However gray an existence may be, and the tones of a life like this are naturally subdued, it still cherishes within a warmth and poetry of its own; and the poetry of the parson's wife breaks out in vestments and decorations. Nothing brings out more vividly the fact that Mrs. Proudie is the Church of England than that her reaction against the prose of existence is shaking—so the Protestant Alliance tells us—the Church of England to its foundations. The real disturber of the Church peace, the real assertor of Catholic principles, or (for those who prefer a middle phrase to either of these contending statements) the real defendant in the Court of Arches, is not Mr. Mackonochie, but the parson's wife.
Mrs. Proudie, we repeat, is the Church of England; but if it is difficult to estimate the results of her position upon the spouse of her bosom and the parish which she rules, it is still harder to estimate its results upon herself. Her outer manner seems, indeed, to reflect what we have ventured to call the gray tones of her life, and a certain weariness of routine breaks out even in the mechanical precision of her existence. Power, in the parochial as in the domestic circle, is bought by her at the cost of a perpetual self-abnegation, and it is a little hard to be always hiding the hand that pulls the strings. We may excuse a little forgetfulness in a wife when her daily sacrifice is wholly forgotten in the silver teapot and the emblazoned memorial which proclaim the borrowed glories of her spouse.
Sometimes there may be a little justification for the complaint of the British priestess that the priest alone should be crowned with laurel. But, if she is ecclesiastically forgotten, it must be remembered that her position receives a shy and timid recognition from society. She is credited with a quasi-clerical character, and regarded as having received a sort of semi-ordination. The Church, indeed, assigns her no parochial precedence; but public opinion, if it sets her beneath her husband, places her above all other ecclesiastical agencies. Tacitly she is allowed to have the right to speak of "our curates." Then, again, society assigns her a sort of mediatorial position between the Church and the world; she is the point of transition between the clergy and their flocks. It is through her that the incense of congregational flattery is suffered to mount up to the idol who may not personally inhale it; and it is through her that the parson can intimate his opinion, and scatter his hints on a number of social subjects too trivial for his personal intervention.
It is impossible, indeed, to express in words the delicate shades of her social position, or, what is yet more remarkable, the relation to her sister-world of woman. There can be no doubt that, taken all in all, women are a little proud of the parson's wife. She is, as it were, the tithe of their sex, taken and consecrated for the rest. The dignity of her position in close proximity to the very priesthood itself extends, by the subtle gradation of sisters of mercy, district-visitors, and tract-distributors, to women in the mass. Her influence is a quiet protest against the injustice of the present religions of the world in excluding woman from those ministerial functions with which Paganism invested her. It is an odd transition from the quiet parson's wife to the priestess of Delphi; but while the parson's wife exists there is at any rate a persistence in the claim of woman's right to resume her tripod again.
It is the quiet consciousness of this, of her spiritual headship of her sex, of her mystic and unexpressed but real ecclesiastical position, quite as much as the weariness of her daily routine, which displays itself in the bearing of the parson's wife. She is not quite as other women are, any more than he is as other men. Her dress is—at any rate, in theory it ought to be—a shade quieter, her bonnets a little less modern, her manner a trifle more reserved, her mirth hardly as unrestrained as those of the rest of her sex. Her talk, without being clerical, takes a quiet clerical tinge. She has her little scandal about the archdeacon and her womanly abhorrence of that horrid Colenso. She knows Early English from Middle Pointed, and interprets Ritualistic phrases into intelligible vocables. Like the curate, she dances only in family circles, and then dances after a discreet and ecclesiastical sort. She has no objection to cards, but she plays only for love. She sings solos from the Messiah and St. Paul.
An existence simple, kindly enough in its way, penetrating society no doubt with a thousand good influences, but yet, we must own, hardly very interesting to the priestess who lives it. Altogether, when we get beyond the purple and gold of our rulers, we congratulate ourselves on being free from the tedium and weariness and perpetual self-restraint of their lofty position. And even the curate who has lately raised his faint protest against what he calls "feminine domination" may remember in charity that while croquet and flirtation remain to him, his existence, slavery though he deem it, is a slavery far freer, blither, and more lively than that of the curate's wife.
WOMAN AND HER CRITICS.
We men boast, as Homer said, to be braver than our fathers; but, as a sort of compensation, our women are far more sensitive than their grandmothers. Phyllis has ceased to laugh at Mr. Spectator's criticisms on her fan and her patches; but then it may be doubted whether Phyllis ever did laugh very heartily at Mr. Spectator. Women have run through all the list of moral and intellectual qualities in their time, but we do not remember an instance of a really humorous woman. Witty women there have been, and no doubt are still in plenty, but the world has still to welcome its feminine Addison.