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Famous Affinities of History V4 by Lyndon Orr

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The story of Jonathan Swift and of the two women who gave their
lives for love of him is familiar to every student of English
literature. Swift himself, both in letters and in politics, stands
out a conspicuous figure in the reigns of King William III and
Queen Anne. By writing Gulliver's Travels he made himself
immortal. The external facts of his singular relations with two
charming women are sufficiently well known; but a definite
explanation of these facts has never yet been given. Swift held
his tongue with a repellent taciturnity. No one ever dared to
question him. Whether the true solution belongs to the sphere of
psychology or of physiology is a question that remains unanswered.

But, as the case is one of the most puzzling in the annals of
love, it may be well to set forth the circumstances very briefly,
to weigh the theories that have already been advanced, and to
suggest another.

Jonathan Swift was of Yorkshire stock, though he happened to be
born in Dublin, and thus is often spoken of as "the great Irish
satirist," or "the Irish dean." It was, in truth, his fate to
spend much of his life in Ireland, and to die there, near the
cathedral where his remains now rest; but in truth he hated
Ireland and everything connected with it, just as he hated
Scotland and everything that was Scottish. He was an Englishman to
the core.

High-stomached, proud, obstinate, and over-mastering, independence
was the dream of his life. He would accept no favors, lest he
should put himself under obligation; and although he could give
generously, and even lavishly, he lived for the most part a
miser's life, hoarding every penny and halfpenny that he could.
Whatever one may think of him, there is no doubt that he was a
very manly man. Too many of his portraits give the impression of a
sour, supercilious pedant; but the finest of them all--that by
Jervas--shows him as he must have been at his very prime, with a
face that was almost handsome, and a look of attractive humor
which strengthens rather than lessens the power of his brows and
of the large, lambent eyes beneath them.

At fifteen he entered Trinity College, in Dublin, where he read
widely but studied little, so that his degree was finally granted
him only as a special favor. At twenty-one he first visited
England, and became secretary to Sir William Temple, at Moor Park.
Temple, after a distinguished career in diplomacy, had retired to
his fine country estate in Surrey. He is remembered now for
several things--for having entertained Peter the Great of Russia;
for having, while young, won the affections of Dorothy Osborne,
whose letters to him are charming in their grace and archness; for
having been the patron of Jonathan Swift; and for fathering the
young girl named Esther Johnson, a waif, born out of wedlock, to
whom Temple gave a place in his household.

When Swift first met her, Esther Johnson was only eight years old;
and part of his duties at Moor Park consisted in giving her what
was then an unusual education for a girl. She was, however, still
a child, and nothing serious could have passed between the raw
youth and this little girl who learned the lessons that he imposed
upon her.

Such acquaintance as they had was rudely broken off. Temple, a man
of high position, treated Swift with an urbane condescension which
drove the young man's independent soul into a frenzy. He returned
to Ireland, where he was ordained a clergyman, and received a
small parish at Kilroot, near Belfast.

It was here that the love-note was first seriously heard in the
discordant music of Swift's career. A college friend of his named
Waring had a sister who was about the age of Swift, and whom he
met quite frequently at Kilroot. Not very much is known of this
episode, but there is evidence that Swift fell in love with the
girl, whom he rather romantically called "Varina."

This cannot be called a serious love-affair. Swift was lonely, and
Jane Waring was probably the only girl of refinement who lived
near Kilroot. Furthermore, she had inherited a small fortune,
while Swift was miserably poor, and had nothing to offer except
the shadowy prospect of future advancement in England. He was
definitely refused by her; and it was this, perhaps, that led him
to resolve on going back to England and making his peace with Sir
William Temple.

On leaving, Swift wrote a passionate letter to Miss Waring--the
only true love-letter that remains to us of their correspondence.
He protests that he does not want Varina's fortune, and that he
will wait until he is in a position to marry her on equal terms.
There is a smoldering flame of jealousy running through the
letter. Swift charges her with being cold, affected, and willing
to flirt with persons who are quite beneath her.

Varina played no important part in Swift's larger life thereafter;
but something must be said of this affair in order to show, first
of all, that Swift's love for her was due only to proximity, and
that when he ceased to feel it he could be not only hard, but
harsh. His fiery spirit must have made a deep impression on Miss
Waring; for though she at the time refused him, she afterward
remembered him, and tried to renew their old relations. Indeed, no
sooner had Swift been made rector of a larger parish, than Varina
let him know that she had changed her mind, and was ready to marry
him; but by this time Swift had lost all interest in her. He wrote
an answer which even his truest admirers have called brutal.

"Yes," he said in substance, "I will marry you, though you have
treated me vilely, and though you are living in a sort of social
sink. I am still poor, though you probably think otherwise.
However, I will marry you on certain conditions. First, you must
be educated, so that you can entertain me. Next, you must put up
with all my whims and likes and dislikes. Then you must live
wherever I please. On these terms I will take you, without
reference to your looks or to your income. As to the first,
cleanliness is all that I require; as to the second, I only ask
that it be enough."

Such a letter as this was like a blow from a bludgeon. The
insolence, the contempt, and the hardness of it were such as no
self-respecting woman could endure. It put an end to their
acquaintance, as Swift undoubtedly intended it should do. He would
have been less censurable had he struck Varina with his fist or
kicked her.

The true reason for Swift's utter change of heart is found, no
doubt, in the beginning of what was destined to be his long
intimacy with Esther Johnson. When Swift left Sir William Temple's
in a huff, Esther had been a mere schoolgirl. Now, on his return,
she was fifteen years of age, and seemed older. She had blossomed
out into a very comely girl, vivacious, clever, and physically
well developed, with dark hair, sparkling eyes, and features that
were unusually regular and lovely.

For three years the two were close friends and intimate
associates, though it cannot he said that Swift ever made open
love to her. To the outward eye they were no more than fellow
workers. Yet love does not need the spoken word and the formal
declaration to give it life and make it deep and strong. Esther
Johnson, to whom Swift gave the pet name of "Stella," grew into
the existence of this fiery, hold, and independent genius. All
that he did she knew. She was his confidante. As to his writings,
his hopes, and his enmities, she was the mistress of all his
secrets. For her, at last, no other man existed.

On Sir William Temple's death, Esther John son came into a small
fortune, though she now lost her home at Moor Park. Swift returned
to Ireland, and soon afterward he invited Stella to join him

Swift was now thirty-four years of age, and Stella a very
attractive girl of twenty. One might have expected that the two
would marry, and yet they did not do so. Every precaution was
taken to avoid anything like scandal. Stella was accompanied by a
friend--a widow named Mrs. Dingley--without whose presence, or
that of some third person, Swift never saw Esther Johnson. When
Swift was absent, how ever, the two ladies occupied his
apartments; and Stella became more than ever essential to his

When they were separated for any length of time Swift wrote to
Stella in a sort of baby-talk, which they called "the little
language." It was made up of curious abbreviations and childish
words, growing more and more complicated as the years went on. It
is interesting to think of this stern and often savage genius, who
loved to hate, and whose hate was almost less terrible than his
love, babbling and prattling in little half caressing sentences,
as a mother might babble over her first child. Pedantic writers
have professed to find in Swift's use of this "little language"
the coming shadow of that insanity which struck him down in his
old age.

As it is, these letters are among the curiosities of amatory
correspondence. When Swift writes "oo" for "you," and "deelest"
for "dearest," and "vely" for "very," there is no need of an
interpreter; but "rettle" for "let ter," "dallars" for "girls,"
and "givar" for "devil," are at first rather difficult to guess.
Then there is a system of abbreviating. "Md" means "my dear,"
"Ppt" means "poppet," and "Pdfr," with which Swift sometimes
signed his epistles, "poor, dear, foolish rogue."

The letters reveal how very closely the two were bound together,
yet still there was no talk of marriage. On one occasion, after
they had been together for three years in Ireland, Stella might
have married another man. This was a friend of Swift's, one Dr.
Tisdall, who made energetic love to the sweet-faced English girl.
Tisdall accused Swift of poisoning Stella's mind against him.
Swift replied that such was not the case. He said that no feelings
of his own would ever lead him to influence the girl if she
preferred another.

It is quite sure, then, that Stella clung wholly to Swift, and
cared nothing for the proffered love of any other man. Thus
through the years the relations of the two remained unchanged,
until in 1710 Swift left Ireland and appeared as a very brilliant
figure in the London drawing-rooms of the great Tory leaders of
the day.

He was now a man of mark, because of his ability as a
controversialist. He had learned the manners of the world, and he
carried him self with an air of power which impressed all those
who met him. Among these persons was a Miss Hester--or Esther--
Vanhomrigh, the daughter of a rather wealthy widow who was living
in London at that time. Miss Vanhomrigh--a name which she and her
mother pronounced "Vanmeury"--was then seventeen years of age, or
twelve years younger than the patient Stella.

Esther Johnson, through her long acquaintance with Swift, and from
his confidence in her, had come to treat him almost as an
intellectual equal. She knew all his moods, some of which were
very difficult, and she bore them all; though when he was most
tyrannous she became only passive, waiting, with a woman's wisdom,
for the tempest to blow over.

Miss Vanhomrigh, on the other hand, was one of those girls who,
though they have high spirit, take an almost voluptuous delight in
yielding to a spirit that is stronger still. This beautiful
creature felt a positive fascination in Swift's presence and his
imperious manner. When his eyes flashed, and his voice thundered
out words of anger, she looked at him with adoration, and bowed in
a sort of ecstasy before him. If he chose to accost a great lady
with "Well, madam, are you as ill-natured and disagreeable as when
I met you last?" Esther Vanhomrigh thrilled at the insolent
audacity of the man. Her evident fondness for him exercised a
seductive influence over Swift.

As the two were thrown more and more together, the girl lost all
her self-control. Swift did not in any sense make love to her,
though he gave her the somewhat fanciful name of "Vanessa"; but
she, driven on by a high-strung, unbridled temperament, made open
love to him. When he was about to return to Ireland, there came
one startling moment when Vanessa flung herself into the arms of
Swift, and amazed him by pouring out a torrent of passionate

Swift seems to have been surprised. He did what he could to quiet
her. He told her that they were too unequal in years and fortune
for anything but friendship, and he offered to give her as much
friendship as she desired.

