'Are your characters and deions true?' somebody once asked our authoress. 'Yes, yes, yes, as true, as true as is well possible,' she answers. 'You, as a great landscape painter, know that in painting a favourite scene you do a little embellish and can't help it; you avail yourself of happy accidents of atmosphere; if anything be ugly you strike it out, or if anything be wanting, you put it in.
But still the picture is a likeness.'
So wrote Miss Mitford, but with all due respect for her and for Sir William Elford, the great landscape painter, I cannot help thinking that what is admirable in her book, are not her actual deions and pictures of intelligent villagers and greyhounds, but the more imaginative things; the sense of space and nature and progress which she knows how to convey; the sweet and emotional chord she strikes with so true a touch. Take at hazard her deion of the sunset.
How simple and yet how finely felt it is. Her genuine delight reaches us and carries us along; it is not any embellishing of effects, or exaggeration of facts, but the reality of a true and very present feeling. . . 'The narrow line of clouds which a few minutes ago lay like long vapouring streaks along the horizon, now lighted with a golden splendour, that the eye can scarcely endure; those still softer clouds which floated above, wreathing and curling into a thousand fantastic forms as thin and changeful as summer smoke, defined and deepened into grandeur, and hedged with ineffable, insufferable light. Another minute and the brilliant orb totally disappears and the sky above grows, every moment, more varied and more beautiful, as the dazzling golden lines are mixed with glowing red and gorgeous purple, dappled with small dark specks, and mingled with such a blue as the egg of the hedge-sparrow. . . . To look up at that glorious sky, and then to see that magnificent picture reflected in the clear and lovely Loddon water, is a pleasure never to be described, and never to be forgotten. My heart swells, and my eyes fill as I write of it, and think of the immeasurable majesty of nature and the unspeakable goodness of God, who has spread an enjoyment so pure, so peaceful, and so intense before the meanest and lowliest of His creatures.'
But it is needless now to go on praising 'Our Village,' or to recount what a success was in store for the little book. Certain books hold their own by individual right and might; they are part of everybody's life as a matter of course. They are not always read, but they tacitly take their place among us. The editions succeeded editions here and in America; artists came down to illustrate the scenes. Miss Mitford, who was so delighted with the drawings by Mr. Baxter, should have lived to see the charming glimpses of rural life we owe to Mr. Thomson. 'I don't mind 'em,' says Lizzy to the cows, as they stand with spirited bovine grace behind the stable door.
'Don't mind them indeed!'
I think the author would assuredly have enjoyed the picture of the baker, the wheelwright and the shoemaker, each following his special Alderney along the road to the village, or of the farmer driving his old wife in the gig. . . . One design, that of the lady in her pattens, comes home to the writer of these notes, who has perhaps the distinction of being the only authoress now alive who has ever walked out in pattens. At the age of seven years she was provided with a pair by a great-great-aunt, a kind old lady living at Fareham, in Hampshire, where they were still in use. How interesting the little circles looked stamped upon the muddy road, and how nearly down upon one's nose one was at every other step!
But even with all her success, Miss Mitford was not out of her troubles. She writes to Mr. Harness saying: 'You cannot imagine how perplexed I am. There are points in my domestic situation too long and too painful to write about; the terrible improvidence of one dear parent, the failure of memory and decay of faculty in that other who is still dearer, cast on me a weight of care and fear that I can hardly bear up against.' Her difficulties were unending. The new publisher now stopped payment, so that even 'Our Village' brought in no return for the moment; Charles Kemble was unable to make any offer for 'Foscari.' She went up to town in the greatest hurry to try and collect some of the money owing to her from her various publishers, but, as Mr. Harness says, received little from her debtors beyond invitations and compliments. She meditates a novel, she plans an opera, 'Cupid and Psyche.'
