Kitobni o'qish: «Miscellanies», sahifa 7
PRINTING AND PRINTERS
(Pall Mall Gazette, November 16, 1888.)
Nothing could have been better than Mr. Emery Walker’s lecture on Letterpress Printing and Illustration, delivered last night at the Arts and Crafts. A series of most interesting specimens of old printed books and manuscripts was displayed on the screen by means of the magic-lantern, and Mr. Walker’s explanations were as clear and simple as his suggestions were admirable. He began by explaining the different kinds of type and how they are made, and showed specimens of the old block-printing which preceded the movable type and is still used in China. He pointed out the intimate connection between printing and handwriting – as long as the latter was good the printers had a living model to go by, but when it decayed printing decayed also. He showed on the screen a page from Gutenberg’s Bible (the first printed book, date about 1450-5) and a manuscript of Columella; a printed Livy of 1469, with the abbreviations of handwriting, and a manuscript of the History of Pompeius by Justin of 1451. The latter he regarded as an example of the beginning of the Roman type. The resemblance between the manuscripts and the printed books was most curious and suggestive. He then showed a page out of John of Spier’s edition of Cicero’s Letters, the first book printed at Venice, an edition of the same book by Nicholas Jansen in 1470, and a wonderful manuscript Petrarch of the sixteenth century. He told the audience about Aldus, who was the first publisher to start cheap books, who dropped abbreviations and had his type cut by Francia pictor et aurifex, who was said to have taken it from Petrarch’s handwriting. He exhibited a page of the copy-book of Vicentino, the great Venetian writing-master, which was greeted with a spontaneous round of applause, and made some excellent suggestions about improving modern copy-books and avoiding slanting writing.
A superb Plautus printed at Florence in 1514 for Lorenzo di Medici, Polydore Virgil’s History with the fine Holbein designs, printed at Basle in 1556, and other interesting books, were also exhibited on the screen, the size, of course, being very much enlarged. He spoke of Elzevir in the seventeenth century when handwriting began to fall off, and of the English printer Caslon, and of Baskerville whose type was possibly designed by Hogarth, but is not very good. Latin, he remarked, was a better language to print than English, as the tails of the letters did not so often fall below the line. The wide spacing between lines, occasioned by the use of a lead, he pointed out, left the page in stripes and made the blanks as important as the lines. Margins should, of course, be wide except the inner margins, and the headlines often robbed the page of its beauty of design. The type used by the Pall Mall was, we are glad to say, rightly approved of.
With regard to illustration, the essential thing, Mr. Walker said, is to have harmony between the type and the decoration. He pleaded for true book ornament as opposed to the silly habit of putting pictures where they are not wanted, and pointed out that mechanical harmony and artistic harmony went hand in hand. No ornament or illustration should be used in a book which cannot be printed in the same way as the type. For his warnings he produced Rogers’s Italy with a steel-plate engraving, and a page from an American magazine which being florid, pictorial and bad, was greeted with some laughter. For examples we had a lovely Boccaccio printed at Ulm, and a page out of La Mer des Histoires printed in 1488. Blake and Bewick were also shown, and a page of music designed by Mr. Horne.
The lecture was listened to with great attention by a large audience, and was certainly most attractive. Mr. Walker has the keen artistic instinct that comes out of actually working in the art of which he spoke. His remarks about the pictorial character of modern illustration were well timed, and we hope that some of the publishers in the audience will take them to heart.
Next Thursday Mr. Cobden-Sanderson lectures on Bookbinding, a subject on which few men in England have higher qualifications for speaking. We are glad to see these lectures are so well attended.
THE BEAUTIES OF BOOKBINDING
(Pall Mall Gazette, November 23, 1888.)
‘The beginning of art,’ said Mr. Cobden-Sanderson last night in his charming lecture on Bookbinding, ‘is man thinking about the universe.’ He desires to give expression to the joy and wonder that he feels at the marvels that surround him, and invents a form of beauty through which he utters the thought or feeling that is in him. And bookbinding ranks amongst the arts: ‘through it a man expresses himself.’
