Chapter VI: Preface: I. Early Life (5)

"To those who are present it is given to think of the gentleness, and delicate womanly grace and charm, which were combined with 'that breadth of culture and universality of power which,' as one has expressed it, 'have made her known to all the world.' To those who are present it is given to know the diffidence and self-distrust which, notwithstanding all her public fame, needed individual sympathy and encouragement to prevent her from feeling too keenly how far the results of her labors fell below the standard she had set before her. To those who are present too it may be given--though there is so large a number to whom it is not given--to understand how a nature may be profoundly devout, and yet unable to accept a great deal of what is usually held as religious belief. No intellectual difficulties or uncertainties, no sense of mental incapacity to climb the heights of infinitude, could take from her the piety of the affections or 'the beliefs which were the mother-tongue of her soul.' I cannot doubt that she spoke out of the fulness of her own heart when she put into the lips of another the words, 'May not a man silence his awe or his love and take to finding reasons which others demand? But if his love lies deeper than any reasons to be found!' How patiently she toiled to render her work in all its details as little imperfect as might be! How green she kept the remembrance of all those companions to whom she felt that she owed a moulding and elevating influence, especially in her old home, and of him who was its head, her father! How her heart glowed with a desire to help to make a heaven on earth, to be a 'cup of strength' to others, and when her own days on earth should have closed, to have a place among those

"'Immortal dead who still live on
In minds made better by their presence; live
In pulses stirred to generosity,
In deeds of daring rectitude; in scorn
For miserable aims that end with sell;
In thoughts sublime that pierce the night like stars,
And with their mild persistence urge man's search
To vaster issues.'

"How she thus yearned 'to join the choir invisible, whose music is the gladness of the world!' All this is known to those who had the privilege of being near her."

The address was preceded by a simple burial service, and was followed by a prayer, all being given in the chapel of the cemetery. The coffin, covered with the finest floral tributes, was then borne to the grave, where the burial service was completed, and was followed by a prayer and the benediction. Although the day was a disagreeable one and rain was falling, the chapel was crowded, and many not being able to gain admittance stood about the open grave. Beside her personal friends and her family there were present many persons noted for their literary or scientific attainments, On the lid of the coffin was this inscription:

MARY ANN CROSS.
("George Eliot")
Born 22d Nov., 1819; died 22d Dec., 1880.

Quilla fonte
Che spande di parlay si largo flume.

[Footnote: From Dante, and has been rendered into English thus:

That fountain
Which spreads abroad so wide a river of speech.]

The novel which had been begun was left a mere fragment, and in accordance with what it was thought would have been her wish, was destroyed by her family. Perhaps it was better that her dislike of unfinished work should be so respected.

VI.

LITERARY TRAITS AND TENDENCIES.

George Eliot was a painstaking, laborious writer. She did not proceed rapidly, so carefully did she elaborate her pages. Her subjects were thoroughly studied before the pen was taken in hand, patiently thought out, planned with much care, and all available helps secured that could be had. She threw her whole life into her work, became a part of the scenes she was depicting; her life was absorbed until the work of writing became a painful process both to body and mind. "Her beautifully written manuscript," says her publisher, "free from blur or erasure, and with every letter delicately and distinctly finished, was only the outward and visible sign of the inward labor which she had taken to work out her ideas. She never drew any of her facts or impressions from second hand; and thus, in spite of the number and variety of her illustrations, she had rarely much to correct in her proof-sheets. She had all that love of doing her work well for the work's sake which she makes prominent characteristics of Adam Bede and Stradivarius."

When a book was completed, so intense had been her application and the absorption of her life in her work, a period of despondency followed. When a correspondent praised _Middlemarch_, and expressed a hope that even a greater work might follow, she replied, "As to the 'great novel' which remains to be written, I must tell you that I never believe in future books." Again, she wrote of the depression which succeeded the completion of each of her works,--

Always after finishing a book I have a period of despair that I
can ever again produce anything worth giving to the world. The
responsibility of writing grows heavier and heavier--does it not?--as
the world grows older and the voices of the dead more numerous. It is
difficult to believe, until the germ of some new work grows into
imperious activity within one, that it is possible to make a really
needed contribution to the poetry of the world--I mean possible to
one's self to do it.

