A Simple Story. Mrs. Inchbald

somewhat mysteriously, Mr. Inchbald died. To his widow the week that followed was one of "grief, horror, and almost despair"; but soon, with her old pertinacity, she was back at her work, settling at last in London, and becoming a member of the Covent Garden company. Here, for the next five years, she earned for herself a meagre living, until, quite unexpectedly, deliverance came. In her moments of leisure she had been trying her hand upon dramatic composition; she had written some farces, and, in 1784, one of them, A Mogul Tale, was accepted, acted, and obtained a great success. This was the turning-point of her career. She followed up her farce with a series of plays, either original or adapted, which, almost without exception, were well received, so that she was soon able to retire from the stage with a comfortable competence. She had succeeded in life; she was happy, respected, free.

      Mrs. Inchbald's plays are so bad that it is difficult to believe that they brought her a fortune. But no doubt it was their faults that made them popular—their sentimentalities, their melodramatic absurdities, their strangely false and high-pitched moral tone. They are written in a jargon which resembles, if it resembles anything, an execrable prose translation from very flat French verse. "Ah, Manuel!" exclaims one of her heroines, "I am now amply punished by the Marquis for all my cruelty to Duke Cordunna—he to whom my father in my infancy betrothed me, and to whom I willingly pledged my faith, hoping to wed; till Romono, the Marquis of Romono, came from the field of glory, and with superior claims of person as of fame, seized on my heart by force, and perforce made me feel I had never loved till then." Which is the more surprising—that actors could be found to utter such speeches, or that audiences could be collected to applaud them? Perhaps, for us, the most memorable fact about Mrs. Inchbald's dramatic work is that one of her adaptations (from the German of Kotzebue) was no other than that Lovers' Vows which, as every one knows, was rehearsed so brilliantly at Ecclesford, the seat of the Right Hon. Lord Ravenshaw, in Cornwall, and which, after all, was not performed at Sir Thomas Bertram's. But that is an interest sub specie aeternitatis; and, from the temporal point of view, Mrs. Inchbald's plays must be regarded merely as means—means towards her own enfranchisement, and that condition of things which made possible A Simple Story. That novel had been sketched as early as 1777; but it was not completely written until 1790, and not published until the following year. A second edition was printed immediately, and several more followed; the present reprint is taken from the fourth, published in 1799—but with the addition of the characteristic preface, which, after the second edition, was dropped. The four small volumes of these early editions, with their large type, their ample spacing, their charming flavour of antiquity, delicacy, and rest—may be met with often enough in secluded corners of secondhand bookshops, or on some neglected shelf in the library of a country house. For their own generation, they represented a distinguished title to fame. Mrs. Inchbald—to use the expression of her biographer—"was ascertained to be one of the greatest ornaments of her sex." She was painted by Lawrence, she was eulogized by Miss Edgeworth, she was complimented by Madame de Stael herself. She had, indeed, won for herself a position which can hardly be paralleled among the women of the eighteenth century—a position of independence and honour, based upon talent, and upon talent alone. In 1796 she published Nature and Art, and ten years later appeared her last work—a series of biographical and critical notices prefixed to a large collection of acting plays. During the greater part of the intervening period she lived in lodgings in Leicester Square—or "Leicester Fields" as the place was still often called—in a house opposite that of Sir Joshua Reynolds. The œconomy which she had learnt in her early days she continued to practise; dressing with extraordinary plainness, and often going without a fire in winter; so that she was able, through her self-sacrifice, to keep from want a large band of poor relatives and friends. The society she mixed with was various, but, for the most part, obscure. There were occasional visits from the now triumphant Mrs. Siddons; there were incessant propositions—but alas! they were equivocal—from Sir Charles Bunbury; for the rest, she passed her life among actor-managers and humble playwrights and unremembered medical men. One of her friends was William Godwin, who described her to Mrs. Shelley as a "piquante mixture between a lady and a milkmaid", and who, it is said, suggested part of the plot of A Simple Story. But she quarreled with him when he married Mary Wollstonecraft, after whose death she wrote to him thus—"With the most sincere sympathy in all you have suffered—with the most perfect forgiveness of all you have said to me, there must nevertheless be an end to our acquaintance for ever. I respect your prejudices, but I also respect my own." Far more intimate were her relations with Dr. Gisborne—a mysterious figure, with whom, in some tragic manner that we can only just discern, was enacted her final romance. His name—often in company with that of another physician, Dr. Warren, for whom, too, she had a passionate affection—occurs frequently among her papers; and her diary for December 17, 1794, has this entry:—"Dr. Gisborne drank tea here, and staid very late: he talked seriously of marrying—but not me." Many years later, one September, she amused herself by making out a list of all the Septembers since her marriage, with brief notes as to her state of mind during each. The list has fortunately survived, and some of the later entries are as follows:—

       1791. London; after my novel, Simple Story … very happy.

       1792. London; in Leicester Square … cheerful, content, and sometimes rather happy. …

       1794. Extremely happy, but for poor Debby's death.

       1795. My brother George's death, and an intimate acquaintance with Dr. Gisborne—not happy. …

       1797. After an alteration in my teeth, and the death of Dr. Warren—yet far from unhappy.

       1798. Happy, but for suspicion amounting almost to certainty of a rapid appearance of age in my face. …

       1802. After feeling wholly indifferent about Dr. Gisborne—very happy but for ill health, ill looks, &c.

       1803. After quitting Leicester Square probably for ever—after caring scarce at all or thinking of Dr. Gisborne … very happy. …

       1806. … After the death of Dr. Gisborne, too, often very unhappy, yet mostly cheerful, and on my return to London nearly happy.

      The record, with all its quaintness, produces a curious impression of stoicism—of a certain grim acceptance of the facts of life. It would have been a pleasure, certainly, but an alarming pleasure, to have known Mrs. Inchbald.

      In the early years of the century, she gradually withdrew from London, establishing herself in suburban boarding-houses, often among sisters of charity, and devoting her days to the practice of her religion. In her early and middle life she had been an indifferent Catholic: "Sunday. Rose late, dressed, and read in the Bible about David, &c."—this is one of the very few references in her diary to anything approaching a religious observance during many years. But, in her old age, her views changed; her devotions increased with her retirement; and her retirement was at last complete. She died, in an obscure Kensington boarding-house, on August 1, 1821. She was buried in Kensington churchyard. But, if her ghost lingers anywhere, it is not in Kensington: it is in the heart of the London that she had always loved. Yet, even there, how much now would she find to recognize? Mrs. Inchbald's world has passed away from us for ever; and, as we walk there to-day amid the press of the living, it is hard to believe that she too was familiar with Leicester Square.

      G. L. STRACHEY.

[1] The following account is based upon the Memoirs of Mrs. Inchbald, including her familiar correspondence with the most distinguished persons of her time, edited by James Boaden, Esq.—a discursive, vague, and not unamusing book.

A

       SIMPLE STORY,

       Table of Contents

IN FOUR VOLUMES,

       Table of Contents