Blackwood's Edinburgh Magazine - Volume 62, No. 384, October 1847

"At the close of the day, when the market is still,

And mortals the sweets of comestibles prove."

But hold! When is the market still. For a fortnight after he has set it astir with a new number, his announcements confront you as you open your "folio of four pages." His placards smite the eye at the crossings of the streets; they return your glance at the shop-window, and confound your senses at every turn. "Old Ebony for the month,"—"Kit North again in the field,"—"A racy new number of Blackwood,"—such are the headings of newspaper puffs, and the bawlings of hawkers on the steps of Astor House. They pursue you to the Boston railway-station, or to the Hudson-river steamer; they follow you on the road to Niagara; meet you afresh at Detroit and Chicago, and hardly provoke any additional surprise when the bagman accosts you with the same syllables, through the nose, as you arrive in the buffalo-season on the debateable grounds of Oregon! To quote once more the oracular words of the Ettrick orator and poet, "Ane gets tired o' that eternal soun'—Blackwood's Magazeen,—Blackwood's Magazeen—dinnin' in ane's lugs, day and nicht!" So vast and so varied I suppose to be the commercial relations of Reprint & Co., and such, beyond a doubt, is Maga's empire in America.

No more by this steamer. Let me see; in ten days, perhaps, Harry will be with you at breakfast, discussing my letter, and lamenting my lot, to live so far from the world. For me, however, a contented disposition, the steamers twice a-month, and Blackwood monthly, do wonders. I see as much of the world as a good man need wish to see; and at any time, you know, it's not a fortnight's work, by God's blessing, to rejoin the old friends and true friends, that so often go fishing under your patronage, and tell improbable stories around your table. Wait till I get into my own chair beside you, and I will tell stories of my sojourn in America that will put Harry's Indian romances to the blush. He now goes out with a stock of prairie-adventures, that out-Sinbad Sinbad, and yet he tells them with an air of honesty that would gull Gulliver. Wait till I rejoin you, and you shall see how a plain tale will put him down.

Yours, &c.

THE TIMES OF GEORGE II. 18

Female authorship is beginning to flourish in England. To this employment no rational objection can be raised. The want of occupation for female life in the higher classes has long been a subject of complaint, and any honest change which removes it will be a change for the better. The quantity of time and thread which has been wasted on chainstitch, and roundstitch, and all the other mysteries of the needle, in the last three centuries, is beyond all calculation. If the fair artists had been workers at the loom, they might have clothed half the living population in "fine linen," if not in purple. If they had been equally diligent in brickmaking, they might have built ten Babels; or if they had devoted similar energies, on Iago's hint, "to suckle fools, and chronicle small beer," they might have tripled the population, or anticipated the colossal vats of Messrs Truman & Co. What myriads of young faces have grown old over worsted parrots and linsey-wolsey maps of the terrestrial globe! What exquisite fingers have been thinned to the bone, in creating carnations to be sat upon, and cowslip beds for the repose of favourite poodles! What bright eyes have been reduced to spectacles, in the remorseless fabrication of patchwork, quilts and flowery footstools for the feet of gouty gentlemen! Nay, what thousands and tens of thousands have been flung into the arms of their only bridegroom, Consumption, leaving nothing to record their existence but an accumulation of trifles, which cost them only their health, their tempers, their time, their charms, and their usefulness!

But the age of knitting and tambour passed away. The spinning-jenny was its mortal enemy. The most inveterate of fringemakers, the most painstaking devotee of patchwork, when she found that Arkwright could make in a minute more than with all her diligence she could make in a month, and that old Robert Peel could pour out figured muslins, by a twist of a screw, sufficient to give gowns to the whole petticoat population of England, had only to give in; the spinsterhood were forced to feel that their "occupation was o'er."

