PREFACE
Sixteen of these Letters, which were written at the suggestion of the Editor of the “St. James’s Gazette,” appeared in that journal, from which they are now reprinted, by the Editor’s kind permission. They have been somewhat emended, and a few additions have been made. The Letters to Horace, Byron, Isaak Walton, Chapelain, Ronsard, and Theocritus have not been published before.
The gem on the title-page, now engraved for the first time, is a red cornelian in the British Museum, probably Græco-Roman, and treated in an archaistic style. It represents Hermes Psychagogos, with a Soul, and has some likeness to the Baptism of Our Lord, as usually shown in art. Perhaps it may be post-Christian. The gem was selected by Mr. A. S. Murray.
It is, perhaps, superfluous to add that some of the Letters are written rather to suit the Correspondent than to express the writer’s own taste or opinions. The Epistle to Lord Byron, especially, is “writ in a manner which is my aversion.”
I.
To W. M. Thackeray
Sir, – There are many things that stand in the way of the critic when he has a mind to praise the living. He may dread the charge of writing rather to vex a rival than to exalt the subject of his applause. He shuns the appearance of seeking the favour of the famous, and would not willingly be regarded as one of the many parasites who now advertise each movement and action of contemporary genius. “Such and such men of letters are passing their summer holidays in the Val d’Aosta,” or the Mountains of the Moon, or the Suliman Range, as it may happen. So reports our literary “Court Circular,” and all our Précieuses read the tidings with enthusiasm. Lastly, if the critic be quite new to the world of letters, he may superfluously fear to vex a poet or a novelist by the abundance of his eulogy. No such doubts perplex us when, with all our hearts, we would commend the departed; for they have passed almost beyond the reach even of envy; and to those pale cheeks of theirs no commendation can bring the red.
You, above all others, were and remain without a rival in your many-sided excellence, and praise of you strikes at none of those who have survived your day. The increase of time only mellows your renown, and each year that passes and brings you no successor does but sharpen the keenness of our sense of loss. In what other novelist, since Scott was worn down by the burden of a forlorn endeavour, and died for honour’s sake, has the world found so many of the fairest gifts combined? If we may not call you a poet (for the first of English writers of light verse did not seek that crown), who that was less than a poet ever saw life with a glance so keen as yours, so steady, and so sane? Your pathos was never cheap, your laughter never forced; your sigh was never the pulpit trick of the preacher. Your funny people – your Costigans and Fokers – were not mere characters of trick and catch-word, were not empty comic masks. Behind each the human heart was beating; and ever and again we were allowed to see the features of the man.
Thus fiction in your hands was not simply a profession, like another, but a constant reflection of the whole surface of life: a repeated echo of its laughter and its complaint. Others have written, and not written badly, with the stolid professional regularity of the clerk at his desk; you, like the Scholar Gipsy, might have said that “it needs heaven-sent moments for this skill.” There are, it will not surprise you, some honourable women and a few men who call you a cynic; who speak of “the withered world of Thackerayan satire;” who think your eyes were ever turned to the sordid aspects of life – to the mother-in-law who threatens to “take away her silver bread-basket;” to the intriguer, the sneak, the termagant; to the Beckys, and Barnes Newcomes, and Mrs. Mackenzies of this world. The quarrel of these sentimentalists is really with life, not with you; they might as wisely blame Monsieur Buffon because there are snakes in his Natural History. Had you not impaled certain noxious human insects, you would have better pleased Mr. Ruskin; had you confined yourself to such performances, you would have been more dear to the Neo-Balzacian school in fiction.
You are accused of never having drawn a good woman who was not a doll, but the ladies that bring this charge seldom remind us either of Lady Castlewood or of Theo or Hetty Lambert. The best women can pardon you Becky Sharp and Blanche Amory; they find it harder to forgive you Emmy Sedley and Helen Pendennis. Yet what man does not know in his heart that the best women – God bless them – lean, in their characters, either to the sweet passiveness of Emmy or to the sensitive and jealous affections of Helen? ’Tis Heaven, not you, that made them so; and they are easily pardoned, both for being a very little lower than the angels and for their gentle ambition to be painted, as by Guido or Guercino, with wings and harps and haloes. So ladies have occasionally seen their own faces in the glass of fancy, and, thus inspired, have drawn Romola and Consuelo. Yet when these fair idealists, Mdme. Sand and George Eliot, designed Rosamund Vincy and Horace, was there not a spice of malice in the portraits which we miss in your least favourable studies?
