"Bath, 2nd July, 1784.-The happiest day of my whole life, I think-Yes, quite the happiest: my Piozzi came home yesterday and dined with me; but my spirits were too much agitated, my heart was too much dilated. I was too painfully happy then; my sensations are more quiet to-day, and my felicity less tumultuous."

Written in the margin of the last entry — "We shall go to London about the affairs, and there be married in the Romish Church."

"25th July, 1784.- I am returned from church the happy wife of my lovely faithful Piozzi subject of my prayers, object of my wishes, my sighs, my reverence, my esteem. His nerves have been horribly shaken, yet he lives, he loves me, and will be mine for ever. He has sworn, in the face of God and the whole Christian Church; Catholics, Protestants, all are witnesses."

In one of her memorandum books she has set down: "We were married according to the Romish Church in one of our excursions to London, by Mr. Smith, Padre Smit as they called him, chaplain to the Spanish Ambassador. Mr. Morgan tacked us together at St. James's, Bath, 25th July, 1784, and on the first day I think of September, certainly the first week, we took leave of England."

When her first engagement with Piozzi became known, the newspapers took up the subject, and rang the changes on the amorous disposition of the widow, and the adroit cupidity of the fortune-hunter. On the announcement of the marriage, they recommenced the

attack, and people of our day can hardly form a notion of the storm of obloquy that broke upon her, except from its traces, which have never been erased. To this hour, we may see them in the confirmed prejudices of writers like Mr. Croker and Lord Macaulay, who, agreeing in little else, agree in denouncing "this miserable mésalliance" with one who figures in their pages sometimes as a music-master, sometimes as a fiddler, never by any accident in his real character of a professional singer and musician of established reputation, pleasing manners, ample means, and unimpeachable integrity. The repugnance of the daughters to the match was reasonable and intelligible, but to appreciate the tone taken by her friends, we must bear in mind the social position of Italian singers and musical performers at the period. "Amusing vagabonds" are the epithets by which Lord Byron designates Catalani and Naldi, in 1809*; and such is the light in which they

*

"Well may the nobles of our present race
Watch each distortion of a Naldi's face;
Well may they smile on Italy's buffoons,
And worship Catalani's pantaloons."

"Naldi and Catalani require little notice; for the visage of the one and the salary of the other will enable us long to recollect these amusing vagabonds.” — English Bards and Scotch Reviewers. Artists in general, and men of letters by profession, did not rank much higher in the fine world. (See Miss Berry's England and France," vol. ii. p. 42.) A German author, non-noble, had a liaison with a Prussian woman of rank. On her husband's death he proposed marriage, and was indignantly refused. The lady was conscious of no degradation from being his mistress, but would have forfeited both caste and self-respect by becoming his wife.

were undoubtedly regarded in 1784. Mario would have been treated with the same indiscriminating illiberality as Piozzi.

Did those who took the lead in censuring or repudiating Mrs. Piozzi, ever attempt to enter into her feelings, or weigh her conduct with reference to its tendency to promote her own happiness? Could they have done so, had they tried? Rarely can any one so identify himself or herself with another as to be sure of the soundness of the counsel or the justice of the reproof. She was neither impoverishing her children (who had all independent fortunes) nor abandoning them. She was setting public opinion at defiance, which is commonly a foolish thing to do; but what is public opinion to a woman whose heart is breaking, and who finds, after a desperate effort, that she is unequal to the sacrifice demanded of her? She accepted Piozzi deliberately, with full knowledge of his character; and she never repented of her choice.

The Lady Cathcart, whose romantic story is mentioned in "Castle Rackrent," was wont to say: “I have been married three times; the first for money, the second for rank, the third for love; and the third was worst of all." Mrs. Piozzi's experience would have led to an opposite conclusion. Her love match was a singularly happy one; and the consciousness that she had transgressed conventional observances or prejudices, not moral rules, enabled her to outlive and bear down calumny."

The

pros and cons of the main question at issue are well stated

In reference to these passages, the Edinburgh reviewer remarks:

66

Nothing can be more reasonable; and we should certainly live in a more peaceful (if not more entertaining) world, if nobody in it reproved another until he had so far identified himself with the culprit as to be sure of the justice of the reproof; perhaps, also, if a fiddler were rated higher in society than a duke without accomplishments, and a carpenter far higher than either. But neither reasoning nor gallantry will alter the case, nor prevail over the world's prejudice against unequal marriages, any more than its prejudices in favour of birth and fashion. It has never been quite established to the satisfaction of the philosophic mind, why the rule of society should be that as the husband, so the wife is,' and why a lady who contracts a marriage below her station is looked on with far severer eyes than a gentleman qui s'encanaille to the same degree.

in Corinne: "Ah, pour heureux,' interrompit le Comte d'Erfeuil, 'je n'en crois rien: on n'est heureux que par ce qui est convenable. La société a, quoi qu'on fasse, beaucoup d'empire sur le bonheur; et ce qu'elle n'approuve pas, il ne faut jamais le faire.' 'On vivrait donc toujours pour ce que la société dira de nous,' reprit Oswald; et ce qu'on pense et ce qu'on sent ne servirait jamais de guide.' 'C'est très bien dit,' reprit le comte, très-philosophiquement pensé; mais avec ces maximes là, l'on se perd; et quand l'amour est passé, le blâme de l'opinion reste. Moi qui vous paraîs léger, je ne ferai jamais rien qui puisse m'attirer la désapprobation du monde. On peut se permettre de petites libertés, d'aimables plaisanteries, qui annoncent de l'indépendance dans la manière d'agir; car, quand cela touche au sérieux.'-'Mais le sérieux, repondit Lord Nelvil, 'c'est l'amour et le bonheur.'"- Corinne, liv. ix. ch. 1.

But these things are so,-as the next dame of rank and fortune, and widow of an M.P., who, rashly relying on Mr. Hayward's assertion that the world has grown wiser, espouses a foreign professional,' will assuredly find to her cost, although she may escape the ungenerous public attacks which poor Mrs. Piozzi earned by her connexion with literary men."

In 1784 they hanged for crimes which we should think adequately punished by a short imprisonment; as they hooted and libelled for transgressions or errors which, whatever their treatment by a portion of our society, would certainly not provoke the thunders of our press. I think (though I made no assertion of the kind) that the world has grown wiser; and the reviewer admits as much when he says that his supposititious widow "may escape the ungenerous public attacks which poor Mrs. Piozzi earned by her connexion with literary men." But where do I recommend unequal marriages, or dispute the claims of birth and fashion, or maintain that a fiddler should be rated higher than a duke without accomplishments, and a carpenter far higher than either? All this is utterly beside the purpose; and surely there is nothing reprehensible in the suggestion that, before harshly reproving another, we should do our best to test the justice of the reproof by trying to make the case our own. Goethe proposed to extend the self-same rule to criticism. One of his favourite canons was that a critic should always endeavour to place himself temporarily in the author's point of view. If the reviewer had done so, he might