George Eliot's Life, as Related in Her Letters and Journals. Vol. 3 (of 3)

Notes on "The Spanish Gypsy."

The subject of "The Spanish Gypsy" was originally suggested to me by a picture which hangs in the Scuola di' San Rocco at Venice, over the door of the large Sala containing Tintoretto's frescoes. It is an Annunciation, said to be by Titian. Of course I had seen numerous pictures of this subject before; and the subject had always attracted me. But in this my second visit to the Scuola di' San Rocco, this small picture of Titian's, pointed out to me for the first time, brought a new train of thought. It occurred to me that here was a great dramatic motive of the same class as those used by the Greek dramatists, yet specifically differing from them. A young maiden, believing herself to be on the eve of the chief event of her life – marriage – about to share in the ordinary lot of womanhood, full of young hope, has suddenly announced to her that she is chosen to fulfil a great destiny, entailing a terribly different experience from that of ordinary womanhood. She is chosen, not by any momentary arbitrariness, but as a result of foregoing hereditary conditions: she obeys. "Behold the handmaid of the Lord." Here, I thought, is a subject grander than that of Iphigenia, and it has never been used. I came home with this in my mind, meaning to give the motive a clothing in some suitable set of historical and local conditions. My reflections brought me nothing that would serve me except that moment in Spanish history when the struggle with the Moors was attaining its climax, and when there was the gypsy race present under such conditions as would enable me to get my heroine and the hereditary claim on her among the gypsies. I required the opposition of race to give the need for renouncing the expectation of marriage. I could not use the Jews or the Moors, because the facts of their history were too conspicuously opposed to the working-out of my catastrophe. Meanwhile the subject had become more and more pregnant to me. I saw it might be taken as a symbol of the part which is played in the general human lot by hereditary conditions in the largest sense, and of the fact that what we call duty is entirely made up of such conditions; for even in cases of just antagonism to the narrow view of hereditary claims, the whole background of the particular struggle is made up of our inherited nature. Suppose for a moment that our conduct at great epochs was determined entirely by reflection, without the immediate intervention of feeling, which supersedes reflection, our determination as to the right would consist in an adjustment of our individual needs to the dire necessities of our lot, partly as to our natural constitution, partly as sharers of life with our fellow-beings. Tragedy consists in the terrible difficulty of this adjustment —

"The dire strife of poor Humanity's afflicted will,Struggling in vain with ruthless destiny."

Looking at individual lots, I seemed to see in each the same story, wrought out with more or less of tragedy, and I determined the elements of my drama under the influence of these ideas.

In order to judge properly of the dramatic structure it must not be considered first in the light of doctrinal symbolism, but in the light of a tragedy representing some grand collision in the human lot. And it must be judged accordingly. A good tragic subject must represent a possible, sufficiently probable, not a common, action; and to be really tragic, it must represent irreparable collision between the individual and the general (in differing degrees of generality). It is the individual with whom we sympathize, and the general of which we recognize the irresistible power. The truth of this test will be seen by applying it to the greatest tragedies. The collision of Greek tragedy is often that between hereditary, entailed Nemesis and the peculiar individual lot, awakening our sympathy, of the particular man or woman whom the Nemesis is shown to grasp with terrific force. Sometimes, as in the Oresteia, there is the clashing of two irreconcilable requirements, two duties, as we should say in these times. The murder of the father must be avenged by the murder of the mother, which must again be avenged. These two tragic relations of the individual and general, and of two irreconcilable "oughts," may be – will be – seen to be almost always combined. The Greeks were not taking an artificial, entirely erroneous standpoint in their art – a standpoint which disappeared altogether with their religion and their art. They had the same essential elements of life presented to them as we have, and their art symbolized these in grand schematic forms. The Prometheus represents the ineffectual struggle to redeem the small and miserable race of man, against the stronger adverse ordinances that govern the frame of things with a triumphant power. Coming to modern tragedies, what is it that makes Othello a great tragic subject? A story simply of a jealous husband is elevated into a most pathetic tragedy by the hereditary conditions of Othello's lot, which give him a subjective ground for distrust. Faust, Rigoletto (Le Roi s'Amuse), Brutus. It might be a reasonable ground of objection against the whole structure of "The Spanish Gypsy" if it were shown that the action is outrageously improbable – lying outside all that can be congruously conceived of human actions. It is not a reasonable ground of objection that they would have done better to act otherwise, any more than it is a reasonable objection against the Iphigenia that Agamemnon would have done better not to sacrifice his daughter.