Owing probably somewhat to this tendency to take a despondent view concerning her own work, and to distrust of the leadings of her own genius, was her habit of never reading the criticisms made on her books. She adopted this rule, she tells one correspondent, "as a necessary preservative against influences that would have ended by nullifying her power of writing." To another, who had written her in appreciation of her books, she wrote this note, in which she alludes to the same habit of shunning criticism:

MY DEAR MISS WELLINGTON,--The signs of your sympathy sent to me across the wide water have touched me with the more effect because you imply that you are young. I care supremely that my writing should be some help and stimulus to those who have probably a long life before them.

Mr. Lewes does not let me read criticisms on my writings. He always reads them himself, and gives me occasional quotations, when be thinks that they show a spirit and mode of appreciation which will win my gratitude. He has carefully read through the articles which were accompanied by your kind letter, and he has a high opinion of the feeling and discernment exhibited in them. Some concluding passages which he read aloud to me are such as I register among the grounds of any encouragement in looking backward on what I have written, if not in looking forward to my future writing.

Thank you, my dear young friend, whom I shall probably never know otherwise than in this spiritual way. And certainly, apart from those relations in life which bring daily duties and opportunities of lovingness, the most satisfactory of all ties is this effective invisible intercourse of an elder mind with a younger.

The quotation in your letter from Hawthorne's book offers an excellent type both for men and women in the value it assigns to that order of work which is called subordinate but becomes ennobling by being finely done. [Footnote: A reference to Hilda's ceasing to consider herself an original artist in the presence of the great masters. "Beholding the miracles of beauty which the old masters had achieved, the world seemed already rich enough in original designs and nothing more was so desirable as to diffuse these selfsame beauties more widely among mankind.'--So Hilda became a copyist."] Yours, with sincere obligations,

M.E. LEWES.

By the way, Mr. Lewes tells me that you ascribe to me a hatred of blue eyes--which is amusing, since my own eyes are blue-gray. I am not in any sense one of the "good haters;" on the contrary, my weaknesses all verge toward an excessive tolerance and a tendency to melt off the outlines of things.

THE PRIORY, 21 North Bank, Regent's Park, Jan. 16, '73.

[Footnote: From The Critic of December 31, 1881. This letter was addressed to Miss Alice Wellington, now Mrs. Rollins.]

Her sensitiveness was great, and contact with an unappreciative and unsympathetic public depressing to a large degree. It was a part of that shrinking away from the world which kept her out of society, and away from all but a select few whose tastes and sympathies were largely in accordance with her own. Besides, she distrusted that common form of criticism which presumes to tell an author how he ought to have written, and assumes to itself an insight and knowledge greater than that possessed by genius itself. Concerning the value of such criticism she wrote these pertinent words:

I get confirmed in my impression that the criticism of any new writing
is shifting and untrustworthy. I hardly think that any critic can have
so keen a sense of the shortcomings in my works as that I groan under
in the course of writing them, and I cannot imagine any edification
coming to an author from a sort of reviewing which consists in
attributing to him or her unexpressed opinions, and in imagining
circumstances which may be alleged as petty private motives for the
treatment of subjects which ought to be of general human interest.

To the same correspondent she used even stronger words concerning her dislike of ordinary criticism.

Do not expect "criticism" from me. I hate "sitting in the seat of
judgment," and I would rather try to impress the public generally with
the sense that they may get the best result from a book without
necessarily forming an "opinion" about it, than I would rush into
stating opinions of my own. The floods of nonsense printed in the form
of critical opinions seem to me a chief curse of our times--a chief
obstacle to true culture.

It is not to be forgotten, however, that George Eliot had done much critical work before she became a novelist, and that much of it was of a keen and cutting nature. Severely as she was handled by the critics, no one of them was more vigorous than was her treatment of Young and Cumming. Even in later years, when she took up the critical pen, the effect was felt. Mr. Lecky did not pass gently through her hands when she reviewed his _Rationalism in Europe_. Her criticisms in _Theophrastus Such_ were penetrating and severe.

For the same reason, she read few works of contemporary fiction, that her mind might not be biassed and that she might not be discouraged in her own work. Always busy with some special subject which absorbed all her time and strength, she could give little attention to contemporary literature. To one correspondent she wrote,--

My constant groan is, that I must leave so much of the greatest writing
which the centuries have sifted for me, unread for want of time.

