When Lord Mahon edited the letters of Lord Chesterfield he thought it necessary to warn the intending reader that they are "by no means fitted for early or indiscriminate perusal". Only "those people whose understandings are fixed and whose principles are matured" can, so his Lordship said, read them with impunity. But that was in 1845. And 1845 looks a little distant now. It seems to us now the age of enormous houses without any bathrooms. Men smoke in the kitchen after the cook has gone to bed. Albums lie upon drawing-room tables. The curtains are very thick and the women are very pure. But the eighteenth century also has undergone a change. To us in 1930 it looks less strange, less remote than those early Victorian years. Its civilisation seems more rational and more complete than the civilisation of Lord Mahon and his contemporaries. Then at any rate a small group of highly educated people lived up to their ideals. If the world was smaller it was also more compact; it knew its own mind; it had its own standards. Its poetry is affected by the same security. When we read the Rape of the Lock we seem to find ourselves in an age so settled and so circumscribed that masterpieces were possible. Then, we say to ourselves, a poet could address himself whole-heartedly to his task and keep his mind upon it, so that the little boxes on a lady's dressing-table are fixed among the solid possessions of our imaginations. A game at cards or a summer's boating party upon the Thames has power to suggest the same beauty and the same sense of things vanishing that we receive from poems aimed directly at our deepest emotions. And just as the poet could spend all his powers upon a pair of scissors and a lock of hair, so too, secure in his world and its values, the aristocrat could lay down precise laws for the education of his son. In that world also there was a certainty, a security that we are now without. What with one thing and another times have changed. We can now read Lord Chesterfield's letters without blushing, or, if we do blush, we blush in the twentieth century at passages that caused Lord Mahon no discomfort whatever.

When the letters begin, Philip Stanhope, Lord Chesterfield's natural son by a Dutch governess, was a little boy of seven. And if we are to make any complaint against the father's moral teaching, it is that the standard is too high for such tender years. "Let us return to oratory, or the art of speaking well; which should never be entirely out of our thoughts", he writes to the boy of seven. "A man can make no figure without it in Parliament, or the Church, or in the law", he continues, as if the little boy were already considering his career. It seems, indeed, that the father's fault, if fault it be, is one common to distinguished men who have not themselves succeeded as they should have done and are determined to give their children--and Philip was an only child--the chances that they have lacked. Indeed, as the letters go on one may suppose that Lord Chesterfield wrote as much to amuse himself by turning over the stores of his experience, his reading, his knowledge of the world, as to instruct his son. The letters show an eagerness, an animation, which prove that to write to Philip was not a task, but a delight. Tired, perhaps, with the duties of office and disillusioned with its disappointments, he takes up his pen and, in the relief of free communication at last, forgets that his correspondent is, after all, only a schoolboy who cannot understand half the things that his father says to him. But, even so, there is nothing to repel us in Lord Chesterfield's preliminary sketch of the unknown world. He is all on the side of moderation, toleration, ratiocination. Never abuse whole bodies of people, he counsels; frequent all churches, laugh at none; inform yourself about all things. Devote your mornings to study, your evenings to good society. Dress as the best people dress, behave as they behave, never be eccentric, egotistical, or absent-minded. Observe the laws of proportion, and live every moment to the full.

So, step by step, he builds up the figure of the perfect man--the man that Philip may become, he is persuaded, if he will only--and here Lord Chesterfield lets fall the words which are to colour his teaching through and through--cultivate the Graces. These ladies are, at first, kept discreetly in the background. It is well that the boy should be indulged in fine sentiments about women and poets to begin with. Lord Chesterfield adjures him to respect them both. "For my own part, I used to think myself in company as much above me when I was with Mr. Addison and Mr. Pope, as if I had been with all the Princes in Europe", he writes. But as time goes on the Virtues are more and more taken for granted. They can be left to take care of themselves. But the Graces assume tremendous proportions. The Graces dominate the life of man in this world. Their service cannot for an instant be neglected. And the service is certainly exacting. For consider what it implies, this art of pleasing. To begin with, one must know how to come into a room and then how to go out again. As human arms and legs are notoriously perverse, this by itself is a matter needing considerable dexterity. Then one must be dressed so that one's clothes seem perfectly fashionable without being new or striking; one's teeth must be perfect; one's wig beyond reproach; one's finger-nails cut in the segment of a circle; one must be able to carve, able to dance, and, what is almost as great an art, able to sit gracefully in a chair. These things are the alphabet of the art of pleasing. We now come to speech. It is necessary to speak at least three languages to perfection. But before we open our lips we must take a further precaution--we must be on our guard never to laugh. Lord Chesterfield himself never laughed. He always smiled. When at length the young man is pronounced capable of speech he must avoid all proverbs and vulgar expressions; he must enunciate clearly and use perfect grammar; he must not argue; he must not tell stories; he must not talk about himself. Then, at last, the young man may begin to practise the finest of the arts of pleasing--the art of flattery. For every man and every woman has some prevailing vanity. Watch, wait, pry, seek out their weakness, "and you will then know what to bait your hook with to catch them". For that is the secret of success in the world.