Doubtless he thought that, after returning to Ireland, he would
not see Vanessa any more. In this, however, he was mistaken. An
ardent girl, with a fortune of her own, was not to be kept from
the man whom absence only made her love the more. In addition,
Swift carried on his correspondence with her, which served to fan
the flame and to increase the sway that Swift had already

Vanessa wrote, and with every letter she burned and pined. Swift
replied, and each reply enhanced her yearning for him. Ere long,
Vanessa's mother died, and Vanessa herself hastened to Ireland and
took up her residence near Dublin. There, for years, was enacted
this tragic comedy--Esther Johnson was near Swift, and had all his
confidence; Esther Vanhomrigh was kept apart from him, while still
receiving missives from him, and, later, even visits.

It was at this time, after he had become dean of St. Patrick's
Cathedral, in Dublin, that Swift was married to Esther Johnson--
for it seems probable that the ceremony took place, though it was
nothing more than a form. They still saw each other only in the
presence of a third person. Nevertheless, some knowledge of their
close relationship leaked out. Stella had been jealous of her
rival during the years that Swift spent in London. Vanessa was now
told that Swift was married to the other woman, or that she was
his mistress. Writhing with jealousy, she wrote directly to
Stella, and asked whether she was Dean Swift's wife. In answer
Stella replied that she was, and then she sent Vanessa's letter to
Swift himself.

All the fury of his nature was roused in him; and he was a man who
could be very terrible when angry. He might have remembered the
intense love which Vanessa bore for him, the humility with which
she had accepted his conditions, and, finally, the loneliness of
this girl.

But Swift was utterly unsparing. No gleam of pity entered his
heart as he leaped upon a horse and galloped out to Marley Abbey,
where she was living--"his prominent eyes arched by jet-black
brows and glaring with the green fury of a cat's." Reaching the
house, he dashed into it, with something awful in his looks, made
his way to Vanessa, threw her letter down upon the table and,
after giving her one frightful glare, turned on his heel, and in a
moment more was galloping back to Dublin.

The girl fell to the floor in an agony of terror and remorse. She
was taken to her room, and only three weeks afterward was carried
forth, having died literally of a broken heart.

Five years later, Stella also died, withering away a sacrifice to
what the world has called Swift's cruel heartlessness and egotism.
His greatest public triumphs came to him in his final years of
melancholy isolation; but in spite of the applause that greeted
The Drapier Letters and Gulliver's Travels, he brooded morbidly
over his past life. At last his powerful mind gave way, so that he
died a victim to senile dementia. By his directions his body was
interred in the same coffin with Stella's, in the cathedral of
which he had been dean.

Such is the story of Dean Swift, and it has always suggested
several curious questions. Why, if he loved Stella, did he not
marry her long before? Why, when he married her, did he treat her
still as if she were not his wife? Why did he allow Vanessa's love
to run like a scarlet thread across the fabric of the other
affection, which must have been so strong?

Many answers have been given to these questions. That which was
formulated by Sir Walter Scott is a simple one, and has been
generally accepted. Scott believed that Swift was physically
incapacitated for marriage, and that he needed feminine sympathy,
which he took where he could get it, without feeling bound to give
anything in return.

If Scott's explanation be the true one, it still leaves Swift
exposed to ignominy as a monster of ingratitude. Therefore, many
of his biographers have sought other explanations. No one can
palliate his conduct toward Vanessa; but Sir Leslie Stephen makes
a plea for him with reference to Stella. Sir Leslie points out
that until Swift became dean of St. Patrick's his income was far
too small to marry on, and that after his brilliant but
disappointing three years in London, when his prospects of
advancement were ruined, he felt himself a broken man.

Furthermore, his health was always precarious, since he suffered
from a distressing illness which attacked him at intervals,
rendering him both deaf and giddy. The disease is now known as
Meniere's disease, from its classification by the French
physician, Meniere, in 1861. Swift felt that he lived in constant
danger of some sudden stroke that would deprive him either of life
or reason; and his ultimate insanity makes it appear that his
forebodings were not wholly futile. Therefore, though he married
Stella, he kept the marriage secret, thus leaving her free, in
case of his demise, to marry as a maiden, and not to be regarded
as a widow.

Sir Leslie offers the further plea that, after all, Stella's life
was what she chose to make it. She enjoyed Swift's friendship,
which she preferred to the love of any other man.

Another view is that of Dr. Richard Garnett, who has discussed the
question with some subtlety. "Swift," says Dr. Garnett, "was by
nature devoid of passion. He was fully capable of friendship, but
not of love. The spiritual realm, whether of divine or earthly
things, was a region closed to him, where he never set foot." On
the side of friendship he must greatly have preferred Stella to
Vanessa, and yet the latter assailed him on his weakest side--on
the side of his love of imperious domination.

Vanessa hugged the fetters to which Stella merely submitted.
Flattered to excess by her surrender, yet conscious of his
obligations and his real preference, he could neither discard the
one beauty nor desert the other.

Therefore, he temporized with both of them, and when the choice
was forced upon him he madly struck down the woman for whom he
cared the less.

One may accept Dr. Garnett's theory with a somewhat altered
conclusion. It is not true, as a matter of recorded fact, that
Swift was incapable of passion, for when a boy at college he was
sought out by various young women, and he sought them out in turn.
His fiery letter to Miss Waring points to the same conclusion.
When Esther Johnson began to love him he was heart-free, yet
unable, because of his straitened means, to marry. But Esther
Johnson always appealed more to his reason, his friendship, and
his comfort, than to his love, using the word in its material,
physical sense. This love was stirred in him by Vanessa. Yet when
he met Vanessa he had already gone too far with Esther Johnson to
break the bond which had so long united them, nor could he think
of a life without her, for she was to him his other self.

At the same time, his more romantic association with Vanessa
roused those instincts which he had scarcely known himself to be
possessed of. His position was, therefore, most embarrassing. He
hoped to end it when he left London and returned to Ireland; but
fate was unkind to him in this, because Vanessa followed him. He
lacked the will to be frank with her, and thus he stood a
wretched, halting victim of his own dual nature.

He was a clergyman, and at heart religious. He had also a sense of
honor, and both of these traits compelled him to remain true to
Esther Johnson. The terrible outbreak which brought about
Vanessa's death was probably the wild frenzy of a tortured soul.
It recalls the picture of some fierce animal brought at last to
bay, and venting its own anguish upon any object that is within
reach of its fangs and claws.

No matter how the story may be told, it makes one shiver, for it
is a tragedy in which the three participants all meet their doom--
one crushed by a lightning-bolt of unreasoning anger, the other
wasting away through hope deferred; while the man whom the world
will always hold responsible was himself destined to end his years
blind and sleepless, bequeathing his fortune to a madhouse, and
saying, with his last muttered breath:

"I am a fool!"


A great deal has been said and written in favor of early marriage;
and, in a general way, early marriage may be an admirable thing.
Young men and young women who have no special gift of imagination,
and who have practically reached their full mental development at
twenty-one or twenty-two--or earlier, even in their teens--may
marry safely; because they are already what they will be. They are
not going to experience any growth upward and outward. Passing
years simply bring them more closely together, until they have
settled down into a sort of domestic unity, by which they think
alike, act alike, and even gradually come to look alike.

But early wedlock spells tragedy to the man or the woman of
genius. In their teens they have only begun to grow. What they
will be ten years hence, no one can prophesy. Therefore, to mate
so early in life is to insure almost certain storm and stress,
and, in the end, domestic wreckage.

As a rule, it is the man, and not the woman, who makes the false
step; because it is the man who elects to marry when he is still
very young. If he choose some ill-fitting, commonplace, and
unresponsive nature to match his own, it is he who is bound in the
course of time to learn his great mistake. When the splendid eagle
shall have got his growth, and shall begin to soar up into the
vault of heaven, the poor little barn-yard fowl that he once
believed to be his equal seems very far away in everything. He
discovers that she is quite unable to follow him in his towering

The story of Percy Bysshe Shelley is a singular one. The
circumstances of his early marriage were strange. The breaking of
his marriage-bond was also strange. Shelley himself was an
extraordinary creature. He was blamed a great deal in his lifetime
for what he did, and since then some have echoed the reproach. Yet
it would seem as if, at the very beginning of his life, he was put
into a false position against his will. Because of this he was
misunderstood until the end of his brief and brilliant and erratic


In 1792 the French Revolution burst into flame, the mob of Paris
stormed the Tuileries, the King of France was cast into a dungeon
to await his execution, and the wild sons of anarchy flung their
gauntlet of defiance into the face of Europe. In this tremendous
year was born young Shelley; and perhaps his nature represented
the spirit of the time.

Certainly, neither from his father nor from his mother did he
derive that perpetual unrest and that frantic fondness for revolt
which blazed out in the poet when he was still a boy. His father,
Mr. Timothy Shelley, was a very usual, thick-headed, unromantic
English squire. His mother--a woman of much beauty, but of no
exceptional traits--was the daughter of another squire, and at the
time of her marriage was simply one of ten thousand fresh-faced,
pleasant-spoken English country girls. If we look for a strain of
the romantic in Shelley's ancestry, we shall have to find it in
the person of his grandfather, who was a very remarkable and
powerful character.

This person, Bysshe Shelley by name, had in his youth been
associated with some mystery. He was not born in England, but in
America--and in those days the name "America" meant almost
anything indefinite and peculiar. However this might be, Bysshe
Shelley, though a scion of a good old English family, had wandered
in strange lands, and it was whispered that he had seen strange
sights and done strange things. According to one legend, he had
been married in America, though no one knew whether his wife was
white or black, or how he had got rid of her.

He might have remained in America all his life, had not a small
inheritance fallen to his share. This brought him back to England,
and he soon found that England was in reality the place to make
his fortune. He was a man of magnificent physique. His rovings had
given him ease and grace, and the power which comes from a wide
experience of life. He could be extremely pleasing when he chose;
and he soon won his way into the good graces of a rich heiress,
whom he married.

With her wealth he became an important personage, and consorted
with gentlemen and statesmen of influence, attaching himself
particularly to the Duke of Northumberland, by whose influence he
was made a baronet. When his rich wife died, Shelley married a
still richer bride; and so this man, who started out as a mere
adventurer without a shilling to his name, died in 1813, leaving
more than a million dollars in cash, with lands whose rent-roll
yielded a hundred thousand dollars every year.

If any touch of the romantic which we find in Shelley is a matter
of heredity, we must trace it to this able, daring, restless, and
magnificent old grandfather, who was the beau ideal of an English
squire--the sort of squire who had added foreign graces to native
sturdiness. But young Shelley, the future poet, seemed scarcely to
be English at all. As a young boy he cared nothing for athletic
sports. He was given to much reading. He thought a good deal about
abstractions with which most schoolboys never concern themselves
at all.