This elegant and pleasantly exaggerated exordium preceded some very practical demonstrations. ‘The apron is the banner of the future!’ exclaimed the lecturer, and he took his coat off and put his apron on. He spoke a little about old bindings for the papyrus roll, about the ivory or cedar cylinders round which old manuscripts were wound, about the stained covers and the elaborate strings, till binding in the modern sense began with literature in a folded form, with literature in pages. A binding, he pointed out, consists of two boards, originally of wood, now of mill-board, covered with leather, silk or velvet. The use of these boards is to protect the ‘world’s written wealth.’ The best material is leather, decorated with gold. The old binders used to be given forests that they might always have a supply of the skins of wild animals; the modern binder has to content himself with importing morocco, which is far the best leather there is, and is very much to be preferred to calf.
Mr. Sanderson mentioned by name a few of the great binders such as Le Gascon, and some of the patrons of bookbinding like the Medicis, Grolier, and the wonderful women who so loved books that they lent them some of the perfume and grace of their own strange lives. However, the historical part of the lecture was very inadequate, possibly necessarily so through the limitations of time. The really elaborate part of the lecture was the practical exposition. Mr. Sanderson described and illustrated the various processes of smoothing, pressing, cutting, paring, and the like. He divided bindings into two classes, the useful and the beautiful. Among the former he reckoned paper covers such as the French use, paper boards and cloth boards, and half leather or calf bindings. Cloth he disliked as a poor material, the gold on which soon fades away. As for beautiful bindings, in them ‘decoration rises into enthusiasm.’ A beautiful binding is ‘a homage to genius.’ It has its ethical value, its spiritual effect. ‘By doing good work we raise life to a higher plane,’ said the lecturer, and he dwelt with loving sympathy on the fact that a book is ‘sensitive by nature,’ that it is made by a human being for a human being, that the design must ‘come from the man himself, and express the moods of his imagination, the joy of his soul.’ There must, consequently, be no division of labour. ‘I make my own paste and enjoy doing it,’ said Mr. Sanderson as he spoke of the necessity for the artist doing the whole work with his own hands. But before we have really good bookbinding we must have a social revolution. As things are now, the worker diminished to a machine is the slave of the employer, and the employer bloated into a millionaire is the slave of the public, and the public is the slave of its pet god, cheapness. The bookbinder of the future is to be an educated man who appreciates literature and has freedom for his fancy and leisure for his thought.
All this is very good and sound. But in treating bookbinding as an imaginative, expressive human art we must confess that we think that Mr. Sanderson made something of an error. Bookbinding is essentially decorative, and good decoration is far more often suggested by material and mode of work than by any desire on the part of the designer to tell us of his joy in the world. Hence it comes that good decoration is always traditional. Where it is the expression of the individual it is usually either false or capricious. These handicrafts are not primarily expressive arts; they are impressive arts. If a man has any message for the world he will not deliver it in a material that always suggests and always conditions its own decoration. The beauty of bookbinding is abstract decorative beauty. It is not, in the first instance, a mode of expression for a man’s soul. Indeed, the danger of all these lofty claims for handicraft is simply that they show a desire to give crafts the province and motive of arts such as poetry, painting and sculpture. Such province and such motive they have not got. Their aim is different. Between the arts that aim at annihilating their material and the arts that aim at glorifying it there is a wide gulf.
However, it was quite right of Mr. Cobden-Sanderson to extol his own art, and though he seemed often to confuse expressive and impressive modes of beauty, he always spoke with great sincerity.
Next week Mr. Crane delivers the final lecture of this admirable ‘Arts and Crafts’ series and, no doubt, he will have much to say on a subject to which he has devoted the whole of his fine artistic life. For ourselves, we cannot help feeling that in bookbinding art expresses primarily not the feeling of the worker but simply itself, its own beauty, its own wonder.
THE CLOSE OF THE ARTS AND CRAFTS
(Pall Mall Gazette, November 30, 1888.)
Mr. Walter Crane, the President of the Society of Arts and Crafts, was greeted last night by such an enormous audience that at one time the honorary secretary became alarmed for the safety of the cartoons, and many people were unable to gain admission at all. However, order was soon established, and Mr. Cobden-Sanderson stepped up on to the platform and in a few pleasantly sententious phrases introduced Mr. Crane as one who had always been ‘the advocate of great and unpopular causes,’ and the aim of whose art was ‘joy in widest commonalty spread.’ Mr. Crane began his lecture by pointing out that Art had two fields, aspect and adaptation, and that it was primarily with the latter that the designer was concerned, his object being not literal fact but ideal beauty. With the unstudied and accidental effects of Nature the designer had nothing to do. He sought for principles and proceeded by geometric plan and abstract line and colour. Pictorial art is isolated and unrelated, and the frame is the last relic of the old connection between painting and architecture. But the designer does not desire primarily to produce a picture. He aims at making a pattern and proceeds by selection; he rejects the ‘hole in the wall’ idea, and will have nothing to do with the ‘false windows of a picture.’
