Beacon Lights of History, Volume 07: Great Women

"Felix Holt" was published in 1866, and it was five years before "Middlemarch" appeared,–a very long novel, thought by some to be the best which George Eliot has written; read fifteen times, it is said, by the Prince of Wales. In this novel the author seems to have been ambitious to sustain her fame. She did not, like Trollope, dash off three novels a year, and all alike. She did not write mechanically, as a person grinds at a mill. Nor was she greedy of money, to be spent in running races with the rich. She was a conscientious writer from first to last. Yet "Middlemarch," with all the labor spent upon it, has more faults than any of her preceding novels. It is as long as "The History of Sir Charles Grandison;" it has a miserable plot; it has many tedious chapters, and too many figures, and too much theorizing on social science. Rather than a story, it is a panorama of the doctors and clergymen and lawyers and business people who live in a provincial town, with their various prejudices and passions and avocations. It is not a cheerful picture of human life. We are brought to see an unusual number of misers, harpies, quacks, cheats, and hypocrites. There are but few interesting characters in it: Dorothea is the most so,–a very noble woman, but romantic, and making great mistakes. She desires to make herself useful to somebody, and marries a narrow, jealous, aristocratic pedant, who had spent his life in elaborate studies on a dry and worthless subject. Of course, she awakes from her delusion when she discovers what a small man, with great pretensions, her learned husband is; but she remains in her dreariness of soul a generous, virtuous, and dutiful woman. She does not desert her husband because she does not love him, or because he is uncongenial, but continues faithful to the end. Like Maggie Tulliver and Romola, she has lofty aspirations, but marries, after her husband's death, a versatile, brilliant, shallow Bohemian, as ill-fitted for her serious nature as the dreary Casaubon himself.

Nor are we brought in sympathy with Lydgate, the fashionable doctor with grand aims, since he allows his whole scientific aspirations to be defeated by a selfish and extravagant wife. Rosamond Vincy is, however, one of the best drawn characters in fiction, such as we often see,–pretty, accomplished, clever, but incapable of making a sacrifice, secretly thwarting her husband, full of wretched complaints, utterly insincere, attractive perhaps to men, but despised by women. Caleb Garth is a second Adam Bede; and Mrs. Cadwallader, the aristocratic wife of the rector, is a second Mrs. Poyser in the glibness of her tongue and in the thriftiness of her ways. Mr. Bullstrode, the rich banker, is a character we unfortunately sometimes find in a large country town,–a man of varied charities, a pillar of the Church, but as full of cant as an egg is of meat; in fact, a hypocrite and a villain, ultimately exposed and punished.

The general impression left on the mind from reading "Middlemarch" is sad and discouraging. In it is brought out the blended stoicism, humanitarianism, Buddhism, and agnosticism of the author. She paints the "struggle of noble natures, struggling vainly against the currents of a poor kind of world, without trust in an invisible Rock higher than themselves to which they could entreat to be lifted up."

In another five years George Eliot produced "Daniel Deronda," the last and most unsatisfactory of her great novels, written in feeble health and with exhausted nervous energies, as she was passing through the shadows of the evening of her life. In this work she doubtless essayed to do her best; but she could not always surpass herself, any more than could Scott or Dickens. Nor is she to be judged by those productions which reveal her failing strength, but by those which were written in the fresh enthusiasm of a lofty soul. No one thinks the less of Milton because the "Paradise Regained" is not equal to the "Paradise Lost." Many are the immortal poets who are now known only for two or three of their minor poems. It takes a Michael Angelo to paint his grandest frescos after reaching eighty years of age; or a Gladstone, to make his best speeches when past the age of seventy. Only people with a wonderful physique and unwasted mental forces can go on from conquering to conquer,–people, moreover, who have reserved their strength, and lived temperate and active lives.

Although "Daniel Deronda" is occasionally brilliant, and laboriously elaborated, still it is regarded generally by the critics as a failure. The long digression on the Jews is not artistic; and the subject itself is uninteresting, especially to the English, who have inveterate prejudices against the chosen people. The Hebrews, as they choose to call themselves, are doubtless a remarkable people, and have marvellously preserved their traditions and their customs. Some among them have arisen to the foremost rank in scholarship, statesmanship, and finance. They have entered, at different times, most of the cabinets of Europe, and have held important chairs in its greatest universities. But it was a Utopian dream that sent Daniel Deronda to the Orient to collect together the scattered members of his race. Nor are enthusiasts and proselytes often found among the Jews. We see talent, but not visionary dreamers. To the English they appear as peculiarly practical,–bent on making money, sensual in their pleasures, and only distinguished from the people around them by an extravagant love of jewelry and a proud and cynical rationalism. Yet in justice it must be confessed, that some of the most interesting people in the world are Jews.