That the creator of Colonel Newcome and of Henry Esmond was a snarling cynic; that he who designed Rachel Esmond could not draw a good woman: these are the chief charges (all indifferent now to you, who were once so sensitive) that your admirers have to contend against. A French critic, M. Taine, also protests that you do preach too much. Did any author but yourself so frequently break the thread (seldom a strong thread) of his plot to converse with his reader and moralise his tale, we also might be offended. But who that loves Montaigne and Pascal, who that likes the wise trifling of the one and can bear with the melancholy of the other, but prefers your preaching to another’s playing!
Your thoughts come in, like the intervention of the Greek Chorus, as an ornament and source of fresh delight. Like the songs of the Chorus, they bid us pause a moment over the wider laws and actions of human fate and human life, and we turn from your persons to yourself, and again from yourself to your persons, as from the odes of Sophocles or Aristophanes to the action of their characters on the stage. Nor, to my taste, does the mere music and melancholy dignity of your style in these passages of meditation fall far below the highest efforts of poetry. I remember that scene where Clive, at Barnes Newcome’s Lecture on the Poetry of the Affections, sees Ethel who is lost to him. “And the past and its dear histories, and youth and its hopes and passions, and tones and looks for ever echoing in the heart and present in the memory – these, no doubt, poor Clive saw and heard as he looked across the great gulf of time, and parting and grief, and beheld the woman he had loved for many years.”
For ever echoing in the heart and present in the memory: who has not heard these tones, who does not hear them as he turns over your books that, for so many years, have been his companions and comforters? We have been young and old, we have been sad and merry with you, we have listened to the midnight chimes with Pen and Warrington, have stood with you beside the death-bed, have mourned at that yet more awful funeral of lost love, and with you have prayed in the inmost chapel sacred to our old and immortal affections, à léal souvenir! And whenever you speak for yourself, and speak in earnest, how magical, how rare, how lonely in our literature is the beauty of your sentences! “I can’t express the charm of them” (so you write of George Sand; so we may write of you): “they seem to me like the sound of country bells, provoking I don’t know what vein of music and meditation, and falling sweetly and sadly on the ear.” Surely that style, so fresh, so rich, so full of surprises – that style which stamps as classical your fragments of slang, and perpetually astonishes and delights – would alone give immortality to an author, even had he little to say. But you, with your whole wide world of fops and fools, of good women and brave men, of honest absurdities and cheery adventurers: you who created the Steynes and Newcomes, the Beckys and Blanches, Captain Costigan and F. B., and the Chevalier Strong – all that host of friends imperishable – you must survive with Shakespeare and Cervantes in the memory and affection of men.
II.
To Charles Dickens
Sir, – It has been said that every man is born a Platonist or an Aristotelian, though the enormous majority of us, to be sure, live and die without being conscious of any invidious philosophic partiality whatever. With more truth (though that does not imply very much) every Englishman who reads may be said to be a partisan of yourself or of Mr. Thackeray. Why should there be any partisanship in the matter; and why, having two such good things as your novels and those of your contemporary, should we not be silently happy in the possession? Well, men are made so, and must needs fight and argue over their tastes in enjoyment. For myself, I may say that in this matter I am what the Americans do not call a “Mugwump,” what English politicians dub a “superior person” – that is, I take no side, and attempt to enjoy the best of both.
It must be owned that this attitude is sometimes made a little difficult by the vigour of your special devotees. They have ceased, indeed, thank Heaven! to imitate you; and even in “descriptive articles” the touch of Mr. Gigadibs, of him whom “we almost took for the true Dickens,” has disappeared. The young lions of the Press no longer mimic your less admirable mannerisms – do not strain so much after fantastic comparisons, do not (in your manner and Mr. Carlyle’s) give people nick-names derived from their teeth, or their complexion; and, generally, we are spared second-hand copies of all that in your style was least to be commended. But, though improved by lapse of time in this respect, your devotees still put on little conscious airs of virtue, robust manliness, and so forth, which would have irritated you very much, and there survive some press men who seem to have read you a little (especially your later works), and never to have read anything else. Now familiarity with the pages of “Our Mutual Friend” and “Dombey and Son” does not precisely constitute a liberal education, and the assumption that it does is apt (quite unreasonably) to prejudice people against the greatest comic genius of modern times.