Three things differentiate designs. First, the spirit of the artist, that mode and manner by which Dürer is separated from Flaxman, by which we recognise the soul of a man expressing itself in the form proper to it. Next comes the constructive idea, the filling of spaces with lovely work. Last is the material which, be it leather or clay, ivory or wood, often suggests and always controls the pattern. As for naturalism, we must remember that we see not with our eyes alone but with our whole faculties. Feeling and thought are part of sight. Mr. Crane then drew on a blackboard the naturalistic oak-tree of the landscape painter and the decorative oak-tree of the designer. He showed that each artist is looking for different things, and that the designer always makes appearance subordinate to decorative motive. He showed also the field daisy as it is in Nature and the same flower treated for panel decoration. The designer systematises and emphasises, chooses and rejects, and decorative work bears the same relation to naturalistic presentation that the imaginative language of the poetic drama bears to the language of real life. The decorative capabilities of the square and the circle were then shown on the board, and much was said about symmetry, alternation and radiation, which last principle Mr. Crane described as ‘the Home Rule of design, the perfection of local self-government,’ and which, he pointed out, was essentially organic, manifesting itself in the bird’s wing as well as in the Tudor vaulting of Gothic architecture. Mr. Crane then passed to the human figure, ‘that expressive unit of design,’ which contains all the principles of decoration, and exhibited a design of a nude figure with an axe couched in an architectural spandrel, a figure which he was careful to explain was, in spite of the axe, not that of Mr. Gladstone. The designer then leaving chiaroscuro, shading and other ‘superficial facts of life’ to take care of themselves, and keeping the idea of space limitation always before him, then proceeds to emphasise the beauty of his material, be it metal with its ‘agreeable bossiness,’ as Ruskin calls it, or leaded glass with its fine dark lines, or mosaic with its jewelled tesseræ, or the loom with its crossed threads, or wood with its pleasant crispness. Much bad art comes from one art trying to borrow from another. We have sculptors who try to be pictorial, painters who aim at stage effects, weavers who seek for pictorial motives, carvers who make Life and not Art their aim, cotton printers ‘who tie up bunches of artificial flowers with streamers of artificial ribbons’ and fling them on the unfortunate textile.
Then came the little bit of Socialism, very sensible and very quietly put. ‘How can we have fine art when the worker is condemned to monotonous and mechanical labour in the midst of dull or hideous surroundings, when cities and nature are sacrificed to commercial greed, when cheapness is the god of Life?’ In old days the craftsman was a designer; he had his ’prentice days of quiet study; and even the painter began by grinding colours. Some little old ornament still lingers, here and there, on the brass rosettes of cart-horses, in the common milk-cans of Antwerp, in the water-vessels of Italy. But even this is disappearing. ‘The tourist passes by’ and creates a demand that commerce satisfies in an unsatisfactory manner. We have not yet arrived at a healthy state of things. There is still the Tottenham Court Road and a threatened revival of Louis Seize furniture, and the ‘popular pictorial print struggles through the meshes of the antimacassar.’ Art depends on Life. We cannot get it from machines. And yet machines are bad only when they are our masters. The printing press is a machine that Art values because it obeys her. True art must have the vital energy of life itself, must take its colours from life’s good or evil, must follow angels of light or angels of darkness. The art of the past is not to be copied in a servile spirit. For a new age we require a new form.
Mr. Crane’s lecture was most interesting and instructive. On one point only we would differ from him. Like Mr. Morris he quite underrates the art of Japan, and looks on the Japanese as naturalists and not as decorative artists. It is true that they are often pictorial, but by the exquisite finesse of their touch, the brilliancy and beauty of their colour, their perfect knowledge of how to make a space decorative without decorating it (a point on which Mr. Crane said nothing, though it is one of the most important things in decoration), and by their keen instinct of where to place a thing, the Japanese are decorative artists of a high order. Next year somebody must lecture the Arts and Crafts on Japanese art. In the meantime, we congratulate Mr. Crane and Mr. Cobden-Sanderson on the admirable series of lectures that has been delivered at this exhibition. Their influence for good can hardly be over-estimated. The exhibition, we are glad to hear, has been a financial success. It closes tomorrow, but is to be only the first of many to come.
