greatest of all tragedians of her time. This was in her appearance in
Corneille's famous play of "Horace." She had now, in 1838, blazed forth
with a power that shook her no, less than it stirred the emotions and
the passions of her hearers. The princes of the royal blood came in
succession to see her. King Louis Philippe himself was at last tempted
by curiosity to be present. Gifts of money and jewels were showered on
her, and through sheer natural genius rather than through artifice she
was able to master a great audience and bend it to her will.
She had no easy life, this girl of eighteen years, for other actresses
carped at her, and she had had but little training. The sordid ways of
her old father excited a bitterness which was vented on the daughter.
She was still under age, and therefore was treated as a gold-mine by her
exacting parents. At the most she could play but twice a week. Her form
was frail and reed-like. She was threatened with a complaint of the
lungs; yet all this served to excite rather than to diminish public
interest in her. The newspapers published daily bulletins of her health,
and her door was besieged by anxious callers who wished to know her
condition. As for the greed of her parents, every one said she was
not to blame for that. And so she passed from poverty to riches, from
squalor to something like splendor, and from obscurity to fame.
Much has been written about her that is quite incorrect. She has been
credited with virtues which she never possessed; and, indeed, it may be
said with only too much truth that she possessed no virtues whatsoever.
On the stage while the inspiration lasted she was magnificent. Off
the stage she was sly, treacherous, capricious, greedy, ungrateful,
ignorant, and unchaste. With such an ancestry as she had, with such an
early childhood as had been hers, what else could one expect from her?
She and her old mother wrangled over money like two pickpockets. Some of
her best friends she treated shamefully. Her avarice was without bounds.
Some one said that it was not really avarice, but only a reaction from
generosity; but this seems an exceedingly subtle theory. It is possible
to give illustrations of it, however. She did, indeed, make many
presents with a lavish hand; yet, having made a present, she could
not rest until she got it back. The fact was so well known that her
associates took it for granted. The younger Dumas once received a
ring from her. Immediately he bowed low and returned it to her finger,
saying:
"Permit me, mademoiselle, to present it to you in my turn so as to save
you the embarrassment of asking for it."
Mr. Vandam relates among other anecdotes about her that one evening she
dined at the house of Comte Duchatel. The table was loaded with the
most magnificent flowers; but Rachel's keen eyes presently spied out the
great silver centerpiece. Immediately she began to admire the latter;
and the count, fascinated by her manners, said that he would be glad to
present it to her. She accepted it at once, but was rather fearful
lest he should change his mind. She had come to dinner in a cab, and
mentioned the fact. The count offered to send her home in his carriage.
"Yes, that will do admirably," said she. "There will be no danger of my
being robbed of your present, which I had better take with me."
"With pleasure, mademoiselle," replied the count. "But you will send me
back my carriage, won't you?"
Rachel had a curious way of asking every one she met for presents and
knickknacks, whether they were valuable or not. She knew how to make
them valuable.
Once in a studio she noticed a guitar hanging on the wall. She begged
for it very earnestly. As it was an old and almost worthless instrument,
it was given her. A little later it was reported that the dilapidated
guitar had been purchased by a well-known gentleman for a thousand
francs. The explanation soon followed. Rachel had declared that it was
the very guitar with which she used to earn her living as a child in the
streets of Paris. As a memento its value sprang from twenty francs to a
thousand.
It has always been a mystery what Rachel did with the great sums of
money which she made in various ways. She never was well dressed; and as
for her costumes on the stage, they were furnished by the theater. When
her effects were sold at public auction after her death her furniture
was worse than commonplace, and her pictures and ornaments were
worthless, except such as had been given her. She must have made
millions of francs, and yet she had very little to leave behind her.
Some say that her brother Raphael, who acted as her personal manager,
was a spendthrift; but if so, there are many reasons for thinking that
it was not his sister's money that he spent. Others say that Rachel
gambled in stocks, but there is no evidence of it. The only thing that
is certain is the fact that she was almost always in want of money. Her
mother, in all probability, managed to get hold of most of her earnings.