In "Daniel Deronda" the cheerless philosophy of George Eliot is fully brought out. Mordecai, in his obscure and humble life, is a good representative of a patient sufferer, but "in his views and aspirations is a sort of Jewish Mazzini." The hero of the story is Mordecai's disciple, who has discovered his Hebrew origin, of which he is as proud as his aristocratic mother is ashamed The heroine is a spoiled woman of fashion, who makes the usual mistake of most of George Eliot's heroines, in violating conscience and duty. She marries a man whom she knows to be inherently depraved and selfish; marries him for his money, and pays the usual penalty,–a life of silent wretchedness and secret sorrow and unavailing regret. But she is at last fortunately delivered by the accidental death of her detested husband,–by drowning, of course. Remorse in seeing her murderous wishes accomplished–though not by her own hand, but by pursuing fate–awakens a new life in her soul, and she is redeemed amid the throes of anguish and conscious guilt.

"Theophrastus Such," the last work of George Eliot, is not a novel, but a series of character sketches, full of unusual bitterness and withering sarcasm. Thackeray never wrote anything so severe. It is one of the most cynical books ever written by man or woman. There is as much difference in tone and spirit between it and "Adam Bede," as between "Proverbs" and "Ecclesiastes;" as between "Sartor Resartus" and the "Latter-Day Pamphlets." And this difference is not more marked than the difference in style and language between this and her earlier novels. Critics have been unanimous in their admiration of the author's style in "Silas Marner" and "The Mill on the Floss,"–so clear, direct, simple, natural; as faultless as Swift, Addison, and Goldsmith, those great masters of English prose, whose fame rests as much on their style as on their thoughts. In "Theophrastus Such," on the contrary, as in some parts of "Daniel Deronda," the sentences are long, involved, and often almost unintelligible.

In presenting the works of George Eliot, I have confined myself to her prose productions, since she is chiefly known by her novels. But she wrote poetry also, and some critics have seen considerable merit in it. Yet whatever merit it may have I must pass without notice. I turn from the criticism of her novels, as they successively appeared, to allude briefly to her closing days. Her health began to fail when she was writing "Middlemarch," doubtless from her intense and continual studies, which were a severe strain on her nervous system. It would seem that she led a secluded life, rarely paying visits, but receiving at her house distinguished literary and scientific men. She was fond of travelling on the Continent, and of making short visits to the country. In conversation she is said to have been witty, tolerant, and sympathetic. Poetry, music, and art absorbed much of her attention. She read very little contemporaneous fiction, and seldom any criticisms on her own productions. For an unbeliever in historical Christianity, she had great reverence for all earnest Christian peculiarities, from Roman Catholic asceticism to Methodist fervor. In her own belief she came nearest to the positivism of Comte, although he was not so great an oracle to her as he was to Mr. Lewes, with whom twenty years were passed by her in congenial studies and labors. They were generally seen together at the opening night of a new play or the début of a famous singer or actor, and sometimes, within a limited circle, they attended a social or literary reunion.

In 1878 George Eliot lost the companion of her literary life. And yet two years afterward–at the age of fifty-nine–she surprised her friends by marrying John Walter Cross, a man much younger than herself. No one can fathom that mystery. But Mrs. Cross did not long enjoy the felicities of married life. In six months from her marriage, after a pleasant trip to the Continent, she took cold in attending a Sunday concert in London; and on the 22d of December, 1880, she passed away from earth to join her "choir invisible," whose thoughts have enriched the world.

It is not extravagant to say that George Eliot left no living competitor equal to herself in the realm of fiction. I do not myself regard her as great a novelist as Scott or Thackeray; but critics generally place her second only to those great masters in this department of literature. How long her fame will last, who can tell? Admirers and rhetoricians say, "as long as the language in which her books are written." She doubtless will live as long as any English novelist; but do those who amuse live like those who save? Will the witty sayings of Dickens be cherished like the almost inspired truths of Plato, of Bacon, of Burke? Nor is popularity a sure test of posthumous renown.

The question for us to settle is, not whether George Eliot as a writer is immortal, but whether she has rendered services that her country and mankind will value. She has undoubtedly added to the richness of English literature. She has deeply interested and instructed her generation. Thousands, and hundreds of thousands, owe to her a debt of gratitude for the enjoyment she has afforded them. How many an idle hour has she not beguiled! How many have felt the artistic delight she has given them, like those who have painted beautiful pictures! As already remarked, we read her descriptions of rural character and life as we survey the masterpieces of Hogarth and Wilkie.

