vious; the world might take her or leave her; she had nothing more to show, or to explain, or to modify; and, with her peerless carriage, she swept along her path. And not only was concealment out of the question; reticence, reserve, even dignity itself, as it sometimes seemed, might be very well dispensed with. As Lady Lyttelton said: "There is a transparency in her truth that is very striking—not a shade of exaggeration in describing feelings or facts; like very few other people I ever knew. Many may be as true, but I think it goes often along with some reserve. She talks all out; just as it is, no more and no less."[1] She talked all out; and she wrote all out, too. Her letters, in the surprising jet of their expression, remind one of a turned-on tap. What is within pours forth in an immediate, spontaneous rush. Her utterly unliterary style has at least the merit of being a vehicle exactly suited to her thoughts and feelings; and even the platitude of her phraseology carries with it a curiously personal flavour. Undoubtedly it was through her writings that she touched the heart of the public. Not only in her "Highland Journals," where the mild chronicle of her private proceedings was laid bare without a trace either of affectation or
- ↑ Lyttelton, 331.