Much may have been lost through her caprices. One instance may be cited.
She had received an offer of three hundred thousand francs to act at St.
Petersburg, and was on her way there when she passed through Potsdam,
near Berlin. The King of Prussia was entertaining the Russian Czar. An
invitation was sent to her in the shape of a royal command to appear
before these monarchs and their guests. For some reason or other Rachel
absolutely refused. She would listen to no arguments. She would go on to
St. Petersburg without delay.
"But," it was said to her, "if you refuse to appear before the Czar at
Potsdam all the theaters in St. Petersburg will be closed against you,
because you will have insulted the emperor. In this way you will be
out the expenses of your journey and also the three hundred thousand
francs."
Rachel remained stubborn as before; but in about half an hour she
suddenly declared that she would recite before the two monarchs, which
she subsequently did, to the satisfaction of everybody. Some one said to
her not long after:
"I knew that you would do it. You weren't going to give up the three
hundred thousand francs and all your travelling expenses."
"You are quite wrong," returned Rachel, "though of course you will not
believe me. I did not care at all about the money and was going back to
France. It was something that I heard which made me change my mind. Do
you want to know what it was? Well, after all the arguments were over
some one informed me that the Czar Nicholas was the handsomest man
in Europe; and so I made up my mind that I would stay in Potsdam long
enough to see him."
This brings us to one phase of Rachel's nature which is rather sinister.
She was absolutely hard. She seemed to have no emotions except those
which she exhibited on the stage or the impish perversity which
irritated so many of those about her. She was in reality a product of
the gutter, able to assume a demure and modest air, but within coarse,
vulgar, and careless of decency. Yet the words of Jules Janin, which
have been quoted above, explain how she could be personally very
fascinating.
In all Rachel's career one can detect just a single strand of real
romance. It is one that makes us sorry for her, because it tells us that
her love was given where it never could be openly requited.
During the reign of Louis Philippe the Comte Alexandre Walewski held
many posts in the government. He was a son of the great Napoleon. His
mother was that Polish countess who had accepted Napoleon's love because
she hoped that he might set Poland free at her desire. But Napoleon was
never swerved from his well-calculated plans by the wish of any woman,
and after a time the Countess Walewska came to love him for himself. It
was she to whom he confided secrets which he would not reveal to his own
brothers. It was she who followed him to Elba in disguise. It was her
son who was Napoleon's son, and who afterward, under the Second Empire,
was made minister of fine arts, minister of foreign affairs, and,
finally, an imperial duke. Unlike the third Napoleon's natural
half-brother, the Duc de Moray, Walewski was a gentleman of honor and
fine feeling. He never used his relationship to secure advantages for
himself. He tried to live in a manner worthy of the great warrior who
was his father.
As minister of fine arts he had much to do with the subsidized theaters;
and in time he came to know Rachel. He was the son of one of the
greatest men who ever lived. She was the child of roving peddlers whose
early training had been in the slums of cities and amid the smoke of
bar-rooms and cafes. She was tainted in a thousand ways, while he was a
man of breeding and right principle. She was a wandering actress; he was
a great minister of state. What could there be between these two?
George Sand gave the explanation in an epigram which, like most
epigrams, is only partly true. She said:
"The count's company must prove very restful to Rachel."
What she meant was, of course, that Walewski's breeding, his dignity
and uprightness, might be regarded only as a temporary repose for the
impish, harsh-voiced, infinitely clever actress. Of course, it was all
this, but we should not take it in a mocking sense. Rachel looked up out
of her depths and gave her heart to this high-minded nobleman. He looked
down and lifted her, as it were, so that she could forget for the time
all the baseness and the brutality that she had known, that she might
put aside her forced vivacity and the self that was not in reality her
own.
It is pitiful to think of these two, separated by a great abyss which
could not be passed except at times and hours when each was free. But
theirs was, none the less, a meeting of two souls, strangely different
in many ways, and yet appealing to each other with a sincerity and truth
which neither could show elsewhere.