As renunciations coming under the same great class, take the renunciation of marriage, where marriage cannot take place without entailing misery on the children.

A tragedy has not to expound why the individual must give way to the general; it has to show that it is compelled to give way; the tragedy consisting in the struggle involved, and often in the entirely calamitous issue in spite of a grand submission. Silva presents the tragedy of entire rebellion; Fedalma of a grand submission, which is rendered vain by the effects of Silva's rebellion. Zarca, the struggle for a great end, rendered vain by the surrounding conditions of life.

Now, what is the fact about our individual lots? A woman, say, finds herself on the earth with an inherited organization; she may be lame, she may inherit a disease, or what is tantamount to a disease; she may be a negress, or have other marks of race repulsive in the community where she is born, etc. One may go on for a long while without reaching the limits of the commonest inherited misfortunes. It is almost a mockery to say to such human beings, "Seek your own happiness." The utmost approach to well-being that can be made in such a case is through large resignation and acceptance of the inevitable, with as much effort to overcome any disadvantage as good sense will show to be attended with a likelihood of success. Any one may say, that is the dictate of mere rational reflection. But calm can, in hardly any human organism, be attained by rational reflection. Happily, we are not left to that. Love, pity, constituting sympathy, and generous joy with regard to the lot of our fellow-men comes in – has been growing since the beginning – enormously enhanced by wider vision of results, by an imagination actively interested in the lot of mankind generally; and these feelings become piety —i. e., loving, willing submission and heroic Promethean effort towards high possibilities, which may result from our individual life.

There is really no moral "sanction" but this inward impulse. The will of God is the same thing as the will of other men, compelling us to work and avoid what they have seen to be harmful to social existence. Disjoined from any perceived good, the divine will is simply so much as we have ascertained of the facts of existence which compel obedience at our peril. Any other notion comes from the supposition of arbitrary revelation.

That favorite view, expressed so often in Clough's poems, of doing duty in blindness as to the result, is likely to deepen the substitution of egoistic yearnings for really moral impulses. We cannot be utterly blind to the results of duty, since that cannot be duty which is not already judged to be for human good. To say the contrary is to say that mankind have reached no inductions as to what is for their good or evil.

The art which leaves the soul in despair is laming to the soul, and is denounced by the healthy sentiment of an active community. The consolatory elements in "The Spanish Gypsy" are derived from two convictions or sentiments which so conspicuously pervade it that they may be said to be its very warp, on which the whole action is woven. These are: (1) The importance of individual deeds. (2) The all-sufficiency of the soul's passions in determining sympathetic action.

In Silva is presented the claim of fidelity to social pledges. In Fedalma the claim constituted by an hereditary lot less consciously shared.

With regard to the supremacy of love: if it were a fact without exception that man or woman never did renounce the joys of love, there could never have sprung up a notion that such renunciation could present itself as a duty. If no parents had ever cared for their children, how could parental affection have been reckoned among the elements of life? But what are the facts in relation to this matter? Will any one say that faithfulness to the marriage tie has never been regarded as a duty, in spite of the presence of the profoundest passion experienced after marriage? Is Guinivere's conduct the type of duty?

Letter to Mrs. Bray, 7th May, 1868.