It is for her delineation of character, and for profound psychological analysis, that her writings have permanent value. She is a faithful copyist of Nature. She recalls to our minds characters whom everybody of large experience has seen in his own village or town,–the conscientious clergyman, and the minister who preaches like a lecturer; the angel who lifts up, and the sorceress who pulls down. We recall the misers we have scorned, and the hypocrites whom we have detested. We see on her canvas the vulgar rich and the struggling poor, the pompous man of success and the broken-down man of misfortune; philanthropists and drunkards, lofty heroines and silly butterflies, benevolent doctors and smiling politicians, quacks and scoundrels and fools, mixed up with noble men and women whose aspirations are for a higher life; people of kind impulses and weak wills, of attractive personal beauty with meanness of mind and soul. We do not find exaggerated monsters of vice, or faultless models of virtue and wisdom: we see such people as live in every Christian community. True it is that the impression we receive of human life is not always pleasant; but who in any community can bear the severest scrutiny of neighbors? It is this fidelity to our poor humanity which tinges the novels of George Eliot with so deep a gloom.

But the sadness which creeps over us in view of human imperfection is nothing to that darkness which enters the soul when the peculiar philosophical or theological opinions of this gifted woman are insidiously but powerfully introduced. However great she was as a delineator of character, she is not an oracle as a moral teacher. She was steeped in the doctrines of modern agnosticism. She did not believe in a personal God, nor in His superintending providence, nor in immortality as brought to light in the gospel. There are some who do not accept historical Christianity, but are pervaded with its spirit. Even Carlyle, when he cast aside the miracles of Christ and his apostles as the honest delusions of their followers, was almost a Calvinist in his recognition of God as a sovereign power; and he abhorred the dreary materialism of Comte and Mill as much as he detested the shallow atheism of Diderot and Helvetius. But George Eliot went beyond Carlyle in disbelief. At times, especially in her poetry, she writes almost like a follower of Buddha. The individual soul is absorbed in the universal whole; future life has no certainty; hope in redemption is buried in a sepulchre; life in most cases is a futile struggle; the great problems of existence are invested with gloom as well as mystery. Thus she discourses like a Pagan. She would have us to believe that Theocritus was wiser than Pascal; that Marcus Aurelius was as good as Saint Paul.

Hence, as a teacher of morals and philosophy George Eliot is not of much account. We question the richness of any moral wisdom which is not in harmony with the truths that Christian people regard as fundamental, and which they believe will save the world. In some respects she has taught important lessons. She has illustrated the power of conscience and the sacredness of duty. She was a great preacher of the doctrine that "whatsoever a man soweth, that shall he also reap." She showed that those who do not check and control the first departure from virtue will, in nine cases out of ten, hopelessly fall.

These are great certitudes. But there are others which console and encourage as well as intimidate. The Te Domine Speravi of the dying Xavier on the desolate island of Sancian, pierced through the clouds of dreary blackness which enveloped the nations he sought to save. Christianity is full of promises of exultant joy, and its firmest believers are those whose lives are gilded with its divine radiance. Surely, it is not intellectual or religious narrowness which causes us to regret that so gifted a woman as George Eliot–so justly regarded as one of the greatest ornaments of modern literature–should have drifted away from the Rock which has resisted the storms and tempests of nearly two thousand years, and abandoned, if she did not scorn, the faith which has animated the great masters of thought from Augustine to Bossuet. "The stern mournfulness which is produced by most of her novels gives us the idea of one who does not know, or who has forgotten, that the stone was rolled away from the heart of the world on the morning when Christ arose from the tomb."

AUTHORITIES

Miss Blind's Life of George Eliot. Mr. Cross's Life of George Eliot, I regret to say, did not reach me until after the foregoing pages had gone to press. But as this lecture is criticism rather than history, the few additional facts that might have been gained would not be important; while, after tracing in that quasi-autobiography the development of her mental and moral nature, I see no reason to change my conclusions based on the outward facts of her life and on her works. The Nineteenth Century, ix.; London Quarterly Review, lvii. 40; Contemporary Review, xx. 29, 39; The National Review, xxxi. 23, 16; Blackwood's Magazine, cxxix. 85-100, 112, 116, 103; Edinburgh Review, ex. 144, 124, 137, 150; Westminster Review, lxxi. 110, lxxxvi. 74, 80, 90, 112; Dublin Review, xlvii. 88, 89; Cornhill Magazine, xliii.; Atlantic Monthly, xxxviii. 18; Fortnightly Review, xxvi. 19; British Quarterly Review, lxiv. 57, 48, 45; International Review, iv. 10; Temple Bar Magazine, 49; Littell's Living Age, cxlviii.; The North American Review, ciii. 116, 107; Quarterly Review, cxxxiv. 108; Macmillan's Magazine, iii. 4; North British Review, xiv.