Even then, however, the female fingers were not suffered to "forget their cunning;" and the age of purse-making began. The land was inundated with purses of every shape, size, and substance. Then followed another change. The Berlin manufacturers had contrived to bring back the age of worsted wonders, though, by a happy art, they saved the fair artists all the trouble of drawing and design. We are still under a Gothic invasion of trimmings and tapestry, of needlework nondescripts, moonlight minstrels in canvass, playing under cross-bar balconies; and all the signs of the zodiac brought down to the level of the ivory fingers of womankind.

To this, we must acknowledge, that the incipient taste of the ladies for historical publications, for diving into the trunks of family memorials, and giving us those private correspondences which are to be found only by the desperate determination to find something and every thing, is a fortunate turn of the wheel.

It is true, that England boasts of many distinguished female writers; that the works of Mrs Radcliffe opened a new vein of rich description and solemn mystery; that the comedies of Inchbald netted her innocent and persevering spirit some thousand pounds; and that Joanna Baillie's tragedies entitle her to an enduring fame. We also acknowledge, with equal sincerity and gratification, the merits of many of our female novelists in the past half century; their keen insight into character, their close anatomy of the general impulses of the human heart, and the mingled delicacy and force with which they seize on personal peculiarities, belong to woman alone. But their day, too, has gone down. They were first rivalled by the "high-life novel," the most vulgar of all earthly caricatures. They are now extinguished by the low-life novel; the most intolerable of all earthly realities. The true novel, true in its fidelity to nature, polished without affectation, and vigorous without rudeness, now sleeps in the grave, and must sleep, until posterity shall, with one voice, demand its revival.

Yet, until another race of genius shall arise, and the laurel of Fielding or of Shakspeare shall descend on our female authors, we must be grateful for their gentle labours in the rather rugged field of history.

It must be owned, that gallantry has a good deal to do in giving these works the name of history. They want all the vigour, all the philosophy, and all the eloquence of history. Of course, no human being will ever apply to them as authorities. Still, they have the merit of giving general statements to general readers, of supplying facts in their regular order, and probably, of inducing the multitude, who would shrink from the formalities of Hume or Gibbon in solemn quartos and ponderous octavos, to dip into pages having all the look and nearly all the slightness of the modern novel. At all events, if they do nothing else, they employ the time of pens, which might be much worse occupied; and that pens are often much worse occupied, we have evidence from hour to hour.

The French novels are making rapid way into our circulating libraries. Yet nothing can be more unfortunate, for nothing can be more corrupting than a French novel of the nineteenth century. France, always a profligate country, always had profligate writers. But they were generally confined to "Memoirs," "Court anecdotes," and the ridicule of the world of Versailles; their criminality was at least partially concealed by their good breeding, and their vice was not altogether lowered to the grossness of the crowd.

The Revolution created a new school. All there was hatred to duty, faith, and honour. The deepest profligacy was pictured as scarcely less than the natural right of man; and all the abominations of the human heart were excited, encouraged, and propagated by daring pens, sometimes subtle, sometimes eloquent, and in all instances appealing to the most tempting abominations of man.

But the Revolution fell, and with the ascendant of Napoleon another school followed. War, public business, the general objects of the active faculties, and strong ambition of a people with Europe at its feet, partially superseded alike the frivolous taste of the monarchy, and the rabid ferocities of revolutionary authorship. The Bulletins of the "Grande Armée" told a daily tale of romance, to which the brains of a Parisian scribbler could find no rival, and men with the sound of falling thrones echoing in their ears, forgot the whispers of low intrigue and commonplace corruption.

The "Three Glorious Days" of July 1830, have now produced another change; and peace has given leisure to think of something else than conquest and the conscription. The power of the national pen has turned again to fiction, and the natural wit, habitual dexterity, and dashing verbiage of France have all been thrown into the novel. Even the French drama, once the pride of the nation, has perished under this sudden pressure. A French modern tragedy is now only a rhymed melodrama. Even French history attracts popular applause only as it approaches to a three volume romance. Every man of name in French modern authorship has attained it only by the rapid production of novels. But no language can be too contemptuous, or too condemnatory, for the spirit of those works in general. Every tie of society is violated in the progress of their pages; and violated with the full approval of every body. Seduction is the habitual office of the hero. Adultery is the regular office of the heroine. In each the vice is simply a matter of course. Manly honour is a burlesque every where, but where the criminal shoots the injured husband in a duel. Female virtue is only a proof of dulness or decay, a vulgar formality of mind, or an unaccountable inaptitude to adopt the customs of polished society.

