OUTLINES
we come, as of course we do, to that phrase which relates how “as we looked upon the steps leading down from the upper room, we fancied we saw the tiny figure jumping from step to step”, it would be the grossest outrage upon our sensibilities to be told that those steps were Athenian, Elizabethan, or Parisian. They were, of course, eighteenth-century steps, leading down from the old panelled room into the shady garden, where, tradition has it, William Pitt played marbles, or, if we like to be bold, where on still summer days we can almost fancy that we hear the drums of Bonaparte on the coast of France. Bonaparte is the limit of the imagination on one side, as Monmouth is on the other; it would be fatal if the imagination took to toying with Prince Albert or sporting with King John. But fancy knows her place, and there is no need to labour the point that her place is the eighteenth century. The other point is more obscure. One must be a lady. Yet what that means, and whether we like what it means, may both be doubtful. If we say that Jane Austen was a lady and that Charlotte Brontë was not one, we do as much as need be done in the way of definition, and commit ourselves to neither side.
It is undoubtedly because of their reticence that Miss Hill is on the side of the ladies. They sigh things off and they smile things off, but they never seize the silver table by the legs or dash the teacups on the floor. It is in many ways a great convenience to have a subject who can be trusted to live a long life without once raising her voice. Sixteen years is a
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