The Ethics of George Eliot's Works Part 4

Toward her late husband's parishioners there is the same wise instinctive insight as to their true needs, the same thoughtful and provident consideration that characterises her in every relation into which she is brought. If she at once objects, on their behoof, to Mr Tyke's so-called "apostolic" preaching, it is that she means by that, sermons about "imputed righteousness and the prophecies in the Apocalypse. I have always been thinking of the different ways in which Christianity is taught, and whenever I find one way that makes it a wider blessing than any other, I cling to that as the truest--I mean that which takes in the most good of all kinds, and brings in the most people as sharers in it."

And in her final selection of Mr Farebrother, she is guided not alone by her sense of his general and essential fitness for the work a.s.signed to him, but also in some degree by her desire to make whist-playing for money, and the comparatively inferior society into which it necessarily draws him, no longer a need of his outer life.

Of all the less prominent relations into which Dorothea Brooke is brought, there is not one more touchingly tender, or in which her whole nature is drawn more beautifully out, than that to Rose Vincy. Between these two, at least on the side of the hard unpenetrable incarnation of self-inclusion and self-pleasing, any approach to harmony or sympathy is impossible. There is not even any true ground of womanhood on which Rosamond can meet Dorothea; for she is nearly as far removed from womanhood as t.i.to Melema is from manliness or manhood. Yet even here the tender pitifulness of Dorothea overpa.s.ses a barrier that to any other would be impa.s.sable. In her sweet, instinctive, universal sympathy for human sorrow and pain, she finds a common ground of union; and in no fancied sense of superiority--solely from the sense of common human need--she strives to console, to elevate, to lead back to hope and trust, with a gentle yet steadfast simplicity all her own.

Such, as portrayed by unquestionably the greatest fictionist of the time--is it too much to say, the greatest genius of our English nineteenth century?--is the nineteenth century St Theresa.

The question may be raised by some of George Eliot's readers whether it const.i.tutes the best and completest ethical teaching that fiction can attain, to bring before its readers such high ideals of the possibilities of humanity--of the aim and purpose of life toward which it should ever aspire. Were the author's canvas occupied with such portraitures alone--with Romolas and Fedalmas, Dinah Morrises and Dorothea Brookes, Daniel Derondas and Adam Bedes, even Mr Tryans and Mr Gilfils--the question might call for full discussion, and a contrast might be unfavourably drawn between the author and him whose emphatic praise it is that he "holds the mirror up to nature." But the great artist for all time brings before us not only an Iago and an Edmund, an Angelo and an Iachimo, a Regan and a Goneril, but a Miranda and an Imogen, an Isabella and a Viola, a Cordelia and a Desdemona, with every conceivable intermediate shade of human character and life; and in George Eliot we have the same clearly-defined contrasts and endless variety. That a Becky Sharp and a Beatrix Castlewood are drawn with the consummate skill and force of the most perfect artist in his own special sphere our age has produced, few will be disposed to deny: and that they have momentous lessons to teach us all,--that they may by sheer antagonism rouse some from dreams of selfish vanity and corruption, and awaken within some germ of better and purer elements of life,--will scarcely be disputed. But it is not from these, or such as these, that the highest and n.o.blest, the purest and most penetrative, the most extended and enduring teaching and elevation of the world has come. That has come emphatically from Him whose self-chosen name, "the Son of Man," designates Him the ideal of humanity on earth; Him who is at once the "Lamb of G.o.d" and "the Lion of the tribe of Judah," the "Good Shepherd," and the stern and fearless but ever-righteous Judge--the concentration of all tender and holy love, and of divinest scorn of, and revulsion from, everything mean and false in humanity; Him who for the repentant sinner has no harsher word of rebuke than "Go and sin no more," and who over the self-righteous, self-wrapt, all-despising Pharisees thundered back, to His own ultimate destruction, His terrible "Woe unto you _hypocrites_." He too stands out, not isolated or severed, but prominent, amid every conceivable phase and gradation of human character, from a John to a Judas; touches each and all at some point of living contact; meets them with tender sympathy, with gentle patience, and pitying love, over their weaknesses and falls.

