been such an expert in the language of sentimental logic. For her doubly romantic purpose she was able to argue with all the sophistry and casuistry, of false, artificial and exaggerated feeling that can make vices a.s.sume the air of virtues, and virtues those of vices, until it is impossible even to know them asunder. The story itself rests upon a narrow and not very probable foundation. Its great fault is that it is too long drawn out for its base. The princ.i.p.al characters are a virtuous, outwardly cold and precise, inwardly warm-hearted English wife, and a well-bred English husband, led astray by the machinations of a Frenchified coquette who sets upon him from pure _desoeuvrement_, and for whom any other person who had come into her path at that moment would have been equally acceptable game. The work is thrown into the form of letters, which gives to Miss Edgeworth an opportunity, inimitably carried out, of making all the personages paint themselves and speak in the language that is most natural to them. These letters are excellently varied. Lady Olivia's teem with French and German sentiment and metaphysics of self-deception; Leonora's are as candid and generous as herself--yet though her motives are lofty, we discern a certain air of aristocratic hauteur; while the good sense in General B---- 's is bluntly expressed.

The fault of the story is that the husband's conversion ought to have been brought about by purely moral means, and not by the accidental interception of his false mistress' letters. Thus the value of the whole moral is destroyed by its creator. That _Delphine_ in a manner suggested this story, that but for this romance _Leonora_ might not have a.s.sumed its peculiar shape, may be taken almost for granted. A certain notion of refuting this corrupt story, then at the high tide of its popularity, may also have been present in Miss Edgeworth's mind, who at no time was so much self-absorbed as to lose sight of the ultimate aim in all her writings. Those were the days of excessive sensibility, when to yearn after elective affinities was the fashion. From such a state of feeling Miss Edgeworth's temperament and training secured her, and for very fear of it she erred in an opposite extreme. But with the true artist's instinct she recognized that it was in the air, and she makes it the theme of a romance that holds it up not only to ridicule, but shows with relentless force into what abysms it may lead its votaries. Over this novel Miss Edgeworth expended much time and care; it was subjected to frequent revision, while her father "cut, scrawled and interlined without mercy." It is certainly polished _ad unguem_, as he rightly deemed that a book of this nature, devoid of regular story, must be; but it might have been cut down still more with advantage.

It is the peculiarity of Miss Edgeworth's novels, and may be accepted as their key-note, that she systematically addressed herself to the understanding rather than to the heart of her readers, and that she rarely forgot her educational aim. After having striven to instruct children and young men and women, she tried, in a series of tales selected from fashionable life, "to point out some of the errors to which the higher cla.s.ses of society are disposed." It is an open question whether it is possible to correct society, or whether that is a hopeless task because society is too vain and silly to listen to words of wisdom. "England," said Mr. Pecksniff, "England expects every man to do his duty. England will be disappointed." Miss Edgeworth, however, who never doubted the value of tuition, attempted the task, and she was certainly right in so far that if it were possible to open the eyes of this cla.s.s of persons, it would be by means of entertaining stories. Of course she only appealed to those who, though not gifted with enough good sense to go right of their own accord, are yet not past teaching, or too devoid of sense to be teachable, and she took immense pains to show how the greater part of our troubles in life arise from ignorance rather than from vice and incapacity. To teach the art of living, the science of being happy, is her one endeavor; and thus her fancy, her wit, her strictures, are all made to bend to her main purpose, that of being the vehicles of her practical philosophy. Yet to regard Miss Edgeworth as a mere teaching machine is to do her gross injustice. Like most people, she was better than her creed. Despite her doctrines, her genius was too strong for her, and it is thanks to this that sundry of these tales from _Fashionable Life_ are among her highest and most successful efforts. They are also as a whole more powerful and varied than any of her previous productions.

The first series consisted of four stories: _Ennui_, _The Dun_, _Manoeuvring_, and _Almeria_, of which the first is by far the longest. As is too often the case with Miss Edgeworth, the plot is clumsily and coldly contrived, the proportions not well maintained; but the work abounds with masterly delineations of character, and is a striking picture of the satiety induced by being born, like the hero, Lord Glenthorne, on the pinnacle of fortune, so that he has nothing to do but to sit still and enjoy the barrenness of the prospect, or to eat toffee, like the duke in _Patience_. He tries all amus.e.m.e.nts, but finds them wanting, and he would probably have been ruined mentally and bodily if a convenient catastrophe had not precipitated him temporarily into indigence and aroused all those better qualities of his nature and excellent abilities that lay buried and inert. It is not the least skillful part of this clever tale that it is told as an autobiography, the hero himself both consciously and unconsciously dissecting his foibles. Much of the scene is laid in Ireland, and gives Miss Edgeworth scope for those amusing collateral incidents, those racy delineations of the various cla.s.ses of Irish society, in which she is still unsurpa.s.sed.