Yes, I am at rest now – only a few pages of revise to look at more. My chief excitement and pleasure in the work are over: for when I have once written anything, and it is gone out of my power, I think of it as little as possible. Next to the doing of the thing, of course, Mr. Lewes's delight in it is the cream of all sympathy, though I care enough about the sympathy of others to be very grateful for any they give me. Don't you imagine how the people who consider writing simply as a money-getting profession will despise me for choosing a work by which I could only get hundreds, where for a novel I could get thousands? I cannot help asking you to admire what my husband is, compared with many possible husbands – I mean, in urging me to produce a poem rather than anything in a worldly sense more profitable. I expect a good deal of disgust to be felt towards me in many quarters for doing what was not looked for from me, and becoming unreadable to many who have hitherto found me readable and debatable. Religion and novels every ignorant person feels competent to give an opinion upon, but en fait de poésie, a large number of them "only read Shakespeare." But enough of that.

Letter to Frederic Harrison, 25th May, 1868.

Before we set off to Germany I want to tell you that a copy of "The Spanish Gypsy" will be sent to you. If there had been time before our going away I should have written on the fly-leaf that it was offered by the author "in grateful remembrance." For I especially desire that you should understand my reasons for asking you to accept the book to be retrospective and not prospective.

And I am going out of reach of all letters, so that you are free from any need to write to me, and may let the book lie till you like to open it.

I give away my books only by exception, and in venturing to make you an exceptional person in this matter, I am urged by the strong wish to express my value for the help and sympathy you gave me two years ago.

The manuscript of "The Spanish Gypsy" bears the following inscription:

"To my dear – every day dearer – Husband."

Letter to Frederic Harrison, 26th (?) May, 1868.

Yes, indeed, I not only remember your letter, but have always kept it at hand, and have read it many times. Within these latter months I have seemed to see in the distance a possible poem shaped on your idea. But it would be better for you to encourage the growth towards realization in your own mind, rather than trust to transplantation.

My own faint conception is that of a frankly Utopian construction, freeing the poet from all local embarrassments. Great epics have always been more or less of this character – only the construction has been of the past, not of the future.

Write to me Poste Restante, Baden-Baden, within the next fortnight. My head will have got clearer then.

Journal, 1868.

May 26.– We set out this evening on our journey to Baden, spending the night at Dover. Our route was by Tournay, Liége, Bonn, and Frankfort, to Baden, where we stayed nine days; then to Petersthal, where we stayed three weeks; then to Freiburg, St. Märgen, Basle, Thun, and Interlaken. From Interlaken we came by Fribourg, Neuchâtel, Dijon, to Paris and Folkestone.

Letter to John Blackwood, 7th July, 1868.

We got your letter yesterday here among the peaceful mountain-tops. After ascending gradually (in a carriage) for nearly four hours, we found ourselves in a region of grass, corn, and pine woods, so beautifully varied that we seem to be walking in a great park laid out for our special delight. The monks, as usual, found out the friendly solitude, and this place of St. Märgen was originally nothing but an Augustinian monastery. About three miles off is another place of like origin, called St. Peter's, formerly a Benedictine monastery, and still used as a place of preparation for the Catholic priesthood. The monks have all vanished, but the people are devout Catholics. At every half-mile by the roadside is a carefully kept crucifix; and last night, as we were having our supper in the common room of the inn, we suddenly heard sounds that seemed to me like those of an accordion. "Is that a zittern?" said Mr. Lewes to the German lady by his side. "No – it is prayer." The servants, by themselves – the host and hostess were in the same room with us – were saying their evening prayers, men's and women's voices blending in unusually correct harmony. The same loud prayer is heard at morning, noon, and evening, from the shepherds and workers in the fields. We suppose that the believers in Mr. Home and in Madame Rachel would pronounce these people "grossly superstitious." The land is cultivated by rich peasant proprietors, and the people here, as in Petersthal, look healthy and contented. This really adds to one's pleasure in seeing natural beauties. In North Germany, at Ilmenau, we were constantly pained by meeting peasants who looked underfed and miserable. Unhappily, the weather is too cold and damp, and our accommodations are too scanty, under such circumstances, for us to remain here and enjoy the endless walks and the sunsets that would make up for other negatives in fine, warm weather. We return to Freiburg to-morrow, and from thence we shall go on by easy stages through Switzerland, by Thun and Vevay to Geneva, where I want to see my old friends once more.

