tion>Jonathan Swift
Polite Conversation in Three Dialogues
Published by Good Press, 2019
EAN 4057664106469
Table of Contents
AN INTRODUCTION TO THE FOLLOWING TREATISE.
POLITE CONVERSATION. IN THREE DIALOGUES.
POLITE CONVERSATION, ETC. ST. JAMES’S PARK.
POLITE CONVERSATION, ETC. DIALOGUE II.
POLITE CONVERSATION, ETC. DIALOGUE III.
EDITOR’S INTRODUCTION.
In some ways nothing could be a better introduction to the “Polite Conversation” than the account of it which Mr. Thackeray has given in his “English Humourists” (though under the head of Steele, not Swift), as illustrating the society of the period. That account is in its way not much less of a classic than the immortal original itself, and it is purely delightful. But it neither deals nor pretends to deal with the whole of the subject. Indeed, the idea of Swift’s character which the “Conversation” gives does not square altogether well with the view—true, but one-sided—which it suited Mr. Thackeray to take of Swift.
The “Conversation” appeared very late in Swift’s life, and he himself derived no pecuniary benefit from it. He had, with that almost careless generosity which distinguished him side by side with an odd kind of parsimony, given the manuscript to a not particularly reputable protégée of his, Mrs. Barber, about 1736, and its first edition—a copy of which, presented to me by my friend Mr. Austin Dobson no small number of years ago, is here reproduced—bears date 1738, and was published in London by Motte and Bathurst. The composition, however, dates, as is known to a practical certainty, many years earlier. It is beyond any reasonable doubt identical with the “Essay on Conversation” which Swift noted as written or planned in 1708–10. The nom de guerre on the title-page and to the introduction is Simon Wagstaff, one of the literary family of Staffs fathered by Swift and Steele in “Tatler” times. The manners are evidently those of Queen Anne’s day, and the whole chronology of the introduction (which, it will be seen, has all Swift’s mock carefulness and exactitude) is adjusted to the first decade of the eighteenth century. A hundred years later Scott (whose own evident relish for the “Conversation” struggled somewhat with a desire to apologise for its coarseness to the decencies even of his own day), hazarded the opinion that the abundance of proverbial expressions must be set down to the Dean’s own fancy, not to actual truth of reporting. It is always with great diffidence that I venture to differ with Sir Walter; but I think he was wrong here. One piece of indirect evidence—the extreme energy with which Chesterfield, at no very distant date from the publication, but after a lapse of fully a generation from the probable composition of the dialogues, inveighs against this very practice—would seem to be sufficient to establish its authenticity. For polite society, where its principles are not, as they generally are, pretty constant, is never so bitter as against those practices which were the mode and are now démodés.
But if anyone thinks this argument paradoxical, there are plenty more. The conversation of the immortal eight corresponds exactly to that of the comedies of the time, and the times just earlier, which were written by the finest gentlemen. It meets us, of course less brilliantly put, in the “Wentworth Papers” and other documents of the time; and its very faults are exactly those which Steele and Addison, like their predecessors of the other sex in the Hotel Rambouillet sixty or seventy years earlier, were, just when these dialogues were written, setting themselves to correct. We know, of course, that Swift moved in a world of middle and even not always upper middle class society, as well as in the great world; and that, perhaps, at the date of the actual composition of this piece, he had not reached his fullest familiarity with the latter. But I have myself very little doubt that the dialogues express and were fully justified by the conversation he had actually heard among the less decorous visitors at Temple’s solemn board, in the livelier household of Lord Berkeley, in the circles of Ormond and Pembroke, and during his first initiation after 1707 in London society proper. How far he may have subsequently polished and altered the thing it is impossible to say; that he had done so to some extent is obvious from such simple matters as the use of the word “king” instead of “queen,” from the allusions to the “Craftsman,” and others. I doubt whether the picture became substantially false till far into the reign of George II., if it even became so then.
There are those, of whom, as Mr. Wagstaff would himself say, “I have the honour to be one,” who put the “Polite Conversation” in the very front rank of Swift’s works. It is of course on a far less ambitious scale than “Gulliver;” it has not the youthful audacity and towering aim of the “Tale of a Tub;” it lacks the practical and businesslike cogency of the “Drapier;” the absolute perfection and unrivalled irony of the “Modest Proposal” and the “Argument against abolishing Christianity.” But what it wants in relation to each of these masterpieces in some respects it makes up in others; and it is distinctly the superior of its own nearest analogue, the “Directions to Servants.” It is never unequal; it never flags; it never forces the note. Nobody, if he likes it at all, can think it too long; nobody, however much he may like it, can fail to see that Swift was wise not to make it longer. One of its charms is the complete variation between the introduction and the dialogues themselves. The former follows throughout, even to the rather unnecessary striking in with literary quarrels, the true vein of Swiftian irony, where almost every sentence expresses the exact contrary of the author’s real sentiments, and where the putative writer is made to exhibit himself as ridiculous while discoursing to his own complete satisfaction. It exhibits also, although in a minor key, the peculiar pessimism which excites the shudders of some and the admiration of others in the great satires on humanity enumerated above.
But the dialogues themselves are quite different. They are, with the exception of the lighter passages in the “Journal to Stella,” infinitely the most good-natured things in Swift. The characters are scarcely satirized; they are hardly caricatured. Not one of them is made disagreeable, not one of them offensively ridiculous. Even poor Sir John Linger, despite the scarce concealed scorn and pity of his companions and the
