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tion that they should be destroyed inimediately after her deWe know not how far this desire has been complied with; we trust that it has not. Such a work could not fail of being interesting, although we are informed that this piece of auto-biography is only brought up to the period of her arrival in London; so that by far the most important period of her life is left without illustration. Her remains were deposited in Kensington church-yard, agreeably with her request in her will.

This will was registered in the Prerogative Court on the 17th inst. Probate being granted to Frances Phillips (wife of John Phillips) and George Huggins, (her nephew,) the executors. Her personal property was sworn to be under 60007. in value. Amongst the legacies are, 50l. to the Covent Garden Theatrical Fund; 50l. to Mrs. Isabella Mattocks, late of that theatre; 100l. to the testatrix's god-daughter, Miss Cummins, of the Theatre Royal, York; and 20l. per annum to a person calling himself Robert Inchbald, the illegitimate son of her late husband; 50l, to the Catholic Society, for the relief of the aged poor; 201. each to her late laundress and hairdresser, provided they should inquire of her executors concerning her decease; 100l. to Mr. Taylor, oculist, of the Sun Office, in the Strand, &c. &c. The residue is bequeathed to her nephew and niece, George Huggins and Ann Jarrett. The testatrix desired to be buried in Kensington church-yard, between the hours of eight and eleven in the morning; that three mourning coaches should attend her hearse; and that mass and other sacred ceremonies should be performed, usual upon the decease of a Roman Catholic Christian. The will is written with her own hand, and dated the 30th of April, 1821.

The following character of Mrs. Inchbald, by Mr. Taylor, editor of the Sun newspaper, who was for a long series of years intimately acquainted with her, will serve as an apt finale to this notice, which has been derived almost entirely from the respectable pages of the Monthly Mirror.

"Her mind had an original cast, and her literary style was peculiar, terse, pointed, and impressive. By exemplary in

dustry and prudence she had raised herself into a state of comfortable independence; but she had a liberal heart, and deprived herself of many enjoyments, in order to provide for relations who stood in need of her assistance. She was animated, cheerful, and intelligent in conversation, and her remarks were not taken on trust, but were the effects of acute penetration. Her dramatic productions and her novels, a "Simple Story," and "Nature and Art," show a deep knowledge of the human heart, and those novels in particular are well calculated to improve it. She was very handsome in youth, and retained much of her beauty and elegance till her death. Those who did not know her real character, and the benevolence of her nature, considered her prudence as parsimony; but she was capable of the most generous actions, and, having secured her great object, independence, she was always the ready friend of distress. As a proof that prudence and not parsimony governed her actions, she was offered a thousand pounds, by two different booksellers, for memoirs of herself, which she was known to have written, and which only extended to the period when she fixed her residence in London, but she declined both offers, conceiving that such a publication would be improper during her life. She was about sixty-six years of age, but appeared to be much younger. Though beautiful in person, and in the early part of her life exposed to the hardships and vicissitudes of the theatrical profession, in a provincial career, her conduct was unimpeached, and unimpeachable, and society has seldom suffered a heavier loss than in the death of this truly estimable woman."

Mrs. Inchbald's published Productions are :

1. Appearance is against Them, a farce; 8vo. 1786.
2. I'll tell you What, a comedy; 8vo. 1786.
3. The Widow's Vow, a farce; 8vo. 1786.
4. The Child of Nature, a play; 8vo. 1788.
5. Midnight Hour, a comedy; 8vo. 1788.
6. Such Things are, a play; 8vo. 1788.
7. The Married Man, a comedy; 1789.

8. Next-door Neighbours, a comedy; 1791.

9. A Simple Story, a novel; 4 vols. 12mo. 1791. 10. Every One has his Fault, a comedy; 8vo. 1793. 11. The Wedding-Day, a comedy; 8vo. 1794. 12. Nature and Art, a novel; 2 vols. 12mo. 1796. 13. Wives as they were, and Maids as they are; 1797. 14. Lover's Vows, a play; 8vo. 1798.

15. Wise Man of the East; 8vo. 1799.

16. To Marry or not to Marry, a comedy; 8vo. 1805. 17. A Collection of Plays, with Biographical and Critical Prefaces; 25 vols. 12mo. 1806

- 1809.

18. A Collection of Farces, and other After-pieces; in

7 vols. 12mo. and 18mo. 1808.

19. The Modern Theatre; 10 vols. 12mo. 1809.

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No. IX.

WILLIAM HAYLEY, Esq.

WILLIAM HAYLEY, the friend and biographer of the amiable, but too susceptible, Cowper, was the son of Thomas Hayley, Esq. of Chichester, and of Miss Yeates, daughter of Colonel Yeates, for some time the representative of that town in parliament. He was born at his paternal home in October, 1745, and placed at a very early age at Kingston school, where his progress was considerably retarded by severe and frequent indisposition. The anxiety of Mrs. Hayley, lest the health of her son should be injured by too close an attendance to scholastic duties, induced her to remove him, in due time, and have him privately instructed under her own roof. After receiving the rudiments of a classical education at home, he was sent to Eton, where he appears to have been distinguished rather for the amiableness of his temper and disposition, than for the vigour or capacity of his intellect.

At the age of sixteen William Hayley was entered at Trinity Hall, Cambridge, where one of his earliest productions, a song on the birth of his present Majesty, was composed. This lyric, although somewhat superior to the trash commonly put forth on such occasions, contained no indication of genius, and consequently attracted but very partial notice. The young poet himself had the good sense, a few years afterwards, to join his friends in their ridicule of this maiden essay. From the period of this failure in his first attempt to that of his marriage, in 1769, an interval of seven years, he devoted his time to close and unremitting study. He made himself acquainted with the most approved authors, both ancient and modern, and analysed minutely the matter, sentiments, and styles of

the most celebrated poets and orators of Greece and Rome. He applied himself to the French and Italian languages, and soon became a perfect master of the various beauties of Corneille, Racine, Rousseau, Voltaire, Dante, and Tasso. Nor was his attention confined exclusively to books, he cultivated a natural taste for the fine arts, and owing in part, perhaps, to his intimacy with the painter, Romney, and several other eminent artists, acquired a knowledge of the principles of statuary and painting of which few amateurs can boast.

On his marriage with Miss Ball, daughter of the Dean of Chichester, Mr. Hayley settled in the metropolis, but retired to his country seat at Eartham, in Sussex, after a residence in the metropolis of about five years. During his abode in London he had occasionally sacrificed to the muses, but was restrained, by the natural timidity of his disposition, from making any of his productions public. On his return, however, he seems to have devoted himself to poetry, with the view of striving with his contemporaries up the ascent to fame and popularity; for, in 1778 he published "An Epistle to an Eminent Painter," addressed to his friend Romney. In this poem he developed a minute knowledge of the art upon which it professed to treat.

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His "Essay on History" appeared in 1780, and bore decisive marks of considerable improvement. It may certainly be ranked among the best of his minor productions: it embellishes character with animated description, splendid imagery, and dignified sentiment. Of his next work, the "Triumphs of Temper," little can be said in the way of eulogy, "There is,” says Mr. Leigh Hunt, (in a pleasant little volume, entitled The Feast of the Poets,') "something not inelegant or unfanciful in the conduct of Mr. Hayley's 'Triumphs of Temper,' and the moral is of that useful and desirable description which, from its domestic familiarity, is too apt to be overlooked, or to be thought incapable of embellishment: but in this as well as in all his other writings, there is so much talking by rote, so many gratuitous metaphors, so many epithets to fill up and rhymes to fill in, and such a mawkish langour of versification, with every now and then a ridiculous hurrying for a line or so,

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