Eighteenth Century Vignettes. Dobson Austin
account of every trifle, and minute of his time. And again – 'Dear Prue, do not send after me, for I shall be ridiculous:' It had happened to him, no doubt. 'He is governed by his wife most abominably, as bad as Marlborough,' says another contemporary letter-writer. And we may fancy the blue eyes of Dr. Swift flashing unutterable scorn as he scribbles off this piece of intelligence to Stella and Mrs. Dingley.
In the letters which follow Steele's above-quoted expostulation, the embers of misunderstanding flame and fade, to flame and fade again. A word or two of kindness makes him rapturous; a harsh expression sinks him to despair. As time goes on, the letters grow fewer, and the writers grow more used to each other's ways. But to the last Steele's affectionate nature takes fire upon the least encouragement. Once, years afterwards, when Prue is in the country and he is in London, and she calls him 'Good Dick,' it throws him into such a transport that he declares he could forget his gout, and walk down to her at Wales. 'My dear little peevish, beautiful, wise Governess, God bless you,' the letter ends. In another he assures her that, lying in her place and on her pillow, he fell into tears from thinking that his 'charming little insolent might be then awake and in pain'-.with headache. She wants flattery, she says, and he flatters her. 'Her son,' he declares, 'is extremely pretty, and has his face sweetened with something of the Venus his mother, which is no small delight to the Vulcan who begot him.' He assures her that, though she talks of the children, they are dear to him more because they are hers than because they are his own. 1
And this reminds us that some of the best of his later letters are about his family. Once, at this time of their mother's absence in Wales, he says that he has invited his eldest daughter to dinner with one of her teachers, because she had represented to him 'in her pretty language that she seemed helpless and friendless, without anybody's taking notice of her at Christmas, when all the children but she and two more were with their relations.' So now they are in the room where he is writing. 'I told Betty,' he adds, 'I had writ to you; and she made me open the letter again, and give her humble duty to her mother, and desire to know when she shall have the honour to see her in town.' No doubt this was in strict accordance with the proprieties as practised at Mrs. Nazereau's polite academy in Chelsea; but somehow one suspects that 'Madam Betty' would scarcely have addressed the writer of the letter with the same boarding-school formality. 'Elsewhere the talk is all of Eugene, the eldest boy. 'Your son, at the present writing, is mighty well employed in tumbling on the floor of the room and sweeping the sand with a feather. He grows a most delightful child, and very full of play and spirit. He is also a very great scholar: he can read his Primer; and I have brought down my Virgil. He makes most shrewd remarks upon the pictures. We are very intimate friends and play-fellows.' Yes: decidedly Steele's children must have loved their clever, faulty, kindly father.
II. PRIOR'S 'KITTY.'
IN the year 1718, and presumably after Mr. Matthew Prior had already printed his tall and extremely miscellaneous folio of 'Poems on Several Occasions,' there was published separately a little jeu d'esprit by the same 'eminent Hand,' which has not been regarded as the least fortunate of his efforts. In its first fugitive form, now so rare as to be known only to a few highly-favoured collectors, it is a single page or leaf of eight quatrains; and of this there are two issues, both attributing the verses to Prior, both claiming to be authentic, both unauthorised. The earlier, which is dated, is headed 'Upon Lady Katherine H – des first appearing at the Play-House in Drury-Lane;' the other, 'from Curll's chaste press,' bears the title of 'The Female Phaeton,' by which the piece is now known. The person indicated was the second daughter of Henry Hyde, Earl of Clarendon and Rochester, and the grandchild of the great Lord Chancellor and historian of the Rebellion. As she was born in 1700, she must at this time have been eighteen. She was 'beautiful,' says the poet; 'she was wild as Colt untam'd;' she was, besides,
'Inflam'd with Rage at sad Restraint,
Which wise Mamma ordain'd.'
Her elder sister, Jane – the 'blooming Hide, with Eyes so rare,' of whom John Gay had sung in the 'Prologue' to 'The Shepherd's Week' – was already married to the Earl of Essex. Why should not She, too, be a Toast, and 'bring home Hearts by Dozens'?
