Life, however, still smiled upon her. Domestic happiness, friendship, independence, leisure, letters, all these things were hers; and she flung them all away.
* * * * *
Then the prison was opened, and Frances was free once more. Johnson, as
Burke observed, might have added a striking page to his poem on the
Vanity of Human Wishes, if he had lived to see his little Burney as she
went into the palace and as she came out of it.
The pleasures, so long untasted, of liberty, of friendship, of domestic affection, were almost too acute for her shattered frame. But happy days and tranquil nights soon restored the health which the Queen's toilette and Madame Schwellenberg's card-table had impaired. Kind and anxious faces surrounded the invalid. Conversation the most polished and brilliant revived her spirits. Travelling was recommended to her; and she rambled by easy journeys from cathedral to cathedral, and from watering-place to watering-place. She crossed the New Forest, and visited Stonehenge and Wilton, the cliffs of Lyme, and the beautiful valley of Sidmouth. Thence she journeyed by Powderham Castle, and by the ruins of Glastonbury Abbey, to Bath, and from Bath, when the winter was approaching, returned well and cheerful to London. There she visited her old dungeon, and found her successor already far on the way to the grave, and kept to strict duty, from morning till midnight, with a sprained ankle and a nervous fever.
At this time England swarmed with French exiles driven from their country by the Revolution. A colony of these refugees settled at Juniper Hall in Surrey, not far from Norbury Park, where Mr. Lock, an intimate friend of the Burney family, resided. Frances visited Norbury, and was introduced to the strangers. She had strong prejudices against them; for her Toryism was far beyond, we do not say that of Mr. Pitt, but that of Mr. Reeves; and the inmates of Juniper Hall were all attached to the constitution of 1791, and were therefore more detested by the Royalists of the first emigration than Petion or Marat. But such a woman as Miss Burney could no longer resist the fascination of that remarkable society. She had lived with Johnson and Windham, with Mrs. Montague and Mrs. Thrale. Yet she was forced to own that she had never heard conversation before. The most animated eloquence, the keenest observation, the most sparkling wit, the most courtly grace, were united to charm her. For Madame de Staël was there, and M. de Talleyrand. There too was M. de Narbonne, a noble representative of French aristocracy; and with M. de Narbonne was his friend and follower General D'Arblay, an honourable and amiable man, with a handsome person, frank soldier-like manners, and some taste for letters.
The prejudices which Frances had conceived against the constitutional royalists of France rapidly vanished. She listened with rapture to Talleyrand and Madame de Staël, joining with M. D'Arblay in execrating the Jacobins, and in weeping for the unhappy Bourbons, took French lessons from him, fell in love with him, and married him on no better provision [Transcriber's note: "pro-provision" in original] than a precarious annuity of one hundred pounds.
* * * * *
We now turn from the life of Madame D'Arblay to her writings. There can, we apprehend, be little difference of opinion as to the nature of her merit, whatever differences may exist as to its degree. She was emphatically what Johnson called her, a character-monger. It was in the exhibition of human passions and whims that her strength lay; and in this department of art she had, we think, very distinguished skill.
Highest among those who have exhibited human nature by means of dialogue, stands Shakespeare. His variety is like the variety of nature, endless diversity, scarcely any monstrosity. The characters of which he has given us an impression, as vivid as that which we receive from the characters of our own associates, are to be reckoned by scores. Yet in all these scores hardly one character is to be found which deviates widely from the common standard, and which we should call very eccentric if we met it in real life. The silly notion that every man has one ruling passion, and that this clue, once known, unravels all the mysteries of his conduct, finds no countenance in the plays of Shakespeare. There man appears as he is, made up of a crowd of passions, which contend for the mastery over him, and govern him in turn. What is Hamlet's ruling passion? Or Othello's? Or Harry the Fifth's? Or Wolsey's? Or Lear's? Or Shylock's? Or Benedick's? Or Macbeth's? Or that of Cassius? Or that of Falconbridge? But we might go on for ever. Take a single example—Shylock. Is he so eager for money as to be indifferent to revenge? Or so eager for revenge as to be indifferent to money? Or so bent on both together as to be indifferent to the honour of his nation and the law of Moses? All his propensities are mingled with each other; so that, in trying to apportion to each its proper part, we find the same difficulty which constantly meets us in real life. A superficial critic may say, that hatred is Shylock's ruling passion. But how many passions have amalgamated to form that hatred? It is partly the result of wounded pride: Antonio has called him dog. It is partly the result of covetousness: Antonio has hindered him of half a million; and, when Antonio is gone, there will be no limit to the gains of usury. It is partly the result of national and religious feeling: Antonio has spit on the Jewish gaberdine; and the oath of revenge has been sworn by the Jewish Sabbath. We might go through all the characters which we have mentioned, and through fifty more in the same way; for it is the constant manner of Shakespeare to represent the human mind as lying, not under the absolute dominion of one despotic propensity, but under a mixed government, in which a hundred powers balance each other. Admirable as he was in all parts of his art, we most admire him for this, that, while he has left us a greater number of striking portraits than all other dramatists put together, he has scarcely left us a single caricature.
Shakespeare has had neither equal nor second. But among the writers who, in the point which we have noticed, have approached nearest to the manner of the great master, we have no hesitation in placing Jane Austen, a woman of whom England is justly proud. She has given us a multitude of characters, all, in a certain sense, commonplace, all such as we meet every day. Yet they are all as perfectly discriminated from each other as if they were the most eccentric of human beings. There are, for example, four clergymen, none of whom we should be surprised to find in any parsonage in the kingdom, Mr. Edward Ferrars, Mr. Henry Tilney, Mr. Edmund Bertram, and Mr. Elton. They are all specimens of the upper part of the middle class. They have all been liberally educated. They all lie under the restraints of the same sacred profession. They are all young. They are all in love. Not one of them has any hobbyhorse, to use the phrase of Sterne. Not one has a ruling passion, such as we read of in Pope. Who would not have expected them to be insipid likenesses of each other? No such thing. Harpagon is not more unlike to Jourdain, Joseph Surface is not more unlike to Sir Lucius O'Trigger, than every one of Miss Austen's young divines to all his reverend brethren. And almost all this is done by touches so delicate, that they elude analysis, that they defy the powers of description, and that we know them to exist only by the general effect to which they have contributed.