She knew how to hit off to the life the several peculiarities of respective stations and characters, and we know not whom most to admire and delight in: the Irish pauper who officiates as postilion, and who a.s.sures Lord Glenthorne that his crazy chaise is the best in the country--"we have two more, to be sure, but one has no top and the other no bottom;" the warm-hearted, impulsive, happy-go-lucky Irish nurse, who has no scruple about committing a crime for the sake of those she loves; or Lady Geraldine, the high-born, high-bred Irish peeress, who speaks with an Irish accent, uses Irish idioms, and whose language is more interrogative, more exclamatory, more rhetorical, accompanied with more animation of countenance and demonstrative gesture, than that of the English ladies with whom she is contrasted. With inimitable skill we are made to see that there is something foreign in this lady's manner, something rather French than English, and yet not French either, but indigenous. Of course, rebels play a part in the story--it would not be a true Irish story without them, but, as usual, Miss Edgeworth dwells by preference upon the milder, more engaging aspects of the Irish character, upon their strange, pathetic life; and while not ignoring, brings into as little prominence as may be the frequent perjuries, the vindictive pa.s.sions, the midnight butcheries, the lawless ferocity, the treacherous cruelty, of her half-savage compatriots.

_The Dun_ is a short tale in Miss Edgeworth's most didactic and least happy style, dealing with a theme that should be more often emphasized and brought into view; namely, the unfeeling thoughtlessness of the rich, that withholds from the poor the result of their earnings, one of the most frequent and serious injuries perpetrated by the wealthy upon their indigent brethren.

_Manoeuvring_ is a detailed account of the machinations of a certain Mrs. Beaumont, a country lady, who expends a great deal of Machiavelism, left-handed wisdom and intrigue upon the projects of her children's marriages, and also upon securing to her family the fortune of an old gentleman who never had a thought of disposing of it otherwise. The mortification and defeats to which her circuitous policy constantly exposes her const.i.tute the plot and the moral of the tale, which is not ill-conceived, and yet for some cause fails to interest us long.

In _Almeria_, Miss Edgeworth's admirable story-telling powers, her grace and shrewdness, are once more seen at their very best. It is the history of a woman who has sacrificed all the happiness of life, all the better instincts of her nature, for the empty ambition of being admitted into the charmed circle of fashionable society; and who, though she finds out in time that it is Dead Sea apples she has sought, has become so immeshed that she cannot break away, but leads an existence of pleasure-hunting, ever seeking, never finding that commodity, a warning example of

How the world its veterans rewards-- A youth of folly, an old age of cards.

The moral is not insisted on, but is allowed to speak for itself, and is on that account far more eloquent.

Except when dealing with Irish scenes, Miss Edgeworth is never happier than when painting the perverse or intriguing fine ladies of society, who, having no real troubles or anxieties to occupy them, shielded from the physical evils of existence, make to themselves others, and find occupation for their empty heads and hours, with results put before us so simply, and devoid of euphemism, by Dr. Watts. Well indeed has the proverb said, "An empty mind is the devil's house." In her kindly way Miss Edgeworth can be scathing, and she exercises this power upon women of mere fashion. The ladies of the period were less occupied with public and philanthropic schemes than they are now, and hence had more time to expend on follies and frivolities. The whole pitiful system of unreal existence led by these women is exposed with an almost remorseless hand, for Miss Edgeworth had no tenderness for foolish failings.

Inimitably, too, we are made to see how then, as now, there was tolerated in fashionable society a degree of vulgarity which would neither be suffered nor attempted in lower life. It was just because Miss Edgeworth's lines were cast among the rich and idle that she was able to understand all the misery and heartlessness of the lives of a large section of this community. We see how their petty cravings, their preposterous pursuits, bring positive misery on themselves if not on others; how their dispositions are sophisticated, their tempers warped, their time and talents wasted, in their restless chase after social distinction, after the craze of being in the fashion. "The scourges of the prosperous;" thus happily have these giant curses of mere fashionable life been defined. Miss Edgeworth certainly understood fully the nature of the disorder of her patients, the _ennui_, the stagnation of life and feeling that devoured them and sunk many of them at last to a depth at which they no longer merited the name of rational human beings. At the same time (and this is a point which must be insisted upon) there is no sourness about Miss Edgeworth's pictures of good society; her pen, in speaking of it, is not dipped in vinegar and wormwood, as was the pen of Thackeray, and sometimes even that of George Eliot. Without sn.o.bbishness, without envy, she writes quite simply, and absolutely objectively, of that which surged around her whenever she left the quiet of Edgeworthstown and visited in some of the many n.o.ble houses of Ireland, Scotland and England, in which she was a familiar friend. That her pictures of contemporary society were correct has never been disputed. She reproduced faithfully not only its coa.r.s.er and silly side, but also the more brilliant conversational features, that make it contrast so favorably with that of our own day, in which the art of talking has been lost. Lord Jeffrey, an authority, and one not given to flattery, says that Miss Edgeworth need not be afraid of being excelled in "that faithful but flattering representation of the spoken language of persons of wit and politeness--in that light and graceful tone of raillery and argument, and in that gift of sportive but cutting _medisance_ which is sure of success in those circles where success is supposed to be most difficult and desirable." In support of his statement he points to the conversation of Lady Delacour (_Belinda_), Lady Dashfort (_Absentee_) and Lady Geraldine (_Ennui_).