Can the true artist err in aiming, according to his nature or to the purity and elevation of his genius, to approach in his portraitures such ideals as this great typical exemplar of our humanity, whose influence has for eighteen centuries been stealing down into the hearts and souls of men to elevate and refine, and who is now, and who is more and more becoming, the paramount factor in individual character, and in social and political relations? Or can such ideals, presented before us, fail to arouse in some degree the better elements of our humanity, and to lead us to strive toward the realisation of these?

In wonderfully drawn and finished yet never obtruded contrast to this beautiful creation comes before us Rosamond Vincy. Outwardly even more characterised by every personal charm, save that one living and crowning charm which outshines from the soul within; to the eye, therefore--such eyes as can penetrate no deeper than the surface--prettier, more graceful, more accomplished and fascinating, than Dorothea Brooke;--it is difficult to conceive a more utterly unlovable example of womanhood, whether as maiden or wife. Hard and callous of heart and dead of soul, incapable of one thought or emotion that rises above or extends beyond self, insistent on her own petty claims and ambitions to the exclusion of all others, ever aiming to achieve these, now by dogged sullen persistence, now by mean concealments and frauds, no more repellent portraiture of womanhood has ever been placed before us. The fundamental character of her entire home relations is, on her first appearance, drawn by a single delicate touch--her objecting to her brother's red herring, or rather to its presence after she enters the room, because its odour jars on her sense of pseudo-refinement. In her relation to her husband there is not from first to last one shadow of anything that can be called love, no approach to sympathy or harmony of life. She looks on him solely as a means for removing herself to what she considers a higher social circle, securing to her greater ease, freedom, and luxury of daily life, and ultimately withdrawing her to a wider sphere of petty and selfish enjoyment. Seeking these ends, she resorts to every mean device of deceit and concealment. Utterly callous and impenetrable to his feelings, to every manlier instinct within him, as she is utterly insensible of, and indeed incapable of, entering into his higher and wider professional aims, she not only ignores these, but in her dull and hard insensibility runs counter to, and tramples on them all.

Even toward Mary Garth there is nothing approaching true friendship or affection; no power of recognising her honesty, unselfishness, and earnestness of nature. She is nothing to her but a tool and _confidante_, the recipient of her own petty hopes and desires, worries and cares.

All Dorothea's gentle, un.o.btrusive attempts to soothe, to win her back to truer and better relations with her husband, and to awaken to active life and exercise the true womanhood, which she in her sweet instinct believes to be inherent in all her s.e.x, are met by hard indifference or dull resistance. And in the one act of apparent friendliness or rather explanation toward Dorothea, she is actuated far less by sympathy or desire to clear away what has come between her and Ladislaw, than by sullen resentment against the latter for his rejection of her unseemly and unwifely advances to him.

In the position she at last takes up toward Ladislaw, there is no approach to anything in the very least resembling love--even illicit and overmastering pa.s.sion. Of that her very nature is incapable. She is influenced solely by resentment against her husband, and his failure to fulfil her vain and self-absorbed dreams; by the hope that he will remove her to a sphere which will give wider scope to her heartless selfishness, and take her away from the social disappointments and humiliations into which that selfishness has mainly plunged her. In every relation of life near or far, important or trivial, amid all environments, under all impulsion toward anything purer and better, Rosamond Vincy is ever the same; as consistent and unvarying in her hard unwomanliness and impenetrable, insistent self-seeking, as is Dorothea in every opposite characteristic. And even while the picture in one way fascinates the reader, it is the fascination of ever-increasing contempt and loathing where the extremest charity can hardly even pity; and from it we ever turn to that of St Theresa with the more intense refreshment alike of mind and heart, and the deeper sense of its elevating and refining influence.

Among the many clearly defined and vividly drawn portraits in this great work, it would be easy, did s.p.a.ce permit, to select others well worthy of detailed examination, and ill.u.s.trative of the salient aim and tendency of all George Eliot's works. The homely yet beautiful family groups of the Garths, Celia and Sir James Chettam, the Bulstrodes, {97} even the wretched old Featherstone, and the crowd of vultures "waiting for death around him," all more or less ill.u.s.trate the fundamental principle of the highest ethics--that self-abnegation is life, elevation, purity, uplifting our humanity toward the Divine; that self-seeking and self-isolation tend surely toward moral and spiritual death. Two, however, stand out so delicately yet clearly defined and contrasting, that they claim brief consideration before pa.s.sing from this great work--Lydgate and Farebrother.