Consequently, both in private schools and afterward at Eton, he
became a sort of rebel against authority. He resisted the fagging-
system. He spoke contemptuously of physical prowess. He disliked
anything that he was obliged to do, and he rushed eagerly into
whatever was forbidden.

Finally, when he was sent to University College, Oxford, he broke
all bounds. At a time when Tory England was aghast over the French
Revolution and its results, Shelley talked of liberty and equality
on all occasions. He made friends with an uncouth but able fellow
student, who bore the remarkable name of Thomas Jefferson Hogg--a
name that seems rampant with republicanism--and very soon he got
himself expelled from the university for publishing a little tract
of an infidel character called "A Defense of Atheism."

His expulsion for such a cause naturally shocked his father. It
probably disturbed Shelley himself; but, after all, it gave him
some satisfaction to be a martyr for the cause of free speech. He
went to London with his friend Hogg, and took lodgings there. He
read omnivorously--Hogg says as much as sixteen hours a day. He
would walk through the most crowded streets poring over a volume,
while holding another under one arm.

His mind was full of fancies. He had begun what was afterward
called "his passion for reforming everything." He despised most of
the laws of England. He thought its Parliament ridiculous. He
hated its religion. He was particularly opposed to marriage. This
last fact gives some point to the circumstances which almost
immediately confronted him.

Shelley was now about nineteen years old--an age at which most
English boys are emerging from the public schools, and are still
in the hobbledehoy stage of their formation. In a way, he was
quite far from boyish; yet in his knowledge of life he was little
more than a mere child. He knew nothing thoroughly--much less the
ways of men and women. He had no visible means of existence except
a small allowance from his father. His four sisters, who were at a
boarding-school on Clapham Common, used to save their pin-money
and send it to their gifted brother so that he might not actually
starve. These sisters he used to call upon from time to time, and
through them he made the acquaintance of a sixteen-year-old girl
named Harriet Westbrook.

Harriet Westbrook was the daughter of a black-visaged keeper of a
coffee-house in Mount Street, called "Jew Westbrook," partly
because of his complexion, and partly because of his ability to
retain what he had made. He was, indeed, fairly well off, and had
sent his younger daughter, Harriet, to the school where Shelley's
sisters studied.

Harriet Westbrook seems to have been a most precocious person. Any
girl of sixteen is, of course, a great deal older and more mature
than a youth of nineteen. In the present instance Harriet might
have been Shelley's senior by five years. There is no doubt that
she fell in love with him; but, having done so, she by no means
acted in the shy and timid way that would have been most natural
to a very young girl in her first love-affair. Having decided that
she wanted him, she made up her mind to get Mm at any cost, and
her audacity was equaled only by his simplicity. She was rather
attractive in appearance, with abundant hair, a plump figure, and
a pink-and-white complexion. This description makes of her a
rather doll-like girl; but doll-like girls are just the sort to
attract an inexperienced young man who has yet to learn that
beauty and charm are quite distinct from prettiness, and
infinitely superior to it.

In addition to her prettiness, Harriet Westbrook had a vivacious
manner and talked quite pleasingly. She was likewise not a bad
listener; and she would listen by the hour to Shelley in his
rhapsodies about chemistry, poetry, the failure of Christianity,
the national debt, and human liberty, all of which he jumbled up
without much knowledge, but in a lyric strain of impassioned
eagerness which would probably have made the multiplication-table

For Shelley himself was a creature of extraordinary fascination,
both then and afterward. There are no likenesses of him that do
him justice, because they cannot convey that singular appeal which
the man himself made to almost every one who met him.

The eminent painter, Mulready, once said that Shelley was too
beautiful for portraiture; and yet the descriptions of him hardly
seem to bear this out. He was quite tall and slender, but he
stooped so much as to make him appear undersized. His head was
very small-quite disproportionately so; but this was counteracted
to the eye by his long and tumbled hair which, when excited, he
would rub and twist in a thousand different directions until it
was actually bushy. His eyes and mouth were his best features. The
former were of a deep violet blue, and when Shelley felt deeply
moved they seemed luminous with a wonderful and almost unearthly
light. His mouth was finely chiseled, and might be regarded as
representing perfection.

One great defect he had, and this might well have overbalanced his
attractive face. The defect in question was his voice. One would
have expected to hear from him melodious sounds, and vocal tones
both rich and penetrating; but, as a matter of fact, his voice was
shrill at the very best, and became actually discordant and
peacock-like in moments of emotion.

Such, then, was Shelley, star-eyed, with the delicate complexion
of a girl, wonderfully mobile in his features, yet speaking in a
voice high pitched and almost raucous. For the rest, he arrayed
himself with care and in expensive clothing, even though he took
no thought of neatness, so that his garments were almost always
rumpled and wrinkled from his frequent writhings on couches and on
the floor. Shelley had a strange and almost primitive habit of
rolling on the earth, and another of thrusting his tousled head
close up to the hottest fire in the house, or of lying in the
glaring sun when out of doors. It is related that he composed one
of his finest poems--"The Cenci"--in Italy, while stretched out
with face upturned to an almost tropical sun.

But such as he was, and though he was not yet famous, Harriet
Westbrook, the rosy-faced schoolgirl, fell in love with him, and
rather plainly let him know that she had done so. There are a
thousand ways in which a woman can convey this information without
doing anything un-maidenly; and of all these little arts Miss
Westbrook was instinctively a mistress.

She played upon Shelley's feelings by telling him that her father
was cruel to her, and that he contemplated actions still more
cruel. There is something absurdly comical about the grievance
which she brought to Shelley; but it is much more comical to note
the tremendous seriousness with which he took it. He wrote to his
friend Hogg:

Her father has persecuted her in a most horrible way, by
endeavoring to compel her to go to school. She asked my advice;
resistance was the answer. At the same time I essayed to mollify
Mr. Westbrook, in vain! I advised her to resist. She wrote to say
that resistance was useless, but that she would fly with me and
throw herself on my protection.

Some letters that have recently come to light show that there was
a dramatic scene between Harriet Westbrook and Shelley--a scene in
the course of which she threw her arms about his neck and wept
upon his shoulder. Here was a curious situation. Shelley was not
at all in love with her. He had explicitly declared this only a
short time before. Yet here was a pretty girl about to suffer the
"horrible persecution" of being sent to school, and finding no
alternative save to "throw herself on his protection"--in other
words, to let him treat her as he would, and to become his

The absurdity of the situation makes one smile. Common sense
should have led some one to box Harriet's ears and send her off to
school without a moment's hesitation; while as for Shelley, he
should have been told how ludicrous was the whole affair. But he
was only nineteen, and she was only sixteen, and the crisis seemed
portentous. Nothing could be more flattering to a young man's
vanity than to have this girl cast herself upon him for
protection. It did not really matter that he had not loved her
hitherto, and that he was already half engaged to another Harriet
--his cousin, Miss Grove. He could not stop and reason with
himself. He must like a true knight rescue lovely girlhood from
the horrors of a school!

It is not unlikely that this whole affair was partly managed or
manipulated by the girl's father. Jew Westbrook knew that Shelley
was related to rich and titled people, and that he was certain, if
he lived, to become Sir Percy, and to be the heir of his
grandfather's estates. Hence it may be that Harriet's queer
conduct was not wholly of her own prompting.

In any case, however, it proved to be successful. Shelley's ardent
and impulsive nature could not bear to see a girl in tears and
appealing for his help. Hence, though in his heart she was very
little to him, his romantic nature gave up for her sake the
affection that he had felt for his cousin, his own disbelief in
marriage, and finally the common sense which ought to have told
him not to marry any one on two hundred pounds a year.

So the pair set off for Edinburgh by stagecoach. It was a weary
and most uncomfortable journey. When they reached the Scottish
capital, they were married by the Scottish law. Their money was
all gone; but their landlord, with a jovial sympathy for romance,
let them have a room, and treated them to a rather promiscuous
wedding-banquet, in which every one in the house participated.

Such is the story of Shelley's marriage, contracted at nineteen
with a girl of sixteen who most certainly lured him on against his
own better judgment and in the absence of any actual love.

The girl whom he had taken to himself was a well-meaning little
thing. She tried for a time to meet her husband's moods and to be
a real companion to him. But what could one expect from such a
union? Shelley's father withdrew the income which he had
previously given. Jew Westbrook refused to contribute anything,
hoping, probably, that this course would bring the Shelleys to the
rescue. But as it was, the young pair drifted about from place to
place, getting very precarious supplies, running deeper into debt
each day, and finding less and less to admire in each other.

Shelley took to laudanum. Harriet dropped her abstruse studies,
which she had taken up to please her husband, but which could only
puzzle her small brain. She soon developed some of the unpleasant
traits of the class to which she belonged. In this her sister
Eliza--a hard and grasping middle-aged woman--had her share. She
set Harriet against her husband, and made life less endurable for
both. She was so much older than the pair that she came in and
ruled their household like a typical stepmother.

A child was born, and Shelley very generously went through a
second form of marriage, so as to comply with the English law; but
by this time there was little hope of righting things again.
Shelley was much offended because Harriet would not nurse the
child. He believed her hard because she saw without emotion an
operation performed upon the infant.

Finally, when Shelley at last came into a considerable sum of
money, Harriet and Eliza made no pretense of caring for anything
except the spending of it in "bonnet-shops" and on carriages and
display. In time--that is to say, in three years after their
marriage--Harriet left her husband and went to London and to Bath,
prompted by her elder sister.

This proved to be the end of an unfortunate marriage. Word was
brought to Shelley that his wife was no longer faithful to him.
He, on his side, had carried on a semi-sentimental platonic
correspondence with a schoolmistress, one Miss Hitchener. But
until now his life had been one great mistake--a life of
restlessness, of unsatisfied longing, of a desire that had no
name. Then came the perhaps inevitable meeting with the one whom
he should have met before.

Shelley had taken a great interest in William Godwin, the writer
and radical philosopher. Godwin's household was a strange one.
There was Fanny Imlay, a child born out of wedlock, the offspring
of Gilbert Imlay, an American merchant, and of Mary
Wollstonecraft, whom Godwin had subsequently married. There was
also a singularly striking girl who then styled herself Mary Jane
Clairmont, and who was afterward known as Claire Clairmont, she
and her brother being the early children of Godwin's second wife.

