DIARY OF AN ENNUYEE. Boston: Lilly, Wait, Colman & Holden. 1833.
We opened this book, we confess, with some reluctance. The reading world has been so completely surfeited, especially in late years, by works of the same description,—by the diaries and letters of travellers and tourists,—and many of them have been so obviously designed to encourage the art of book making, rather than to impart solid instruction or intellectual pleasure, that we had almost resolved to proscribe altogether that branch of literature. France, Switzerland and Italy, have, moreover, been so often described, that neither the theatre of Napoleon's glory, nor the sublimities of Alpine scenery—nor the classical antiquities of the "Eternal City"—could impart any longer, it was supposed, the grace or freshness of novelty to the sketches of a new adventurer. Fortunately for us, however, we did not carry our resolution into effect, until we looked into the charming volume whose title is at the head of this article. For rich and powerful thought,—for glowing and beautiful description,—for chaste composition and elegance of taste, we have seldom or never seen it surpassed. It is, too, the production of a lady,—an Englishwoman of rank and fortune, who seems to have visited the sunny clime of Italy in order to restore a constitution wasted by disease, and if possible, alleviate some secret misery which was "feeding on her damask cheek" and withering her heart.—Notwithstanding her efforts to conceal her wretchedness, enough is told to excite the reader's sympathy and impart a melancholy interest to the narrative. She finally fell a victim to her sufferings, and found at the age of twenty-six, a premature grave at Autun, in France, on her return to her native England.
In the course of her pilgrimage she visited Paris, Geneva, Milan, Venice, Florence, Rome, Naples, Genoa, and various other cities. All the wonders of art and glories of nature in Italy's elysian land, seem to have borrowed additional splendor and beauty from the touches of her magic pencil—and in her reflections upon men and manners there is a purity of sentiment which could neither be sullied by the temptations of wealth and fashion, nor by the prevalence of licentious customs in that voluptuous climate.
We cannot deny to our readers the pleasure of a few extracts, which will fully justify the estimate we have placed upon this delightful volume.
The frivolous extravagance which in many things characterises the French people, and especially the Parisian circles, is thus described:
"La mode at Paris is a spell of wondrous power: it is most like what we should call in England a rage, a mania, a torrent sweeping down the bounds between good and evil, sense and nonsense, upon whose surface straws and egg-shells float into notoriety, while the gold and the marble are buried and hidden till its force be spent. The rage for cashmeres and little dogs, has lately given way to a rage for Le Solitaire, a Romance written, I believe, by a certain vicomte d'Arlincourt. Le Solitaire rules the imagination, the taste, the dress of half Paris: if you go to the theatre, it is to see the 'Solitaire,' either as tragedy, opera, or melodrame: the men dress their hair and throw their cloaks about them à la Solitaire; bonnets and caps, flounces and ribbons are all à la Solitaire; the print shops are full of scenes from Le Solitaire; it is on every toilette, on every work table;—ladies carry it about in their reticules to show each other that they are à la mode; and the men—what can they do but humble their understandings and be extasiés, when beautiful eyes sparkle in its defence, and glisten in its praise, and ruby lips pronounce it divine, delicious, 'quelle sublimité dans les descriptions, quelle force dans les caractères! quelle âme! quel feu! quelle chaleur! quelle verve! quelle originalité! quelle passion!' &c.
"'Vous n'avez pas lu le Solitaire?' said Madame M. yesterday; 'eh mon dieu! est-il donc possible! vous? mais, ma chère, vous êtes perdue de reputation, et pour jamais!'
"To retrieve my lost reputation, I sat down to read Le Solitaire, and as I read, my amazement grew, and I did in 'gaping wonderment abound,' to think that fashion, like the insane root of old, had power to drive a whole city mad with nonsense; for such a tissue of abominable absurdities, bombast, and blasphemy, bad taste and bad language, was never surely indited by any madman, in or out of Bedlam: not Maturin himself, that king of fustian,
| '—— ever wrote or borrowed, Any horror half so horrid!' |
and this is the book which has turned the brains of half Paris, which has gone through fifteen editions in a few weeks, which not to admire is 'pitoyable,' and not to have read 'quelque chose d'inouie.'"