The style adopted by George Eliot is for the most part fresh, vital and energetic. It is pure in form, rich in illustrations, strong and expressive in manner. There are exceptions to this statement, it is true, and she is sometimes turgid and dry, again gaudy and verbose. Sententious in her didactic passages, she is pure and noble in her sentiment, poetical and impressive in her descriptions of nature. Her diction is choice, her range of expression large, and she admirably suits her words to the thought she would present. There is a rich, teeming fulness of life in her books, the canvas is crowded, there is movement and action. An abundance of passion, delicate feeling and fine sensibility is expressed.

The critics have almost universally condemned the plots of George Eliot's novels for their want of unity. They tell us that the flow of events is often not orderly, while improbable scenes are introduced, superfluous incidents are common, the number of characters is too great, and the analysis of character impedes the unity of events. These objections are not always vital, and sometimes they are mere objections rather than genuine criticisms. Instances of failure to follow the best methods may be cited in abundance, one of which is seen in the first two chapters in _Daniel Deronda_ being placed out of their natural order. The opening scenes in _The Spanish Gypsy_ seem quite unnecessary to the development of the plot, while the last two scenes of the second book are so fragmentary and unconnected with the remainder of the story as to help it but little. In the middle of _Adam Bede_ are several chapters devoted to the birthday party, which are quite unnecessary to the development of the action. _Daniel Deronda_ contains two narratives which are in many respects almost entirely distinct from each other, and the reader is made to alternate between two worlds that have little in common. There is much of the improbable in the account of the Transome estate in _Felix Holt_, while the closing scenes in the life of Tito Melema in _Romola_ are more tragical than natural. Yet these defects are incidental to her method and art rather than actual blemishes on her work. For the most part, her work is thoroughly unitary, cause leads naturally into effect, and there is a moral development of character such as is found in life itself. Her plots are strongly constructed, in simple outlines, are easily comprehended and kept in mind, and the leading motive holds steadily through to the end. Her analytical method often makes an apparent interruption of the narrative, and the unity of purpose is frequently developed through the philosophic purport of the novel rather than in its literary form. Direct narrative is often hindered, it is true, by her habit of studying the remote causes and effects of character, but she never wanders far enough to forget the real purpose had in view. She holds the many elements of her story well under command, she concentrates them upon some one aim, and she gives to her story a tragic unity of great moral splendor and effect. Even the diverse elements, the minute side-studies and the profuse comments, are all woven into the organic structure, and are essential to the unfoldment of the plot. They seem to be quite irrelevant interruptions until we look back upon the completed whole and study the perfected intent of the story. Then we see how essential they are to the epic finish of the novel, and to that total effect which a work of genius creates. Then it is seen that a dramatic unity and well-studied intent hold together every part and make a completed structure of great beauty.

Her dramatic skill is great, and her dialogues thoroughly good. Her characters are full of power and life, and stand out as distinct personalities. The conversation is sprightly, strong and wise. Probably no novelist has created so many clearly cut, positive, intensely personal characters as George Eliot, and this individualism is depicted as acting within social and hereditary limits; hence dramatic action is constantly arising. Shakspere and Browning only surpass her in dramatic power, as in the creation of character. Yet her method of producing character differs essentially from that of Shakspere, Homer and all the great creators. She describes character, while they present it. Homer gives no description of Helen; but of her beauty and her person we learn all the more because we are left to find them out from the influence they produce. We know Hamlet because he lives before us, and impresses his personality upon every feature of the great drama in which he appears. George Eliot's manner is to describe, to minutely portray, and to dissect to the last muscle and nerve.

She has also a rich and racy humor, sensitive and sober, refined and delicate. She does not caricature folly with Dickens, or laugh at weakness with Thackeray; but she shows us the limitations of life in such a manner as to produce the finest humor. She is never repulsive, grotesque or vulgar; but wise, laughter-loving and sympathetic. Her humor is pure and homely as it is delicate and exquisite; and it is invariably human and noble. She has an intense love and a wonderful appreciation of the ludicrous, sees whatever is incongruous In life, and makes her laughter genial and joyous. Her humor is the very quintessence of human experience, strikes deadly blows at what is unjust and untrue. It is both intellectual and moral, as Professor Dowden suggests. "The grotesque in human character is reclaimed from the province of the humorous by her affections, when that is possible, and is shown to be a pathetic form of beauty. Her humor usually belongs to her entire conception of character, and cannot be separated from it." She laughs at all, but sneers at no one,--for she has keen sympathy with all.