On the other hand, Time is at last beginning to sift the true admirers of Dickens from the false. Yours, Sir, in the best sense of the word, is a popular success, a popular reputation. For example, I know that, in a remote and even Pictish part of this kingdom, a rural household, humble and under the shadow of a sorrow inevitably approaching, has found in “David Copperfield” oblivion of winter, of sorrow, and of sickness. On the other hand, people are now picking up heart to say that “they cannot read Dickens,” and that they particularly detest “Pickwick.” I believe it was young ladies who first had the courage of their convictions in this respect. “Tout sied aux belles,” and the fair, in the confidence of youth, often venture on remarkable confessions. In your “Natural History of Young Ladies” I do not remember that you describe the Humorous Young Lady. 1 She is a very rare bird indeed, and humour generally is at a deplorably low level in England.
Hence come all sorts of mischief, arisen since you left us; and it may be said that inordinate philanthropy, genteel sympathy with Irish murder and arson, Societies for Badgering the Poor, Esoteric Buddhism, and a score of other plagues, including what was once called Æstheticism, are all, primarily, due to want of humour. People discuss, with the gravest faces, matters which properly should only be stated as the wildest paradoxes. It naturally follows that, in a period almost destitute of humour, many respectable persons “cannot read Dickens,” and are not ashamed to glory in their shame. We ought not to be angry with others for their misfortunes; and yet when one meets the crétins who boast that they cannot read Dickens, one certainly does feel much as Mr. Samuel Weller felt when he encountered Mr. Job Trotter.
How very singular has been the history of the decline of humour! Is there any profound psychological truth to be gathered from consideration of the fact that humour has gone out with cruelty? A hundred years ago, eighty years ago – nay, fifty years ago – we were a cruel but also a humorous people. We had bull-baitings, and badger-drawings, and hustings, and prize-fights, and cock-fights; we went to see men hanged; the pillory and the stocks were no empty “terrors unto evil-doers,” for there was commonly a malefactor occupying each of these institutions. With all this we had a broad-blown comic sense. We had Hogarth, and Bunbury, and George Cruikshank, and Gilray; we had Leech and Surtees, and the creator of Tittlebat Titmouse; we had the Shepherd of the “Noctes,” and, above all, we had you.
From the old giants of English fun – burly persons delighting in broad caricature, in decided colours, in cockney jokes, in swashing blows at the more prominent and obvious human follies – from these you derived the splendid high spirits and unhesitating mirth of your earlier works. Mr. Squeers, and Sam Weller, and Mrs. Gamp, and all the Pickwickians, and Mr. Dowler, and John Browdie – these and their immortal companions were reared, so to speak, on the beef and beer of that naughty, fox-hunting, badger-baiting old England, which we have improved out of existence. And these characters, assuredly, are your best; by them, though stupid people cannot read about them, you will live while there is a laugh left among us. Perhaps that does not assure you a very prolonged existence, but only the future can show.
The dismal seriousness of the time cannot, let us hope, last for ever and a day. Honest old Laughter, the true lutin of your inspiration, must have life left in him yet, and cannot die; though it is true that the taste for your pathos, and your melodrama, and plots constructed after your favourite fashion (“Great Expectations” and the “Tale of Two Cities” are exceptions) may go by and never be regretted. Were people simpler, or only less clear-sighted, as far as your pathos is concerned, a generation ago? Jeffrey, the hard-headed shallow critic, who declared that Wordsworth “would never do,” cried, “wept like anything,” over your Little Nell. One still laughs as heartily as ever with Dick Swiveller; but who can cry over Little Nell?
Ah, Sir, how could you – who knew so intimately, who remembered so strangely well the fancies, the dreams, the sufferings of childhood – how could you “wallow naked in the pathetic,” and massacre holocausts of the Innocents? To draw tears by gloating over a child’s death-bed, was it worthy of you? Was it the kind of work over which our hearts should melt? I confess that Little Nell might die a dozen times, and be welcomed by whole legions of Angels, and I (like the bereaved fowl mentioned by Pet Marjory) would remain unmoved.
