What then is the charm, the irresistible charm, of Walpole's writings? It consists, we think, in the art of amusing without exciting. He never convinces the reason or fills the imagination, or touches the heart; but he keeps the mind of the reader constantly attentive and constantly entertained. He had a strange ingenuity peculiarly his own, an ingenuity which appeared in all that he did, in his building, in his gardening, in his upholstery, in the matter and in the manner of his writings. If we were to adopt the classification, not a very accurate classification, which Akenside has given of the pleasures of the imagination, we should say that with the Sublime and the Beautiful Walpole had nothing to do, but that the third province, the Odd, was his peculiar domain. The motto which he prefixed to his Catalogue of Royal and Noble Authors might have been inscribed with perfect propriety over the door of every room in his house, and on the title-page of every one of his books; "Dove Diavolo, Messer Ludovico, avete pigliate tante coglionerie?" In his villa, every apartment is a museum; every piece of furniture is a curiosity; there is something strange in the form of the shovel; there is a long story belonging to the bell-rope. We wander among a profusion of rarities, of trifling intrinsic value, but so quaint in fashion, or connected with such remarkable names and events, that they may well detain our attention for a moment. A moment is enough. Some new relic, some new unique, some new carved work, some new enamel, is forthcoming in an instant. One cabinet of trinkets is no sooner closed than another is opened. It is the same with Walpole's writings. It is not in their utility, it is not in their beauty, that their attraction lies. They are to the works of great historians and poets, what Strawberry Hill is to the Museum of Sir Hans Sloane or to the Gallery of Florence. Walpole is constantly showing us things, not of very great value indeed, yet things which we are pleased to see, and which we can see nowhere else. They are baubles; but they are made curiosities either by his grotesque workmanship or by some association belonging to them. His style is one of those peculiar styles by which everybody is attracted, and which nobody can safely venture to imitate. He is a mannerist whose manner has become perfectly easy to him, His affectation is so habitual and so universal that it can hardly be called affectation. The affectation is the essence of the man. It pervades all his thoughts and all his expressions. If it were taken away, nothing would be left. He coins new words, distorts the senses of old words, and twists sentences into forms which make grammarians stare. But all this he does, not only with an air of ease, but as if he could not help doing it. His wit was, in its essential properties, of the same kind with that of Cowley and Donne. Like theirs, it consisted in an exquisite perception of points of analogy and points of contrast too subtile for common observation. Like them, Walpole perpetually startles us by the ease with which he yokes together ideas between which there would seem, at first sight, to be no connection. But he did not, like them, affect the gravity of a lecture, and draw his illustrations from the laboratory and from the schools. His tone was light and fleering; his topics were the topics of the club and the ballroom; and therefore his strange combinations and far-fetched allusions, though very closely resembling those which tire us to death in the poems of the time of Charles the First, are read with pleasure constantly new.
No man who has written so much is so seldom tiresome. In his books there are scarcely any of those passages which, in our school-days, we used to call skip. Yet he often wrote on subjects which are generally considered as dull, on subjects which men of great talents have in vain endeavoured to render popular. When we compare the Historic Doubts about Richard the Third with Whitaker's and Chalmers's books on a far more interesting question, the character of Mary Queen of Scots; when we compare the Anecdotes of Painting with the works of Anthony Wood, of Nichols, of Granger, we at once see Walpole's superiority, not in industry, not in learning, not in accuracy, not in logical power, but in the art of writing what people will like to read. He rejects all but the attractive parts of his subject. He keeps only what is in itself amusing or what can be made so by the artifice of his diction. The coarser morsels of antiquarian learning he abandons to others, and sets out an entertainment worthy of a Roman epicure, an entertainment consisting of nothing but delicacies, the brains of singing birds, the roe of mullets, the sunny halves of peaches. This, we think, is the great merit of his romance. There is little skill in the delineation of the characters. Manfred is as commonplace a tyrant, Jerome as commonplace a confessor, Theodore as commonplace a young gentleman, Isabella and Matilda as commonplace a pair of young ladies, as are to be found in any of the thousand Italian castles in which condottieri have revelled or in which imprisoned duchesses have pined. We cannot say that we much admire the big man whose sword is dug up in one quarter of the globe, whose helmet drops from the clouds in another, and who, after clattering and rustling for some days, ends by kicking the house down. But the story, whatever its value may be, never flags for a single moment. There are no digressions, or unseasonable descriptions, or long speeches. Every sentence carries the action forward. The excitement is constantly renewed. Absurd as is the machinery, insipid as are the human actors, no reader probably ever thought the book dull.