The whole character and career of Lydgate are brought before us with the skill of the consummate artist. At first he appears as a man of ma.s.sive and energetic proportions, of high professional impulses and aims, resolute to carry these through against all difficulty and amid all indifference and opposition, and apparently seeking through these aims the general good of humanity--the alleviation of suffering, and the arrestment, it may be, of death. But even then there are signs of inherent weakness, and all but certain decline and fall. There are indications of arrogant self sufficiency and supercilious contempt for others; of undue deference for Bulstrode, not from respect or esteem, but as a tool to further his views; and a tendency to treat patients not as human beings but as cases--objects to experiment on, and verify hypotheses regarding pathology and disease, all which betray a nature not attuned to the highest and n.o.blest pitch, and that cannot be expected to stand in the hour of trial. His first direct lapse is when, against his secret conviction, he supports Tyke as hospital chaplain in opposition to Farebrother; but mainly in mere defiance and resentment of the general style of his reception at the Board meeting, and the opposition he encounters there. Anon comes his marriage to Rosamond Vincy,--a marriage prompted by no true affection, but solely by the fascination of her prettiness, her external grace and accomplishments. Led on mainly by his own taste for luxury and external show, he plunges into extravagances of every kind. Debt inevitably follows, crippling his resources, cramping his energies, fettering him as regards all his higher professional aims and efforts. To his wife he looks in vain for sympathy or aid. She only aggravates the difficulties and hara.s.sments of his life by her callous selfishness, her dull obdurate insistance on all her own claims, her mean deceits and concealments. Embarra.s.sments of every kind thicken around him; and at last in the all but universal estimation of his fellows, and nearly in his own, in the hope of temporary relief he becomes accessory to murder. His end is as sad a one for his character, and in his circ.u.mstances, as can well be conceived: falling from all his high if somewhat arrogant professional aims, his hopes of elevating the general pract.i.tioner, and of raising medicine from an art to a science, into the fashionable London lady's doctor.

Though Mr Farebrother occupies a somewhat less prominent place in the narrative, he is delineated with not less consummate skill. He comes before us at first a man of genial kindly sympathies, frankly alive to, and frankly acknowledging, his own deficiencies. There is an utter absence of pretence and affectation about him, a graceful and engaging simplicity and frankness of whole nature, that can hardly fail to win the heart. All his home relations--toward mother and sisters--are singularly touching. Feeling all his defects as a clergyman, half laughing, half apologetic over his devotion to his favourite Coleoptera, and admitting that which is so far a necessity to him, not of choice, but of actual external need in his narrow circ.u.mstances--admitting, too, the comparatively inferior and uncongenial society into which he is drawn--the full revelation of his n.o.bler and higher nature begins. His true and deep appreciation of Mary Garth, and tender, devoted, and unselfish love for her, more clearly reveal his innate manliness, self-denial, and simplicity of character. This revelation is still further unfolded before us in his entire relations with Fred Vincy. That firm persistent interview in the billiard-room, is actuated by the one absorbing and self- abnegating desire that he may still be saved from the moral and spiritual decay impending over him: and when, in answer to Fred's appeal for his intercession, we discover the blighting of his own hopes, the shattering of his love, the tender heart stricken to the core should Fred prove, as he suspects, his successful rival, we discern in him a nature of the finest capabilities, and surely tending on and up toward the n.o.blest ends; and we part from him as from a dear and valued friend, whose society has cheered and elevated us, whose pure simplicity of nature has refuted our vain pretensions, and whose memory clings to us as a fragrance and refreshment.

There now only remains the last yet published, and in the estimation of many, the greatest, of George Eliot's works--'Daniel Deronda.' In it the author takes up--not a new scope, but extends one that has all along been present, and that indeed was inevitably a.s.sociated with her great ethical principle,--the bringing of that principle definitely and directly to bear upon not only every domestic but every social and political relation of human life. This tendency may be briefly expressed in the old and profound words: "No man liveth to himself; no man dieth to himself." As we aim toward the true and good and pure, or surrender ourselves the slaves of self and sense, we live or die to G.o.d or to the devil.