The hero is pictured with every quality which can charm the eye or ear; he is the handsomest, the most accomplished, and the most high-spirited of mankind, all sentiment, and all scoundrelism. The heroine, always a wife or a widow,—in the former instance, is the "lovely victim of a marriage in which her heart had no share," and in which she is entitled to have all the privileges of her heart supplied. And in the latter is a creature full of charms, about twenty-one, resolved to live for love, but never to be "chained in the iron links of a dull and obsolete ceremonial" again. She quickly fixes her eyes on some Adolphe, Auguste, or Hyppolite, "Officier de la Garde," who has performed prodigies of valour in Algiers, taken lions by the beard every where, and is the best waltzer in all Paris. They meet, flame together, swear an amitié eternelle, and defy the world, through three volumes.

In reprobating this detestable school, we certainly have no hope that our remarks will reform the French novelism of the day; but we call on the critical press of England to take up the rational and righteous task of reforming our own.

Within these few years, the English novels are rapidly falling into the imitation of the French. And we say it with no less regret than surprise, that the chief imitators are females. The novels written by men have generally some manliness, some recollection of the higher impulses which occasionally act on the minds of men; some reluctancy in revealing the more infirm movements of the mind; and some doubts as to the absorption of all human nature in one perpetual whirl of love-making.

But with the female pen in general, the whole affair is resolved into one impulse—all is "passion." The winds of heaven have nothing to do, but to "waft a sigh from Indus to the Pole." The art of printing is seriously presumed to have been invented only for "some banished lover, or some captive maid." Flirtation is the grand business of life. The maiden flirts from the nursery, the married woman flirts from the altar. The widow adds to the miscellaneous cares of her "bereaved" life, flirtation from the hearse which carries her husband to his final mansion. She flirts in her weeds more glowingly than ever. But she knows too well the "value of her liberty" to submit to be a slave once more; and so flirts on for life, in the most innocent manner imaginable, taking all risks, and throwing herself into situations of which the result would be obvious any where but in the pages of an English novel.

The French have no scruples on such subjects, and their candour leaves nothing to the imagination. Our female novelists have not yet arrived at that pitch of explicitness, and it is to be hoped will pause before they leap the gulf.

We attribute a good deal of this dangerous adoption to the prevalent habit of yearly running to the Continent. The English ear becomes familiarised to language on the other side of the Channel, which would have shocked it here. The chief topic of foreign life is intrigue, the chief employment of foreign life is that half idle, half infamous intercourse, which extinguishes all delicacy even in the spectators. The young English woman sees the foreign woman leading a life which, though in England it would stamp her with universal shame, in France or Germany, and above all, in Italy, never brings more than a sneer, and seldom even the sneer. She sees this wedded or widowed profligate received in the highest ranks; flourishing without a reproach, if she has the means of keeping an opera-box, or giving suppers; every soul round her acquainted with every point of her history, yet none shrinking from her association. If she has one Cicisbeo, or ten, the whole affair is selon les règles.

The young English woman who blushes at this scandalous career, or exhibits any reluctance on the subject of the companionship or the crime, is laughed at as a "novice," is charged with a want of the "savoir vivre," is quietly reproved for "the coldness of her English blood," and is recommended to abandon, as speedily as possible, ideas so unsuitable to "the glow of the warm South."

She soon finds a dangler, or a dozen danglers, who, having nothing on earth to do, and in their penury rejoiced to find any spot where they can kill an hour, and get a cup of coffee, are daily at her command. All those fellows, too, are counts; the title being about as common, and as cheap, as chimney-sweepers among us, though not belonging to so valuable fraternity.