George Eliot is not so good a satirist as she is humorist. Her humor is as fresh and delightful as a morning in May, but her satire is nearly always labored. She is too much in sympathy with human nature to laugh at its follies and its weaknesses. Its joys, its bubbling humor and delight she can appreciate, as well as all the pain and sorrow that come to men and women; and she can fully enter into the life of her characters of every kind, and portray their inmost motives and impulses; but the foibles of the world she cannot treat in the vein of the satirist. In her earlier books she is said to have been under the influence of Thackeray, but her satire is heavy, and lacks his light touch and his tender undertone of compassion. Here is a good specimen of her earlier attempts to be satirical:

When a man is happy enough to win the affections of a sweet girl, who
can soothe his cares with crochet, and respond to all his most
cherished ideas with beaded urn-rugs and chair-covers in German wool,
he has, at least, a guarantee of domestic comfort, whatever trials may
await him out of doors. What a resource it is under fatigue and
irritation to have your drawing-room well supplied with small mats,
which would always be ready if you ever wanted to set anything on them!
And what styptic for a bleeding heart can equal copious squares of
crochet-work, which are useful for slipping down the moment you touch
them? [Footnote: Janet's Repentance, chapter III.]

Similar to this is the account of Mrs. Pullett's grief.

It is a pathetic sight and a striking example of the complexity
Introduced into the emotions by a high state of civilization--the
sight of a fashionably dressed female in grief. From the sorrow
of a Hottentot to that of a woman in large buckram sleeves, with
several bracelets on each arm, an architectural bonnet, and delicate
ribbon-strings--what a long series of gradations! In the enlightened
child of civilization the abandonment characteristic of grief is
checked and varied in the subtlest manner, so as to present an
interesting problem to the analytic mind. If, with a crushed heart and
eyes half-blinded by the mist of tears, she were to walk with a too
devious step through a door-place, she might crush her buckram sleeves,
too, and the deep consciousness of this possibility produces a
composition of forces by which she takes a line that just clears the
door-post. Perceiving that the tears are hurrying fast, she unpins her
strings and throws them languidly backward--a touching gesture,
indicative, even in the deepest gloom, of the hope in future dry
moments when cap-strings will once more have a charm. As the tears
subside a little, and with her head leaning backward at an angle that
will not injure her bonnet, she endures that terrible moment when
grief, which has made all things else a weariness, has itself become
weary; she looks down pensively at her bracelets, and adjusts their
clasps with that pretty studied fortuity which would be gratifying to
her mind if it were once more in a calm and healthy state. [Footnote:
Mill on the Floss, chapter VII.]

In her later books the strained efforts at satire are partially avoided, and though the satirical spirit is not withdrawn in any measure, yet it is more delicately managed. It is less open, less blunt, but hardly more subtle and penetrative. It is still a strained effort, and it is quite too hard and bare in statement. We are told in _Middlemarch_ that

Mrs. Bulstrode's _naïve_ way of conciliating piety and worldliness, the
nothingness of this life and the desirability of cut glass, the
consciousness at once of filthy rags and the best damask, was not a
sufficient relief from the weight of her husband's invariable
seriousness.

Such a turning of sentiment into satire as the following is rather jarring, and is a good specimen of that "laborious smartness," as Mr. R.H. Hutton justly calls it, which is found in all of George Eliot's books:--

Young love-making--that gossamer web! Even the points it clings to--the
things whence its subtile interlacings are swung--are scarcely
perceptible: momentary touches of finger-tips, meetings of rays from
blue and dark orbs, unfinished phrases, lightest changes of cheek and
lip, faintest tremors. The web itself is made of spontaneous beliefs
and indefinable joys, yearnings of one life toward another, visions of
completeness, indefinite trust. And Lydgate fell to spinning that web
from his inward self with wonderful rapidity, in spite of experience
supposed to be finished off with the drama of Laure--in spite, too, of
medicine and biology; for the inspection of macerated muscle or of eyes
presented in a dish (like Santa Lucia's), and other incidents of
scientific inquiry, are observed to be less incompatible with poetic
love than a native dulness or a lively addiction to the lowest prose.
[Footnote: Middlemarch, chapter XXXVI.]