The end of poor Rachel was one of disappointment. Tempted by the fact
that Jenny Lind had made nearly two million francs by her visit to the
United States, Rachel followed her, but with slight success, as was to
be expected. Music is enjoyed by human beings everywhere, while French
classical plays, even though acted by a genius like Rachel, could be
rightly understood only by a French-speaking people. Thus it came about
that her visit to America was only moderately successful.
She returned to France, where the rising fame of Adelaide Ristori was
very bitter to Rachel, who had passed the zenith of her power. She went
to Egypt, but received no benefit, and in 1858 she died near Cannes. The
man who loved her, and whom she had loved in turn, heard of her death
with great emotion. He himself lived ten years longer, and died a little
while before the fall of the Second Empire.
END OF VOLUME THREE
DEAN SWIFT AND THE TWO ESTHERS
The story of Jonathan Swift and of the two women who gave their lives
for love of him is familiar to every student of English literature.
Swift himself, both in letters and in politics, stands out a conspicuous
figure in the reigns of King William III and Queen Anne. By writing
Gulliver's Travels he made himself immortal. The external facts of his
singular relations with two charming women are sufficiently well known;
but a definite explanation of these facts has never yet been given.
Swift held his tongue with a repellent taciturnity. No one ever dared
to question him. Whether the true solution belongs to the sphere of
psychology or of physiology is a question that remains unanswered.
But, as the case is one of the most puzzling in the annals of love, it
may be well to set forth the circumstances very briefly, to weigh the
theories that have already been advanced, and to suggest another.
Jonathan Swift was of Yorkshire stock, though he happened to be born in
Dublin, and thus is often spoken of as "the great Irish satirist," or
"the Irish dean." It was, in truth, his fate to spend much of his life
in Ireland, and to die there, near the cathedral where his remains now
rest; but in truth he hated Ireland and everything connected with it,
just as he hated Scotland and everything that was Scottish. He was an
Englishman to the core.
High-stomached, proud, obstinate, and over-mastering, independence was
the dream of his life. He would accept no favors, lest he should put
himself under obligation; and although he could give generously, and
even lavishly, he lived for the most part a miser's life, hoarding every
penny and halfpenny that he could. Whatever one may think of him, there
is no doubt that he was a very manly man. Too many of his portraits give
the impression of a sour, supercilious pedant; but the finest of them
all--that by Jervas--shows him as he must have been at his very prime,
with a face that was almost handsome, and a look of attractive humor
which strengthens rather than lessens the power of his brows and of the
large, lambent eyes beneath them.
At fifteen he entered Trinity College, in Dublin, where he read widely
but studied little, so that his degree was finally granted him only as
a special favor. At twenty-one he first visited England, and became
secretary to Sir William Temple, at Moor Park. Temple, after a
distinguished career in diplomacy, had retired to his fine country
estate in Surrey. He is remembered now for several things--for having
entertained Peter the Great of Russia; for having, while young, won
the affections of Dorothy Osborne, whose letters to him are charming in
their grace and archness; for having been the patron of Jonathan Swift;
and for fathering the young girl named Esther Johnson, a waif, born out
of wedlock, to whom Temple gave a place in his household.
When Swift first met her, Esther Johnson was only eight years old; and
part of his duties at Moor Park consisted in giving her what was then
an unusual education for a girl. She was, however, still a child, and
nothing serious could have passed between the raw youth and this little
girl who learned the lessons that he imposed upon her.
Such acquaintance as they had was rudely broken off. Temple, a man of
high position, treated Swift with an urbane condescension which drove
the young man's independent soul into a frenzy. He returned to Ireland,
where he was ordained a clergyman, and received a small parish at
Kilroot, near Belfast.
It was here that the love-note was first seriously heard in the
discordant music of Swift's career. A college friend of his named Waring
had a sister who was about the age of Swift, and whom he met quite
frequently at Kilroot. Not very much is known of this episode, but
there is evidence that Swift fell in love with the girl, whom he rather
romantically called "Varina."