One day in 1814, Shelley called on Godwin, and found there a
beautiful young girl in her seventeenth year, "with shapely golden
head, a face very pale and pure, a great forehead, earnest hazel
eyes, and an expression at once of sensibility and firmness about
her delicately curved lips." This was Mary Godwin--one who had
inherited her mother's power of mind and likewise her grace and

From the very moment of their meeting Shelley and this girl were
fated to be joined together, and both of them were well aware of
it. Each felt the other's presence exert a magnetic thrill. Each
listened eagerly to what the other said. Each thought of nothing,
and each cared for nothing, in the other's absence. It was a great
compelling elemental force which drove the two together and bound
them fast. Beside this marvelous experience, how pale and pitiful
and paltry seemed the affectations of Harriet Westbrook!

In little more than a month from the time of their first meeting,
Shelley and Mary Godwin and Miss Clairmont left Godwin's house at
four o 'clock in the morning, and hurried across the Channel to
Calais. They wandered almost like vagabonds across France, eating
black bread and the coarsest fare, walking on the highways when
they could not afford to ride, and putting up with every possible
inconvenience. Yet it is worth noting that neither then nor at any
other time did either Shelley or Mary regret what they had done.
To the very end of the poet's brief career they were inseparable.

Later he was able to pension Harriet, who, being of a morbid
disposition, ended her life by drowning--not, it may be said,
because of grief for Shelley. It has been told that Fanny Imlay,
Mary's sister, likewise committed suicide because Shelley did not
care for her, but this has also been disproved. There was really
nothing to mar the inner happiness of the poet and the woman who,
at the very end, became his wife. Living, as they did, in Italy
and Switzerland, they saw much of their own countrymen, such as
Landor and Leigh Hunt and Byron, to whose fascinations poor Miss
Clairmont yielded, and became the mother of the little girl

But there could have been no truer union than this of Shelley's
with the woman whom nature had intended for him. It was in his
love-life, far more than in his poetry, that he attained
completeness. When he died by drowning, in 1822, and his body was
burned in the presence of Lord Byron, he was truly mourned by the
one whom he had only lately made his wife. As a poet he never
reached the same perfection; for his genius was fitful and
uncertain, rare in its flights, and mingled always with that which

As the lover and husband of Mary Godwin, there was nothing left to
wish. In his verse, however, the truest word concerning him will
always be that exquisite sentence of Matthew Arnold:

"A beautiful and ineffectual angel beating his luminous wings
against the void in vain."


To most persons, Tennyson was a remote and romantic figure. His
homes in the Isle of Wight and at Aldworth had a dignified
seclusion about them which was very appropriate to so great a
poet, and invested him with a certain awe through which the
multitude rarely penetrated. As a matter of fact, however, he was
an excellent companion, a ready talker, and gifted with so much
wit that it is a pity that more of his sayings have not been
preserved to us.

One of the best known is that which was drawn from him after he
and a number of friends had been spending an hour in company with
Mr. and Mrs. Carlyle. The two Carlyles were unfortunately at their
worst, and gave a superb specimen of domestic "nagging." Each
caught up whatever the other said, and either turned it into
ridicule, or tried to make the author of it an object of contempt.

This was, of course, exceedingly uncomfortable for such strangers
as were present, and it certainly gave no pleasure to their
friends. On leaving the house, some one said to Tennyson:

"Isn't it a pity that such a couple ever married?"

"No, no," said Tennyson, with a sort of smile under his rough
beard. "It's much better that two people should be made unhappy
than four."

The world has pretty nearly come around to the verdict of the poet
laureate. It is not probable that Thomas Carlyle would have made
any woman happy as his wife, or that Jane Baillie Welsh would have
made any man happy as her husband.

This sort of speculation would never have occurred had not Mr.
Froude, in the early eighties, given his story about the Carlyles
to the world. Carlyle went to his grave, an old man, highly
honored, and with no trail of gossip behind him. His wife had died
some sixteen years before, leaving a brilliant memory. The books
of Mr. Froude seemed for a moment to have desecrated the grave,
and to have shed a sudden and sinister light upon those who could
not make the least defense for themselves.

For a moment, Carlyle seemed to have been a monster of harshness,
cruelty, and almost brutish feeling. On the other side, his wife
took on the color of an evil-speaking, evil-thinking shrew, who
tormented the life of her husband, and allowed herself to be
possessed by some demon of unrest and discontent, such as few
women of her station are ever known to suffer from.

Nor was it merely that the two were apparently ill-mated and
unhappy with each other. There were hints and innuendos which
looked toward some hidden cause for this unhappiness, and which
aroused the curiosity of every one. That they might be clearer,
Froude afterward wrote a book, bringing out more plainly--indeed,
too plainly--his explanation of the Carlyle family skeleton. A
multitude of documents then came from every quarter, and from
almost every one who had known either of the Carlyles. Perhaps the
result to-day has been more injurious to Froude than to the two

Many persons unjustly speak of Froude as having violated the
confidence of his friends in publishing the letters of Mr. and
Mrs. Carlyle. They take no heed of the fact that in doing this he
was obeying Carlyle's express wishes, left behind in writing, and
often urged on Froude while Carlyle was still alive. Whether or
not Froude ought to have accepted such a trust, one may perhaps
hesitate to decide. That he did so is probably because he felt
that if he refused, Carlyle might commit the same duty to another,
who would discharge it with less delicacy and less discretion.

As it is, the blame, if it rests upon any one, should rest upon
Carlyle. He collected the letters. He wrote the lines which burn
and scorch with self-reproach. It is he who pressed upon the
reluctant Froude the duty of printing and publishing a series of
documents which, for the most part, should never have been
published at all, and which have done equal harm to Carlyle, to
his wife, and to Froude himself.

Now that everything has been written that is likely to be written
by those claiming to possess personal knowledge of the subject,
let us take up the volumes, and likewise the scattered fragments,
and seek to penetrate the mystery of the most ill-assorted couple
known to modern literature.

It is not necessary to bring to light, and in regular order, the
external history of Thomas Carlyle, or of Jane Baillie Welsh, who
married him. There is an extraordinary amount of rather fanciful
gossip about this marriage, and about the three persons who had to
do with it.

Take first the principal figure, Thomas Carlyle. His life until
that time had been a good deal more than the life of an ordinary
country-man. Many persons represent him as a peasant; but he was
descended from the ancient lords of a Scottish manor. There was
something in his eye, and in the dominance of his nature, that
made his lordly nature felt. Mr. Froude notes that Carlyle's hand
was very small and unusually well shaped. Nor had his earliest
appearance as a young man been commonplace, in spite of the fact
that his parents were illiterate, so that his mother learned to
read only after her sons had gone away to Edinburgh, in order that
she might be able to enjoy their letters.

At that time in Scotland, as in Puritan New England, in each
family the son who had the most notable "pairts" was sent to the
university that he might become a clergyman. If there were a
second son, he became an advocate or a doctor of medicine, while
the sons of less distinction seldom went beyond the parish school,
but settled down as farmers, horse-dealers, or whatever might
happen to come their way.

In the case of Thomas Carlyle, nature marked him out for something
brilliant, whatever that might be. His quick sensibility, the way
in which he acquired every sort of learning, his command of logic,
and, withal, his swift, unerring gift of language, made it certain
from the very first that he must be sent to the university as soon
as he had finished school, and could afford to go.

At Edinburgh, where he matriculated in his fourteenth year, he
astonished every one by the enormous extent of his reading, and by
the firm hold he kept upon it. One hesitates to credit these so-
called reminiscences which tell how he absorbed mountains of Greek
and immense quantities of political economy and history and
sociology and various forms of metaphysics, as every Scotsman is
bound to do. That he read all night is a common story told of many
a Scottish lad at college. We may believe, however, that Carlyle
studied and read as most of his fellow students did, but far
beyond them, in extent.

When he had completed about half of his divinity course, he
assured himself that he was not intended for the life of a
clergyman. One who reads his mocking sayings, or what seemed to be
a clever string of jeers directed against religion, might well
think that Carlyle was throughout his life an atheist, or an
agnostic. He confessed to Irving that he did not believe in the
Christian religion, and it was vain to hope that he ever would so

Moreover, Carlyle had done something which was unusual at that
time. He had taught in several local schools; but presently he
came back to Edinburgh and openly made literature his profession.
It was a daring thing to do; but Carlyle had unbounded confidence
in himself--the confidence of a giant, striding forth into a
forest, certain that he can make his way by sheer strength through
the tangled meshes and the knotty branches that he knows will meet
him and try to beat him back. Furthermore, he knew how to live on
very little; he was unmarried; and he felt a certain ardor which
beseemed his age and gifts.

Through the kindness of friends, he received some commissions to
write in various books of reference; and in 1824, when he was
twenty-nine years of age, he published a translation of Legendre's
Geometry. In the same year he published, in the London Magazine,
his Life of Schiller, and also his translation of Goethe's Wilhelm
Meister. This successful attack upon the London periodicals and
reviews led to a certain complication with the other two
characters in this story. It takes us to Jane Welsh, and also to
Edward Irving.

Irving was three years older than Carlyle. The two men were
friends, and both of them had been teaching in country schools,
where both of them had come to know Miss Welsh. Irving's seniority
gave him a certain prestige with the younger men, and naturally
with Miss Welsh. He had won honors at the university, and now, as
assistant to the famous Dr. Chalmers, he carried his silk robes in
the jaunty fashion of one who has just ceased to be an
undergraduate. While studying, he met Miss Welsh at Haddington,
and there became her private instructor.

This girl was regarded in her native town as something of a
personage. To read what has been written of her, one might suppose
that she was almost a miracle of birth and breeding, and of
intellect as well. As a matter of fact, in the little town of
Haddington she was simply prima inter pares. Her father was the
local doctor, and while she had a comfortable home, and doubtless
a chaise at her disposal, she was very far from the "opulence"
which Carlyle, looking up at her from his lowlier surroundings,
was accustomed to ascribe to her. She was, no doubt, a very clever
girl; and, judging from the portraits taken of her at about this
time, she was an exceedingly pretty one, with beautiful eyes and
an abundance of dark glossy hair.

Even then, however, Miss Welsh had traits which might have made it
certain that she would be much more agreeable as a friend than as
a wife. She had become an intellectuelle quite prematurely--at an
age, in fact, when she might better have been thinking of other
things than the inwardness of her soul, or the folly of religious

Even as a young girl, she was beset by a desire to criticize and
to ridicule almost everything and every one that she encountered.
It was only when she met with something that she could not
understand, or some one who could do what she could not, that she
became comparatively humble. Unconsciously, her chief ambition was
to be herself distinguished, and to marry some one who could be
more distinguished still.