Before, however, proceeding to detailed examination of this remarkable work, it seems necessary to draw attention to one objection which has been urged against it--the prominent introduction of the Jewish element into its scheme. Such objection could scarcely have been put forward by any one who considers what the Jew has been in the past--what an enormous factor his past and present have been and are, in the development and progress of our highest civilisation. Historically, we first meet him coming forth from the Arabian desert, a rude unlettered herdsman, in intelligence, cultivation, and morality far below the tribes among whom he is thrown. A terrible weapon arms him--a theism stern, hard, and pitiless, beyond, perhaps, all the world has ever seen. To the bravest and best of his race--a Moses and a Joshua, a Deborah and a Jephtha--this presents ruthless ma.s.sacre, the vilest treachery, offering up a sacrifice the dearest and most loved, not as mere permissible acts, but as deeds of religious homage solemnly enjoined by his Most High. This theism has one central thought in which it practically stands alone, and which it was the aim of all its supposed heads and legislators to keep inviolate amid all surrounding antagonisms--the intense a.s.sertion of the Divine unity.

"Hear, O Israel! the Lord thy G.o.d is _one_ Lord." In these brief words lies the very core of Judaism. So long as he holds fast by this central truth, the Jew is exhibited to us as practically omnipotent. Seas and floods divide before him; hosts numberless as the sands are scattered at his appearance; cyclopean walls fall p.r.o.ne at his trumpet-blast.

And this thought of the Divine unity, thus intensely pervading the national life, upfolds within capacity of indefinite development. No long time in the life of a nation elapses ere "The Lord thy G.o.d is a jealous G.o.d, visiting the iniquity of the fathers upon the children,"

became "As a father pitieth his children, so the Lord pitieth them that fear Him." "Can a woman forget her sucking child, that she should not have compa.s.sion on the son of her womb? Yea, she _may_ forget; yet will not _I_ forget thee."

In no sense of the word was the Jew a creature of imagination. The stern and hard realities of his life would seem to have crushed out every trace of the aesthetic element within him. Yet from among these people arose a literature, especially a hymnology, which has never been approached elsewhere; and it arose emphatically and distinctly out of the great central and animating thought of the Divine unity. To the Psalms so-called of David, the glorious outbursts of sacred song in their mythico-historical books, as in Isaiah {103} and some of the minor prophets, the finest of the Vedic or Orphic hymns or the Homeric ballads are cold and spiritless. These address themselves to scholars alone, or chiefly to a cultivated few, and address themselves to them eloquently and gloriously. The hymns of the Jews have so interpenetrated the very heart of humanity, so identified themselves with the best longings, the n.o.blest aspirations, the purest hopes, and the deepest sorrows of man, that still, after more than twenty centuries, that wonderful hymnology breathes up day after day, week after week, from millions of households and hearts. They outbreathe its fervid aspirations toward a purer and diviner life. They give expression to its profound wailings over degradation and fall. They give utterance on all the inscrutable mysteries of existence; and ever and anon as the clouds and darkness break away from the Infinite Love,--they burst forth into the exultant cry, "G.o.d reigneth, let the earth be glad. . . . Give thanks at remembrance of His _holiness_."

But important as is this factor of Judaism, there is another generally considered which has perhaps exercised a still more profound and c.u.mulative influence on the civilisation especially of the West. This lies in the intense indestructible nationality of the race. Eighteen centuries have pa.s.sed since they became a people, "scattered and peeled,"

their "holy and beautiful house" a ruin, their capital a desolation, their land proscribed to the exile's foot. During these centuries deluge after deluge of so-called barbarians has swept over Asia and Europe: Hun and Tartar, Alan and Goth, Suev and Vandal,--we attach certain vague meanings to the names, but can the most learned scholar identify one individual of the true unmingled blood? All have disappeared, merged in the race they overran, in the kingdoms they conquered and devastated. The Jew alone, through these centuries, has remained the Jew: proscribed, persecuted, hunted as never was tiger or wolf, he is as vividly defined, as unchangeably national, as when he stood alone, everywhere without and beyond the despised and hated Gentile. And this intense and conservative nationality springs essentially out of the central conception of Judaism, "G.o.d is _one_." Be He the incarnation of pitiless vengeance, hardening Pharaoh's heart that He may execute sevenfold wrath on him and his people; be He the Good Shepherd, who "gathers the lambs in His arms," and for their sakes "tempers His rough wind in the day of His east wind;"--to the Jew He has been and is, "I am the Lord; that is My name; and My glory will I not give to another."

