But, to be quite in sympathy with Pepys, we must return once more to the experience of children. I can remember to have written, in the fly-leaf of more than one book, the date and the place where I then was - if, for instance, I was ill in bed or sitting in a certain garden; these were jottings for my future self; if I should chance on such a note in after years, I thought it would cause me a particular thrill to recognise myself across the intervening distance. Indeed, I might come upon them now, and not be moved one tittle - which shows that I have comparatively failed in life, and grown older than Samuel Pepys. For in the Diary we can find more than one such note of perfect childish egotism; as when he explains that his candle is going out, "which makes me write thus slobberingly;" or as in this incredible particularity, "To my study, where I only wrote thus much of this day's passages to this *, and so out again;" or lastly, as here, with more of circumstance: "I staid up till the bellman came by with his bell under my window, AS I WAS WRITING OF THIS VERY LINE, and cried, `Past one of the clock, and a cold, frosty, windy morning.'" Such passages are not to be misunderstood. The appeal to Samuel Pepys years hence is unmistakable. He desires that dear, though unknown, gentleman keenly to realise his predecessor; to remember why a passage was uncleanly written; to recall (let us fancy, with a sigh) the tones of the bellman, the chill of the early, windy morning, and the very line his own romantic self was scribing at the moment. The man, you will perceive, was making reminiscences - a sort of pleasure by ricochet, which comforts many in distress, and turns some others into sentimental libertines: and the whole book, if you will but look at it in that way, is seen to be a work of art to Pepys's own address.
Here, then, we have the key to that remarkable attitude preserved by him throughout his Diary, to that unflinching -I had almost said, that unintelligent - sincerity which makes it a miracle among human books. He was not unconscious of his errors - far from it; he was often startled into shame, often reformed, often made and broke his vows of change. But whether he did ill or well, he was still his own unequalled self; still that entrancing EGO of whom alone he cared to write; and still sure of his own affectionate indulgence, when the parts should be changed, and the Writer come to read what he had written. Whatever he did, or said, or thought, or suffered, it was still a trait of Pepys, a character of his career; and as, to himself, he was more interesting than Moses or than Alexander, so all should be faithfully set down. I have called his Diary a work of art. Now when the artist has found something, word or deed, exactly proper to a favourite character in play or novel, he will neither suppress nor diminish it, though the remark be silly or the act mean. The hesitation of Hamlet, the credulity of Othello, the baseness of Emma Bovary, or the irregularities of Mr. Swiveller, caused neither disappointment nor disgust to their creators. And so with Pepys and his adored protagonist: adored not blindly, but with trenchant insight and enduring, human toleration. I have gone over and over the greater part of the Diary; and the points where, to the most suspicious scrutiny, he has seemed not perfectly sincere, are so few, so doubtful, and so petty, that I am ashamed to name them. It may be said that we all of us write such a diary in airy characters upon our brain; but I fear there is a distinction to be made; I fear that as we render to our consciousness an account of our daily fortunes and behaviour, we too often weave a tissue of romantic compliments and dull excuses; and even if Pepys were the ass and cowardly that men call him, we must take rank as sillier and more cowardly than he. The bald truth about oneself, what we are all too timid to admit when we are not too dull to see it, that was what he saw clearly and set down unsparingly.
