John, the second of Mr. Mulso's sons, became Prebendary of the cathedrals of Winchester and Salisbury, and held two valuable benefices in Hampshire. It was at the houses of this brother that Mrs. Chapone spent much of her time; and to one of his children, her beloved niece, the world owes her best work. He died at the prebendal residence at Winchester, in 1791, having survived his wife one year.
Edward, the youngest son, was in the Excise Office. He was skilled in music, and for many years President of the Anacreonic Society. Of this brother, the life of her youth, Mrs. Chapone was also fond; and, as his death was sudden and quick, his loss seriously affected her. He died during the April of 1782.
Hester Mulso, the main subject of this sketch, was born on the 27th of October, 1727; and was the only daughter whom her father had the pleasure of seeing arrive to mature years. How soon Miss Mulso accustomed herself to investigate what she read, and how well, may be inferred from a passage in her published 'Miscellanies;' where, she says, that when fifteen years old, being charmed with many of the doctrines of the mystics, she then began to canvass them deeply; and that, as reason grew, she was able to detect and to reject the fanciful theology with which they were fraught. Even at nine years of age she was an author. Accustomed to read the old romance, which suited her then childish taste, she wrote 'The Loves of Amorat and Melissa,' which, however defective, gave promise of the genius that distinguished her maturer compositions. Her mind could not, however, long dwell on such works. 'I make no scruple,' declares Miss Mulso, writing to Miss Carter, from Peterborough, July, 1750, 'to call romances the worst of all the species of writing: unnatural representations of the passions, false sentiments, false precepts, false wit, false honour, and false modesty, with a strange heap of improbable unnatural incidents, mixed up with true history, and fastened upon some of the great names of antiquity, make up the composition of a romance—at least of such as I have read, which have been mostly French ones. Then the prolixity and poverty of the style is unsupportable. I have (and yet I am still alive) drudged through Le Grand Cyrus in twelve large volumes, Cleopatra in eight or ten, Polexander, Ibrahim, Clelie, and some others, whose names, as well as all the rest of them, I have forgotten; but this was in the days when I did not choose my own books, for there was no part of my life in which I loved romances.' This censure of romances, ancient or modern, is not more severe than it is just. With scarcely an exception, the business of romances is to make good bad, and bad good; to misplace and misstate events, falsify characters, and mislead readers. They are full of grave lies, well told, to an ill end. These are the Will o' Wisps of the mind.
Something of importance is stated, where Miss Mulso says, that she read romances, volume upon volume, in the days when she did not choose her own books; and when, therefore, she could not avoid this infantile course of reading. She was not then permitted to go in her own way. Superadded to the disadvantages then attending female education, she struggled under domestic discouragements. Maternal vanity set itself against her advances in literature; and it was not till the death of her mother took place, that Miss Mulso, liberated from all impediments, felt herself free to pursue the cultivation of her own understanding. 'I believe,' she writes, referring to her new situation, early in 1750, 'there are few people who are better pleased and contented with their lot than I; for I am qualified to feel my present happiness; by having early experienced very different sensations.'
Here then is one marked era in the life of Miss Mulso. Being now mistress of herself, as to the disposal of her time, she rapidly compassed the circle of intellectual improvement. Notwithstanding that she was self-instructed, she soon became mistress of the French and Italian languages, and made some proficiency even in the Latin. Attached thus to literature, she was also careful to select her acquaintance from among persons who were likely to improve her own taste. It was in this way that she cultivated an intimacy with the celebrated Richardson; and that, in 1750, when she was twenty-three years of age, she ventured to controvert his opinions on 'Filial Obedience.'[1]
Richardson delighted to stimulate female talents to honourable and persevering exertions. Perhaps his partiality for epistolary intercourse, in which he successively engaged his fair friends, eventually decided Mrs. Chapone as to the mode of communicating her instructions to a beloved niece.
About this time, 1749 to 1752, she wrote some poems. Her 'Ode to Peace,' and that to Miss Carter, prefixed to Epictetus, were the first fruits of her muse. Her verse comes up to what she thought of verse, and this seems as much as can with truth be said of it. 'As fond as I am of the works of fancy,' says she, 'of the bold imagery of a Shakspeare, or a Milton, and the delicate landscapes of Thomson, I receive much greater and more solid pleasure from their poetry, as it is the dress and ornament of wisdom and morality, than all the flowers of fancy, and the charms of harmonious numbers, can give
'When gay description holds the place of sense.'
Pursuing the satisfactions of literature, Miss Mulso now produced the 'Story of Fidelia.' Although this tale was written for the 'Adventurer,' she is represented as hesitating to give it to the world; and as publishing it only in compliance with the wishes of friendship. Little is to be said in praise of this story. Designed, as it was, to expose the miseries of freethinking in women, its reasoning tends rather to stagger the unlettered moralist than to confute intellectual scepticism. It is affected as to its style, and problematical as to its end.