She was more than usual calm,
She did not give a single dam,
wrote the astonishing child who diverted the leisure of Scott. Over your Little Nell and your Little Dombey I remain more than usual calm; and probably so do thousands of your most sincere admirers. But about matter of this kind, and the unseating of the fountains of tears, who can argue? Where is taste? where is truth? What tears are “manly, Sir, manly,” as Fred Bayham has it; and of what lamentations ought we rather to be ashamed? Sunt lacrymæ rerum; one has been moved in the cell where Socrates tasted the hemlock; or by the river-banks where Syracusan arrows slew the parched Athenians among the mire and blood; or, in fiction, when Colonel Newcome says Adsum, or over the diary of Clare Doria Forey, or where Aramis laments, with strange tears, the death of Porthos. But over Dombey (the Son), or Little Nell, one declines to snivel.
When an author deliberately sits down and says, “Now, let us have a good cry,” he poisons the wells of sensibility and chokes, at least in many breasts, the fountain of tears. Out of “Dombey and Son” there is little we care to remember except the deathless Mr. Toots; just as we forget the melodramatics of “Martin Chuzzlewit.” I have read in that book a score of times; I never see it but I revel in it – in Pecksniff, and Mrs. Gamp, and the Americans. But what the plot is all about, what Jonas did, what Montagu Tigg had to make in the matter, what all the pictures with plenty of shading illustrate, I have never been able to comprehend. In the same way, one of your most thorough-going admirers has allowed (in the licence of private conversation) that “Ralph Nickleby and Monk are too steep;” and probably a cultivated taste will always find them a little precipitous.
“Too steep:” – the slang expresses that defect of an ardent genius, carried above itself, and out of the air we breathe, both in its grotesque and in its gloomy imaginations. To force the note, to press fantasy too hard, to deepen the gloom with black over the indigo, that was the failing which proved you mortal. To take an instance in little: when Pip went to Mr. Pumblechook’s, the boy thought the seedsman “a very happy man to have so many little drawers in his shop.” The reflection is thoroughly boyish; but then you add, “I wondered whether the flower-seeds and bulbs ever wanted of a fine day to break out of those jails and bloom.” That is not boyish at all; that is the hard-driven, jaded literary fancy at work.
“So we arraign her; but she,” the Genius of Charles Dickens, how brilliant, how kindly, how beneficent she is! dwelling by a fountain of laughter imperishable; though there is something of an alien salt in the neighbouring fountain of tears. How poor the world of fancy would be, how “dispeopled of her dreams,” if, in some ruin of the social system, the books of Dickens were lost; and if The Dodger, and Charley Bates, and Mr. Crinkle, and Miss Squeers and Sam Weller, and Mrs. Gamp, and Dick Swiveller were to perish, or to vanish with Menander’s men and women! We cannot think of our world without them; and, children of dreams as they are, they seem more essential than great statesmen, artists, soldiers, who have actually worn flesh and blood, ribbons and orders, gowns and uniforms. May we not almost welcome “Free Education”? for every Englishman who can read, unless he be an Ass, is a reader the more for you.
P.S. – Alas, how strangely are we tempered, and how strong is the national bias! I have been saying things of you that I would not hear an enemy say. When I read, in the criticism of an American novelist, about your “hysterical emotionality” (for he writes in American), and your “waste of verbiage,” I am almost tempted to deny that our Dickens has a single fault, to deem you impeccable!
III.
To Pierre de Ronsard
(PRINCE OF POETS)
Master And Prince of Poets, – As we know what choice thou madest of a sepulchre (a choice how ill fulfilled by the jealousy of Fate), so we know well the manner of thy chosen immortality. In the Plains Elysian, among the heroes and the ladies of old song, there was thy Love with thee to enjoy her paradise in an eternal spring.
Là du plaisant Avril la saison immortelle
Sans eschange le suit,
La terre sans labour, de sa grasse mamelle,
Toute chose y produit;
D’enbas la troupe sainte autrefois amoureuse,
Nous honorant sur tous,
Viendra nous saluer, s’estimant bien-heureuse
De s’accointer de nous.
There thou dwellest, with the learned lovers of old days, with Belleau, and Du Bellay, and Baïf, and the flower of the maidens of Anjou. Surely no rumour reaches thee, in that happy place of reconciled affections, no rumour of the rudeness of Time, the despite of men, and the change which stole from thy locks, so early grey, the crown of laurels and of thine own roses. How different from thy choice of a sepulchre have been the fortunes of thy tomb!
