Les Manières Nobles.

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self alone, were agreeable qualities to be assumed; for self, was the country to be served, because that country protects and serves us for self, were friends to be sought and cherished, as useful auxiliaries, or pleasant accessories: in the very core of the cankered heart, that advocated this corrupting doctrine of expediency, lay unbelief; that worm which never died in the hearts of so many illustrious men of that period-the refrigerator of the feelings.

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One only gentle and genuine sentiment possessed Lord Chesterfield, and that was his love for his son. Yet in this affection the worldly man might be seen in mournful colours. He did not seek to render his son good; his sole desire was to see him successful every lesson that he taught him, in those matchless Letters which have carried down Chesterfield's fame to us when his other productions have virtually expired, exposes a code of dissimulation which Philip Stanhope, in his marriage, turned upon the father to whom he owed so much care and advancement. These Letters are, in fact, a complete exposition of Lord Chesterfield's character and views of life. No other man could have written them; no other man have conceived the notion of existence being one great effort to deceive, as well as to excel, and of society forming one gigantic lie. It is true they were addressed to one who was to enter the maze of a diplomatic career, and must be taken, on that account, with some reservation.

They have justly been condemned on the score of immorality; but we must remember that the age in which they were written was one of lax notions, especially among men of rank, who regarded all women accessible, either from indiscretion or inferiority of rank, as fair game, and acted accordingly. But whilst we agree with one of Johnson's bitterest sentences as to the immorality of Chesterfield's letters, we disagree with his styling his code of manners the manners' of a dancing-master. Chesterfield was in himself a perfect instance of what he calls les manières nobles; and this even Johnson allowed.

'Talking of Chesterfield,' Johnson said, 'his manner was exquisitely elegant, and he had more knowledge than I expected.' Boswell: 'Did you find, sir, his conversation to be of

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Letters to his Son.

a superior sort ?'-Johnson: 'Sir, in the conversation which I had with him, I had the best right to superiority, for it was upon philology and literature.'

It was well remarked how extraordinary a thing it was that a man who loved his son so entirely should do all he could to make him a rascal. And Foote even contemplated bringing on the stage a father who had thus tutored his son; and intended to show the son an honest man in everything else, but practising his father's maxims upon him, and cheating him.

It should be so contrived,' Johnson remarked, referring to Foote's plan, that the father should be the only sufferer by the son's villany, and thus there would be poetical justice.' 'Take out the immorality,' he added, on another occasion, and the book (Chesterfield's Letters to his Son) should be put into the hands of every young gentleman.'

We are inclined to differ, and to confess to a moral taint throughout the whole of the Letters; and even had the immorality been expunged, the false motives, the deep, invariable advocacy of principles of expediency, would have poisoned what otherwise might be of effectual benefit to the minor virtues of polite society.

An Eastern Allegory.-Who comes Here?-A Mad Freak and its Consequences. -Making an Abbé of him.-The May-Fair of Paris.-Scarron's Lament to Pellisson.-The Office of the Queen's Patient.-' Give me a Simple Benefice.'-Scarron's Description of Himself.-Improvidence and Servility.The Society at Scarron's.-The Witty Conversation.-Francoise D'Aubigné's Début.-The Sad Story of La Belle Indienne.-Matrimonial Considerations.-'Scarron's Wife will live for ever.'-Petits Soupers.-Scarron's last Moments.-A Lesson for Gay and Grave.

HERE is an Indian or Chinese legend, I forget which,

from which Mrs. Shelley may have taken her hideous

idea of Frankenstein. We are told in this allegory that, after fashioning some thousands of men after the most approved model, endowing them with all that is noble, generous, admirable, and loveable in man or woman, the eastern Prometheus grew weary in his work, stretched his hand for the beercan, and draining it too deeply, lapsed presently into a state of what Germans call 'other-man-ness.'-There is a simpler Anglo-Saxon term for this condition, but I spare you. The eastern Prometheus went on seriously with his work, and still produced the same perfect models, faultless alike in brain and leg. But when it came to the delicate finish, when the last touches were to be made, his hand shook a little, and the more delicate members went awry. It was thus that instead of the power of seeing every colour properly, one man came out with a pair of optics which turned everything to green, and this verdancy probably transmitted itself to the intelligence. Another, to continue the allegory, whose tympanum had slipped a little under the unsteady fingers of the man-maker, heard everything in a wrong sense, and his life was miserable, because, if you sang his praises, he believed you were ridiculing him, and if

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An Eastern Allegory.

you heaped abuse upon him, he thought you were telling lies of him.