Through those long ages of darkness, devil-worship, and polytheism (in its grossest forms all around), the Jew stood up in unfaltering protest against all. Persecutions, proscriptions, tortures in every form, were of no avail. On the gibbet, on the rack, amid the flames, his last words embodied the central confession of Judaism, "O Israel, the Lord _thy_ G.o.d is one Lord." Christianity, the appointed custodier of the still more central truth, "G.o.d is love," had to all appearance failed of its mission; had not only merged its higher message in a theistic presentation, dark and terroristic as that of Judaism at its dawn, but had absorbed into its scheme, under other names, the G.o.ds many who swarm all around it; till nowhere and never, save by some soul upborne by its own fervour above these dense fogs and mists, could individual man meet his G.o.d face to face, and realise that higher life of the soul which is His free gift to all who seek it. Between this heathenised Christianity and Judaism, the contrast was the sharpest, the contest the most embittered and unvarying. Elsewhere we hear of times of toleration and indulgence even for the hunted Monotheist,--in medieval Christendom, never. The Inquisition plied its rack for the Jews with a more fiendish zeal than even for the hated Morisco. The mob held him responsible for plague and famine; and kings and n.o.bles hounded the mob on to indiscriminate ma.s.sacre. The Jew lived on through it all,--lived, multiplied, and prospered, and became more and more emphatically the Jew.

Is it too much to say that in the West in particular, where this contrast and contest were keenest, Judaism was, during these long ages of terror and darkness, the great conservator of the vital truth of the Divine unity, under whatever forms science or philosophy may now attempt to define this; and in being so, became the conservator of that thought, without the vivifying power of which, howsoever imperfectly apprehended, all human advance is impossible? Is it exaggerating the importance of the Jew and his intense nationality, based on such a truth, to say that, but for his presence, "scattered and peeled," among all nations, the Europe we now know could not have been? And this indestructible nationality, for whose existence miracle has been called into account--has it no significance in the future equal to what it has had in the past?

There seems an impression that the Jew is being absorbed by other races.

We hear much of relaxing Judaisms; of rituals and beliefs a.s.similating to those around them; of peculiarities being laid aside, that have withstood the wear and tear of centuries. The inference is sought to be drawn that the Jew is beginning to feel his isolation, and to sink his own national life amid that among which he dwells. We accept all the facts; but can only see in them that, under the influence of the profound thought and research of its great leaders, Judaism is shaking off the dust of ages, and is more vividly awaking to its mission upon earth. We believe it is coming forth from all this superficial change, more intensely and powerfully Judaical, more penetrated and vivified by that thought which for untold centuries has been the life of its life. What is to be its specific future as a leader in the advancement and redemption of humanity, none can foresee. But it seems the reverse of strange that a genius like George Eliot's should have been powerfully attracted by this problem; and that, in one of her n.o.blest works, she should have very prominently addressed herself to at least a partial solution of it. That the solution she suggests is a n.o.ble one, few who carefully consider the subject will, we think, deny. The establishment of a Jewish polity, in the true sense of the word a theocracy, where the Infinite Holiness is supreme, and in its supremacy is included a reign of justice, purity, and love;--the establishment of such a polity locally between the materialistic proclivities of the West and the psychological subtleties of the East, mediative between them, communicating from each to each of those essentials to human life in which the other is deficient, is a conception worthy of her genius.

Another minor and very trivial objection to the presence of this Jewish element need be no more than adverted to. It is the presence of such different types as the mean-souled scoundrel Lapidoth; the shrewd self- approving trader Cohen, with the inimitable picture of a home-life so pleasant and kindly; the vague intense enthusiasm, the ardent aspirations and fervent hopes of Mordecai; the absorbing Judaism of the Physician; the fierce revulsion of his daughter against her race and name; the meek, delicate, ethereal purity of Mirah; the innate Jewish yearnings and aspirations of Deronda, expanded by all the breadth that could be given by the highest Anglo-Saxon culture and training. To those who take exception to this, it is answer more than sufficient that, as an artist, it was necessary to present every typical phase of Jewish character and life; and we confess there are other pa.s.sages in the work we could better spare than these delicious pictures of a London-Jewish p.a.w.nbroker at home.