When she first met Edward Irving, she looked up to him as her
superior in many ways. He was a striking figure in her small
world. He was known in Edinburgh as likely to be a man of mark;
and, of course, he had had a careful training in many subjects of
which she, as yet, knew very little. Therefore, insensibly, she
fell into a sort of admiration for Irving--an admiration which
might have been transmuted into love. Irving, on his side, was
taken by the young girl's beauty, her vivacity, and the keenness
of her intellect. That he did not at once become her suitor is
probably due to the fact that he had already engaged himself to a
Miss Martin, of whom not much is known.

It was about this time, however, that Carlyle became acquainted
with Miss Welsh. His abundant knowledge, his original and striking
manner of commenting on it, his almost gigantic intellectual
power, came to her as a revelation. Her studies with Irving were
now interwoven with her admiration for Carlyle.

Since Irving was a clergyman, and Miss Welsh had not the slightest
belief in any form of theology, there was comparatively little
that they had in common. On the other hand, when she saw the
profundities of Carlyle, she at once half feared, and was half
fascinated. Let her speak to him on any subject, and he would at
once thunder forth some striking truth, or it might be some
puzzling paradox; but what he said could never fail to interest
her and to make her think. He had, too, an infinite sense of
humor, often whimsical and shot through with sarcasm.

It is no wonder that Miss Welsh was more and more infatuated with
the nature of Carlyle. If it was her conscious wish to marry a man
whom she could reverence as a master, where should she find him--
in Irving or in Carlyle?

Irving was a dreamer, a man who, she came to see, was thoroughly
one-sided, and whose interests lay in a different sphere from
hers. Carlyle, on the other hand, had already reached out beyond
the little Scottish capital, and had made his mark in the great
world of London, where men like De Quincey and Jeffrey thought it
worth their while to run a tilt with him. Then, too, there was the
fascination of his talk, in which Jane Welsh found a perpetual
source of interest:

The English have never had an artist, except in poetry; no
musician; no painter. Purcell and Hogarth are not exceptions, or
only such as confirm the rule.

Is the true Scotchman the peasant and yeoman--chiefly the former?

Every living man is a visible mystery; he walks between two
eternities and two infinitudes. Were we not blind as molea we
should value our humanity at infinity, and our rank, influence and
so forth--the trappings of our humanity--at nothing. Say I am a
man, and you say all. Whether king or tinker is a mere appendix.

Understanding is to reason as the talent of a beaver--which can
build houses, and uses its tail for a trowel--to the genius of a
prophet and poet. Reason is all but extinct in this age; it can
never be altogether extinguished.

The devil has his elect.

Is anything more wonderful than another, if you consider it
maturely? I have seen no men rise from the dead; I have seen some
thousands rise from nothing. I have not force to fly into the sun,
but I have force to lift my hand, which is equally strange.

Is not every thought properly an inspiration? Or how is one thing
more inspired than another?

Examine by logic the import of thy life, and of all lives. What is
it? A making of meal into manure, and of manure into meal. To the
cui bono there is no answer from logic.

In many ways Jane Welsh found the difference of range between
Carlyle and Irving. At one time, she asked Irving about some
German works, and he was obliged to send her to Carlyle to solve
her difficulties. Carlyle knew German almost as well as if he had
been born in Dresden; and the full and almost overflowing way in
which he answered her gave her another impression of his potency.
Thus she weighed the two men who might become her lovers, and
little by little she came to think of Irving as partly shallow and
partly narrow-minded, while Carlyle loomed up more of a giant than

It is not probable that she was a woman who could love profoundly.
She thought too much about herself. She was too critical. She had
too intense an ambition for "showing off." I can imagine that in
the end she made her choice quite coolly. She was flattered by
Carlyle's strong preference for her. She was perhaps repelled by
Irving's engagement to another woman; yet at the time few persons
thought that she had chosen well.

Irving had now gone to London, and had become the pastor of the
Caledonian chapel in Hatton Garden. Within a year, by the
extraordinary power of his eloquence, which, was in a style
peculiar to himself, he had transformed an obscure little chapel
into one which was crowded by the rich and fashionable. His
congregation built for him a handsome edifice on Regent Square,
and he became the leader of a new cult, which looked to a second
personal advent of Christ. He cared nothing for the charges of
heresy which were brought against him; and when he was deposed his
congregation followed him, and developed a new Christian order,
known as Irvingism.

Jane Welsh, in her musings, might rightfully have compared the two
men and the future which each could give her. Did she marry
Irving, she was certain of a life of ease in London, and an
association with men and women of fashion and celebrity, among
whom she could show herself to be the gifted woman that she was.
Did she marry Carlyle, she must go with him to a desolate, wind-
beaten cottage, far away from any of the things she cared for,
working almost as a housemaid, having no company save that of her
husband, who was already a dyspeptic, and who was wont to speak of
feeling as if a rat were tearing out his stomach.

Who would have said that in going with Carlyle she had made the
better choice? Any one would have said it who knew the three--
Irving, Carlyle, and Jane Welsh.

She had the penetration to be certain that whatever Irving might
possess at present, it would be nothing in comparison to what
Carlyle would have in the coming future. She understood the
limitations of Irving, but to her keen mind the genius of Carlyle
was unlimited; and she foresaw that, after he had toiled and
striven, he would come into his great reward, which she would
share. Irving might be the leader of a petty sect, but Carlyle
would be a man whose name must become known throughout the world.

And so, in 1826, she had made her choice, and had become the bride
of the rough-spoken, domineering Scotsman who had to face the
world with nothing but his creative brain and his stubborn
independence. She had put aside all immediate thought of London
and its lures; she was going to cast in her lot with Carlyle's,
largely as a matter of calculation, and believing that she had
made the better choice.

She was twenty-six and Carlyle was thirty-two when, after a brief
residence in Edinburgh, they went down to Craigenputtock. Froude
has described this place as the dreariest spot in the British

The nearest cottage is more than a mile from it; the elevation,
seven hundred feet above the sea, stunts the trees and limits the
garden produce; the house is gaunt and hungry-looking. It stands,
with the scanty fields attached, as an island in a sea of morass.
The landscape is unredeemed by grace or grandeur--mere undulating
hills of grass and heather, with peat bogs in the hollows between

Froude's grim description has been questioned by some; yet the
actual pictures that have been drawn of the place in later years
make it look bare, desolate, and uninviting. Mrs. Carlyle, who
owned it as an inheritance from her father, saw the place for the
first time in March, 1828. She settled there in May; but May, in
the Scottish hills, is almost as repellent as winter. She herself
shrank from the adventure which she had proposed. It was her
husband's notion, and her own, that they should live there in
practical solitude. He was to think and write, and make for
himself a beginning of real fame; while she was to hover over him
and watch his minor comforts.

It seemed to many of their friends that the project was quixotic
to a degree. Mrs. Carlyle delicate health, her weak chest, and the
beginning of a nervous disorder, made them think that she was
unfit to dwell in so wild and bleak a solitude. They felt, too,
that Carlyle was too much absorbed with his own thought to be
trusted with the charge of a high-spirited woman.

However, the decision had been made, and the newly married couple
went to Craigenputtock, with wagons that carried their household
goods and those of Carlyle's brother, Alexander, who lived in a
cottage near by. These were the two redeeming features of their
lonely home--the presence of Alexander Carlyle, and the fact that,
although they had no servants in the ordinary sense, there were
several farmhands and a dairy-maid.

Before long there came a period of trouble, which is easily
explained by what has been already said. Carlyle, thinking and
writing some of the most beautiful things that he ever thought or
wrote, could not make allowance for his wife's high spirit and
physical weakness. She, on her side--nervous, fitful, and hard to
please--thought herself a slave, the servant of a harsh and brutal
master. She screamed at him when her nerves were too unstrung; and
then, with a natural reaction, she called herself "a devil who
could never be good enough for him." But most of her letters were
harsh and filled with bitterness, and, no doubt, his conduct to
her was at times no better than her own.

But it was at Craigenputtock that he really did lay fast and firm
the road to fame. His wife's sharp tongue, and the gnawings of his
own dyspepsia, were lived down with true Scottish grimness. It was
here that he wrote some of his most penetrating and sympathetic
essays, which were published by the leading reviews of England and
Scotland. Here, too, he began to teach his countrymen the value of
German literature.

The most remarkable of his productions was that strange work
entitled Sartor Resartus (1834), an extraordinary mixture of the
sublime and the grotesque. The book quivers and shakes with tragic
pathos, with inward agonies, with solemn aspirations, and with
riotous humor.

In 1834, after six years at Craigenputtock, the Carlyles moved to
London, and took up their home in Cheyne Row, Chelsea, a far from
fashionable retreat, but one in which the comforts of life could
be more readily secured. It was there that Thomas Carlyle wrote
what must seem to us the most vivid of all his books, the History
of the French Revolution. For this he had read and thought for
many years; parts of it he had written in essays, and parts of it
he had jotted down in journals. But now it came forth, as some one
has said, "a truth clad in hell-fire," swirling amid clouds and
flames and mist, a most wonderful picture of the accumulated
social and political falsehoods which preceded the revolution, and
which were swept away by a nemesis that was the righteous judgment
of God.

Carlyle never wrote so great a book as this. He had reached his
middle style, having passed the clarity of his early writings, and
not having yet reached the thunderous, strange-mouthed German
expletives which marred his later work. In the French Revolution
he bursts forth, here and there, into furious Gallic oaths and
Gargantuan epithets; yet this apocalypse of France seems more true
than his hero-worshiping of old Frederick of Prussia, or even of
English Cromwell.

All these days Thomas Carlyle lived a life which was partly one of
seclusion and partly one of pleasure. At all times he and his
dark-haired wife had their own sets, and mingled with their own
friends. Jane had no means of discovering just whether she would
have been happier with Irving; for Irving died while she was still
digging potatoes and complaining of her lot at Craigenputtock.

However this may be, the Carlyles, man and wife, lived an
existence that was full of unhappiness and rancor. Jane Carlyle
became an invalid, and sought to allay her nervous sufferings with
strong tea and tobacco and morphin. When a nervous woman takes to
morphin, it almost always means that she becomes intensely
jealous; and so it was with Jane Carlyle.

