English Literature: Its History and Significance for the Life of the English-Speaking World, William J. Long [suggested reading .txt] 📗

Up to this point George Eliot had confined herself to English country life, but now she suddenly abandoned the scenes and the people with whom she was most familiar in order to write an historical novel. It was in 1860, while traveling in Italy, that she formed "the great project" of Romola,--a mingling of fiction and moral philosophy, against the background of the mighty Renaissance movement. In this she was writing of things of which she had no personal knowledge, and the book cost her many months of hard and depressing labor. She said herself that she was a young woman when she began the work, and an old woman when she finished it. Romola (1862--1863) was not successful with the public, and the same may be said of Felix Holt the Radical (1866) and The Spanish Gypsy (1868). The last-named work was the result of the author's ambition to write a dramatic poem which should duplicate the lesson of Romola; and for the purpose of gathering material she visited Spain, which she had decided upon as the scene of her poetical effort. With the publication of Middlemarch (1871-1872) George Eliot came back again into popular favor, though this work is less spontaneous, and more labored and pedantic, than her earlier novels. The fault of too much analysis and moralizing was even more conspicuous in Daniei Deronda (1876), which she regarded as her greatest book. Her life during all this time was singularly uneventful, and the chief milestones along the road mark the publication of her successive novels.

During all the years of her literary success her husband Lewes had been a most sympathetic friend and critic, and when he died, in 1878, the loss seemed to be more than she could bear. Her letters of this period are touching in their loneliness and their craving for sympathy. Later she astonished everybody by marrying John Walter Cross, much younger than herself, who is known as her biographer. "Deep down below there is a river of sadness, but ... I am able to enjoy my newly re-opened life," writes this woman of sixty, who, ever since she was the girl whom we know as Maggie Tulliver, must always have some one to love and to depend upon. Her new interest in life lasted but a few months, for she died in December of the same year (1880). One of the best indications of her strength and her limitations is her portrait, with its strong masculine features, suggesting both by resemblance and by contrast that wonderful portrait of Savonarola which hangs over his old desk in the monastery at Florence.

Works of George Eliot. These are conveniently divided into three groups, corresponding to the three periods of her life. The first group includes all her early essays and miscellaneous work, from her translation of Strauss's Leben Jesu, in 1846, to her union with Lewes in 1854. The second group includes Scenes of Clerical Life, Adam Bede, Mill on the Floss, and Silas Marner, all published between 1858 and 1861. These four novels of the middle period are founded on the author's own life and experience; their scenes are laid in the country, and their characters are taken from the stolid people of the Midlands, with whom George Eliot had been familiar since childhood. They are probably the author's most enduring works. They have a naturalness, a spontaneity, at times a flash of real humor, which are lacking in her later novels; and they show a rapid development of literary power which reaches a climax in Silas Marner.

The novel of Italian life, Romola (1862-1863), marks a transition to the third group, which includes three more novels,--Felix Holt (1866), Middlemarch (1871-1872), Daniel Deronda (1876), the ambitious dramatic poem The Spanish Gypsy (1868), and a collection of miscellaneous essays called The Impressions of Theophrastus Such (1879). The general impression, of these works is not so favorable as that produced by the novels of the middle period. They are more labored and less interesting; they contain much deep reflection and analysis of character, but less observation, less delight in picturing country life as it is, and very little of what we call inspiration. We must add, however, that this does not express a unanimous literary judgment, for critics are not wanting who assert that Daniel Deronda is the highest expression of the author's genius.

General CharacterThe general character of all these novels may be described, in the author's own term, as psychologic realism. This means that George Eliot sought to do in her novels what Browning attempted in his poetry; that is, to represent the inner struggle of a soul, and to reveal the motives, impulses, and hereditary influences which govern human action. Browning generally stops when he tells his story, and either lets you draw your own conclusion or else gives you his in a few striking lines. But George Eliot is not content until she has minutely explained the motives of her characters and the moral lesson to be learned from them. Moreover, it is the development of a soul, the slow growth or decline of moral power, which chiefly interests her. Her heroes and heroines differ radically from those of Dickens and Thackeray in this respect,--that when we meet the men and women of the latter novelists, their characters are already formed, and we are reasonably sure what they will do under given circumstances. In George Eliot's novels the characters develop gradually as we come to know them. They go from weakness to strength, or from strength to weakness, according to the works that they do and the thoughts that they cherish. In Romola, for instance, Tito, as we first meet him, may be either good or bad, and we know not whether he will finally turn to the right hand or to the left. As time passes, we see him degenerate steadily because he follows his selfish impulses, while Romola, whose character is at first only faintly indicated, grows into beauty and strength with every act of self-renunciation.

