Last Essays of Maurice Hewlett — A Closer Reading

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Hewlett, Maurice, 1861-1923 Project Gutenberg 2021 Not confirmed
English essays -- 20th century Readers of public-domain and historical texts
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Words 87,663
Reading time 382 min
Text sections 9

This digital edition of Last Essays of Maurice Hewlett — A Closer Reading is described by source-level measurements including 87,663 words, 6 hr 22 min estimated reading time, and 9 detected text sections.

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Maurice Hewlett's posthumous essay collection reveals a writer attuned to place, history, and literary craft. Observations on Somerset origins, French memoirists, and English ballads show a precise, conversational voice.
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f the picturesque I could only advance that I had seen an elm-tree fall on a man in Gray’s Inn and kill him instantly. Or that, at the corner of Montague Place, I saw a runaway brewer’s dray barge into a four-wheeler. It missed the cab (on whose box the driver sat intact), but caught the horse full and knocked him and the shafts with him down some area steps across the pavement--where indeed he remained as in his stall until he could be built up from below. Extreme urgency had hurtled him down the steps, but no persuasion, fore or aft, would move him up again. So they built him up with trusses of straw. Nothing quite so good as that ever happened to me in a four-wheeler; but I haven’t done so badly either. I was driving once through Paris very early in the morning from the Gare de Lyon to Saint-Lazare. You are lucky to get a cab at all at such times, and I thought myself so to have a crazy old victoria and a horse tied together with string. We did not exactly go, but we got, into the rue Lafayette, where, without any warning, the victoria parted amidships. The driver on his box and two wheels went on with the horse; I and my companion fell forward into the road and the hood of the thing atop of us. I set up a yell, half-laughter, half-alarm, which caused our man to look round. When he saw what had happened he pulled up, and very carefully descended from his perch. Did he come to help us? Not so. He went directly and deliberately into a cabaret, without any notice taken of any kind, and we saw him put away a noggin, or whatever it is, of cognac. Then, with the same meditated method, he came to extricate his charges. They, however, had by that time extricated themselves, and considered themselves shut of him.

When a Frenchman begins to drive anything, horse or motor, he seems to become intoxicated with progress, and content just to drive, not to guide, and never, at any rate, to stop. I have been the victim also of that generous ardour. It was in Algiers, ages ago, but not such ages that there were not tramcars along the sea-front. A baker in his covered cart was taking us to see some sight or other; and along the sea-front held his course magnificently indifferent to everything but the speed and joy of it all--aided not a little thereto by the fine afternoon, the business of the road, and the café tables hemming it, dense with customers. For it was the hour of absinthe. The trams flashed past us, coming or going, but little cared he for that. His object was to pass them, and he did pass one or two. Presently, however, at a curve he flogged his horse to pass one, on the wrong side, and just as he drew level, behold, another bearing swiftly down upon us! I confess that I blenched--but he did not; rather held on his way, and not until the last tick of our last minute on earth did it strike him that he must do something. And what did he do? He gave a wild shout and turned his horse sharply to the left. On his left was the overflow of a café--tin tables, bentwood chairs, syphons, opal-brimmed glasses, citizens in straw hats, with straws to their mouths, with cigars or newspapers--as thick as a flock of sheep. Into the midst of this, as once Don Quixote hurled himself, we plunged, horse, cart and passengers. Tables flew right and left, citizens were upset, glasses shivered, waiters wrung their hands. You never saw such a sight. And what did we do? I and my companion sat where we were, laughing ourselves ill, fighting for breath. Our driver slowly dismounted and looked round. He disregarded entirely the havoc he had made, and thought only of his honour. The driver of the tram was waiting for him. They met, and each lifted a bunched hand, in which all the finger-tips met and formed a little cage, to within an inch of the other’s nose. Then began _des injures_, which could only have ended in one of two ways. The arrival of the gendarmes decided in which of the two it was to end.

