Through the long history of human relations, which is the history of the life of our race, there sounds at intervals the clamour of a single voice which has not the tone of oratory, but asks, answers, interrupts itself, interrupts—what else? Whatever else it interrupts is silence; there are pauses, but no answers. There is the jest without the laugh, and again the laugh without the jest. And this is because the letters written by Madame de Sévigné were all saved, and not many written to her; because Swift burnt the letters that were the dearest things in life to him, while "MD" both made a treasury of his; and because Prue kept all the letters which Steele wrote to her from their marriage-day onwards, and Steele kept none of hers.

In Swift's case the silence is full of echoes; that is to say, his letters repeat the phrases of Stella's and Dingley's, to play with them, flout them, and toss them back against the two silenced voices. He never lets the word of these two women fall to the ground; and when they have but blundered with it, and aimed it wide, and sent it weakly, he will catch it, and play you twenty delicate and expert juggling pranks with it as he sends it back into their innocent faces. So we have something of MD's letters in the "Journal," and this in the only form in which we desire them, to tell the truth; for when Swift gravely saves us some


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