A shivering, palpitating, fiercely loyal bit of humanity, she took
it into her head that her husband was infatuated with Lady
Ashburton, or that Lady Ashburton was infatuated with him. She
took to spying on them, and at times, when her nerves were all a
jangle, she would lie back in her armchair and yell with paroxysms
of anger. On the other hand, Carlyle, eager to enjoy the world,
sought relief from his household cares, and sometimes stole away
after a fashion that was hardly guileless. He would leave false
addresses at his house, and would dine at other places than he had

In 1866 Jane Carlyle suddenly died; and somehow, then, the
conscience of Thomas Carlyle became convinced that he had wronged
the woman whom he had really loved. His last fifteen years were
spent in wretchedness and despair. He felt that he had committed
the unpardonable sin. He recalled with anguish every moment of
their early life at Craigenputtock--how she had toiled for him,
and waited upon him, and made herself a slave; and how, later, she
had given herself up entirely to him, while he had thoughtlessly
received the sacrifice, and trampled on it as on a bed of flowers.

Of course, in all this he was intensely morbid, and the diary
which he wrote was no more sane and wholesome than the screamings
with which his wife had horrified her friends. But when he had
grown to be a very old man, he came to feel that this was all a
sort of penance, and that the selfishness of his past must be
expiated in the future. Therefore, he gave his diary to his
friend, the historian, Froude, and urged him to publish the
letters and memorials of Jane Welsh Carlyle. Mr. Froude, with an
eye to the reading world, readily did so, furnishing them with
abundant footnotes, which made Carlyle appear to the world as
more or less of a monster.

First, there was set forth the almost continual unhappiness of the
pair. In the second place, by hint, by innuendo, and sometimes by
explicit statement, there were given reasons to show why Carlyle
made his wife unhappy. Of course, his gnawing dyspepsia, which she
strove with all her might to drive away, was one of the first and
greatest causes. But again another cause of discontent was stated
in the implication that Carlyle, in his bursts of temper, actually
abused his wife. In one passage there is a hint that certain blue
marks upon her arm were bruises, the result of blows.

Most remarkable of all these accusations is that which has to do
with the relations of Carlyle and Lady Ashburton. There is no
doubt that Jane Carlyle disliked this brilliant woman, and came to
have dark suspicions concerning her. At first, it was only a sort
of social jealousy. Lady Ashburton was quite as clever a talker as
Mrs. Carlyle, and she had a prestige which brought her more

Then, by degrees, as Jane Carlyle's mind began to wane, she
transferred her jealousy to her husband himself. She hated to be
out-shone, and now, in some misguided fashion, it came into her
head that Carlyle had surrendered to Lady Ashburton his own
attention to his wife, and had fallen in love with her brilliant

On one occasion, she declared that Lady Ashburton had thrown
herself at Carlyle's feet, but that Carlyle had acted like a man
of honor, while Lord Ashburton, knowing all the facts, had passed
them over, and had retained his friendship with Carlyle.

Now, when Froude came to write My Relations with Carlyle, there
were those who were very eager to furnish him with every sort of
gossip. The greatest source of scandal upon which he drew was a
woman named Geraldine Jewsbury, a curious neurotic creature, who
had seen much of the late Mrs. Carlyle, but who had an almost
morbid love of offensive tattle. Froude describes himself as a
witness for six years, at Cheyne Row, "of the enactment of a
tragedy as stern and real as the story of Oedipus." According to
his own account:

I stood by, consenting to the slow martyrdom of a woman whom I
have described as bright and sparkling and tender, and I uttered
no word of remonstrance. I saw her involved in a perpetual
blizzard, and did nothing to shelter her.

But it is not upon his own observations that Froude relies for his
most sinister evidence against his friend. To him comes Miss
Jewsbury with a lengthy tale to tell. It is well to know what Mrs.
Carlyle thought of this lady. She wrote:

It is her besetting sin, and her trade of novelist has aggravated
it--the desire of feeling and producing violent emotions. ...
Geraldine has one besetting weakness; she is never happy unless
she has a grande passion on hand.

There were strange manifestations on the part of Miss Jewsbury
toward Mrs. Carlyle. At one time, when Mrs. Carlyle had shown some
preference for another woman, it led to a wild outburst of what
Miss Jewsbury herself called "tiger jealousy." There are many
other instances of violent emotions in her letters to Mrs.
Carlyle. They are often highly charged and erotic. It is unusual
for a woman of thirty-two to write to a woman friend, who is
forty-three years of age, in these words, which Miss Jewsbury used
in writing to Mrs. Carlyle:

You are never out of my thoughts one hour together. I think of you
much more than if you were my lover. I cannot express my feelings,
even to you--vague, undefined yearnings to be yours in some way.

Mrs. Carlyle was accustomed, in private, to speak of Miss Jewsbury
as "Miss Gooseberry," while Carlyle himself said that she was
simply "a flimsy tatter of a creature." But it is on the testimony
of this one woman, who was so morbid and excitable, that the most
serious accusations against Carlyle rest. She knew that Froude was
writing a volume about Mrs. Carlyle, and she rushed to him, eager
to furnish any narratives, however strange, improbable, or
salacious they might be.

Thus she is the sponsor of the Ashburton story, in which there is
nothing whatsoever. Some of the letters which Lady Ashburton wrote
Carlyle have been destroyed, but not before her husband had
perused them. Another set of letters had never been read by Lord
Ashburton at all, and they are still preserved--friendly,
harmless, usual letters. Lord Ashburton always invited Carlyle to
his house, and there is no reason to think that the Scottish
philosopher wronged him.

There is much more to be said about the charge that Mrs. Carlyle
suffered from personal abuse; yet when we examine the facts, the
evidence resolves itself into practically nothing. That, in his
self-absorption, he allowed her to Sending Completed Page, Please
Wait ... overflowed toward a man who must have been a manly,
loving lover. She calls him by the name by which he called her--a
homely Scottish name.


You said you would weary, and I do hope in my heart you are
wearying. It will be so sweet to make it all up to you in kisses
when I return. You will take me and hear all my bits of
experiences, and your heart will beat when you find how I have
longed to return to you. Darling, dearest, loveliest, the Lord
bless you! I think of you every hour, every moment. I love you and
admire you, like--like anything. Oh, if I was there, I could put
my arms so close about your neck, and hush you into the softest
sleep you have had since I went away. Good night. Dream of me. I

It seems most fitting to remember Thomas Carlyle as a man of
strength, of honor, and of intellect; and his wife as one who was
sorely tried, but who came out of her suffering into the arms of
death, purified and calm and worthy to be remembered by her
husband's side.


Victor Hugo, after all criticisms have been made, stands as a
literary colossus. He had imaginative power which makes his finest
passages fairly crash upon the reader's brain like blasting
thunderbolts. His novels, even when translated, are read and
reread by people of every degree of education. There is something
vast, something almost Titanic, about the grandeur and
gorgeousness of his fancy. His prose resembles the sonorous blare
of an immense military band. Readers of English care less for his
poetry; yet in his verse one can find another phase of his
intellect. He could write charmingly, in exquisite cadences, poems
for lovers and for little children. His gifts were varied, and he
knew thoroughly the life and thought of his own countrymen; and,
therefore, in his later days he was almost deified by them.

At the same time, there were defects in his intellect and
character which are perceptible in what he wrote, as well as in
what he did. He had the Gallic wit in great measure, but he was
absolutely devoid of any sense of humor. This is why, in both his
prose and his poetry, his most tremendous pages often come
perilously near to bombast; and this is why, again, as a man, his
vanity was almost as great as his genius. He had good reason to be
vain, and yet, if he had possessed a gleam of humor, he would
never have allowed his egoism to make him arrogant. As it was, he
felt himself exalted above other mortals. Whatever he did or said
or wrote was right because he did it or said it or wrote it.

This often showed itself in rather whimsical ways. Thus, after he
had published the first edition of his novel, The Man Who Laughs,
an English gentleman called upon him, and, after some courteous
compliments, suggested that in subsequent editions the name of an
English peer who figures in the book should be changed from Tom

"For," said the Englishman, "Tom Jim-Jack is a name that could not
possibly belong to an English noble, or, indeed, to any
Englishman. The presence of it in your powerful story makes it
seem to English readers a little grotesque."

Victor Hugo drew himself up with an air of high disdain.

"Who are you?" asked he.

"I am an Englishman," was the answer, "and naturally I know what
names are possible in English."

Hugo drew himself up still higher, and on his face there was a
smile of utter contempt.

"Yes," said he. "You are an Englishman; but I--I am Victor Hugo."

In another book Hugo had spoken of the Scottish bagpipes as
"bugpipes." This gave some offense to his Scottish admirers. A
great many persons told him that the word was "bagpipes," and not
"bugpipes." But he replied with irritable obstinacy:

"I am Victor Hugo; and if I choose to write it 'bugpipes,' it IS
'bugpipes.' It is anything that I prefer to make it. It is so,
because I call it so!"

So, Victor Hugo became a violent republican, because he did not
wish France to be an empire or a kingdom, in which an emperor or a
king would be his superior in rank. He always spoke of Napoleon
III as "M. Bonaparte." He refused to call upon the gentle-mannered
Emperor of Brazil, because he was an emperor; although Dom Pedro
expressed an earnest desire to meet the poet.

When the German army was besieging Paris, Hugo proposed to fight a
duel with the King of Prussia, and to have the result of it settle
the war; "for," said he, "the King of Prussia is a great king, but
I am Victor Hugo, the great poet. We are, therefore, equal."

In spite, however, of his ardent republicanism, he was very fond
of speaking of his own noble descent. Again and again he styled
himself "a peer of France;" and he and his family made frequent
allusions to the knights and bishops and counselors of state with
whom he claimed an ancestral relation. This was more than
inconsistent. It was somewhat ludicrous; because Victor Hugo's
ancestry was by no means noble. The Hugos of the fifteenth and
sixteenth centuries were not in any way related to the poet's
family, which was eminently honest and respectable, but by no
means one of distinction. His grandfather was a carpenter. One of
his aunts was the wife of a baker, another of a barber, while the
third earned her living as a provincial dressmaker.

If the poet had been less vain and more sincerely democratic, he
would have been proud to think that he sprang from good, sound,
sturdy stock, and would have laughed at titles. As it was, he
jeered at all pretensions of rank in other men, while he claimed
for himself distinctions that were not really his. His father was
a soldier who rose from the ranks until, under Napoleon, he
reached the grade of general. His mother was the daughter of a
ship owner in Nantes.