It is at this point, such is the idiosyncrasy of our age, that we begin to feel uneasy. Lord Chesterfield's views upon success are far more questionable than his views upon love. For what is to be the prize of this endless effort and self-abnegation? What do we gain when we have learnt to come into rooms and to go out again; to pry into people's secrets; to hold our tongues and to flatter, to forsake the society of low-born people which corrupts and the society of clever people which perverts? What is the prize which is to reward us? It is simply that we shall rise in the world. Press for a further definition, and it amounts perhaps to this: one will be popular with the best people. But if we are so exacting as to demand who the best people are we become involved in a labyrinth from which there is no returning. Nothing exists in itself. What is good society? It is the society that the best people believe to be good. What is wit? It is what the best people think to be witty. All value depends upon somebody else's opinion. For it is the essence of this philosophy that things have no independent existence, but live only in the eyes of other people. It is a looking-glass world, this, to which we climb so slowly; and its prizes are all reflections. That may account for our baffled feeling as we shuffle, and shuffle vainly, among these urbane pages for something hard to lay our hands upon. Hardness is the last thing we shall find. But, granted the deficiency, how much that is ignored by sterner moralists is here seized upon, and who shall deny, at least while Lord Chesterfield's enchantment is upon him, that these imponderable qualities have their value and these shining Graces have their radiance? Consider for a moment what the Graces have done for their devoted servant, the Earl.

Here is a disillusioned politician, who is prematurely aged, who has lost his office, who is losing his teeth, who, worst fate of all, is growing deafer day by day. Yet he never allows a groan to escape him. He is never dull; he is never boring; he is never slovenly. His mind is as well groomed as his body. Never for a second does he "welter in an easy-chair". Private though these letters are, and apparently spontaneous, they play with such ease in and about the single subject which absorbs them that it never becomes tedious or, what is still more remarkable, never becomes ridiculous. It may be that the art of pleasing has some connection with the art of writing. To be polite, considerate, controlled, to sink one's egotism, to conceal rather than to obtrude one's personality, may profit the writer even as they profit the man of fashion.

Certainly there is much to be said in favour of the training, however we define it, which helped Lord Chesterfield to write his Characters. The little papers have the precision and formality of some old-fashioned minuet. Yet the symmetry is so natural to the artist that he can break it where he likes; it never becomes pinched and formal, as it would in the hands of an imitator. He can be sly; he can be witty; he can be sententious, but never for an instant does he lose his sense of time, and when the tune is over he calls a halt. "Some succeeded, and others burst" he says of George the First's mistresses: the King liked them fat. Again, "He was fixed in the house of lords, that hospital of incurables." He smiles: he does not laugh. Here the eighteenth century, of course, came to his help. Lord Chesterfield, though he was polite to everything, even to the stars and Bishop Berkeley's philosophy, firmly refused, as became a son of his age, to dally with infinity or to suppose that things are not quite as solid as they seem. The world was good enough and the world was big enough as it was. This prosaic temper, while it keeps him within the bounds of impeccable common sense, limits his outlook. No single phrase of his reverberates or penetrates as so many of La Bruyère's do. But he would have been the first to deprecate any comparison with that great writer; besides, to write as La Bruyère wrote, one must perhaps believe in something, and then how difficult to observe the Graces! One might perhaps laugh; one might perhaps cry. Both are equally deplorable.

But while we amuse ourselves with this brilliant nobleman and his views on life we are aware, and the letters owe much of their fascination to this consciousness, of a dumb yet substantial figure on the farther side of the page. Philip Stanhope is always there. It is true that he says nothing, but we feel his presence in Dresden, in Berlin, in Paris, opening the letters and poring over them and looking dolefully at the thick packets which have been accumulating year after year since he was a child of seven. He had grown into a rather serious, rather stout, rather short young man. He had a taste for foreign politics. A little serious reading was rather to his liking. And by every post the letters came--urbane, polished, brilliant, imploring and commanding him to learn to dance, to learn to carve, to consider the management of his legs, and to seduce a lady of fashion. He did his best. He worked very hard in the school of the Graces, but their service was too exacting. He sat down half-way up the steep stairs which lead to the glittering hall with all the mirrors. He could not do it. He failed in the House of Commons; he subsided into some small post in Ratisbon; he died untimely. He left it to his widow to break the news which he had lacked the heart or the courage to tell his father--that he had been married all these years to a lady of low birth, who had borne him children.

The Earl took the blow like a gentleman. His letter to his daughter-in-law is a model of urbanity. He began the education of his grandsons. But he seems to have become a little indifferent to what happened to himself after that. He did not care greatly if he lived or died. But still to the very end he cared for the Graces. His last words were a tribute of respect to those goddesses. Someone came into the room when he was dying; he roused himself: "Give Dayrolles a chair," he said, and said no more.