But as Prometheus Orientalis grew more jovial, it seems to have come into his head to make mistakes on purpose. 'I'll have a friend to laugh with,' quoth he; and when warned by an attendant Yaksha, or demon, that men who laughed one hour often wept the next, he swore a lusty oath, struck his thumb heavily on a certain bump in the skull he was completing, and holding up his little doll, cried, 'Here is one who will laugh at everything!'

I must now add what the legend neglects to tell. The model laugher succeeded well enough in his own reign, but he could not beget a large family. The laughers who never weep, the real clowns of life, who do not, when the curtain drops, retire, after an infinitesimal allowance of 'cordial,' to a halfstarved, complaining family, with brats that cling round his parti-coloured stockings, and cry to him-not for jokes-but for bread, these laughers, I say, are few and far between. You should, therefore, be doubly grateful to me for introducing to you now one of the most famous of them; one who with all right and title to be lugubrious, was the merriest man of his age.

On Shrove Tuesday, in the year 1638, the good city of Mans was in a state of great excitement: the carnival was at its height, and everybody had gone mad for one day before turning pious for the long, dull forty days of Lent. The marketplace was filled with maskers in quaint costumes, each wilder and more extravagant than the last. Here were magicians with high peaked hats covered with cabalistic signs, here Eastern sultans of the medieval model, with very fierce looks and very large scimitars here Amadis de Gaul with a wagging plume a yard high, here Pantagruel, here harlequins, here Huguenots ten times more lugubrious than the despised sectaries they mocked, here Cæsar and Pompey in trunk hose and Roman helmets, and a mass of other notabilities who were great favourites in that day, appeared.

But who comes here? What is the meaning of these roars of laughter that greet the last mask who runs into the market

Who Comes Here?

237.

place? Why do all the women and children hurry together, calling up one another, and shouting with delight? What is this thing? Is it some new species of bird, thus covered with feathers and down? In a few minutes the little figure is surrounded by a crowd of boys and women, who begin to pluck him of his borrowed plumes, while he chatters to them like a magpie, whistles like a song-bird, croaks like a raven, or in his natural character showers a mass of funny nonsense on them, till their laughter makes their sides ache. The little wretch is literally covered with small feathers from head to foot, and even his face is not to be recognized. The women pluck him behind and before; he dances round and tries to evade their fingers. This is impossible; he breaks away, runs down the market pursued by a shouting crowd, is again surrounded, and again subjected to a plucking process. The bird must be stripped; he must be discovered. Little by little his back is bared, and little by little is seen a black jerkin, black stockings, and, wonder upon wonder! the bands of a canon. Now they have cleared his face of its plumage, and a cry of disgust and shame hails the disclosure. Yes, this curious masker is no other than a reverend abbé, a young canon of the cathedral of Mans! This is too much—it is scandalous—it is disgraceful. The church must be respected, the sacred order must not descend to such frivolities.' The people, lately laughing, are now furious at the shameless abbé and not his liveliest wit can save him; they threaten and cry shame on him, and in terror of his life, he beats his way through the crowd, and takes to his heels. The mob follows, hooting and savage. The little man is nimble; those well-shaped legs-qui ont si bien dansé stand him in good stead. Down the streets, and out of the the town go hare and hounds. The pursuers gain on him—a bridge, a stream filled with tall reeds, and delightfully miry, are all the hope of refuge he sees before him. He leaps gallantly from the bridge in among the oziers, and has the joy of listening to the disappointed curses of the mob, when reaching the stream, their quarry is nowhere to be seen. The reeds conceal him, and there he lingers till nightfall, when he can issue from his lurking-place, and escape from the town.