Victor Hugo was born in February, 1802, during the Napoleonic
wars, and his early years were spent among the camps and within
the sound of the cannon-thunder. It was fitting that he should
have been born and reared in an age of upheaval, revolt, and
battle. He was essentially the laureate of revolt; and in some of
his novels--as in Ninety-Three--the drum and the trumpet roll and
ring through every chapter.

The present paper has, of course, nothing to do with Hugo's public
life; yet it is necessary to remember the complicated nature of
the man--all his power, all his sweetness of disposition, and
likewise all his vanity and his eccentricities. We must remember,
also, that he was French, so that his story may be interpreted in
the light of the French character.

At the age of fifteen he was domiciled in Paris, and though still
a schoolboy and destined for the study of law, he dreamed only of
poetry and of literature. He received honorable mention from the
French Academy in 1817, and in the following year took prizes in a
poetical competition. At seventeen he began the publication of a
literary journal, which survived until 1821. His astonishing
energy became evident in the many publications which he put forth
in these boyish days. He began to become known. Although poetry,
then as now, was not very profitable even when it was admired, one
of his slender volumes brought him the sum of seven hundred
francs, which seemed to him not only a fortune in itself, but the
forerunner of still greater prosperity.

It was at this time, while still only twenty years of age, that he
met a young girl of eighteen with whom he fell rather
tempestuously in love. Her name was Adele Foucher, and she was the
daughter of a clerk in the War Office. When one is very young and
also a poet, it takes very little to feed the flame of passion.
Victor Hugo was often a guest at the apartments of M. Foucher,
where he was received by that gentleman and his family. French
etiquette, of course, forbade any direct communication between the
visitor and Adele. She was still a very young girl, and was
supposed to take no share in the conversation. Therefore, while
the others talked, she sat demurely by the fireside and sewed.

Her dark eyes and abundant hair, her grace of manner, and the
picture which she made as the firelight played about her, kindled
a flame in the susceptible heart of Victor Hugo. Though he could
not speak to her, he at least could look at her; and, before long,
his share in the conversation was very slight. This was set down,
at first, to his absent-mindedness; but looks can be as eloquent
as spoken words. Mme. Foucher, with a woman's keen intelligence,
noted the adoring gaze of Victor Hugo as he silently watched her
daughter. The young Adele herself was no less intuitive than her
mother. It was very well understood, in the course of a few
months, that Victor Hugo was in love with Adele Foucher.

Her father and mother took counsel about the matter, and Hugo
himself, in a burst of lyrical eloquence, confessed that he adored
Adele and wished to marry her. Her parents naturally objected. The
girl was but a child. She had no dowry, nor had Victor Hugo any
settled income. They were not to think of marriage. But when did a
common-sense decision, such as this, ever separate a man and a
woman who have felt the thrill of first love! Victor Hugo was
insistent. With his supreme self-confidence, he declared that he
was bound to be successful, and that in a very short time he would
be illustrious. Adele, on her side, created "an atmosphere" at
home by weeping frequently, and by going about with hollow eyes
and wistful looks.

The Foucher family removed from Paris to a country town. Victor
Hugo immediately followed them. Fortunately for him, his poems had
attracted the attention of Louis XVIII, who was flattered by some
of the verses. He sent Hugo five hundred francs for an ode, and
soon afterward settled upon him a pension of a thousand francs.
Here at least was an income--a very small one, to be sure, but
still an income. Perhaps Adele's father was impressed not so much
by the actual money as by the evidence of the royal favor. At any
rate, he withdrew his opposition, and the two young people were
married in October, 1822--both of them being under age, unformed,
and immature.

Their story is another warning against too early marriage. It is
true that they lived together until Mme. Hugo's death--a married
life of forty-six years--yet their story presents phases which
would have made this impossible had they not been French.

For a time, Hugo devoted all his energies to work. The record of
his steady upward progress is a part of the history of literature,
and need not be repeated here. The poet and his wife were soon
able to leave the latter's family abode, and to set up their own
household god in a home which was their own. Around them there
were gathered, in a sort of salon, all the best-known writers of
the day--dramatists, critics, poets, and romancers. The Hugos knew

Unfortunately, one of their visitors cast into their new life a
drop of corroding bitterness. This intruder was Charles Augustin
Sainte-Beuve, a man two years younger than Victor Hugo, and one
who blended learning, imagination, and a gift of critical
analysis. Sainte-Beuve is to-day best remembered as a critic, and
he was perhaps the greatest critic ever known in France. But in
1830 he was a slender, insinuating youth who cultivated a gift for
sensuous and somewhat morbid poetry.

He had won Victor Hugo's friendship by writing an enthusiastic
notice of Hugo's dramatic works. Hugo, in turn, styled Sainte-
Beuve "an eagle," "a blazing star," and paid him other compliments
no less gorgeous and Hugoesque. But in truth, if Sainte-Beuve
frequented the Hugo salon, it was less because of his admiration
for the poet than from his desire to win the love of the poet's

It is quite impossible to say how far he attracted the serious
attention of Adele Hugo. Sainte-Beuve represents a curious type,
which is far more common in France and Italy than in the countries
of the north. Human nature is not very different in cultivated
circles anywhere. Man loves, and seeks to win the object of his
love; or, as the old English proverb has it:

It's a man's part to try,
And a woman's to deny.

But only in the Latin countries do men who have tried make their
attempts public, and seek to produce an impression that they have
been successful, and that the woman has not denied. This sort of
man, in English-speaking lands, is set down simply as a cad, and
is excluded from people's houses; but in some other countries the
thing is regarded with a certain amount of toleration. We see it
in the two books written respectively by Alfred de Musset and
George Sand. We have seen it still later in our own times, in that
strange and half-repulsive story in which the Italian novelist and
poet, Gabriele d'Annunzio, under a very thin disguise, revealed
his relations with the famous actress, Eleanora Duse. Anglo-Saxons
thrust such books aside with a feeling of disgust for the man who
could so betray a sacred confidence and perhaps exaggerate a
simple indiscretion into actual guilt. But it is not so in France
and Italy. And this is precisely what Sainte-Beuve attempted.

Dr. George McLean Harper, in his lately published study of Sainte-
Beuve, has summed the matter up admirably, in speaking of The Book
of Love:

He had the vein of emotional self-disclosure, the vein of romantic
or sentimental confession. This last was not a rich lode, and so
he was at pains to charge it secretly with ore which he exhumed
gloatingly, but which was really base metal. The impulse that led
him along this false route was partly ambition, partly sensuality.
Many a worse man would have been restrained by self-respect and
good taste. And no man with a sense of honor would have permitted
The Book of Love to see the light--a small collection of verses
recording his passion for Mme. Hugo, and designed to implicate

He left two hundred and five printed copies of this book to be
distributed after his death. A virulent enemy of Sainte-Beuve was
not too expressive when he declared that its purpose was "to leave
on the life of this woman the gleaming and slimy trace which the
passage of a snail leaves on a rose." Abominable in either case,
whether or not the implication was unfounded, Sainte-Beuve's
numerous innuendoes in regard to Mme. Hugo are an indelible stain
on his memory, and his infamy not only cost him his most precious
friendships, but crippled him in every high endeavor.

How monstrous was this violation of both friendship and love may
be seen in the following quotation from his writings:

In that inevitable hour, when the gloomy tempest and the jealous
gulf shall roll over our heads, a sealed bottle, belched forth
from the abyss, will render immortal our two names, their close
alliance, and our double memory aspiring after union.

Whether or not Mme. Hugo's relations with Sainte-Beuve justified
the latter even in thinking such thoughts as these, one need not
inquire too minutely. Evidently, though, Victor Hugo could no
longer be the friend of the man who almost openly boasted that he
had dishonored him. There exist some sharp letters which passed
between Hugo and Sainte-Beuve. Their intimacy was ended.

But there was something more serious than this. Sainte-Beuve had
in fact succeeded in leaving a taint upon the name of Victor
Hugo's wife. That Hugo did not repudiate her makes it fairly plain
that she was innocent; yet a high-spirited, sensitive soul like
Hugo's could never forget that in the world's eye she was
compromised. The two still lived together as before; but now the
poet felt himself released from the strict obligations of the

It may perhaps be doubted whether he would in any case have
remained faithful all his life. He was, as Mr. H.W. Wack well
says, "a man of powerful sensations, physically as well as
mentally. Hugo pursued every opportunity for new work, new
sensations, fresh emotion. He desired to absorb as much on life's
eager forward way as his great nature craved. His range in all
things--mental, physical, and spiritual--was so far beyond the
ordinary that the gage of average cannot be applied to him. The
cavil of the moralist did not disturb him."

Hence, it is not improbable that Victor Hugo might have broken
through the bonds of marital fidelity, even had Sainte-Beuve never
written his abnormal poems; but certainly these poems hastened a
result which may or may not have been otherwise inevitable. Hugo
no longer turned wholly to the dark-haired, dark-eyed Adele as
summing up for him the whole of womanhood. A veil was drawn, as it
were, from before his eyes, and he looked on other women and found
them beautiful.

It was in 1833, soon after Hugo's play "Lucrece Borgia" had been
accepted for production, that a lady called one morning at Hugo's
house in the Place Royale. She was then between twenty and thirty
years of age, slight of figure, winsome in her bearing, and one
who knew the arts which appeal to men. For she was no
inexperienced ingenue. The name upon her visiting-card was "Mme.
Drouet"; and by this name she had been known in Paris as a clever
and somewhat gifted actress. Theophile Gautier, whose cult was the
worship of physical beauty, wrote in almost lyric prose of her
seductive charm.

At nineteen, after she had been cast upon the world, dowered with
that terrible combination, poverty and beauty, she had lived
openly with a sculptor named Pradier. This has a certain
importance in the history of French art. Pradier had received a
commission to execute a statue representing Strasburg--the statue
which stands to-day in the Place de la Concorde, and which
patriotic Frenchmen and Frenchwomen drape in mourning and half
bury in immortelles, in memory of that city of Alsace which so
long was French, but which to-day is German--one of Germany's
great prizes taken in the war of 1870.

Five years before her meeting with Hugo, Pradier had rather
brutally severed his connection with her, and she had accepted the
protection of a Russian nobleman. At this time she was known by
her real name--Julienne Josephine Gauvin; but having gone upon the
stage, she assumed the appellation by which she was thereafter
known, that of Juliette Drouet.