After a month's training of this kind, the poor fool is fit for nothing else, to the last hour of her being. She is a flirt and a figurante, as long as she lives. Duty and decorum are things too icy for the "ardour of her soul." The life of England is utterly barbarian to the refinement of the land of macaroni.

And it is unquestionably much better that the whole tribe should remain where they are, and roam among the lazzaroni, than return to corrupt the decencies of English life. If this sentimentalist has money, she is sure to be picked up by some "superb chevalier," some rambling fortune-hunter, or known swindler, hunted from the gambling table; probably beginning his career as a frizeur or a footman, and making rapid progress towards the galleys. If she has none, she returns to England, to grumble, for the next fifty years, at the climate, the country, and the people; to drawl out her maudlin regrets for olive groves, and pout for the Bay of Naples; to talk of her loves; exhibit a cameo or a crucifix, (the parting pledge of some inamorato, probably since hanged), prate papistry, and profess liberalism; pronounce the Roman holidays "charming things," and long to see the carnival, and the worship of the Virgin together, imported to relieve the ennui of London.

The subject is startling: and we recommend any thing, and every thing, in the shape of employment, in preference to the vitiating follies of a life of Touring.

Another tribe of female authorship ought to be extinguished without a moment's delay. Those are the yearly travellers. A woman of this kind scampers over the Continent, like a queen's messenger, every season; she rushes along with the rapidity and the regularity of the "Royal Mail." The month of May no sooner appears in the calendar, than she packs up her trunk, and crosses to Boulogne, "to make a book." One year she takes the north, another the south; to her, all points of the compass are equal. But whether the roulage carries her to the Baltic or the Mediterranean, her affair is done, if she adds a page a day to her journal. She gossips along, and scribbles, with the indefatigable finger of a maker of bobbin lace, or a German knitter of stockings. The most slipshod descriptions of every thing that has been described before; sketches of peasant character taken from the beggars at the roadside; national traits taken from the commonplaces of the table-d'hôte, and court secrets copied from the newspapers—all are disgorged into the Journal. We have, unfailingly, whole pages of setting suns, moonlight nights, effulgent stars, and southern breezes. She gloats over pictures of enraptured monks, and sees heaven in the eyes of saints, copied from the painter's mistresses. If she goes to Italy, she tells us of the banditti, the gondola, and St Peter's; gazes with solemn speculation on the naked beauties of the Belvidere Apollo; and descants in an ultra-ecstasy on the proportions of sages and heroes destitute of drapery; winding up by an adventure, in which she falls by night into the hands of a marching regiment, or band of smugglers setting out on a robbery, and leaving the world to guess at the results of the adventure to herself.

In all this farrago, she never gives the reader an atom of information worth the paper which she blots. We have no additional lights on character, public life, national feeling, or national advancement. All is as vapid as the "Academy of Compliments," and as well known as "Lindley Murray's Grammar." But why object to all this? Why not let the scribbler take her way—and the world know that vineyards are green, and the sky blue, if it desires the knowledge? Our reason is this,—such practices actually destroy all taste for the legitimate narratives of travel. Those trading tourists talk nonsense, until intelligence itself becomes wearisome. They strip away the interest which novelty gives to new countries, and by running their silly speculation into scenes of beauty, sublimity, or high recollection, would make Tempe a counterpart to the Thames Tunnel; Mount Atlas a fellow to Primrose Hill; and Marathon a fac-simile of the Zoological Garden or Bartholomew Fair. The subject is pawed, and dandled, and fondled, until the very name excites nausea; and a writer of real ability would no more touch upon it, than a great artist would paint St George and the Dragon.

