There flits, along this very shore, a ghost of another kind--that of Shelley. Maybe the spot where they burnt his body can still be pointed out. I have forgotten all I ever read on that subject. An Italian enthusiast, the librarian of the Laurentian Library in Florence, garnered certain information from ancient fishermen of Viareggio in regard to this occurrence and set it down in a little book, a book with white covers which I possessed during my Shelley period. They have erected a memorial to the English poet in one of the public squares here. The features of the bust do not strike me as remarkably etherial, but the inscription is a good specimen of Italian adapted to lapidary uses--it avoids those insipid verbal terminations which weaken the language and sometimes render it almost ridiculous.
Smollet lies yonder, at Livorno; and Ouida hard by, at Bagni di Lucca. She died in one of these same featureless streets of Viareggio, alone, half blind, and in poverty....
I know Suffolk, that ripe old county of hers, with its pink villages nestling among drowsy elms and cornfields; I know their "Spread Eagles" and "Angels" and "White Horses" and other taverns suggestive--sure sign of antiquity--of zoological gardens; I know their goodly ale and old brown sherries. Her birthplace, despite those venerable green mounds, is comparatively dull--I would not care to live at Bury; give me Lavenham or Melford or some place of that kind. While looking one day at the house where she was born, I was sorely tempted to crave permission to view the interior, but refrained; something of her own dislike of prying and meddlesomeness came over me. Thence down to that commemorative fountain among the drooping trees. The good animals for whose comfort it was built would have had some difficulty in slaking their thirst just then, its basin being chocked up with decayed leaves.
We corresponded for a good while and I still possess her letters somewhere; I see in memory that large and bold handwriting, often only two words to a line, on the high-class slate-coloured paper. The sums she spent on writing materials! It was one of her many ladylike traits.
I tried to induce her to stay with me in South Italy. She made three conditions: to be allowed to bring her dogs, to have a hot bath every day, and two litres of cream. Everything could be managed except the cream, which was unprocurable. Later on, while living in the Tyrolese mountains, I renewed the invitation; that third condition could now be fulfilled as easily as the other two. She was unwell, she replied, and could not move out of the house, having been poisoned by a cook. So we never met, though she wrote me much about herself and about "Helianthus," which was printed after her death. In return, I dedicated to her a book of short stories; they were published, thank God, under a pseudonym, and eight copies were sold.
She is now out of date. Why, yes. Those guardsmen who drenched their beards in scent and breakfasted off caviare and chocolate and sparkling Moselle--they certainly seem fantastic. They really were fantastic. They did drench their beards in scent. The language and habits of these martial heroes are authenticated in the records of their day; glance, for instance, into back numbers of Punch. The fact is, we were all rather ludicrous formerly. The characters of Dickens, to say nothing of Cruikshank's pictures of them: can such beings ever have walked the earth?
If her novels are somewhat faded, the same cannot be said of her letters and articles and critiques. To our rising generation of authors--the youngsters, I mean; those who have not yet sold themselves to the devil--I should say: read these things of Ouida's. Read them attentively, not for their matter, which is always of interest, nor yet for their vibrant and lucid style, which often rivals that of Huxley. Read them for their tone, their temper; for that pervasive good breeding, that shining honesty, that capacity of scorn. These are qualities which our present age lacks, and needs; they are conspicuous in Ouida. Abhorrence of meanness was her dominant trait. She was intelligent, fearless; as ready to praise without stint as to voice the warmest womanly indignation. She was courageous not only in matters of literature; courageous, and how right! Is it not satisfactory to be right, when others are wrong? How right about the Japanese, about Feminism and Conscription and German brutalitarianism! How she puts her finger on the spot when discussing Marion Crawford and D'Annunzio! Those local politicians--how she hits them off! Hers was a sure touch. Do we not all now agree with what she wrote at the time of Queen Victoria and Joseph Chamberlain? When she remarks of Tolstoy, in an age which adored him (I am quoting from memory), that "his morality and monogamy are against nature and common sense," adding that he is dangerous, because he is an "educated Christ"--out of date? When she says that the world is ruled by two enemies of all beauty, commerce and militarism--out of date? When she dismisses Oscar Wilde as a cabotin and yet thinks that the law should not have meddled with him--is not that the man and the situation in a nutshell?
No wonder straightforward sentiments like these do not appeal to our age of neutral tints and compromise, to our vegetarian world-reformers who are as incapable of enthusiasm as they are of contempt, because their blood-temperature is invariably two degrees below the normal. Ouida's critical and social opinions are infernally out of date--quite inconveniently modern, in fact. There is the milk of humanity in them, glowing conviction and sincerity; they are written from a standpoint altogether too European, too womanly, too personally-poignant for present-day needs; and in a language, moreover, whose picturesque and vigorous independence comes as a positive shock after the colourless Grub-street brand of to-day.
They come as a shock, these writings, because in the brief interval since they were published our view of life and letters has shifted. A swarm of mystics and pragmatists has replaced the lonely giants of Ouida's era. It is an epoch of closed pores, of constriction. The novel has changed. Pick up the average one and ask yourself whether this crafty and malodorous sex-problem be not a deliberately commercial speculation--a frenzied attempt to "sell" by scandalizing our unscandalizable, because hermaphroditic, middle classes? Ouida was not one of these professional hacks, but a personality of refined instincts who wrote, when she cared to write at all, to please her equals; a rationalistic anti-vulgarian; a woman of wide horizons who fought for generous issues and despised all shams; the last, almost the last, of lady-authors. What has such a genial creature in common with our anaemic and woolly generation? "The Massarenes" may have faults, but how many of our actual woman-scribes, for all their monkey-tricks of cleverness, could have written it? The haunting charm of "In Maremma": why ask our public to taste such stuff? You might as well invite a bilious nut-fooder to a Lord Mayor's banquet.
The mention of banquets reminds me that she was blamed for preferring the society of duchesses and diplomats to that of the Florentine literati, as if there were something reprehensible in Ouida's fondness for decent food and amusing talk when she could have revelled in Ceylon tea and dough-nuts and listened to babble concerning Quattro-Cento glazes in any of the fifty squabbling art-coteries of that City of Misunderstandings. It was one of her several failings, chiefest among them being this: that she had no reverence for money. She was unable to hoard--an unpardonable sin. Envied in prosperity, she was smugly pitied in her distress. Such is the fate of those who stand apart from the crowd, among a nation of canting shopkeepers. To die penniless, after being the friend of duchesses, is distinctly bad form--a slur on society. True, she might have bettered her state by accepting a lucrative proposal to write her autobiography, but she considered such literature a "degrading form of vanity" and refused the offer. She preferred to remain ladylike to the last, in this and other little trifles--in her lack of humour, her redundancies, her love of expensive clothes and genuinely humble people, of hot baths and latinisms and flowers and pet dogs and sealing-wax. All through life she made no attempt to hide her woman's nature, her preference for male over female company; she was even guilty of saying that disease serves the world better than war, because it kills more women than men. Out of date, with a vengeance!