Moral TeachingIn these two characters, Tito and Romola, we have an epitome of our author's moral teaching. The principle of law was in the air during the Victorian era, and we have already noted how deeply Tennyson was influenced by it. With George Eliot law is like fate; it overwhelms personal freedom and inclination. Moral law was to her as inevitable, as automatic, as gravitation. Tito's degeneration, and the sad failure of Dorothea and Lydgate in Middlemarch, may be explained as simply as the fall of an apple, or as a bruised knee when a man loses his balance. A certain act produces a definite moral effect on the individual; and character is the added sum of all, the acts of a man's; life,--just as the weight of a body is the sum of the weights of many different atoms which constitute it. The matter of rewards and punishments, therefore, needs no final judge or judgment, since these things take care of themselves automatically in a world of inviolable moral law.

Perhaps one thing more should be added to the general characteristics of George Eliot's novels,--they are all rather depressing. The gladsomeness of life, the sunshine of smiles and laughter, is denied her. It is said that once, when her husband remarked that her novels were all essentially sad, she wept, and answered that she must describe life as she had found it.

What to Read. George Eliot's first stories are in some respects her best, though her literary power increases during her second period, culminating in Silas Marner, and her psychological analysis is more evident in Daniel Deronda. On the whole, it is an excellent way to begin with the freshness and inspiration of the Scenes of Clerical Life and read her books in the order in which they were written. In the first group of novels Adam Bede is the most natural, and probably interests more readers than all the others combined. The Mill on the Floss has a larger personal interest, because it reflects much of George Eliot's history and the scenes and the friends of her early life. The lack of proportion in this story, which gives rather too much space to the girl-and-boy experiences, is naturally explained by the tendency in every man and woman to linger over early memories.

Silas MarnerSilas Marner is artistically the most perfect of George Eliot's novels, and we venture to analyze it as typical of her ideals and methods. We note first the style, which is heavy and a little self-conscious, lacking the vigor and picturesqueness of Dickens, and the grace and naturalness of Thackeray. The characters are the common people of the Midlands, the hero being a linen weaver, a lonely outcast who hoards and gloats over his hard-earned money, is robbed, thrown into utter despair, and brought back to life and happiness by the coming of an abandoned child to his fire. In the development of her story the author shows herself, first, a realist, by the naturalness of her characters and the minute accuracy with which she reproduces their ways and even the accents of their speech; second, a psychologist, by the continual analysis and explanation of motives; third, a moralist, by showing in each individual the action and reaction of universal moral forces, and especially by making every evil act bring inevitable punishment to the man who does it. Tragedy, therefore, plays a large part in the story; for, according to George Eliot, tragedy and suffering walk close behind us, or lurk at every turn in the road of life. Like all her novels, Silas Marner is depressing. We turn away from even the wedding of Eppie--which is just as it should be--with a sense of sadness and incompleteness. Finally, as we close the book, we are conscious of a powerful and enduring impression of reality. Silas, the poor weaver; Godfrey Cass, the well-meaning, selfish man; Mr. Macey, the garrulous, and observant parish clerk; Dolly Winthrop, the kind-hearted countrywoman who cannot understand the mysteries of religion and so interprets God in terms of human love,--these are real people, whom having once met we can never forget.

RomolaRomola has the same general moral theme as the English novels; but the scenes are entirely different, and opinion is divided as to the comparative merit of the work. It is a study, a very profound study of moral development in one character and of moral degeneracy in another. Its characters and its scenes are both Italian, and the action takes place during a critical period of the Renaissance movement, when Savonarola was at the height of his power in Florence. Here is a magnificent theme and a superb background for a great novel, and George Eliot read and studied till she felt sure that she understood the place, the time, and the people of her story. Romola is therefore interesting reading, in many respects the most interesting of her works. It has been called one of our greatest historical novels; but as such it has one grievous fault. It is not quite true to the people or even to the locality which it endeavors to represent. One who reads it here, in a new and different land, thinks only of the story and of the novelist's power; but one who reads it on the spot which it describes, and amidst the life which it pictures, is continually haunted by the suggestion that George Eliot understood neither Italy nor the Italians. It is this lack of harmony with Italian life itself which caused Morris and Rossetti and even Browning, with all his admiration for the author, to lay aside the book, unable to read it with pleasure or profit. In a word, Romola is a great moral study and a very interesting book; but the characters are not Italian, and the novel as a whole lacks the strong reality which marks George Eliot's English studies.

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