Her visit to Hugo was for the purpose of asking him to secure for
her a part in his forth-coming play. The dramatist was willing,
but unfortunately all the major characters had been provided for,
and he was able to offer her only the minor one of the Princesse
Negroni. The charming deference with which she accepted the
offered part attracted Hugo's attention. Such amiability is very
rare in actresses who have had engagements at the best theaters.
He resolved to see her again; and he did so, time after time,
until he was thoroughly captivated by her.

She knew her value, and as yet was by no means infatuated with
him. At first he was to her simply a means of getting on in her
profession--simply another influential acquaintance. Yet she
brought to bear upon him the arts at her command, her beauty and
her sympathy, and, last of all, her passionate abandonment.

Hugo was overwhelmed by her. He found that she was in debt, and he
managed to see that her debts were paid. He secured her other
engagements at the theater, though she was less successful as an
actress after she knew him. There came, for a time, a short break
in their relations; for, partly out of need, she returned to her
Russian nobleman, or at least admitted him to a menage a trois.
Hugo underwent for a second time a great disillusionment.
Nevertheless, he was not too proud to return to her and to beg her
not to be unfaithful any more. Touched by his tears, and perhaps
foreseeing his future fame, she gave her promise, and she kept it
until her death, nearly half a century later.

Perhaps because she had deceived him once, Hugo never completely
lost his prudence in his association with her. He was by no means
lavish with money, and he installed her in a rather simple
apartment only a short distance from his own home. He gave her an
allowance that was relatively small, though later he provided for
her amply in his will. But it was to her that he brought all his
confidences, to her he entrusted all his interests. She became to
him, thenceforth, much more than she appeared to the world at
large; for she was his friend, and, as he said, his inspiration.

The fact of their intimate connection became gradually known
through Paris. It was known even to Mme. Hugo; but she,
remembering the affair of Sainte-Beuve, or knowing how difficult
it is to check the will of a man like Hugo, made no sign, and even
received Juliette Drouet in her own house and visited her in turn.
When the poet's sons grew up to manhood, they, too, spent many
hours with their father in the little salon of the former actress.
It was a strange and, to an Anglo-Saxon mind, an almost impossible
position; yet France forgives much to genius, and in time no one
thought of commenting on Hugo's manner of life.

In 1851, when Napoleon III seized upon the government, and when
Hugo was in danger of arrest, she assisted him to escape in
disguise, and with a forged passport, across the Belgian frontier.
During his long exile in Guernsey she lived in the same close
relationship to him and to his family. Mme. Hugo died in 1868,
having known for thirty-three years that she was only second in
her husband's thoughts. Was she doing penance, or was she merely
accepting the inevitable? In any case, her position was most
pathetic, though she uttered no complaint.

A very curious and poignant picture of her just before her death
has been given by the pen of a visitor in Guernsey. He had met
Hugo and his sons; he had seen the great novelist eating enormous
slices of roast beef and drinking great goblets of red wine at
dinner, and he had also watched him early each morning, divested
of all his clothing and splashing about in a bath-tub on the top
of his house, in view of all the town. One evening he called and
found only Mme. Hugo. She was reclining on a couch, and was
evidently suffering great pain. Surprised, he asked where were her
husband and her sons.

"Oh," she replied, "they've all gone to Mme. Drouet's to spend the
evening and enjoy themselves. Go also; you'll not find it amusing

One ponders over this sad scene with conflicting thoughts. Was
there really any truth in the story at which Sainte-Beuve more
than hinted? If so, Adele Hugo was more than punished. The other
woman had sinned far more; and yet she had never been Hugo's wife;
and hence perhaps it was right that she should suffer less. Suffer
she did; for after her devotion to Hugo had become sincere and
deep, he betrayed her confidence by an intrigue with a girl who is
spoken of as "Claire." The knowledge of it caused her infinite
anguish, but it all came to an end; and she lived past her
eightieth year, long after the death of Mme. Hugo. She died only a
short time before the poet himself was laid to rest in Paris with
magnificent obsequies which an emperor might have envied. In her
old age, Juliette Drouet became very white and very wan; yet she
never quite lost the charm with which, as a girl, she had won the
heart of Hugo.

The story has many aspects. One may see in it a retribution, or
one may see in it only the cruelty of life. Perhaps it is best
regarded simply as a chapter in the strange life-histories of men
of genius.


To the student of feminine psychology there is no more curious and
complex problem than the one that meets us in the life of the
gifted French writer best known to the world as George Sand.

To analyze this woman simply as a writer would in itself be a
long, difficult task. She wrote voluminously, with a fluid rather
than a fluent pen. She scandalized her contemporaries by her
theories, and by the way in which she applied them in her novels.
Her fiction made her, in the history of French literature, second
only to Victor Hugo. She might even challenge Hugo, because where
he depicts strange and monstrous figures, exaggerated beyond the
limits of actual life, George Sand portrays living men and women,
whose instincts and desires she understands, and whom she makes us
see precisely as if we were admitted to their intimacy.

But George Sand puzzles us most by peculiarities which it is
difficult for us to reconcile. She seemed to have no sense of
chastity whatever; yet, on the other hand, she was not grossly
sensual. She possessed the maternal instinct to a high degree, and
liked better to be a mother than a mistress to the men whose love
she sought. For she did seek men's love, frankly and shamelessly,
only to tire of it. In many cases she seems to have been swayed by
vanity, and by a love of conquest, rather than by passion. She had
also a spiritual, imaginative side to her nature, and she could be
a far better comrade than anything more intimate.

The name given to this strange genius at birth was Amantine Lucile
Aurore Dupin. The circumstances of her ancestry and birth were
quite unusual. Her father was a lieutenant in the French army. His
grandmother had been the natural daughter of Marshal Saxe, who was
himself the illegitimate son of Augustus the Strong of Poland and
of the bewitching Countess of Konigsmarck. This was a curious
pedigree. It meant strength of character, eroticism, stubbornness,
imagination, courage, and recklessness.

Her father complicated the matter by marrying suddenly a Parisian
of the lower classes, a bird-fancier named Sophie Delaborde. His
daughter, who was born in 1804, used afterward to boast that on
one side she was sprung from kings and nobles, while on the other
she was a daughter of the people, able, therefore, to understand
the sentiments of the aristocracy and of the children of the soil,
or even of the gutter.

She was fond of telling, also, of the omen which attended on her
birth. Her father and mother were at a country dance in the house
of a fellow officer of Dupin's. Suddenly Mme. Dupin left the room.
Nothing was thought of this, and the dance went on. In less than
an hour, Dupin was called aside and told that his wife had just
given birth to a child. It was the child's aunt who brought the
news, with the joyous comment:

"She will be lucky, for she was born among the roses and to the
sound of music."

This was at the time of the Napoleonic wars. Lieutenant Dupin was
on the staff of Prince Murat, and little Aurore, as she was
called, at the age of three accompanied the army, as did her
mother. The child was adopted by one of those hard-fighting,
veteran regiments. The rough old sergeants nursed her and petted
her. Even the prince took notice of her; and to please him she
wore the green uniform of a hussar.

But all this soon passed, and she was presently sent to live with
her grandmother at the estate now intimately associated with her
name--Nohant, in the valley of the Indre, in the midst of a rich
country, a love for which she then drank in so deeply that nothing
in her later life could lessen it. She was always the friend of
the peasant and of the country-folk in general.

At Nohant she was given over to her grand-mother, to be reared in
a strangely desultory sort of fashion, doing and reading and
studying those things which could best develop her native gifts.
Her father had great influence over her, teaching her a thousand
things without seeming to teach her anything. Of him George Sand
herself has written:

Character is a matter of heredity. If any one desires to know me,
he must know my father.

Her father, however, was killed by a fall from a horse; and then
the child grew up almost without any formal education. A tutor,
who also managed the estate; believed with Rousseau that the young
should be reared according to their own preferences. Therefore,
Aurore read poems and childish stories; she gained a smattering of
Latin, and she was devoted to music and the elements of natural
science. For the rest of the time she rambled with the country
children, learned their games, and became a sort of leader in
everything they did.

Her only sorrow was the fact that her mother was excluded from
Nohant. The aristocratic old grandmother would not allow under her
roof her son's low-born wife; but she was devoted to her little
grandchild. The girl showed a wonderful degree of sensibility.

This life was adapted to her nature. She fed her imagination in a
perfectly healthy fashion; and, living so much out of doors, she
acquired that sound physique which she retained all through her

When she was thirteen, her grandmother sent the girl to a convent
school in Paris. One might suppose that the sudden change from the
open woods and fields to the primness of a religious home would
have been a great shock to her, and that with her disposition she
might have broken out into wild ways that would have shocked the
nuns. But, here, as elsewhere, she showed her wonderful
adaptability. It even seemed as if she were likely to become what
the French call a devote. She gave herself up to mythical
thoughts, and expressed a desire of taking the veil. Her
confessor, however, was a keen student of human nature, and he
perceived that she was too young to decide upon the renunciation
of earthly things. Moreover, her grandmother, who had no intention
that Aurore should become a nun, hastened to Paris and carried her
back to Nohant.

The girl was now sixteen, and her complicated nature began to make
itself apparent. There was no one to control her, because her
grandmother was confined to her own room. And so Aurore Dupin, now
in superb health, rushed into every sort of diversion with all the
zest of youth. She read voraciously--religion, poetry, philosophy.
She was an excellent musician, playing the piano and the harp.
Once, in a spirit of unconscious egotism, she wrote to her

Do you think that my philosophical studies are compatible with
Christian humility?

The shrewd ecclesiastic answered, with a touch of wholesome irony:

I doubt, my daughter, whether your philosophical studies are
profound enough to warrant intellectual pride.

This stung the girl, and led her to think a little less of her own
abilities; but perhaps it made her books distasteful to her. For a
while she seems to have almost forgotten her sex. She began to
dress as a boy, and took to smoking large quantities of tobacco.
Her natural brother, who was an officer in the army, came down to
Nohant and taught her to ride--to ride like a boy, seated astride.
She went about without any chaperon, and flirted with the young
men of the neighborhood. The prim manners of the place made her
subject to a certain amount of scandal, and the village priest
chided her in language that was far from tactful. In return she
refused any longer to attend his church.

Thus she was living when her grandmother died, in 1821, leaving to
Aurore her entire fortune of five hundred thousand francs. As the
girl was still but seventeen, she was placed under the
guardianship of the nearest relative on her father's side--a
gentleman of rank. When the will was read, Aurore's mother made a
violent protest, and caused a most unpleasant scene.

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