I will that none should break
The marble for my sake,
Wishful to make more fair
My sepulchre!
So didst thou sing, or so thy sweet numbers run in my rude English. Wearied of Courts and of priories, thou didst desire a grave beside thine own Loire, not remote from
The caves, the founts that fall
From the high mountain wall,
That fall and flash and fleet,
With silver feet.
Only a laurel tree
Shall guard the grave of me;
Only Apollo’s bough
Shall shade me now!
Far other has been thy sepulchre: not in the free air, among the field flowers, but in thy priory of Saint Cosme, with marble for a monument, and no green grass to cover thee. Restless wert thou in thy life; thy dust was not to be restful in thy death. The Huguenots, ces nouveaux Chrétiens qui la France ont pillée, destroyed thy tomb, and the warning of the later monument,
ABI, NEFASTE, QUAM CALCUS HUMUM SACRA EST,
has not scared away malicious men. The storm that passed over France a hundred years ago, more terrible than the religious wars that thou didst weep for, has swept the column from the tomb. The marble was broken by violent hands, and the shattered sepulchre of the Prince of Poets gained a dusty hospitality from the museum of a country town. Better had been the laurel of thy desire, the creeping vine, and the ivy tree.
Scarce more fortunate, for long, than thy monument was thy memory. Thou hast not encountered, Master, in the Paradise of Poets, Messieurs Malherbe, De Balzac, and Boileau – Boileau who spoke of thee as Ce poète orgueilleux trébuché de si haut!
These gallant gentlemen, I make no doubt, are happy after their own fashion, backbiting each other and thee in the Paradise of Critics. In their time they wrought thee much evil, grumbling that thou wrotest in Greek and Latin (of which tongues certain of them had but little skill), and blaming thy many lyric melodies and the free flow of thy lines. What said M. de Balzac to M. Chapelain? “M. de Malherbe, M. de Grasse, and yourself must be very little poets, if Ronsard be a great one.” Time has brought in his revenges, and Messieurs Chapelain and De Grasse are as well forgotten as thou art well remembered. Men could not always be deaf to thy sweet old songs, nor blind to the beauty of thy roses and thy loves. When they took the wax out of their ears that M. Boileau had given them lest they should hear the singing of thy Sirens, then they were deaf no longer, then they heard the old deaf poet singing and made answer to his lays. Hast thou not heard these sounds? have they not reached thee, the voices and the lyres of Théophile Gautier and Alfred de Musset? Methinks thou hast marked them, and been glad that the old notes were ringing again and the old French lyric measures tripping to thine ancient harmonies, echoing and replying to the Muses of Horace and Catullus. Returning to Nature, poets returned to thee. Thy monument has perished, but not thy music, and the Prince of Poets has returned to his own again in a glorious Restoration.
Through the dust and smoke of ages, and through the centuries of wars we strain our eyes and try to gain a glimpse of thee, Master, in thy good days, when the Muses walked with thee. We seem to mark thee wandering silent through some little village, or dreaming in the woods, or loitering among thy lonely places, or in gardens where the roses blossom among wilder flowers, or on river banks where the whispering poplars and sighing reeds make answer to the murmur of the waters. Such a picture hast thou drawn of thyself in the summer afternoons.
Je m’en vais pourmener tantost parmy la plaine,
Tantost en un village, et tantost en un bois,
Et tantost par les lieux solitaires et cois.
J’aime fort les jardins qui sentent le sauvage,
J’aime le flot de l’eau qui gazoüille au rivage.
Still, methinks, there was a book in the hand of the grave and learned poet; still thou wouldst carry thy Horace, thy Catullus, thy Theocritus, through the gem-like weather of the Renouveau, when the woods were enamelled with flowers, and the young Spring was lodged, like a wandering prince, in his great palaces hung with green:
Orgueilleux de ses fleurs, enflé de sa jeunesse,
Logé comme un grand Prince en ses vertes maisons!
Thou sawest, in these woods by Loire side, the fair shapes of old religion, Fauns, Nymphs, and Satyrs, and heard’st in the nightingale’s music the plaint of Philomel. The ancient poets came back in the train of thyself and of the Spring, and learning was scarce less dear to thee than love; and thy ladies seemed fairer for the names they borrowed from the beauties of forgotten days, Helen and Cassandra. How sweetly didst thou sing to them thine old morality, and how gravely didst thou teach the lesson of the Roses! Well didst thou know it, well didst thou love the Rose, since thy nurse, carrying thee, an infant, to the holy font, let fall on thee the sacred water brimmed with floating blossoms of the Rose!