'Dearest Mamma, for once let me,
Unchain'd, my Fortune try;
I'll have my Earl, as well as She,
Or know the Reason why.'
And so the stanzas, eternally human and therefore eternally modern, dance and sparkle to their natural ending:
'Fondness prevail'd, Mamma gave way;
Kitty, at Heart's Desire,
Obtains the Chariot for a Day,
And set the World on Fire.'
Apart from the reference to Drury Lane Theatre supplied by the title, there is no clue to the incident recorded. But two years after Prior wrote these playful verses, which were sent to the lady through Mr. Harcourt, Catherine Hyde verified her poet's words by securing a suitor of even higher rank than her sister's husband. In March, 1720, she married Charles Douglas, third Duke of Queensberry, an amiable and accomplished nobleman, who, it has been hinted, must sometimes have been considerably 'exercised' by the vagaries of the charming but impetuous 'child of Nature' whom he had selected for his helpmate. Indeed, despite her ability, many of her less sympathetic contemporaries did not scruple to suggest that her Grace's eccentricities almost amounted to a touch of insanity. Bolingbroke called her 'Sa Singularité;' Walpole spoke of her roundly as 'an out-pensioner of Bedlam.' But neither the Abbot of Strawberry nor Pope's 'guide, philosopher, and friend' had any right to set up for a Forbes-Winslow or a Brouardel; and there is in reality little more in what is related of her than might be expected of one who, at once a spoiled child, a beauty, and a woman of parts, deliberately revolted against the tyrannous conventionalities of her time. To the last she persistently declined, as she told Swift, to 'cut and curl her hair like a sheep's head,' in accordance with the reigning fashion; and she affected in her dress a simplicity and youthfulness which nothing but the good looks she contrived to retain so long, could possibly have justified. She had a fancy for idyllic travesties, appearing now as a shepherdess, now as a peasant, now as a milkmaid. 2
Upon one occasion she scandalized the court-usher soul of Horace Walpole by masquerading at St. James's in a costume of red flannel. As a rule, she carried her innovations triumphantly; but now and then she was forced to yield to a will more imperative than her own. Once the fantastic old King of Rath tore off her favourite white apron in the Pump Room, flinging it contemptuously among the 'waiting gentlewomen' in the hinder benches. 'None but abigails wore white aprons,' he declared; and the grande dame de par la monde made a virtue of necessity, and submitted. In her own entertainments, however, she seems to have been as despotic as Nash, insisting that people should come early and leave early, and declining to provide the profuse refreshments then expected. High-spirited and whimsical no doubt she was; but the stories told of her are probably exaggerated. Those who praise her, praise her unreservedly. Her character was unblemished. She was truthful; she was honest; she was not a flatterer. And she was certainly fearless, for she dared, even in the rudimentary epoch of the two-pronged fork, to rally the terrible Dean of St. Patrick's for that deplorable habit – so justly deprecated by the Historian of Snobs – of putting his knife in his mouth. When she saw any one 'administer the cold steel,' as Thackeray calls it, she would shriek out in affected terror lest they should do themselves a mischief. She seems, although they never really met after her girlhood, to have wholly subjugated Swift, whose final tone to her comes perilously close to that fulsome adulation which, in others, stirred his fiercest scorn. 'I will excuse your blots upon paper,' he says, writing to her after Gay death, 'because they are the only blots you ever did, or ever will make, in the whole course of your life.' Further on he refers 'to the universal, almost idolatrous esteem you have forced from every person in two kingdoms, who have the least regard for virtue.' It is her peculiar art, he tells her again, to bribe 'all wise and good men to be her flatterers.' Swift was no paragon; but the praise of Swift outweighs the sneers of Walpole.
She was the friend of men of letters – this capricious great lady, and they have judged
A few sentences in this paper are borrowed from the writer's 'Life of Steele,' 1886.
In this last character Charles Jervas painted her. The picture is in the National Portrait Gallery. She has hazel eyes and dark-brown hair.