The Spirit of Place, and Other Essays — Key Ideas to Explore
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Why did not the historians assign all the tender passages (taken very seriously) to Stella, and let Dingley have the jokes, then? That would have been no ill share for Dingley. But no, forsooth, Dingley is allowed nothing.
There are passages, nevertheless, which can hardly be taken from her. For now and then Swift parts his dear MD. When he does so he invariably drops those initials and writes "Stella" or "Ppt" for the one, and "D" or "Dingley" for the other. There is no exception to this anywhere. He is anxious about Stella's "little eyes," and about her health generally; whereas Dingley is strong. Poor Ppt, he thinks, will not catch the "new fever," because she is not well; "but why should D escape it, pray?" And Mrs. Dingley is rebuked for her tale of a journey from Dublin to Wexford. "I doubt, Madam Dingley, you are apt to lie in your travels, though not so bad as Stella; she tells thumpers." Stella is often reproved for her spelling, and Mrs. Dingley writes much the better hand. But she is a puzzle-headed woman, like another. "What do you mean by my fourth letter, Madam Dinglibus? Does not Stella say you had my fifth, goody Blunder?" "Now, Mistress Dingley, are you not an impudent slut to except a letter next packet? Unreasonable baggage! No, little Dingley, I am always in bed by twelve, and I take great care of myself." "You are a pretending slut, indeed, with your 'fourth' and 'fifth' in the margin, and your 'journal' and everything. O Lord, never saw the like, we shall never have done." "I never saw such a letter, so saucy, so journalish, so everything." Swift is insistently grateful for their inquiries for his health. He pauses seriously to thank them in the midst of his prattle. Both women--MD--are rallied on their politics: "I have a fancy that Ppt is a Tory, I fancy she looks like one, and D a sort of trimmer."
But it is for Dingley separately that Swift endured a wild bird in his lodgings. His man Patrick had got one to take over to her in Ireland. "He keeps it in a closet, where it makes a terrible litter; but I say nothing; I am as tame as a clout."
Forgotten Dingley, happy in this, has not had to endure the ignominy, in a hundred essays, to be retrospectively offered to Swift as an unclaimed wife; so far so good. But two hundred years is long for her to have gone stripped of so radiant a glory as is hers by right. "Better, thanks to MD's prayers," wrote the immortal man who loved her, in a private fragment of a journal, never meant for Dingley's eyes, nor for Ppt's, nor for any human eyes; and the rogue Stella has for two centuries stolen all the credit of those prayers, and all the thanks of that pious benediction.
The wild man is alone at will, and so is the man for whom civilization has been kind. But there are the multitudes to whom civilization has given little but its reaction, its rebound, its chips, its refuse, its shavings, sawdust and waste, its failures; to them solitude is a right foregone or a luxury unattained; a right foregone, we may name it, in the case of the nearly savage, and a luxury unattained in the case of the nearly refined. These has the movement of the world thronged together into some blind by-way.
Their share in the enormous solitude which is the common, unbounded, and virtually illimitable possession of all mankind has lapsed, unclaimed. They do not know it is theirs. Of many of their kingdoms they are ignorant, but of this most ignorant. They have not guessed that they own for every man a space inviolate, a place of unhidden liberty and of no obscure enfranchisement. They do not claim even the solitude of closed corners, the narrow privacy of the lock and key; nor could they command so much. For the solitude that has a sky and a horizon they know not how to wish.
Alice Meynell opens her 1899 collection with an essay on bells—not as mere instruments but as voices of place. She distinguishes the bell's 'inaccessible utterance' from the poet's mimicry, noting how wedding bells are 'compelled to seem gay by mere movement and hustling.' The cathedral bells of France, heard by night, become 'the classics of a dialect,' anchoring the traveler's memory. This attention to sound as a carrier of locality sets the tone for a book that moves between landscapes, literature, and the habits of perception.
Bells and the Grammar of Place
Meynell's title essay treats bells as the 'voice' of a region, contrasting their 'remote tongue' with the poet's attempts at translation. She observes that a clock's chimes are 'wild prisoners' released at intervals, while the bell-ringer's haste can make grim bells seem gay. The essay's central insight—that the spirit of place 'speaks its local tongue remotely, steadfastly, largely'—is illustrated through the contrast between a traveler's first hearing and a native's lifelong familiarity. Meynell's prose itself enacts this tension: she describes the bells as 'fugitives' and 'hours of the past,' linking sound to memory and geography.
The Vicar of Wakefield Under Scrutiny
In a later essay, Meynell turns her analytic eye on Goldsmith's novel, dissecting its female characters with pointed precision. She calls Mrs. Primrose 'the woman we find thenceforth, in Thackeray, in Douglas Jerrold, in Dickens,' tracing a literary lineage of domestic vulgarity. The daughters, Olivia and Sophia, are 'not only vain' but 'so envious as to refuse admiration to a sister-in-law.' Meynell notes the 'odd sidling ways' by which Goldsmith retroactively gives Olivia virtue, and she questions the dignity of the final love scenes. Her critique is grounded in specific passages—the Vicar's praise of Olivia's 'preference for happiness over ostentation' despite her known stratagems—and reveals a sharp awareness of how fiction shapes expectations of women.
Movement Between Scenes and Scales
The collection's structure alternates between close readings of literature and broader meditations on place, time, and habit. Meynell moves from the 'spirit of place' as a 'strong and dominant angel' to the 'tedium of Mrs. Primrose's dreams,' shifting scale from landscape to domestic detail. This movement is not arbitrary: she treats a novel's characters as inhabitants of a moral landscape, just as she treats a cathedral's bells as markers of a physical one. The essays are linked by a concern with how we perceive—whether through sound, sight, or memory—and how those perceptions are shaped by the 'habits and consciousness' she examines in a later piece.
Recurring Images: Windows, Doors, and the Sky
Throughout the excerpts, Meynell returns to images of openings and thresholds. The chimes are 'delivered from the close hands of this actual present' through a 'sudden upper door opened against the sky.' In the literary essay, she notes how the Vicar's household is defined by its 'powders and patches' and the 'ride thither on Blackberry'—a procession that blurs interior and exterior. These recurring motifs suggest a preoccupation with boundaries: between the familiar and the strange, the domestic and the wild, the temporal and the eternal. Meynell's prose itself opens such doors, inviting the reader to step from a bell's peal into a meditation on memory, or from a novel's squalor into a reflection on literary tradition.
Meynell's essays reward a reader attentive to the specific: the exact note of a bell, the precise shade of a character's vanity. Rather than offering a unified argument, the collection invites movement between its pieces, each a distinct observation that gains resonance through juxtaposition. Readers may find it useful to note how Meynell's own prose enacts the 'spirit of place' she describes—by grounding abstract ideas in concrete, sensory detail.
Reading Meynell’s quiet bells and shifting landscapes, I felt that particular ache of place—how a sound can hold a whole life. It reminded me, strangely, of an old scribe’s wandering, where recollection itself becomes the only fixed point. The sexagenarian; or, the recollections of a literary life (Volume 2 of 2) — Reading Notes carries that same gentle weight, a memory of rooms and pages rather than stones.
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