This cannot be called a serious love-affair. Swift was lonely, and Jane
Waring was probably the only girl of refinement who lived near Kilroot.
Furthermore, she had inherited a small fortune, while Swift was
miserably poor, and had nothing to offer except the shadowy prospect of
future advancement in England. He was definitely refused by her; and it
was this, perhaps, that led him to resolve on going back to England and
making his peace with Sir William Temple.
On leaving, Swift wrote a passionate letter to Miss Waring--the only
true love-letter that remains to us of their correspondence. He protests
that he does not want Varina's fortune, and that he will wait until
he is in a position to marry her on equal terms. There is a smoldering
flame of jealousy running through the letter. Swift charges her with
being cold, affected, and willing to flirt with persons who are quite
beneath her.
Varina played no important part in Swift's larger life thereafter; but
something must be said of this affair in order to show, first of all,
that Swift's love for her was due only to proximity, and that when he
ceased to feel it he could be not only hard, but harsh. His fiery spirit
must have made a deep impression on Miss Waring; for though she at the
time refused him, she afterward remembered him, and tried to renew their
old relations. Indeed, no sooner had Swift been made rector of a larger
parish, than Varina let him know that she had changed her mind, and was
ready to marry him; but by this time Swift had lost all interest in her.
He wrote an answer which even his truest admirers have called brutal.
"Yes," he said in substance, "I will marry you, though you have treated
me vilely, and though you are living in a sort of social sink. I am
still poor, though you probably think otherwise. However, I will marry
you on certain conditions. First, you must be educated, so that you
can entertain me. Next, you must put up with all my whims and likes and
dislikes. Then you must live wherever I please. On these terms I will
take you, without reference to your looks or to your income. As to the
first, cleanliness is all that I require; as to the second, I only ask
that it be enough."
Such a letter as this was like a blow from a bludgeon. The insolence,
the contempt, and the hardness of it were such as no self-respecting
woman could endure. It put an end to their acquaintance, as Swift
undoubtedly intended it should do. He would have been less censurable
had he struck Varina with his fist or kicked her.
The true reason for Swift's utter change of heart is found, no doubt, in
the beginning of what was destined to be his long intimacy with Esther
Johnson. When Swift left Sir William Temple's in a huff, Esther had been
a mere schoolgirl. Now, on his return, she was fifteen years of age, and
seemed older. She had blossomed out into a very comely girl, vivacious,
clever, and physically well developed, with dark hair, sparkling eyes,
and features that were unusually regular and lovely.
For three years the two were close friends and intimate associates,
though it cannot be said that Swift ever made open love to her. To the
outward eye they were no more than fellow workers. Yet love does not
need the spoken word and the formal declaration to give it life and make
it deep and strong. Esther Johnson, to whom Swift gave the pet name of
"Stella," grew into the existence of this fiery, hold, and independent
genius. All that he did she knew. She was his confidante. As to his
writings, his hopes, and his enmities, she was the mistress of all his
secrets. For her, at last, no other man existed.
On Sir William Temple's death, Esther John son came into a small
fortune, though she now lost her home at Moor Park. Swift returned to
Ireland, and soon afterward he invited Stella to join him there.
Swift was now thirty-four years of age, and Stella a very attractive
girl of twenty. One might have expected that the two would marry, and
yet they did not do so. Every precaution was taken to avoid anything
like scandal. Stella was accompanied by a friend--a widow named Mrs.
Dingley--without whose presence, or that of some third person, Swift
never saw Esther Johnson. When Swift was absent, how ever, the two
ladies occupied his apartments; and Stella became more than ever
essential to his happiness.
When they were separated for any length of time Swift wrote to Stella
in a sort of baby-talk, which they called "the little language." It was
made up of curious abbreviations and childish words, growing more and
more complicated as the years went on. It is interesting to think of
this stern and often savage genius, who loved to hate, and whose hate
was almost less terrible than his love, babbling and prattling in little
half caressing sentences, as a mother might babble over her first child.