We shall be so constantly on the move that it might be a vain trouble on your part to shoot another letter after such flying birds.

Journal, 1868.

July 23.– Arrived at home (from Baden journey).

Letter to John Blackwood, 24th July, 1868.

We got home last night – sooner than we expected, because we gave up the round by Geneva, as too long and exciting. I dare say the three weeks since we heard from you seem very short to you, passed amid your usual occupations. To us they seem long, for we have been constantly changing our scene. Our two months have been spent delightfully in seeing fresh natural beauties, and with the occasional cheering influence of kind people. But I think we were hardly ever, except in Spain, so long ignorant of home sayings and doings, for we have been chiefly in regions innocent even of Galignani. The weather with us has never been oppressively hot; and storms or quiet rains have been frequent. But our bit of burned-up lawn is significant of the dryness here. I believe I did not thank you for the offer of "Kinglake," which we gratefully accept. And will you kindly order a copy of the poem to be sent to Gerald Massey, Hemel-Hempstead.

A friendly gentleman at Belfast sends me a list of emendations for some of my verses, which are very characteristic and amusing.

I hope you have kept well through the heat. We are come back in great force, for such feeble wretches.

Letter to John Blackwood, 28th July, 1868.

As to the reviews, we expected them to be written by omniscient personages, but we did not expect so bad a review as that Mr. Lewes found in the Pall Mall. I have read no notice except that in the Spectator, which was modest in tone. A very silly gentleman, Mr. Lewes says, undertakes to admonish me in the Westminster; and he thinks the best literary notice of the poem that has come before him is in the Athenæum. After all, I think there would have been good reason to doubt that the poem had either novelty or any other considerable intrinsic reason to justify its being written, if the periodicals had cried out "Hosanna!" I am sure you appreciate all the conditions better than I can, after your long experience of the relations between authors and critics. I am serene, because I only expected the unfavorable. To-day the heat is so great that it is hardly possible even to read a book that requires any thought. London is a bad exchange for the mountains.

Letter to John Blackwood, 30th July, 1868.

I enclose a list of corrections for the reprint. I am indebted to my friendly correspondent from Belfast for pointing out several oversights, which I am ashamed of, after all the proof-reading. But, among the well-established truths of which I never doubt, the fallibility of my own brain stands first.

I suppose Mudie and the other librarians will not part with their copies of the poems quite as soon as they would part with their more abundant copies of a novel. And this supposition, if warranted, would be an encouragement to reprint another moderate edition at the same price. Perhaps, before a cheaper edition is prepared, I may add to the corrections, but at present my mind resists strongly the effort to go back on its old work.

I think I never mentioned to you that the occasional use of irregular verses, and especially verses of twelve syllables, has been a principle with me, and is found in all the finest writers of blank verse. I mention it now because, as you have a certain solidarité with my poetical doings, I would not have your soul vexed by the detective wisdom of critics. Do you happen to remember that saying of Balzac's, "When I want the world to praise my novels I write a drama; when I want them to praise my drama I write a novel"?

On the whole, however, I should think I have more to be grateful for than to grumble at. Mr. Lewes read me out last night some very generous passages from the St. Paul's Magazine.

Journal, 1868.

August.– Reading 1st book of Lucretius, 6th book of the "Iliad," "Samson Agonistes," Warton's "History of English Poetry," Grote, 2d volume, "Marcus Aurelius," "Vita Nuova," vol. iv. chap. i. of the "Politique Positive," Guest on "English Rhythms," Maurice's "Lectures on Casuistry."

Sept. 19.– We returned from a visit to Yorkshire. On Monday we went to Leeds, and were received by Dr. Clifford Allbut, with whom we stayed till the middle of the day on Wednesday. Then we went by train to Ilkley, and from thence took a carriage to Bolton. The weather had been gray for two days, but on this evening the sun shone out, and we had a delightful stroll before dinner, getting our first view of the Priory. On Thursday we spent the whole day in rambling through the woods to Barden Tower and back. Our comfortable little inn was the Red Lion, and we were tempted to lengthen our stay. But on Friday morning the sky was threatening, so we started for Newark, which we had visited in old days on our expedition to Gainsborough. At Newark we found our old inn, the Ram, opposite the ruins of the castle, and then we went for a stroll along the banks of the Trent, seeing some charming, quiet landscapes.