ENGLISH POETESSES
(Queen, December 8, 1888.)
England has given to the world one great poetess, Elizabeth Barrett Browning. By her side Mr. Swinburne would place Miss Christina Rossetti, whose New Year hymn he describes as so much the noblest of sacred poems in our language, that there is none which comes near it enough to stand second. ‘It is a hymn,’ he tells us, ‘touched as with the fire, and bathed as in the light of sunbeams, tuned as to chords and cadences of refluent sea-music beyond reach of harp and organ, large echoes of the serene and sonorous tides of heaven.’ Much as I admire Miss Rossetti’s work, her subtle choice of words, her rich imagery, her artistic naïveté, wherein curious notes of strangeness and simplicity are fantastically blended together, I cannot but think that Mr. Swinburne has, with noble and natural loyalty, placed her on too lofty a pedestal. To me, she is simply a very delightful artist in poetry. This is indeed something so rare that when we meet it we cannot fail to love it, but it is not everything. Beyond it and above it are higher and more sunlit heights of song, a larger vision, and an ampler air, a music at once more passionate and more profound, a creative energy that is born of the spirit, a winged rapture that is born of the soul, a force and fervour of mere utterance that has all the wonder of the prophet, and not a little of the consecration of the priest.
Mrs. Browning is unapproachable by any woman who has ever touched lyre or blown through reed since the days of the great Æolian poetess. But Sappho, who, to the antique world was a pillar of flame, is to us but a pillar of shadow. Of her poems, burnt with other most precious work by Byzantine Emperor and by Roman Pope, only a few fragments remain. Possibly they lie mouldering in the scented darkness of an Egyptian tomb, clasped in the withered hands of some long-dead lover. Some Greek monk at Athos may even now be poring over an ancient manuscript, whose crabbed characters conceal lyric or ode by her whom the Greeks spoke of as ‘the Poetess’ just as they termed Homer ‘the Poet,’ who was to them the tenth Muse, the flower of the Graces, the child of Erôs, and the pride of Hellas – Sappho, with the sweet voice, the bright, beautiful eyes, the dark hyacinth-coloured hair. But, practically, the work of the marvellous singer of Lesbos is entirely lost to us.
We have a few rose-leaves out of her garden, that is all. Literature nowadays survives marble and bronze, but in old days, in spite of the Roman poet’s noble boast, it was not so. The fragile clay vases of the Greeks still keep for us pictures of Sappho, delicately painted in black and red and white; but of her song we have only the echo of an echo.
Of all the women of history, Mrs. Browning is the only one that we could name in any possible or remote conjunction with Sappho.
Sappho was undoubtedly a far more flawless and perfect artist. She stirred the whole antique world more than Mrs. Browning ever stirred our modern age. Never had Love such a singer. Even in the few lines that remain to us the passion seems to scorch and burn. But, as unjust Time, who has crowned her with the barren laurels of fame, has twined with them the dull poppies of oblivion, let us turn from the mere memory of a poetess to one whose song still remains to us as an imperishable glory to our literature; to her who heard the cry of the children from dark mine and crowded factory, and made England weep over its little ones; who, in the feigned sonnets from the Portuguese, sang of the spiritual mystery of Love, and of the intellectual gifts that Love brings to the soul; who had faith in all that is worthy, and enthusiasm for all that is great, and pity for all that suffers; who wrote the Vision of Poets and Casa Guidi Windows and Aurora Leigh.
As one, to whom I owe my love of poetry no less than my love of country, has said of her:
Still on our ears
The clear ‘Excelsior’ from a woman’s lip
Rings out across the Apennines, although
The woman’s brow lies pale and cold in death
With all the mighty marble dead in Florence.
For while great songs can stir the hearts of men,
Spreading their full vibrations through the world
In ever-widening circles till they reach
The Throne of God, and song becomes a prayer,
And prayer brings down the liberating strength
That kindles nations to heroic deeds,
She lives – the great-souled poetess who saw
From Casa Guidi windows Freedom dawn
On Italy, and gave the glory back
In sunrise hymns to all Humanity!