This introduction of a scientific illustration will serve to bring another tendency of George Eliot's to our attention. She makes a frequent use of her large learning and culture in her novels. In the earlier ones a Greek quotation is to be found here and there, while in the later, German seems to have the preference. In _The Mill on the Floss_ she describes Bob Jakin's thumb as "a singularly broad specimen of that difference between the man and the monkey." Such references to recent scientific speculations are not unfrequent. If they serve to show the tendencies of her mind towards knowledge and large thought, they also indicate a too ready willingness to imbibe, and to use in a popular manner, what is not thoroughly assimilated truth. The force of such an illustration as the following must be lost on most novel-readers:--

Although Sir James was a sportsman, he had some other feelings toward
women than toward grouse and foxes, and did not regard his future wife
in the light of prey, valuable chiefly for the excitements of the
chase. Neither was he so well acquainted with the habits of primitive
races as to feel that an ideal combat for her, tomahawk in hand, so to
speak, was necessary to the historical continuity of the marriage tie.
[Footnote: Middlemarch, chapter VI.]

It is doubtful whether any reader will quite catch the meaning of this sentence:

Has any one ever pinched into its pilulous smallness the cobweb of
prematrimonial acquaintanceship? [Footnote: Ibid, chapter II.]

Many of her critics have asserted that this use of the language of science, and the adoption of the speculative ideas of the time, had largely increased upon George Eliot in her later books; but this is not true. In her _Westminster Review_ essays both tendencies are strongly developed. In one of them she says, "The very chyme and chyle of a rector are conscious of the gown and band." Again, she says,--

The woman of large capacity can seldom rise beyond the absorption of
ideas; her physical conditions refuse to support the energy required
for spontaneous activity; the voltaic pile is not strong enough to
produce crystallization.

It is not just to George Eliot, however, to refer to such mere casual blemishes, without insisting on the largeness of thought, the wealth of knowledge, and the comprehensive understanding of human experience with which her books abound. She often turns aside to discuss the problems suggested by the experiences of her characters, to point out how the effect of their own thoughts and deeds re-act upon them, and to inculcate the highest ethical lessons. In one of her "asides" she seems to reject this method, in referring to Fielding.

A great historian, as he insisted on calling himself, who had the
happiness to be dead a hundred and twenty years ago, and so to take his
place among the colossi whose huge legs our living pettiness is
observed to walk under, glories in his copious remarks and digressions
as the least imitable part of his work, and especially in those initial
chapters to the successive books of his history, where he seems to
bring his arm-chair to the proscenium, and chat with us in all the
lusty ease of his fine English. But Fielding lived when the days were
longer (for time, like money, is measured by our needs), when summer
afternoons were spacious, and the clock ticked slowly in the winter
evenings. We belated historians must not linger after his example; and
if we did so, it is probable that our chat would be thin and eager, as
if delivered from a campstool in a parrot-house. I, at least, have so
much to do in unravelling certain human lots, and seeing how they were
woven and interwoven, that all the light I can command must be
concentrated on this particular web, and not dispersed over that
tempting range of relevancies called the universe. [Footnote:
Middlemarch, chapter XV.]

She does not ramble away from her subject, it is true; but she likes to pause often to discuss the doings of her personages, and to pour forth some tender or noble thought. To many of her readers these bits of wisdom and of sentiment are among the most valuable portions of her books, when taken in their true environment in her pages. She has a purpose larger than that of telling a story or of describing the loves of a few men and women. She seeks to penetrate into the motives of life, and to reveal the hidden springs of action; to show how people affect each other; how ideas mould the destinies of the individual. To do all this in that large, artistic spirit she has followed, requires that there shall be something more than narration and conversation. That she has now and then commented unnecessarily, and in a too-learned manner, is a very small detraction from the interest of her books.

In _Adam Bede_ she turns aside for a whole chapter to defend her method of depicting accurately, minutely, in the simplest detail, the feelings, motives, actions and surroundings of very commonplace and uninteresting people. Her reasons for this method in novel-writing apply to all her works, and are worthy of the author of _Adam Bede_ and _Silas Marner_.

I would not, even if I had the choice, be the clever novelist who could
create a world so much better than this, in which we get up in the
morning to do our daily work, that you would be likely to turn a
harder, colder eye on the dusty streets and the common green fields--on
the real breathing men and women, who can be chilled by your
indifference or injured by your prejudice; who can be cheered and
helped onward by your fellow-feeling, your forbearance, your
outspoken, brave justice.

