Essays in Idleness

by Agnes Repplier

Here, as elsewhere, fear is the best antidote for ennui. The early settlers of America, surrounded by hostile Indians, and doubtful each morning whether the coming nightfall would not see their rude homes given to the flames, probably suffered but little from the dullness which seems so oppressive to the peaceful agriculturist of to-day. The mediæval women, who were content to pass their time in weaving endless tapestries, had less chance to complain of the monotony of life than their artistic, scientific, literary, and philanthropic sisters of our age; for at any hour, breaking in upon their tranquil labors, might be heard the trumpet’s blast; at any hour might come the tidings, good or bad, which meant a few more years of security, or the horrors of siege and pillage.

It is pleasant to turn our consideration from the ennui which is inevitable, and consequently tragic, to the ennui which is accidental, and consequently diverting. The first is part of ourselves, from which there is no escape; the second is, as a rule, the contribution of our neighbors, and may be eluded if fortune and our own wits favor us. Lord Byron, for example, finding himself hard beset by Madame de Staël, whom he abhorred, had the dexterity to entrap poor little “Monk” Lewis into the conversation, and then slipped away from both, leaving them the dismally congenial task of wearying each other without mercy. “A bore,” says Bishop Selwyn, “is a man who will persist in talking about himself when you want to talk about yourself;” and this simple explanation offers a satisfactory solution of much of the ennui suffered in society. People with theories of life are, perhaps, the most relentless of their kind, for no time or place is sacred from their devastating elucidations. A theoretic socialist—not the practical working kind, like Sir Walter—is adamant to the fatigue of his listeners. “Eloquence,” says Mr. Lowell feelingly, “has no bowels for its victims;” and one of the most pathetic figures in the history of literature is poor Heine, awakened from his sweet morning nap by Ludwig Börne, who sat relentlessly on the edge of the bed and talked patriotism. I hardly think that even this wanton injury justified Heine in his cruel attack upon Börne, when the latter was dead and could offer no defense; yet who knows how many drops of concentrated bitterness were stored up in those dreary moments of boredom! The only other instance of ennui which seems as grievous and as cruel is the picture of the Baron Fouqué’s brilliant wife condemned to play loto every evening with the officers of the victorious French army; an illustration equally novel and malign of the devastating inhumanity of war.

In fact, amusements which do not amuse are among the most depressing of earthly evils. When Sir George Cornwall Lewis candidly confessed that life would be tolerable were it not for its pleasures, he had little notion that he was uttering a witticism fated to enjoy a melancholy immortality. His protest was purely personal, and society, prompt to recognize a grievance when it is presented, has gone on ever since peevishly and monotonously echoing his lament. We crave diversion so eagerly, we need it so sorely, that our disappointment in its elusiveness is fed by the flickerings of perpetual hope. Ennui has been defined as a desire for activity without the capacity for action, as a state of inertia quickened by discontent. But it is rather a desire for amusement than for activity; it is a rational instinct warped by the irony of circumstances, and by our own selfish limitations. It was not activity that Schopenhauer lacked. He worked hard all his life, and with the concentrated industry of a man who knew exactly what he wanted to do. It was the common need of enjoyment, which he shared with the rest of mankind, and his own singular incapacity for enjoying himself, which chafed him into bitterness, and made him so unreasonably angry with the world. “In human existence,” says Leopardi, “the intervals between pleasure and pain are occupied by ennui. And since all pleasures are like cobwebs, exceedingly fragile, thin, and transparent, ennui penetrates their tissue and saturates them, just as air penetrates the webs. It is, indeed, nothing but a yearning for happiness, without the illusion of pleasure or the reality of pain. This yearning is never satisfied, since true happiness does not exist. So that life is interwoven with weariness and suffering, and one of these evils disappears only to give place to the other. Such is the destiny of man.”

Now, to endure pain resolutely, courage is required; to endure ennui, one must be bred to the task. The restraints of a purely artificial society are sufferable to those only whom custom has rendered docile, and who have been trained to subordinate their own impulses and desires. The more elaborate the social conditions, the more relentless this need of adjustment, which makes a harmonious whole at the cost of individual development. We all know how, when poor Frances Burney was lifted suddenly from the cheerful freedom of middle-class life to the wearisome etiquette of a court, she drooped and fretted under the burden of an honor which brought her nothing but vexation. Macaulay, who champions her cause with burning zeal, is pleased to represent the monotony of court as simple slavery with no extenuating circumstances. He likens Dr. Burney conducting his daughter to the palace to a Circassian father selling his own child into bondage. The sight of the authoress of “Evelina” assisting at the queen’s toilet, or chatting sleepily with the ladies in waiting, thrills him with indignation; the thought of her playing cards night after night with Madame Schwellenberg reduces him to despair. And indeed, card-playing, if you have not the grace to like it, is the most unprofitable form of social martyrdom; you suffer horribly yourself, and you add very little to the pleasure of your neighbor. The Baroness Fouqué may have conquered the infantine imbecilities of loto with no great mental exhaustion. If she were painfully bored, her patience alone was taxed. The Frenchmen probably thought her a pleased and animated companion. But Miss Burney, delicate, sleepy, fatigued, loathing cards, and inwardly rebellious at her fate, must have made the game drag sadly before bedtime. It was a dreary waste of moments for her; but a less intolerant partisan than Macaulay would have some sympathy to spare for poor Madame Schwellenberg, who, like most women of rank, adored the popular pastime, and who doubtless found the distinguished young novelist a very unsatisfactory associate.

It is salutary to turn from Miss Burney and her wrathful historian to the letters of Charlotte Elizabeth, mother of the Regent d’Orléans, and see how the oppressive monotony of the French court was cheerfully endured for fifty years by a woman exiled from home and kindred, whose pleasures were few, whose annoyances were manifold. Madame would have enjoyed nothing better than a bowl of beer, soup, or a dish of sausages eaten in congenial company. She lunched daily alone, on hated French messes, stared at by twenty footmen, from whose supercilious eyes she was glad to escape with hunger still unsatisfied. Madame detested sermons. She listened to them endlessly without complaint, and was grateful for the occasional privilege of a nap. Madame liked cards. She was not permitted to play, nor even to show herself at the lansquenet table. She never gambled,—in fact, she had no money,—and it was a fancy of her husband’s that she brought him ill luck by hovering near. Neither was she allowed to retire. “All the old women who do not play have to be entertained by me,” she writes with surpassing good humor. “This goes on from seven to ten, and makes me yawn frightfully.” Supper was eaten at the royal table, where the guests often waited three quarters of an hour for the king to appear, and where nobody spoke a word during the meal. “I live as though I were quite alone in the world,” confesses this friendless exile to her favorite correspondent, the Raugravine Louise. “But I am resigned to such a state of things, and I meddle in nothing.” Here was a woman trained to the endurance of ennui. The theatre and the chase were her sole amusements; letter-writing was her only occupation. Her healthy German nature had in it no trace of languor, no bitterness born of useless rebellion against fate. She knew how to accept the inevitable, and how to enjoy the accidental; and this double philosophy afforded her something closely resembling content. Napoleon, it is said, once desired some comedians to play at court, and M. de Talleyrand gravely announced to the audience waiting to hear them, “Gentlemen, the emperor earnestly requests you to be amused.” Had Charlotte Elizabeth—long before laid to sleep in St. Denis—been one of that patient group, she would have literally obeyed the royal commands. She would have responded with prompt docility to any offered entertainment. This is not an easy task. “Amuse me, if you can find out how to do it,” was the melancholy direction of Richelieu to Boisrobert, when the pains of ennui grew unbearable, and even kittens ceased to be diverting. Amuse! amuse! amuse! is the plea of a weariness as wide as the world, and as old as humanity. Amuse me for a little while, that I may think I have escaped from myself.

It is curious that England should have to borrow from France the word “ennui,” while the French are unanimous in their opinion that the thing itself is emphatically of English growth. The old rhyme,

“Jean Rosbif écuyer,

Qui pendit soi-même pour se désennuyer,”

has never lost its application, though the present generation of English-speaking men are able to digest a great deal of dullness without seeking such violent forms of relief. In fact, Mr. Oscar Wilde, prompt to offer an unwelcome criticism, explains the amazing popularity of the psychological and religiously irreligious novel on the ground that the genre ennuyeux, which no Frenchman can bring himself to pardon, is the one form of literature which his countrymen thoroughly enjoy. They have a kindly tolerance for stupid people as well, and the ill-natured term “bore” has only forced itself of late years upon an urbane and long-suffering public. Johnson’s dictionary is innocent of the word, though Johnson himself was well acquainted with the article. As late as 1822, a reviewer in “Colburn’s Magazine” entreats his readers to use the word “bore;” to write it, if they please; to print it, even, if necessary. Why shrink from the expression, when the creature itself is so common, and “daily gaining ground in the country”?

Before this date, however, one English writer had given to literature some priceless illustrations of the species. “Could we but study our bores as Miss Austen must have studied hers in her country village,” says Mrs. Ritchie, “what a delightful world this might be!” But I seriously doubt whether any real enjoyment could be extracted from Miss Bates, or Mr. Rushworth, or Sir William Lucas, in the flesh. If we knew them, we should probably feel precisely as did Emma Woodhouse, and Maria Bertram, and Elizabeth Bennet,—vastly weary of their company. In fact, only their brief appearances make the two gentlemen bores so diverting, even in fiction; and Miss Bates, I must confess, taxes my patience sorely. She is so tiresome that she tires, and I am invariably tempted to do what her less fortunate townspeople would have gladly done,—run away from her to more congenial society. Surely comedy ceases, and tragedy begins, when poor Jane Fairfax escapes from the strawberry party at Donwell, and seeks, under the burning noonday sun, the blessed relief of solitude. “We all know at times what it is to be wearied in spirits. Mine, I admit, are exhausted,” is the confession wrung from the silent lips of a girl who has borne all that human nature can bear from Miss Bates’s affectionate solicitude. Perhaps the best word ever spoken upon the creation of such characters in novels comes from Cardinal Newman. “It is very difficult,” he says, “to delineate a bore in a narrative, for the simple reason that he is a bore. A tale must aim at condensation, but a bore acts in solution. It is only in the long run that he is ascertained.” And when he is ascertained, and his identity established beyond reach of doubt, what profit have we in his desolating perfections? Miss Austen was far from enjoying the dull people whom she knew in life. We have the testimony of her letters to this effect. Has not Mrs. Stent, otherwise lost to fame, been crowned with direful immortality as the woman who bored Jane Austen? “We may come to be Mrs. Stents ourselves,” she writes, with facile self-reproach at her impatience, “unequal to anything, and unwelcome to anybody;” an apprehension manifestly manufactured out of nothingness to strengthen some wavering purpose of amendment. Stupidity is acknowledged to be the one natural gift which cannot be cultivated, and Miss Austen well knew it lay beyond her grasp. With as much sincerity could Emma Woodhouse have said, “I may come in time to be a second Miss Bates.”