She lives indeed, and not alone in the heart of Shakespeare’s England, but in the heart of Dante’s Italy also. To Greek literature she owed her scholarly culture, but modern Italy created her human passion for Liberty. When she crossed the Alps she became filled with a new ardour, and from that fine, eloquent mouth, that we can still see in her portraits, broke forth such a noble and majestic outburst of lyrical song as had not been heard from woman’s lips for more than two thousand years. It is pleasant to think that an English poetess was to a certain extent a real factor in bringing about that unity of Italy that was Dante’s dream, and if Florence drove her great singer into exile, she at least welcomed within her walls the later singer that England had sent to her.
If one were asked the chief qualities of Mrs. Browning’s work, one would say, as Mr. Swinburne said of Byron’s, its sincerity and its strength. Faults it, of course, possesses. ‘She would rhyme moon to table,’ used to be said of her in jest; and certainly no more monstrous rhymes are to be found in all literature than some of those we come across in Mrs. Browning’s poems. But her ruggedness was never the result of carelessness. It was deliberate, as her letters to Mr. Horne show very clearly. She refused to sandpaper her muse. She disliked facile smoothness and artificial polish. In her very rejection of art she was an artist. She intended to produce a certain effect by certain means, and she succeeded; and her indifference to complete assonance in rhyme often gives a splendid richness to her verse, and brings into it a pleasurable element of surprise.
In philosophy she was a Platonist, in politics an Opportunist. She attached herself to no particular party. She loved the people when they were king-like, and kings when they showed themselves to be men. Of the real value and motive of poetry she had a most exalted idea. ‘Poetry,’ she says, in the preface of one of her volumes, ‘has been as serious a thing to me as life itself; and life has been a very serious thing. There has been no playing at skittles for me in either. I never mistook pleasure for the final cause of poetry, nor leisure for the hour of the poet. I have done my work so far, not as mere hand and head work apart from the personal being, but as the completest expression of that being to which I could attain.’
It certainly is her completest expression, and through it she realises her fullest perfection. ‘The poet,’ she says elsewhere, ‘is at once richer and poorer than he used to be; he wears better broadcloth, but speaks no more oracles.’ These words give us the keynote to her view of the poet’s mission. He was to utter Divine oracles, to be at once inspired prophet and holy priest; and as such we may, I think, without exaggeration, conceive her. She was a Sibyl delivering a message to the world, sometimes through stammering lips, and once at least with blinded eyes, yet always with the true fire and fervour of lofty and unshaken faith, always with the great raptures of a spiritual nature, the high ardours of an impassioned soul. As we read her best poems we feel that, though Apollo’s shrine be empty and the bronze tripod overthrown, and the vale of Delphi desolate, still the Pythia is not dead. In our own age she has sung for us, and this land gave her new birth. Indeed, Mrs. Browning is the wisest of the Sibyls, wiser even than that mighty figure whom Michael Angelo has painted on the roof of the Sistine Chapel at Rome, poring over the scroll of mystery, and trying to decipher the secrets of Fate; for she realised that, while knowledge is power, suffering is part of knowledge.
To her influence, almost as much as to the higher education of women, I would be inclined to attribute the really remarkable awakening of woman’s song that characterises the latter half of our century in England. No country has ever had so many poetesses at once. Indeed, when one remembers that the Greeks had only nine muses, one is sometimes apt to fancy that we have too many. And yet the work done by women in the sphere of poetry is really of a very high standard of excellence. In England we have always been prone to underrate the value of tradition in literature. In our eagerness to find a new voice and a fresh mode of music, we have forgotten how beautiful Echo may be. We look first for individuality and personality, and these are, indeed, the chief characteristics of the masterpieces of our literature, either in prose or verse; but deliberate culture and a study of the best models, if united to an artistic temperament and a nature susceptible of exquisite impressions, may produce much that is admirable, much that is worthy of praise. It would be quite impossible to give a complete catalogue of all the women who since Mrs. Browning’s day have tried lute and lyre. Mrs. Pfeiffer, Mrs. Hamilton King, Mrs. Augusta Webster, Graham Tomson, Miss Mary Robinson, Jean Ingelow, Miss May Kendall, Miss Nesbit, Miss May Probyn, Mrs. Craik, Mrs. Meynell, Miss Chapman, and many others have done really good work in poetry, either in the grave Dorian mode of thoughtful and intellectual verse, or in the light and graceful forms of old French song, or in the romantic manner of antique ballad, or in that ‘moment’s monument,’ as Rossetti called it, the intense and concentrated sonnet. Occasionally one is tempted to wish that the quick, artistic faculty that women undoubtedly possess developed itself somewhat more in prose and somewhat less in verse. Poetry is for our highest moods, when we wish to be with the gods, and in our poetry nothing but the very best should satisfy us; but prose is for our daily bread, and the lack of good prose is one of the chief blots on our culture. French prose, even in the hands of the most ordinary writers, is always readable, but English prose is detestable. We have a few, a very few, masters, such as they are. We have Carlyle, who should not be imitated; and Mr. Pater, who, through the subtle perfection of his form, is inimitable absolutely; and Mr. Froude, who is useful; and Matthew Arnold, who is a model; and Mr. George Meredith, who is a warning; and Mr. Lang, who is the divine amateur; and Mr. Stevenson, who is the humane artist; and Mr. Ruskin, whose rhythm and colour and fine rhetoric and marvellous music of words are entirely unattainable. But the general prose that one reads in magazines and in newspapers is terribly dull and cumbrous, heavy in movement and uncouth or exaggerated in expression. Possibly some day our women of letters will apply themselves more definitely to prose.
