Delphi Complete Works of George Eliot (Illustrated) (938 page)

Her novels, like much of the poetry of the same period, are eclectic in spirit, combining with the naturalistic methods those of the historic, socialistic, culture and speculative schools. Art and culture for their own sake combined in her novels with the purpose to use history and social life obedient to a distinct conception of their meanings. To describe life accurately there must be a clear conception of what life means. Genius never works aimlessly; and in seeing life as it is, always sees that it has a tendency and direction. A mind so thoughtful as George Eliot’s, with so strong a love of speculative interest in it, was likely to give to novel-writing done by her a large philosophic element. Yet her philosophy is nearly always subject to her imagination and to her naturalism. Her love of nature, her intimate interest in life and its elemental problems, her passionate sympathy with all human passions and experiences, saves her from becoming a mere
doctrinaire
, and gives to her speculations a pathetic, living interest. The poetic elements of her novels are so many as to subordinate the philosophic to the true purposes of art.

In one direction George Eliot departed from the methods of her predecessors, and to so great an extent as to be herself the originator of a new school of fiction. She followed the bent of her time for analysis and psychologic interpretation. It is here more than anywhere else she differs from Charlotte Brontë and George Sand. These two great novelists create character by direct representation, by making their persons live and act. George Eliot shows her characters to the reader by analyzing their motives and by giving the history of their development. The disadvantages of the analytic method are apparent when George Eliot is compared with Scott. Unique, personal and human are his creations, instinct with all human emotions, and profoundly real. It is only the poetic side of life which he sees, not its philosophic. George Eliot wanted to know the meanings of things, and this very desire brings a largeness into her books which is not found in Scott’s. She was much the more thoughtful of the two, the one who tried to realize to the intellect what life means. Yet her method of doing this is not always the best one for the poet or the novelist. Scott was no realist, and yet George Eliot has not been more accurate than he. Indeed, he is far more truly accurate in so far as he paints the soul as well as the body of life. The sad endings of her novels grew out of a false theory, and from her inability to see anything of spiritual reality beyond the little round of man’s earthly destiny. She did not accept the doctrine that art is to be cultivated only for art’s sake, for art was always to her the vehicle of moral or philosophic teaching. The limitations of her art largely lay in the direction of her agnosticism. Scott and George Sand gain for their work a great power and effect by their acceptance of the spiritual as real. There is a light, a subtle aroma, a width of vision, a sense of reality, in their work from this source, which is wanting in George Eliot’s. The illimitable mystery beyond the region of the real is the greatest fact man has presented to him, and that region is a reality in all the effects it works on humanity. No poet can ignore it or try to limit it to humanity without a loss to his work. It is this subtle, penetrative, aromatic and mystic power of the ideal which is most to be felt as lacking in the works of George Eliot. Much as we may praise her, we can but feel this limitation. Great as is our admiration, we can but feel that there is a higher range of poetic and artistic creation than any she reached.

The quotations presented from her early writings prove that George Eliot began her career as a novelist with a fully elaborated conception of the purposes of the novel and of the methods to be followed in its production. She had thoroughly studied the subject, had read many of the best works of the best writers, and had formed a carefully digested theory of the novel. That she could do this is rather an indication of critical than of creative power. Her novels everywhere betray the greatness of her reasoning powers, that she was a thinker, that she had strong powers of intellectual analysis, and that she had a logical, accurate mind. Had her mind taken no other direction than this, however, she never could have become a great novelist. These essays indicated something beside powers of reasoning and psychological analysis. They also indicated her capacity for imaginative insight into the motives and impulses of human nature, and an intuitive comprehension of what is most natural to human thought and action. They showed appreciation of sympathy and feeling, and delicate perception of the finer cravings and tendencies of even the commonest souls. They gave promise of so much creative power, her friends saw that in novel-writing she was to find the true expression of her large qualities of mind and heart. The person who could so skilfully point out the faults in the poor novels rapidly issuing from the press, and realize the true indications of a master’s power in the creations of the literary artists, might herself possess the genius necessary to original work of her own. Her early essays are now chiefly of value for this promise they give of larger powers than those which could be fully expressed in such work. They prophesied the future, and made her friends zealous to overcome her own reluctance to enter upon a larger work. She doubted her own genius, but it was not destined to remain unfruitful.

VIII.

POETIC METHODS.

Had George Eliot written nothing else than the poems which bear her name, she would have been assigned a permanent place among the poets. Having first attained her rank in the highest order of novelists, however, her poetry suffers in comparison with her prose. The critics tell us that no person gifted with supreme excellence in one form of creative expression has ever been able to attain high rank in another. They forget that Goethe was great both in prose and poetry; that his
Wilhelm Meister
is of scarcely inferior genius to his
Faust
. They also forget that Victor Hugo holds the first place among the French poets of the present century, at the same time that he is the greatest of all French novelists. It would be well for them also to remember that Scott held high rank as a poet before he began his wonderful career as a novelist. A contemporary of George Eliot’s, to name a single instance of another kind, was equally excellent as poet and painter. Dante Rossetti made for himself a lasting place in both directions, and in both he did work of a high order.