Mignonne, allons voir si la Rose,
Qui ce matin avoit desclose
Sa robe de pourpre au soleil,
A point perdu ceste vespree
Les plis de sa robe pourpree,
Et son teint au votre pareil.
And again,
La belle Rose du Printemps,
Aubert, admoneste les hommes
Passer joyeusement le temps,
Et pendant que jeunes nous sommes,
Esbattre la fleur de nos ans.
In the same mood, looking far down the future, thou sangest of thy lady’s age, the most sad, the most beautiful of thy sad and beautiful lays; for if thy bees gathered much honey ’twas somewhat bitter to taste, like that of the Sardinian yews. How clearly we see the great hall, the grey lady spinning and humming among her drowsy maids, and how they waken at the word, and she sees her spring in their eyes, and they forecast their winter in her face, when she murmurs “’Twas Ronsard sang of me.”
Winter, and summer, and spring, how swiftly they pass, and how early time brought thee his sorrows, and grief cast her dust upon thy head.
Adieu ma Lyre, adieu fillettes,
Jadis mes douces amourettes,
Adieu, je sens venir ma fin,
Nul passetemps de ma jeunesse
Ne m’accompagne en la vieillesse,
Que le feu, le lict et le vin.
Wine, and a soft bed, and a bright fire: to this trinity of poor pleasures we come soon, if, indeed, wine be left to us. Poetry herself deserts us; is it not said that Bacchus never forgives a renegade? and most of us turn recreants to Bacchus. Even the bright fire, I fear, was not always there to warm thine old blood, Master, or, if fire there were, the wood was not bought with thy book-seller’s money. When autumn was drawing in during thine early old age, in 1584, didst thou not write that thou hadst never received a sou at the hands of all the publishers who vended thy books? And as thou wert about putting forth thy folio edition of 1584, thou didst pray Buon, the bookseller, to give thee sixty crowns to buy wood withal, and make thee a bright fire in winter weather, and comfort thine old age with thy friend Gallandius. And if Buon will not pay, then to try the other booksellers, “that wish to take everything and give nothing.”
Was it knowledge of this passage, Master, or ignorance of everything else, that made certain of the common steadfast dunces of our days speak of thee as if thou hadst been a starveling, neglected poetaster, jealous forsooth of Maître Françoys Rabelais? See how ignorantly M. Fleury writes, who teaches French literature withal to them of Muscovy, and hath indited a Life of Rabelais. “Rabelais était revêtu d’un emploi honorable; Ronsard était traité en subalterne,” quoth this wondrous professor. What! Pierre de Ronsard, a gentleman of a noble house, holding the revenue of many abbeys, the friend of Mary Stuart, of the Duc d’Orléans, of Charles IX., he is traité en subalterne, and is jealous of a frocked or unfrocked manant like Maître Françoys! And then this amazing Fleury falls foul of thine epitaph on Maître Françoys and cries, “Ronsard a voulu faire des vers méchants; il n’a fait que de méchants vers.” More truly saith M. Sainte-Beuve, “If the good Rabelais had returned to Meudon on the day when this epitaph was made over the wine, he would, methinks, have laughed heartily.” But what shall be said of a Professor like the egregious M. Fleury, who holds that Ronsard was despised at Court? Was there a party at tennis when the king would not fain have had thee on his side, declaring that he ever won when Ronsard was his partner? Did he not give thee benefices, and many priories, and call thee his father in Apollo, and even, so they say, bid thee sit down beside him on his throne? Away, ye scandalous folk, who tell us that there was strife between the Prince of Poets and the King of Mirth. Naught have ye by way of proof of your slander but the talk of Jean Bernier, a scurrilous, starveling apothecary, who put forth his fables in 1697, a century and a half after Maître Françoys died. Bayle quoted this fellow in a note, and ye all steal the tattle one from another in your dull manner, and know not whence it comes, nor even that Bayle would none of it and mocked its author. With so little knowledge is history written, and thus doth each chattering brook of a “Life” swell with its tribute “that great Mississippi of falsehood,” Biography.