This has been the history of the decline of works of imagination in England. No sooner had Mrs Radcliffe touched the old monasteries with her glorious pencil, than a generation of monk-describers and ruined-castle-builders sprang up, until the very name of convent or castle became an abhorrence. Sir Walter Scott's "Lay of the Last Minstrel," rich and romantic as it was, was nearly buried under an overflow of heavy imitations, which drove his genius to other pursuits, and which filled the public ear with such enormities of octo-syllabic ennui, that it hates poetry ever since. The Helicon of which he drank the gushing and pure stream, was stirred into mire by the slippers of school-girls, city-apprentices, and chambermaid-poetesses of every shade of character.

A new Malthus for the express purpose of extinguishing, by strangulation or otherwise, the whole race of Annual Travellers in Normandy, Picardy, up the Seine and down the Seine, up the Loire and down the Loire, on the shores of the Mediterranean, and in the Brenner Alps, would be a benefactor to society.

Whether England would be the wiser and the happier if, instead of being separated from the Continent by a channel, she were separated by an ocean, is a question which we leave to the philosopher; but there can be no doubt of the nature of its answer by the historian. It will be found, that the national character had degenerated in every period when that intercourse increased, and that it resumed its vigour only in the periods when that intercourse was restricted.

It would not be difficult to exemplify this principle, from the earliest times of English independence. But our glance shall be limited to the era of the Reformation, when England began first to assume an imperial character.

Elizabeth was always contemptuous of the foreigner, and boasted of the defiance; the national mind never rose to a higher rank than in her illustrious reign. James renewed the connexions of the throne with France, and Charles I. renewed the connexion of the royal line. It may have been for the purpose of checking the national contagion of the intercourse, that rebellion was suffered to grow up in his kingdom. But whatever might be the origin, the effect was, to break off the intercourse with France and her corruptions, and to exhibit a new energy and purity in the people. Cromwell raised a sudden barrier against France by his political system, and the nation recovered its daring and its character in its contempt for the foreigner.

In the reign of Charles II. the intercourse was resumed, and corruption rapidly spread from France to the court, and from the court to the people. England, proud and powerful under the Protectorate, became almost a rival to France in infidelity and profligacy in the course of the Reign. Again the war of William with France closed the Continent upon the national intercourse, and the manliness of the national character partially revived. But with the death of Anne the intercourse was renewed, and the result was a renewal of the corruption. The war of the French Revolution again and utterly broke off the intercourse for the time; and it is undeniable, that the national character suddenly exhibited a most singular and striking return to the original virtues of the country—to its fortitude, to its patriotism, and to the purity of its religious feelings.

The period from the Treaty of Utrecht to the war of the French Revolution, has always appeared to us a blot on the annals of England. It is true that it contained many names of distinction, that it exhibited a graceful and animated literature, that it was characterised by striking advances in national power, and that towards its close it gave the world a Chatham, as if to reconcile us to its existence and throw a brief splendour over its close.

But no period of British history developed more unhappily those vices which naturally ripen in the hot bed of political intrigue. The names of Harley, Bolingbroke, Walpole, and Newcastle, might head a general indictment against the manliness, the integrity, and the honour of England. The low faithlessness of Harley, who seems to have been carrying on a Jacobite correspondence at the foot of the throne—the infamous treachery of his brother-minister, St John—the undenied and undeniable corruption of Walpole, and the half-imbecility which made the chicane of Newcastle ridiculous, while his perpetual artifice alone saved his imbecility from overthrow,—altogether form a congeries, which, like the animal wrecks of the primitive world, almost give in their deformity a reason for its extinction.

There can be no question of the perpetual villany which then assumed the insulted name of politics; none, of the utter sacrifice of public interests to the office-hunting avarice of all the successive parties; none, of the atrocious corruptibility of them all; none, of that general decay of religion, morals, and national honour, which was the result of a time when principle was laughed at, and when the loudest laugher passed for the wisest man of his generation.

The cause was obvious. Charles II. had brought with him from France all the vices of a court, where the grossest licentiousness found its grossest example in the person of the sovereign. Profligate as private life naturally is in all the dominions of a religion where every crime is rated by a tariff, and where the confessional relieves every man of his conscience, the conduct of Louis XIV. had made profligacy the actual pride of the throne.