In reality, the novel much resembles the narrative or epic poem; and if a work of true genius, it is difficult to distinguish it from the poem except as they differ in external form. The novel has for its main elements those qualities of imagination, description, high-wrought purpose, which are also constituents of much of the best poetry. The novel is more expansive than the poem, one of the chief characteristics of which is condensation; its theme may take a wider range, and it may embrace those cruder and more common features of life which are inappropriate to the poem. The novelist can make a greater use of humor, he can give more detail to description, and portrayal of character can be carried to a much greater extent, than is usual with the poet. The poet requires a subject more sublime, inspiring and naturally beautiful than the novelist, who seeks what is the more human, nearer the level of daily social existence, and full of the affecting even if ruder interests and passions of life. The novel is so similar to the poem, and in so many ways requires such similar qualities of mind for its production, that there is no inherent reason why the same person cannot do equally good work in both. The supposition is that the poet may become a novelist, or the novelist a poet, in all cases except where there is some outward disqualification. The novelist may not have the sense of rhythmical form and of metrical expression; and the poet may not possess that constructive faculty which builds up plots, incidents and characters. In nearly all respects but these the two forms of creative genius so nearly assimilate each other, it is to be expected a novelist may turn poet if he have a large imagination and a stimulating capacity for metrical expression.

Novelists of strong imagination and a ready command of expressive words, barely escape writing poetry when they only purpose to write prose. This is true of Hugo, Auerbach, Dickens and George Eliot, again and again. The glow of creation, the high-wrought impulse of imagination, the ideal conception of life, all move the novelist in the direction of poetry. With much effort he keeps meter and rhyme out of his prose, but simile and metaphor, condensed expression, unusual words, poetic compounds, alliteration, sublime and picturesque expression, will intrude themselves. Dickens even permits meter and rhyme to conquer him, and weakens his style in consequence. He grows sentimental, and the real strength of pure prose is lost. George Eliot is often poetical in expression, touches the very borders of poetry continually, but she seldom permits herself to lapse from the strong, energetic and impressive prose which she almost uniformly writes. Specimens of this noble poetic-prose may be found very often in her pages. While it would be difficult by any transposition of words to turn it into poetry, as may often be done in the case of Dickens’s prose, yet it contains most of the elements of a high order of poetry. In the account of the death of Maggie and Tom is to be found a fine specimen of her style, the last words being good iambics.

The boat reappeared, but brother and sister had gone down in an embrace never to be parted; living through again, in one supreme moment, the days when they
had clasped their little hands in love, and roamed the daisied fields together
.

In the first paragraph of the thirty-third chapter of
Adam Bede
is a sentence which makes a successful stanza in iambics by the addition of a single word.

  The woods behind the chase,
  And all the hedgerow trees,
  Took on a solemn splendor
then
  Under the dark low-hanging skies.

It is very seldom, however, that George Eliot permits anything like meter in her prose, and she is usually very reticent of rhythm. There is fervor and enthusiasm, imagination and poetic insight, but all kept within the limits of robust and manly prose. This capacity of prose to serve most of the purposes of poetry may be seen in a marked degree in all of George Eliot’s novels. In the account of Adam Bede’s love for Hetty this subtle power of words and ideas to give the charm and impression of poetry without rhythm or rhyme is exhibited in a characteristic manner.

I think the deep love he had for that sweet, rounded, blossom-like, dark-eyed Hetty, of whose inward self he was really very ignorant, came out of the very strength of his nature, and not out of any inconsistent weakness. Is it any weakness, pray, to be wrought on by exquisite music? to feel its wondrous harmonies searching the subtlest windings of your soul, the delicate fibres of life where no memory can penetrate, and binding together your whole being, past and present, in one unspeakable vibration; melting you in one moment with all the tenderness, all the love that has been scattered through the toilsome years, concentrating in one emotion of heroic courage or resignation all the hard-learned lessons of self-renouncing sympathy, blending your present joy with past sorrow, and your present sorrow with all your past joy? If not, then neither is it a weakness to be so wrought upon by the exquisite curves of a woman’s cheek and neck and arms, by the liquid depths of her beseeching eyes, or the sweet childish pout of her lips. For the beauty of a lovely woman is like music; what can one say more? Beauty has an expression beyond and far above the one woman’s soul that it clothes, as the words of genius have a wider meaning than the thought that prompted them; it is more than a woman’s love that moves us in a woman’s eyes — it seems to be a far-off, mighty love that has come near to us, and made speech for itself there; the rounded neck, the dimpled arm, move us by something more than their prettiness — by their close kinship with all we have known of tenderness and peace. [Footnote: Adam Bede, chapter XXXIII.]

Love, music and beautiful landscapes continually inspire the poetic side of her nature; and these themes, which are constantly recurring in her chapters, draw forth her imagination and give fervor and enthusiasm to her expression. Her love of nature is deep and most appreciative of all its transformations and beauties. This sensitiveness to the changes of the outward world is a large element in her mind, and indicates the reality of her poetic gifts. This may be seen in a passage such as the following: —

The ride to Stone Court, which Fred and Rosamond took the next morning, lay through a pretty bit of midland landscape, almost all meadows and pastures, with hedgerows still allowed to grow in bushy beauty, and to spread out coral fruit for the birds. Little details gave each field a particular physiognomy, dear to the eyes that have looked on them from childhood; the pool in the corner where the grasses were dank and trees leaned whisperingly; the great oak shadowing a bare place in mid-pasture; the high bank where the ash-trees grew; the sudden slope of the old marl-pit making a red background for the burdock; the huddled roofs and ricks of the homestead without a traceable way of approach; the gray gate and fences against the depths of the bordering wood; and the stray hovel, its old, old thatch full of mossy hills and valleys, with wondrous modulations of light and shadow, such as we travel far to see in later life, and see larger, but not more beautiful. These are the things that made the gamut of joy in landscape to midland-bred souls — the things they toddled among, or perhaps learned by heart, standing between their father’s knees while he drove leisurely. [Footnote: Middlemarch, chapter XII.]