Their light touch, and exquisite ear, and delicate sense of balance and proportion would be of no small service to us. I can fancy women bringing a new manner into our literature.
However, we have to deal here with women as poetesses, and it is interesting to note that, though Mrs. Browning’s influence undoubtedly contributed very largely to the development of this new song-movement, if I may so term it, still there seems to have been never a time during the last three hundred years when the women of this kingdom did not cultivate, if not the art, at least the habit, of writing poetry.
Who the first English poetess was I cannot say. I believe it was the Abbess Juliana Berners, who lived in the fifteenth century; but I have no doubt that Mr. Freeman would be able at a moment’s notice to produce some wonderful Saxon or Norman poetess, whose works cannot be read without a glossary, and even with its aid are completely unintelligible. For my own part, I am content with the Abbess Juliana, who wrote enthusiastically about hawking; and after her I would mention Anne Askew, who in prison and on the eve of her fiery martyrdom wrote a ballad that has, at any rate, a pathetic and historical interest. Queen Elizabeth’s ‘most sweet and sententious ditty’ on Mary Stuart is highly praised by Puttenham, a contemporary critic, as an example of ‘Exargasia, or the Gorgeous in Literature,’ which somehow seems a very suitable epithet for such a great Queen’s poems. The term she applies to the unfortunate Queen of Scots, ‘the daughter of debate,’ has, of course, long since passed into literature. The Countess of Pembroke, Sir Philip Sidney’s sister, was much admired as a poetess in her day.
In 1613 the ‘learned, virtuous, and truly noble ladie,’ Elizabeth Carew, published a Tragedie of Marian, the Faire Queene of Jewry, and a few years later the ‘noble ladie Diana Primrose’ wrote A Chain of Pearl, which is a panegyric on the ‘peerless graces’ of Gloriana. Mary Morpeth, the friend and admirer of Drummond of Hawthornden; Lady Mary Wroth, to whom Ben Jonson dedicated The Alchemist; and the Princess Elizabeth, the sister of Charles I., should also be mentioned.
After the Restoration women applied themselves with still greater ardour to the study of literature and the practice of poetry. Margaret, Duchess of Newcastle, was a true woman of letters, and some of her verses are extremely pretty and graceful. Mrs. Aphra Behn was the first Englishwoman who adopted literature as a regular profession. Mrs. Katharine Philips, according to Mr. Gosse, invented sentimentality. As she was praised by Dryden, and mourned by Cowley, let us hope she may be forgiven. Keats came across her poems at Oxford when he was writing Endymion, and found in one of them ‘a most delicate fancy of the Fletcher kind’; but I fear nobody reads the Matchless Orinda now. Of Lady Winchelsea’s Nocturnal Reverie Wordsworth said that, with the exception of Pope’s Windsor Forest, it was the only poem of the period intervening between Paradise Lost and Thomson’s Seasons that contained a single new image of external nature. Lady Rachel Russell, who may be said to have inaugurated the letter-writing literature of England; Eliza Haywood, who is immortalised by the badness of her work, and has a niche in The Dunciad; and the Marchioness of Wharton, whose poems Waller said he admired, are very remarkable types, the finest of them being, of course, the first named, who was a woman of heroic mould and of a most noble dignity of nature.