Of all the characters portrayed in fiction, there is perhaps not one so difficult to a.n.a.lyse and define as that which stands out so prominently in this wonderful work, Gwendolen Harleth. At once attractive and repellent--fascinating in no ordinary degree, and yet, in the estimation of all around her, hard, cold, and worldly-minded--bewitching, alike from her beauty, grace, and accomplishments, yet a superficial and seemingly heartless coquette,--she presents a combination of at once some of the finest and some of the meanest qualities of woman. Her hardness towards her fond, doting mother, and her contempt for her sisters, are conspicuous almost from her first appearance. Her arrogant defiance of Deronda in the gambling-house, and the fierce revulsion of pride with which she received the return of her necklace, are entirely in keeping with these characteristics. And the news of the reduction of her family to utter poverty awakens no emotion save on her own behalf alone. Yet, ever and anon, faint gleams of tenderness towards her gentle mother break forth, though soon obscured by the bitter insistance with which her own claims to station, wealth, and luxury a.s.sert themselves. Her first acceptance of Grandcourt represents this phase of her twofold nature; her rejection of him and flight from him, after her interview with Mrs Glasher, are equally characteristic of the second. That rejection is actuated much more by resentment against Mrs Glasher, that she should have dared to antic.i.p.ate her in anything resembling affection he had to give, and against him, that he should have presumed to offer to her a heart already sealed to anything resembling love, than by the faintest approach to it in her own. The leap, as it were, by which she ultimately accepts him, is merely a quick, half-conscious instinct to secure her own deliverance from poverty, and the attainment of those higher external enjoyments of life for which she conceived herself formed; and if, in addition, a thought of relieving the wants of her mother and sisters obtrudes, it holds only a very secondary place in her mind. Deeming herself born for dominion over every male heart, in her utter childish ignorance of human character, she deems that Grandcourt also shall be her slave.

But through all her relations with that magnificent incarnation of self- isolation and self-love, she is compelled to cower before him. Again and again she attempts to turn, only to be crushed under his heel as ruthlessly as a worm. During the yachting voyage it is the same; intense inward revulsion on the one side--cold, inexorable despotism on the other.

The drowning scene first begins to stir the better nature within her. The intensity of terror with which she regards the involuntary murderous thought, and which prompted her leap into the water, the fervour of remorse which followed, all begin to indicate a nature which may yet be attuned to the highest qualities. On the other hand, the sweet clinging trust with which she hangs on Deronda, looks up to him, feels that for her every possibility of good lies in a.s.sociation with him, are those of a guileless, artless child. She has been called a hard-hearted, callous woman of the world: her worldliness is on the surface alone. Her first cry to Deronda is the piteous wail of a forsaken child; the letter with which their relations close is the fond yearning of a child towards one whom she looks up to as protector and saviour.

Grandcourt is portrayed before us in more ma.s.sive and simple proportions as a type of concentrated selfishness. We dare not despise him, we cannot loathe him--we stand bowed and awe-stricken before him. He never for a moment falls from that calm dignity of pride and self-isolation--never for a moment softens into respect for anything without himself. Without a moment's exception he is ever consistent, imperturbable in his self-containedness, ruthlessly crushing all things from dog to wife, under his calm, cold, slighting contempt. He stands up before us, not so much indomitable as simply una.s.sailable. We cannot conceive the boldest approaching or encroaching on him--all equally shiver and quail before that embodiment of the devil as represented by human self-love.

Fain would we linger over the Jewish girl, Mirah. She has been spoken of as characterless; to us it seems as if few characters of more exquisite loveliness have ever been portrayed. From her first appearance robed in her meek despair, through all her subsequent relations with Deronda, her brother, and Gwendolen, there is the same delicate purity, the same tender meekness, the same full acceptance of the life of a Jewess as--in harmony with the life of her race--one of "sufferance." Even as her spirits gladden in that sunny Meyrick home, with its delicious interiors, and brighten under the n.o.ble-hearted musician Klesmer's encouragement, the brightness refers to something entirely without herself. In one sense far more acquainted with the evil that is in the world than Gwendolen with all her alleged worldliness, it is her shrinking from the least approach to this that prompts her strange, apparently hopeless flight in search of the mother she had loved so dearly. Her sad, humble complaints that she has not been a good Jewess, because she has been inevitably cut off from the use of Jewish books, and restrained by her scoundrel father from attendance at Jewish worship, find their answer in her deep unfailing sense of her share in the national doom of suffering.