So I am content to tell my simple story, without trying to make things
seem better than they were; dreading nothing, indeed, but falsity,
which, in spite of one's best efforts, there is reason to dread.
Falsehood is so easy, truth so difficult. The pencil is conscious of a
delightful facility in drawing a griffin--the longer the claws, and the
larger the wings, the better; but that marvellous facility, which we
mistook for genius, is apt to forsake us when we want to draw a real
unexaggerated lion. Examine your words well, and you will find that,
even when you have no motive to be false, it is a very hard thing to
say the exact truth, even about your own immediate feelings--much
harder than to say something fine about them which is _not_ the exact
truth.

It is for this rare, precious quality of truthfulness that I delight in
many Dutch paintings, which lofty-minded people despise. I find a
source of delicious sympathy in these faithful pictures of a monotonous
homely existence, which has been the fate of so many more among my
fellow-mortals than a life of pomp or of absolute indigence, of tragic
suffering or of world-stirring actions. I turn without shrinking, from
cloud-borne angels, from prophets, sibyls and heroic warriors, to an
old woman bending over her flower-pot, or eating her solitary dinner,
while the noonday light, softened, perhaps, by a screen of leaves,
falls on her mob-cap, and just touches the rim of her spinning-wheel
and her stone jug, and all those cheap, common things which are the
precious necessaries of life to her: or I turn to that village wedding,
kept between four brown walls, where an awkward bridegroom opens the
dance with a high-shouldered, broad-faced bride, while elderly and
middle-aged friends look on, with very irregular noses and lips, and
probably with quart pots in their hands, but with expression of
unmistakable contentment and good-will. "Foh!" says my idealistic
friend, "what vulgar details! What good is there in taking all these
pains to give an exact likeness of old women and clowns? What a low
phase of life! what clumsy, ugly people!"

But, bless us, things may be lovable that are not altogether handsome,
I hope? I am not at all sure that the majority of the human race have
not been ugly, and even among those "lords of their kind," the British,
squat figures, ill-shapen nostrils, and dingy complexions, are not
startling exceptions. Yet there is a great deal of family love among
us. I have a friend or two whose class of features is such that the
Apollo curl on the summit of their brows would be decidedly trying;
yet, to my certain knowledge, tender hearts have beaten for them, and
their miniatures--flattering, but still not lovely--are kissed in
secret by motherly lips. I have seen many an excellent matron who could
never in her best days have been handsome, and yet she had a packet of
yellow love-letters in a private drawer, and sweet children showered
kisses on her sallow cheeks. And I believe there have been plenty of
young heroes of middle stature and feeble beards, who have felt quite
sure they could never love anything more insignificant than a Diana,
and yet have found themselves in middle life happily settled with a
wife who waddles. Yes! thank God; human feeling is like the mighty
rivers that bless the earth; it does not wait for beauty--it flows with
resistless force, and brings beauty with it.

All honor and reverence to the divine beauty of form! Let us cultivate
it to the utmost in men, women and children--in our gardens and in our
houses; but let us love that other beauty, too, which lies in no secret
of proportion, but in the secret of deep sympathy. Paint us an angel,
if you can, with a floating violet robe, and a face paled by the
celestial light; paint us yet oftener a Madonna, turning her mild face
upward, and opening her arms to welcome the divine glory; but do not
impose on us any aesthetic rules which shall banish from the regions of
Art those old women scraping carrots with their work-worn hands, those
heavy clowns taking holiday in a dingy pot-house--those rounded-backs
and stupid, weather-beaten faces that have bent over the spade and done
the rough work of the world--those homes with their tin pans, their
brown pitchers, their rough curs, and their clusters of onions. In this
world there are so many of these common, coarse people, who have no
picturesque sentimental wretchedness! It is so needful we should
remember their existence, else we may happen to leave them quite out of
our religion and philosophy, and frame lofty theories which only fit a
world of extremes. Therefore let Art always remind us of them;
therefore let us always have men ready to give the loving pains of a
life to the faithful representing of commonplace things--men who see
beauty in these commonplace things, and delight in showing how kindly
the light of heaven falls on them.