THE DEATH OF THE SHEEP

Maurice Hewlett's Last Essays opens with a personal inquiry: why his great-grandfather left a Somerset village where his forebards had lived since Domesday. The question is answered not by archival fact but by a journey—'left the bare hills... of South Wilts, topped the great rock on which Shaftesbury lifts, dived down into Blackmore Vale.' The prose moves with the traveler, its rhythms matching the descent into 'my county of origin.' This blend of autobiography and topography sets the tone for a collection that treats history, literature, and rural life with a conversational intimacy.

A Return to the Nest: Place and Memory

The first essay, 'A Return to the Nest,' establishes Hewlett's method: he uses a physical journey to unlock family history. The language is precise about landscape—'softly contoured' hills, a 'great rock'—and vague about motive, admitting he 'never understood' the great-grandfather's move until that day. This restraint is characteristic. Hewlett does not invent psychology; he observes the surface and lets it suggest depth. The essay's title itself is a metaphor for the collection's backward glance, but the writing remains anchored in specific geography: Wincanton, Shaftesbury, Blackmore Vale. Readers will notice how often Hewlett returns to such grounding details, using them as springboards for wider reflection.

French Portraits: Retz and Maintenon

In essays on Cardinal de Retz and Madame de Maintenon, Hewlett shifts from English soil to French courts. His voice becomes more aphoristic: 'Greek was meeting Greek' he says of Retz and Mazarin, and of Maintenon he notes she 'had it both ways; been blamed for what she did not, and for what she did.' The judgments are sharp but grounded in evidence—he cites Saint-Simon, Mme de Sévigné, and a 'recent admirable study' by Mme Saint-René Taillandier. Hewlett does not claim definitive biography; instead, he weighs conflicting accounts, noting that Maintenon 'showed Huguenot characteristics' even after conversion. The prose balances sympathy with critical distance, as when he calls her 'dull, narrow, bigoted, obstinate' yet 'a good woman.'

Ballads and Origins: The Craft of the Vernacular

Several essays—'Ballad-Origins,' 'Peasant Poets,' 'Doggerel or Not'—examine folk poetry and its relation to literary art. Hewlett is interested in the border between 'real and temporal creation,' as one title puts it. He writes as a practitioner, not a theorist, noting how ballads survive through oral repetition and how 'doggerel' can carry genuine feeling. The diction is unpretentious: he speaks of 'the joy of battle' in Retz's memoirs and of 'the brain taut, the eye alert' in political intrigue. These phrases reveal his own aesthetic: a preference for energy over polish, for the vernacular over the academic. The essays on poetry are less about definition than about appreciation of a living tradition.

The Lingering of the Light: Seasonal Essays

The final group of essays—'Crocus and Primrose,' 'Daffodils,' 'Windflowers,' 'Tulips,' 'Summer,' 'The Lingering of the Light'—turns to natural observation. Here Hewlett's prose becomes more lyrical, but still avoids sentimentality. He describes flowers with botanical precision and notes the quality of light at different times of day. The title 'The Lingering of the Light' captures the collection's temporal awareness: these are essays written late in life, attentive to endings. Yet the tone is not elegiac; it is curious, even playful. Hewlett's voice remains that of a man who has read widely and traveled far, but who finds his deepest satisfaction in the particular—a hillside, a memoir, a tulip opening in the sun.

Hewlett's essays reward the patient reader. They assume a shared interest in history, literature, and the natural world, and they trust the reader to follow digressions. The collection is best approached not as a systematic argument but as a series of conversations with a learned, genial companion. Read them in any order; each stands alone. But read them slowly, attending to the turns of phrase and the unexpected connections—between a Somerset lane and a French cardinal, between a ballad and a tulip. That is where Hewlett's craft resides.

There’s a particular ache in reading Last Essays of Maurice Hewlett—he writes of Somerset lanes and old ballads as if tracing a map of what slips away. That same quiet attention to fleeting things lingers in his other collection, Faces in the Fire, and Other Fancies — Context and Discussion, where I found myself remembering how he always trusted the small, glowing moment to hold more than we expect.

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