Letter to Mrs. Congreve, 20th Sept. 1868.

This note comes to greet you on your return home, but it cannot greet you so sweetly as your letter did me on our arrival from Leeds last night. I think it gave me a deeper pleasure than any I have had for a long while. I am very grateful to you for it.

We went to Leeds on Monday, and stayed two days with Dr. Allbut. Dr. Bridges dined with us one day, and we had a great deal of delightful chat. But I will tell you everything when we see you. Let that be soon – will you not? We shall be glad of any arrangement that will give us the pleasure of seeing you, Dr. Congreve, and Emily, either separately or all together. Please forgive me if I seem very fussy about your all coming. I want you to understand that we shall feel it the greatest kindness in you if you will all choose to come, and also choose how to come – either to lunch or dinner, and either apart or together. I hope to find that you are much the better for your journey – better both in body and soul. One has immense need of encouragement, but it seems to come more easily from the dead than from the living.

Letter to John Blackwood, 24th Sept. 1868.

Your letter gave an additional gusto to my tea and toast this morning. The greater confidence of the trade in subscribing for the second edition is, on several grounds, a satisfactory indication; but, as you observe, we shall be still better pleased to know that the copies are not slumbering on the counters, but having an active life in the hands of readers.

I am now going carefully through the poem for the sake of correction. I have read it through once, and have at present found some ten or twelve small alterations to be added to those already made. But I shall go through it again more than once, for I wish to be able to put "revised" to the third edition, and to leave nothing that my conscience is not ready to swear by. I think it will be desirable for me to see proofs. It is possible, in many closely consecutive readings, not to see errors which strike one immediately on taking up the pages after a good long interval.

We are feeling much obliged for a copy of "Kinglake," which I am reading aloud to Mr. Lewes as a part of our evening's entertainment and edification, beginning again from the beginning.

This week we have had perfect autumnal days, though last week, when we were in Yorkshire, we also thought that the time of outside chills and inside fires was beginning.

We do not often see a place which is a good foil for London, but certainly Leeds is in a lower circle of the great town —Inferno.

Letter to Madame Bodichon, 25th Sept. 1868.

I can imagine how delicious your country home has been under the glorious skies we have been having – glorious even in London. Yesterday we had Dr. and Mrs. Congreve, and went with them to the Zoological Gardens, and on our return, about 5 o'clock, I could not help pausing and exclaiming at the exquisite beauty of the light on Regent's Park, exalting it into something that the young Turner would have wanted to paint.

We went to Leeds last week – saw your favorite, David Cox, and thought of you the while. Certainly there was nothing finer there in landscape than that Welsh funeral. Among the figure-painters, Watts and old Philip are supreme.

We went on from Leeds to Bolton, and spent a day in wandering through the grand woods on the banks of the Wharfe. Altogether, our visit to Yorkshire was extremely agreeable. Our host, Dr. Allbut, is a good, clever, graceful man, enough to enable one to be cheerful under the horrible smoke of ugly Leeds; and the fine hospital, which, he says, is admirably fitted for its purpose, is another mitigation. You would like to see the tasteful, subdued ornamentation in the rooms which are to be sick wards. Each physician is accumulating ornamental objects for his own ward – chromo-lithographs, etc. – such as will soothe sick eyes.

It was quite cold in that northerly region. Your picture keeps a memory of sunshine on my wall even on this dark morning.

Letter to John Blackwood, 21st Oct. 1868.

I have gone through the poem twice for the sake of revision, and have a crop of small corrections – only in one case extending to the insertion of a new line. But I wish to see the proof-sheets, so that "Revised by the Author" may be put in the advertisement and on the title-page.