There are few prophets in the world--few sublimely beautiful women--few
heroes. I can't afford to give all my love and reverence to such
rarities; I want a great deal of those feelings for my every-day
fellow-men, especially for the few in the foreground of the great
multitude, whose faces I know, whose hands I touch, for whom I have to
make way with kindly courtesy. Neither are picturesque lazzaroni or
romantic criminals half so frequent as your common laborer, who gets
his own bread, and eats it vulgarly, but creditably, with his own
pocket-knife. It is more needful that I should have a fibre of sympathy
connecting me with that vulgar citizen who weighs out my sugar in a
vilely assorted cravat and waistcoat, than with the handsomest rascal
in red scarf and green feathers; more needful that my heart should
swell with loving admiration at some trait of gentle goodness in the
faulty people who sit at the same hearth with me, or in the clergyman
of my own parish, who is, perhaps, rather too corpulent, and in other
respects is not an Oberlin or a Tillotson, than at the deeds of heroes
whom I shall never know except by hearsay, or at the sublimest abstract
of all clerical graces that was ever conceived by an able novelist.
[Footnote: Adam Bede, chapter XVII.]

In all her earlier novels George Eliot has shown the artistic possibilities of the humblest lives and situations. In the most ordinary lives, as in the case of the persons described in _Silas Marner_, and in the least picturesque incidents of human existence, there is an interest for us which, when properly brought out, will be sure to absorb our attention. She has abundantly proved that dramatic situations, historic surroundings and heroic attitudes are not necessary for the highest purposes of the novelist. Hers are heart tragedies and spiritual histories; for life has its tragic, pathetic and humorous elements of the keenest interest under every social condition. Her realism is relieved, as in actual life, by love, helpfulness and pathos; by deep sorrow, sufferings patiently borne, and tender sympathy for others' woes. And if she sometimes sketches with too free a hand the coarse and repulsive features of life, this fault is relieved by her tender sympathy with the sorrows and weaknesses of her characters. She asks her readers not to grudge Amos Barton his lovely wife, that "large, fair, gentle Madonna," with an imposing mildness and the unspeakable charm of gentle womanhood. He was a man of very middling qualities and a quite stupid sort of person, but he loved his wife and made the most he could of such talents as he had. She pleads in his behalf by saying,--

I have all my life had a sympathy for mongrel ungainly dogs, who are
nobody's pets; and I would rather surprise one of them by a pat and a
pleasant morsel, than meet the condescending advances of the loveliest
Skye-terrier who has his cushion by my lady's chair.

Much the larger number of characters in these novels are of the same unpromising quality. Most of them are ignorant, uncouth and simple-minded; yet George Eliot gives them a warm place in our hearts, and we rejoice to have known them all. This ignorant rusticity is discovered to have charms and attractions of its own. Especially does the reader learn that what is most human and what is most lovely in personal character may be found within these rough exteriors and amid these unpromising circumstances.

Even so fine a character as Adam Bede, one of the best in all her books, was a workman of limited education and little knowledge of the outside world. The author does "not pretend that his was an ordinary character among workmen." Yet such men as he are found among his class, and the noble qualities he possessed are not out of place among workingmen. Her warm sympathy with this class, the class in which she was born and reared, and her earnest desire to do it justice, is seen in what she says of Adam.

He was not an average man. Yet such men as he are reared here and there
in every generation of our peasant artisans--with an inheritance of
affections nurtured by a simple family life of common need and common
industry, and an inheritance of faculties trained in skilful,
courageous labor; they make their way upward, rarely as geniuses, most
commonly as painstaking, honest men, with the skill and conscience to
do well the tasks that lie before them. Their lives have no discernible
echo beyond the neighborhood where they dwelt, but you are almost sure
to find there some good piece of road, some building, some application
of mineral produce, some improvement in farming practice, some reform
of parish abuses, with which their names are associated by one or two
generations after them. Their employers were richer for them, the work
of their hands has worn well, and the work of their brains has guided
well the hands of other men. They went about in their youth in flannel
or paper caps, in coats black with coal-dust or streaked with lime and
red paint; in old age their white hairs are seen in a place of honor at
church and at market, and they tell their well-dressed sons and
daughters seated round the bright hearth on winter evenings, how
pleased they were when they first earned their twopence a day. Others
there are who die poor, and never put off the workman's coat on
week-days; they have not had the art of getting rich; but they are men
of trust, and when they die before the work is all out of them, it is
as if some main screw had got loose in a machine; the master who
employed them says, "Where shall I find their like?" [Footnote: