Sometimes there will be pathos in a postscript, as in the case of Beethoven’s touching communication to his brothers Carl and Johann in the matter of his deafness. In the body of the letter he has been begging them not to think him hostile, morose, or misanthropical, and making clear to them how little they know of the secret cause of his apparent indifference. Then, on the outside of the packet, comes this last melancholy outpouring:
‘Thus, then, I take leave of you, and with sadness too. The fond hope I brought with me here [to Heiligenstadt] of being to a certain degree cured, now utterly forsakes me. As autumn leaves fall and wither, so are my hopes blighted.’
Of this spontaneous running-over from text into postscript, literature has many specimens—none, perhaps, more effective in its way than the kindly stanza with which Mr. Bret Harte makes Truthful James bring to a close ‘His Answer to Her Letter’:
‘P.S.—Which this same interfering
Into other folks’ ways I despise,
Yet if it so be I was hearing
That it’s just empty pockets as lies
Betwixt you and Joseph, it follers
That, having no family claims,
Here’s my pile; which it’s six hundred dollars,
As is yours, with respect, Truthful James.’
One might, indeed, say more for postscripts than that they are often pardonable; they are often actually useful. They can be bent to the service of the writer; and over and over again, I dare say, have been appended with careful deliberation. They are invaluable as modes of emphasizing matter contained within the limits of the letter proper. They form ‘last words’ which can be charged with any measure of significance. Many people remember the case of the sailor who, after mentioning thrice in the course of one short epistle the desired purchase of some pigtail, felt constrained to add yet another reminder in the shape of a ‘P.S.—Don’t forget the pigtail.’ Not less impressive, probably, was Sir Hew Dalrymple when, writing in 1775 to a friend to exhort him to give preferment to a worthy young cleric, he observed, in a postscript:
‘Think what an unspeakable pleasure it will be to look down from heaven and see Rigby, Masterton, all the Campbells and Nabobs, swimming in fire and brimstone, while you are sitting with Whitefield and his old women, looking beautiful, frisking and singing; all which you may have by settling this man!’
There can be no question that a well-planted ‘P.S.’ is of great utility in clinching an argument raised in the main portion of a communication. Thus, when Artemus Ward wrote ‘to the editor of ——,’ asking for a line concerning the state of the show business in his locality, he knew what he was about. ‘I shall hav my hanbills dun at your offiss,’ he observed. ‘Depend upon it. I want you should git my hanbills up in flamin’ stile. Also git up a tremenjus excitement in yr. paper ’bout my onparaleld Show. We must fetch the public sumhow.’ Then, at the end, came the summing-up of the whole transaction: ‘P.S.—You scratch my back and Ile scratch your back.’ There is at least one instance on record in which a postscript was made to convey a smart reproof. Talleyrand, having one day entrusted a valet with a letter to deliver, happened to look out of the window, and saw the man reading the message en route. Next day he despatched another letter to the same address by the same servant, taking care to append to it the following: ‘P.S.—You may send a verbal answer by the bearer. He is perfectly acquainted with the whole affair, having taken the precaution to read this previous to delivery.’
On the whole, whether postscripts are defensible or not, it is clear that their history is eminently interesting. Some valuable matter has from time to time been put into them. There is at least one letter of Thomas Gray’s, written in 1764 to the Rev. Norton Nicholls, the ‘P.S.’ of which is worth the whole of the remainder of the communication, so charming a bit of descriptive writing is embodied in it. Then, how full of good stuff are the epistolary addenda of Charles Lamb, with whom ‘the cream of the correspondence’ (as Tony Lumpkin has it) was very often rather in the postscript than in ‘the inside of the letter,’ in the sense of its larger portion. It is in one of these addenda that one finds the first record of a well-known sentence: ‘Summer, as my friend Coleridge waggishly observes, has set in with its usual severity.’ Elsewhere one comes across such tributes as: ‘My friend Hood, a prime genius and hearty fellow, brings this.’ Always characteristic in thought and in expression, Lamb was never more so than in the finales to his letters. ‘I do not think your handwriting at all like ——’s,’ he says to Southey; ‘I do not think many things I did think.’ He winds up a dog-Latin epistle to Bernard Barton, in 1831, with: ‘P.S.—Perdita in toto est Billa Reformatura.’ And to Coleridge he says, with delightful frankness:
‘Write your German as plain as sunshine, for that must correct itself. You know I am homo unius linguæ: in English—illiterate, a dunce, a ninny.’
Sometimes a postscript is unconsciously full of humour, as in the case of a note written by a certain Mr. O. to a recent Bishop of Norwich: