By Mrs. Alexander
It is hardly necessary to state that this beautiful and charming woman was the second daughter of Thomas Sheridan and grand-daughter of Richard Brinsley Sheridan, of Regency renown1. She was one of three sisters famous for beauty and brains, the eldest2 of whom married Lord Dufferin, and the youngest Lord Seymour, afterwards Duke of Somerset.
Born in the first decade of the present century, she married at nineteen, in 1827, George Norton, brother of the third Lord Grantley—a union which proved most unhappy. In 1836 Mr. Norton sought for a divorce, in an action which entirely4 failed. Nevertheless, Norton remained irreconcilable5, and availed himself of all the powers which the law then lent to a vindictive6 husband, claiming the proceeds of his wife’s literary work, and interfering7 between her and her children. But it is with
Mrs. Norton as a writer rather than as a woman that we are concerned, and it is useless now to dwell upon the story of her wrongs and struggles.
Previous to this unfortunate suit she produced, in 1829, “The Story of Rosalie, with other Poems,” which seems to have been her first published work. This was well received and much admired.
In 1830 “The Undying One,” a poem on the Wandering Jew, was brought out, followed in 1840 by “The Dream and other Poems.” This was highly praised in the Quarterly Review by Lockhart, who spoke8 of her as “the Byron of poetesses.” Other poems from her pen touched on questions of social interest: “A Voice from the Factories” and “The Child of the Islands,” a poem on the social condition of the English people. She also printed “English Laws for Women in the Nineteenth Century,” and published much of it in pamphlets on Lord Cranworth’s Divorce Bill of this year (1853), thus assisting in the amelioration of the laws relating to the custody9 of children, and the protection of married women’s earnings10.
Her natural tendency was towards poetry, and the first five books published by her were all in verse. In 1851 appeared a novel, in three volumes, called “Stuart of Dunleath,” which was succeeded by “Lost and Saved” and “Old Sir Douglas.”
It is curious to observe the depth and width of the gulf11 which yawns between the novel of 1851 and the novel of to-day.
The latter opens with some brief sentence spoken by one of the characters, or a short dialogue between two or three of them, followed by a rapid sketch12 of their position or an equally brief picture of the scene in which the action of the piece is laid. The reader is plunged13 at once into the drama, and left to guess the parts allotted14 by the author to his puppets.
Forty-five years ago, when Mrs. Norton wrote “Stuart of Dunleath,” the reader had to pass through a wide porch and many long passages before he reached the inner chambers15 of the story. An account of the hero and heroine’s families, even to the third and fourth generation, was indispensable, and the minutest particulars of their respective abodes16 and surroundings were carefully detailed18. The tale travelled by easy stages, with many a pause where byways brought additional wayfarers19 to join the throng20 of those already travelling through the pages; while each and all, regardless of proportion, were described with equal fulness whatever their degree of importance.
These are the characteristics of Mrs. Norton’s novels, which stretch in a leisurely21 fashion to something like two
hundred thousand words. Nevertheless, “Stuart of Dunleath” shows great ability and knowledge of the world. It is evidently written by a well-read, cultivated, and refined woman, with warm feelings and strong religious convictions. The descriptions are excellent, the language is easy and graceful22.
The scene of the story lies chiefly in Scotland, and the Scotch23 characters are very well drawn24, save one, Lady Macfarren, who is inhumanly25 hard. This, too, is one of the peculiarities26 of the forty or forty-five year old novel; its people are terribly consistent in good or evil. The dignity, the high-mindedness, the angelic purity of the heroine is insupportable, and the stainless27 honour, the stern resistance to temptation, the defiance28 of tyrannical wrongdoers, makes the hero quite as bad.
In “Stuart of Dunleath,” however, the hero is decidedly weak. He is the guardian29 of Eleanor Raymond, the heroine, and, seeing a probability of making a large profit by a speculative30 loan, risks her money, hoping to obtain the means to buy back his estate without diminishing her fortune. The speculation31 fails. Eleanor is reduced to poverty, and Stuart is supposed to drown himself. Then the impoverished32 heroine, who is desperately33 in love with her guardian, is compelled to marry a wealthy baronet, Sir Stephen Penrhyn. This is the beginning of
troubles, and very bad troubles they are, continuing steadily34 through two-thirds of the book.
Sir Stephen is a brutally35 bad husband, is shamelessly unfaithful, personally violent, breaks his wife’s arm, and makes her life a burden. Her little twin sons are drowned in a boating accident, and then Stuart returns from the grave, having been stopped in his attempt to drown himself by a picturesque36 old clergyman, and started off to America, where he manages to recover the lost fortune.
By his advice, Eleanor leaves her tyrant37 and takes steps to obtain a divorce, but before the case is ready for hearing is seized with scruples38 and gives up the attempt, chiefly because she fears she is influenced by an unholy love for Stuart. Finally she gets leave of absence from her amiable39 spouse40, and dies of a broken heart before it expires, Stuart having married her dearest friend, the brilliant Lady Margaret Fordyce, thinking that Eleanor had no real affection for him.
The scruples are much to her credit, of course, but she might have tried to save the remainder of her life from the degradation41 which must have been the result of a reunion with her husband, yet kept aloof42 from Stuart without offending God or breaking any sacred law.
Eighteen very distinct characters figure in these pages, and three or four children. Of these the best drawn are
those most lightly sketched43. The author’s favourites are too much described, their merits, their peculiarities, their faults (if allowed to have any) are detailed as the writer sees them. But they do not act and live and develop themselves to the reader, and, therefore, become abstractions, not living entities44.
“Lost and Saved,” written some dozen of years afterward3, has much the same qualities as “Stuart of Dunleath.” The subsidiary characters are more convincing than the leading ladies and gentlemen. The hero, if such a man could be so termed, with his extreme selfishness, his surface amiability45, his infirmity of purpose and utter faithlessness, is well drawn. There is a respectable hero also, but we do not see much of him, which is not to be regretted, as he is an intolerable prig.
In this romance the heroine elopes with Treherne, the villainous hero. (Of course, there are the usual family objections to their wedding.) They intend to go to Trieste, but in the confusion of a night march they get on board the wrong steamer, and find themselves at Alexandria. Here Treherne is confronted with his aunt, the magnificent Marchioness of Updown. He is therefore obliged to suppress Beatrice (the heroine) until the Marchioness “moves on.”
They consequently set off on a voyage up the Nile, apparently46 in search of a clergyman to marry them. It seems, by the way, a curious sort of hunting-ground in which to track an English parson. Then Beatrice falls dangerously ill, and nothing will save her save a parson and the marriage service. A benevolent47 and sympathetic young doctor is good enough to simulate a British chaplain, and the knot is tied to the complete satisfaction of Beatrice. Much misery48 ensues.
It must be added that the magnificent Marchioness of Updown is an extraordinary picture. Besides being a peeress by marriage, she is the daughter of an earl, an aristocrat49 born and bred. Yet her vulgarity is amazing. Her stupid ill-nature, her ignorance, her speech and manner, suggest the idea of a small shopkeeper in a shabby street.
In this novel Mrs. Norton portrays50 the whited-sepulchre sort of woman very clearly in Milly, Lady Nesdale, who is admired and petted by Society, always smiling, well tempered, well dressed, careful to observe les bienséances, making herself pleasant even to her husband; while, screened by this fair seeming, she tastes of a variety of forbidden fruit, one mouthful of which would be enough to consign51 a less astute52 woman to social death. This class of character figures largely in present day novels,
but few equal, none surpass, Mrs. Norton’s masterly touch.
“Old Sir Douglas,” her last novel, was published in Macmillan’s Magazine, 1867. It is planned on the same lines as her previous works of fiction—the plot rather complicated, the characters extremely numerous; among these is an almost abnormally wicked woman who works endless mischief53.
It was, however, as a poetess that Mrs. Norton was chiefly known. Her verse was graceful and harmonious54, but more emotional than intellectual. Wrath55 at injustice56 and cruelty stirred the depths of her soul; her heart was keenly alive to the social evils around her and she longed passionately58 for power to redress59 them. The effect of her own wrongs and sufferings was to quicken her ardour to help her fellow women smarting under English law as it at that time existed. What that law then permitted is best exemplified by her own experience. When the legal proceedings60 between her and her husband were over, and her innocence61 of the charges brought against her was fully17 established, she was allowed to see her children only once for the space of half an hour in the presence of two witnesses chosen by Mr. Norton, though this state of things was afterwards ameliorated by the Infant Custody
Act, which allowed some little further restricted intercourse62.
But these evil times are past. Indeed, it seems hard to believe that barely fifty years separates the barbarous injustice of that period from the decent amenities63 of this, as regards the respective rights of husbands and wives.
Mrs. Norton’s second poem of importance, “The Undying One,” is founded on the legend of the Wandering Jew, a subject always attractive to the poetic64 imagination. It contains many charming lines, and touches on an immense variety of topics, wandering, like its hero, over many lands. The sufferings of isolation65 are vividly66 depicted67, and isolation must, of necessity, be the curse of endless life in this world.
“Thus, thus, to shrink from every outstretched hand, To strive in secret and alone to stand,
Or, when obliged to mingle68 in the crowd,
Curb69 the pale lip which quiveringly obeys,
Gapes70 wide with sudden laughter, vainly loud,
Or writhes71 a faint, slow smile to meet their gaze.
This, this is hell! the soul which dares not show
The barbed sorrow which is rankling72 there, Gives way at length beneath its weight of woe73,
Withers74 unseen, and darkens to despair!”
In these days of rapidity and concentration, poems such as this would never emerge from the manuscript stage, in
which they might be read by appreciative75 friends with abundant leisure.
The same observation applies to “The Dream.” A mother sits watching the slumber76 of her beautiful young daughter who, waking, tells her dream of an exquisite77 life with the one she loves best, unshadowed by grief or pain. The mother warns her that life will not be like this, and draws a somewhat formidable picture of its realities. From this the girl naturally shrinks, wondering where Good is to be found, and is answered thus:
“He that deals blame, and yet forgets to praise,
Who sets brief storms against long summer days,
Hath a sick judgment78.
And shall we all condemn79, and all distrust,
Because some men are false and some unjust?”
Some of Mrs. Norton’s best and most impassioned verses are to be found in the dedication80 of this poem to her friend, the Duchess of Sutherland.
Affection, gratitude81, indignation, grief, regret—these are the sources of Mrs. Norton’s inspiration; but of any coldly intellectual solution of life’s puzzles, such as more modern writers affect, there is little trace.
“The Lady of La Garaye” is a Breton tale (a true one) of a beautiful and noble Chatelaine, on whom Heaven had showered all joy and blessing82. Adored by her hus
band, she shared every hour of his life and accompanied him in his favourite sport of hunting. One day she dared to follow him over too wide a leap. Her horse fell with and on her. She was terribly injured, and crippled for life. After much lamenting83 she is comforted by a good priest, and institutes a hospital for incurables84, she and her husband devoting themselves to good works for the remainder of their days. The versification is smooth, the descriptions are graceful and picturesque; but neither the subject nor its treatment is enthralling85.
Mrs. Norton’s finest poetic efforts are to be found in her short pieces. One entitled “Ataraxia” has a soothing86 charm, which owes half its melody to the undertone of sadness which pervades87 the verse.
“Come forth88! The sun hath flung on Thetis’ breast
The glittering tresses of his golden hair;
All things are heavy with a noon-day rest,
And floating sea-birds cleave89 the stirless air.
Against the sky in outlines clear and rude
The cleft90 rocks stand, while sunbeams slant91 between
And lulling92 winds are murmuring through the wood
Which skirts the bright bay, with its fringe of green.
“Come forth! all motion is so gentle now
It seems thy step alone should walk the earth,
Thy voice alone, the ‘ever soft and low,’
Wake the far haunting echoes into birth.
“Too wild would be Love’s passionate57 store of hope,
Unmeet the influence of his changeful power,
Ours be companionship whose gentle scope
Hath charm enough for such a tranquil93 hour.”
From the perusal94 of her writings, the impression given by her portrait, and the reminiscences of one who knew her, we gather an idea of this charming and gifted woman, whose nature seems to have been rich in all that makes for the happiness of others, and of herself. We feel that she possessed95 a mind abundantly stored, an imagination stimulated96 and informed by sojourning in many lands; a heart, originally tender and compassionate97, mellowed98 by maternal99 love, a judgment trained and restrained by constant intercourse with the best minds of the period, a wit keen as a damascene blade, and a soul to feel, even to enthusiasm, the wrongs and sufferings of others.
Add to these gifts the power of swift expression, and we can imagine what a fascination100 Mrs. Norton must have possessed for those of her contemporaries who had the privilege of knowing her. “She was the most brilliant woman I ever met,” said the late Charles Austen, “and her brilliancy was like summer lightning; it dazzled, but did not hurt.” Unless, indeed, she was impelled101 to denounce some wrong or injustice, when her words could
strike home. Yet to this lovely and lovable woman, life was a long disappointment; and through all she has written a strain of profound rebellion against the irony102 of fate colours her views, her delineations of character, her estimate of the social world. By her relations and friends she was warmly appreciated.
She did not succeed in obtaining the relief of divorce until about 1853. Mr. Norton survived till 1875, and in 1877, a few months before her death, his widow married Sir William Stirling-Maxwell.
It is a curious instance of the change of fashion and the transient nature of popular memory that great difficulty is experienced in obtaining copies of Mrs. Norton’s works, especially of her poems. “The Undying One,” “The Dream,” and one or two smaller pieces, are found only in the British Museum Library. The novels are embedded103 in the deeper strata104 of Mudie’s, but are not mentioned in the catalogue of that all-embracing collection. Yet forty years ago, Mrs. Norton acknowledged that she made at one time about ￡1400 a year by her pen, this chiefly by her contributions to the annuals of that time.
Mrs. Norton, however, had not to contend with the cruel competition which lowers prices while it increases
labour. In her day, the workers were few, and the employers less difficult to please. But these comparisons are not only odious105, but fruitless. The crowd, the competition, the desperate struggle for life, exists, increases, and we cannot alter it. We can but train for the contest as best we may, and say with the lovely and sorely tried subject of this sketch, as she writes in her poem to her absent boys:
“Though my lot be hard and lonely,
Yet I hope—I hope through all.”
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1
renown
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| n.声誉，名望 | |
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eldest
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| adj.最年长的，最年老的 | |
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afterward
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| adv.后来；以后 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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irreconcilable
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| adj.（指人）难和解的，势不两立的 | |
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vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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interfering
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| adj. 妨碍的 动词interfere的现在分词 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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custody
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| n.监护，照看，羁押，拘留 | |
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earnings
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| n.工资收人；利润，利益，所得 | |
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gulf
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| n.海湾；深渊，鸿沟；分歧，隔阂 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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abodes
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| 住所( abode的名词复数 )； 公寓； （在某地的）暂住； 逗留 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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wayfarers
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| n.旅人，（尤指）徒步旅行者( wayfarer的名词复数 ) | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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leisurely
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| adj.悠闲的；从容的，慢慢的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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drawn
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inhumanly
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| adv.无人情味地，残忍地 | |
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peculiarities
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stainless
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| adj.无瑕疵的，不锈的 | |
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defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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guardian
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| n.监护人；守卫者，保护者 | |
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speculative
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| adj.思索性的，暝想性的，推理的 | |
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speculation
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| n.思索，沉思；猜测；投机 | |
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impoverished
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| adj.穷困的，无力的，用尽了的v.使（某人）贫穷( impoverish的过去式和过去分词 )；使（某物）贫瘠或恶化 | |
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desperately
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| adv.极度渴望地，绝望地，孤注一掷地 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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brutally
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| adv.残忍地，野蛮地，冷酷无情地 | |
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picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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tyrant
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| n.暴君，专制的君主，残暴的人 | |
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scruples
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| n.良心上的不安( scruple的名词复数 )；顾虑，顾忌v.感到于心不安，有顾忌( scruple的第三人称单数 ) | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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spouse
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| n.配偶(指夫或妻) | |
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degradation
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| n.降级；低落；退化；陵削；降解；衰变 | |
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aloof
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| adj.远离的；冷淡的，漠不关心的 | |
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sketched
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entities
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| 实体对像； 实体，独立存在体，实际存在物( entity的名词复数 ) | |
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amiability
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| n.和蔼可亲的，亲切的，友善的 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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benevolent
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| adj.仁慈的，乐善好施的 | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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aristocrat
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| n.贵族，有贵族气派的人，上层人物 | |
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portrays
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| v.画像( portray的第三人称单数 )；描述；描绘；描画 | |
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consign
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| vt.寄售（货品），托运，交托，委托 | |
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astute
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| adj.机敏的，精明的 | |
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mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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wrath
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| n.愤怒，愤慨，暴怒 | |
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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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passionately
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| ad.热烈地，激烈地 | |
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redress
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| n.赔偿，救济，矫正；v.纠正，匡正，革除 | |
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proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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innocence
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| n.无罪；天真；无害 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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amenities
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| n.令人愉快的事物；礼仪；礼节；便利设施；礼仪( amenity的名词复数 )；便利设施；（环境等的）舒适；（性情等的）愉快 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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isolation
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| n.隔离，孤立，分解，分离 | |
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vividly
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| adv.清楚地，鲜明地，生动地 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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curb
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| n.场外证券市场，场外交易；vt.制止，抑制 | |
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70
gapes
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| v.目瞪口呆地凝视( gape的第三人称单数 )；张开，张大 | |
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writhes
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| （因极度痛苦而）扭动或翻滚( writhe的第三人称单数 ) | |
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rankling
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| v.（使）痛苦不已，（使）怨恨不已( rankle的现在分词 ) | |
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woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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withers
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| 马肩隆 | |
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75
appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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slumber
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| n.睡眠，沉睡状态 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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condemn
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| vt.谴责，指责；宣判(罪犯)，判刑 | |
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dedication
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| n.奉献，献身，致力，题献，献辞 | |
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gratitude
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| adj.感激，感谢 | |
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82
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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lamenting
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| adj.悲伤的，悲哀的v.（为…）哀悼，痛哭，悲伤( lament的现在分词 ) | |
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84
incurables
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| 无法治愈，不可救药( incurable的名词复数 ) | |
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enthralling
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| 迷人的 | |
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86
soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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pervades
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| v.遍及，弥漫( pervade的第三人称单数 ) | |
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forth
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| adv.向前；向外，往外 | |
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cleave
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| v．(clave；cleaved)粘着，粘住；坚持；依恋 | |
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cleft
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| n.裂缝；adj.裂开的 | |
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slant
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| v.倾斜，倾向性地编写或报道；n.斜面，倾向 | |
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lulling
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| vt.使镇静，使安静（lull的现在分词形式） | |
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tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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perusal
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| n.细读，熟读；目测 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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stimulated
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| a.刺激的 | |
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compassionate
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| adj.有同情心的，表示同情的 | |
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mellowed
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| （使）成熟( mellow的过去式和过去分词 )； 使色彩更加柔和，使酒更加醇香 | |
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maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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100
fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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101
impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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102
irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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103
embedded
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| a.扎牢的 | |
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104
strata
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| n.地层（复数）；社会阶层 | |
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105
odious
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| adj.可憎的，讨厌的 | |
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