Pedantic writers have professed to find in Swift's use of this "little
language" the coming shadow of that insanity which struck him down in
his old age.
As it is, these letters are among the curiosities of amatory
correspondence. When Swift writes "oo" for "you," and "deelest" for
"dearest," and "vely" for "very," there is no need of an interpreter;
but "rettle" for "let ter," "dallars" for "girls," and "givar" for
"devil," are at first rather difficult to guess. Then there is a system
of abbreviating. "Md" means "my dear," "Ppt" means "poppet," and "Pdfr,"
with which Swift sometimes signed his epistles, "poor, dear, foolish
rogue."
The letters reveal how very closely the two were bound together, yet
still there was no talk of marriage. On one occasion, after they had
been together for three years in Ireland, Stella might have married
another man. This was a friend of Swift's, one Dr. Tisdall, who made
energetic love to the sweet-faced English girl. Tisdall accused Swift of
poisoning Stella's mind against him. Swift replied that such was not
the case. He said that no feelings of his own would ever lead him to
influence the girl if she preferred another.
It is quite sure, then, that Stella clung wholly to Swift, and cared
nothing for the proffered love of any other man. Thus through the years
the relations of the two remained unchanged, until in 1710 Swift
left Ireland and appeared as a very brilliant figure in the London
drawing-rooms of the great Tory leaders of the day.
He was now a man of mark, because of his ability as a controversialist.
He had learned the manners of the world, and he carried him self with an
air of power which impressed all those who met him. Among these persons
was a Miss Hester--or Esther--Vanhomrigh, the daughter of a rather
wealthy widow who was living in London at that time. Miss Vanhomrigh--a
name which she and her mother pronounced "Vanmeury"--was then seventeen
years of age, or twelve years younger than the patient Stella.
Esther Johnson, through her long acquaintance with Swift, and from
his confidence in her, had come to treat him almost as an intellectual
equal. She knew all his moods, some of which were very difficult, and
she bore them all; though when he was most tyrannous she became only
passive, waiting, with a woman's wisdom, for the tempest to blow over.
Miss Vanhomrigh, on the other hand, was one of those girls who, though
they have high spirit, take an almost voluptuous delight in yielding to
a spirit that is stronger still. This beautiful creature felt a positive
fascination in Swift's presence and his imperious manner. When his eyes
flashed, and his voice thundered out words of anger, she looked at him
with adoration, and bowed in a sort of ecstasy before him. If he chose
to accost a great lady with "Well, madam, are you as ill-natured and
disagreeable as when I met you last?" Esther Vanhomrigh thrilled at the
insolent audacity of the man. Her evident fondness for him exercised a
seductive influence over Swift.
As the two were thrown more and more together, the girl lost all her
self-control. Swift did not in any sense make love to her, though he
gave her the somewhat fanciful name of "Vanessa"; but she, driven on by
a high-strung, unbridled temperament, made open love to him. When he was
about to return to Ireland, there came one startling moment when Vanessa
flung herself into the arms of Swift, and amazed him by pouring out a
torrent of passionate endearments.
Swift seems to have been surprised. He did what he could to quiet her.
He told her that they were too unequal in years and fortune for anything
but friendship, and he offered to give her as much friendship as she
desired.
Doubtless he thought that, after returning to Ireland, he would not see
Vanessa any more. In this, however, he was mistaken. An ardent girl,
with a fortune of her own, was not to be kept from the man whom
absence only made her love the more. In addition, Swift carried on his
correspondence with her, which served to fan the flame and to increase
the sway that Swift had already acquired.
Vanessa wrote, and with every letter she burned and pined. Swift
replied, and each reply enhanced her yearning for him. Ere long,
Vanessa's mother died, and Vanessa herself hastened to Ireland and took
up her residence near Dublin. There, for years, was enacted this tragic
comedy--Esther Johnson was near Swift, and had all his confidence;
Esther Vanhomrigh was kept apart from him, while still receiving
missives from him, and, later, even visits.