We feel with Mrs Meyrick "that she is a pearl, and the mud has only washed her." In her startling interview with Gwendolen, the sudden indignant protest which the inquiry of the latter calls out is a protest against even a hint of evil being directed towards that which has been best and highest to her. Her love for Deronda steals into the maiden purity of her soul with an unconscious delicacy which cannot be surpa.s.sed; and as she parts from us by his side, we feel that she is no Judith or Esther, but the meek Mary of the annunciation, going forth on her unknown mission of love with the words, "Behold the handmaid of the Lord."

Beside the exquisitely meek child-figure, with the small delicate head faintly drooping under the sorrow which is the heritage of her race, stands up Deronda in his calm dignity. As he lies on the gra.s.s, and the first faint glimmering of the possible origin of his life breaks upon him, even the first inevitable risings of resentment against Sir Hugo are softened and toned down by the old yearning affection; and the longings for the unknown mother, intense as they are, yet shrink from full discovery of what she may have been or may still be. He and he alone, in unconscious dignity, stands up uncowering before Grandcourt. His whole relations to Mordecai are characterised by a deep suppressed enthusiasm, that fully responds to the enthusiast's soul. Towards Gwendolen every word he speaks, every act he does, is marked by the fervour of his whole nature; but it is beside the fair head drooping under its burden of hereditary sorrow that Deronda pa.s.ses from our sight, the fitting type of him who shall yet, sooner or later, re-establish that great Jewish theocracy so long dreamt of, and reaffirm that Judaism yet holds a great place in human life and civilisation.

We have throughout had no intention of dealing with George Eliot merely as the artist; but if we have succeeded in showing this unity of moral purpose and aim as pervading all her works, as giving rise to their variety by reason of the varieties and modifications it necessitates in order to its full ill.u.s.tration, and as ministered to, directly or indirectly, by all the accessory characters and incidents of these creations,--the question naturally arises, whether this does not const.i.tute her an artist of the highest possible order.

But the true worth of George Eliot's works rests, we think, on higher grounds than any mere perfection of artistic finish; on this ground, specially, that among all our fictionists she stands out as the deepest, broadest, and most catholic ill.u.s.trator of the true ethics of Christianity; the most earnest and persistent expositor of the true doctrine of the Cross, that we are born and should live to something higher than the love of happiness; the most subtle and profound commentator on the solemn words, "He that loveth his soul shall lose it: he that hateth his soul shall keep it unto life eternal."

Footnotes:

{15} The translators of our English Bible, possibly perplexed by the seeming paradox involved in these remarkable words, have taken an unwarrantable freedom with the original, in rendering the Greek [Greek text], invariably the synonym of the soul, the spiritual and undying element in man, by "life"--the [Greek text] of all Greek literature so- called, sacred and profane alike; the synonym of that life which is his in common with the beast of the field and the tree of the forest.

{29} Perhaps no finer and more subtle ill.u.s.tration of this "instinct of the gentleman" can be found in literature than when, at the moment of Harold Transome's deepest humiliation, where Jermyn claims him as his son, good old Sir Marmaduke, not only his political opponent but personally disliking him, for the first and only time in all their intercourse addresses him by his Christian name, "Come, _Harold_."

{97} In connection with Bulstrode occurs one of those delicate indications of character, condensed into a few words, which others would expand into pages, peculiar to George Eliot. It occurs in the depth of his humiliation, when his wife, hitherto comparatively characterless, in full token of her acceptance of their fallen lot, "takes off all her ornaments, and puts on a plain gown, and instead of wearing her much adorned-cap and large bows of hair, brushes down her hair, and puts on a plain bonnet-cap, which makes her look like an early Methodist."

{103} Does all poetry ancient or modern, so-called sacred or profane, contain an image more impressive and majestic than that in the "doom of Babylon," as the great incarnation of pride and luxury descends to its place: "Hades from beneath is moved for thee to meet thee at thy coming: it stirreth up the dead for thee, even all the chief ones of the earth; it hath raised up from their thrones all the kings of the nations."