George Eliot Part 10

Mirah Lapidoth and the Princess Halm-Eberstein, Deronda's mother, are drawn with the obvious purpose of contrasting two types of Jewish women.

Whereas the latter, strictly brought up in the belief and most minute observances of her Hebrew father, breaks away from the "bondage of having been born a Jew," from which she wishes to relieve her son by parting from him in infancy, Mirah, brought up in disregard, "even in dislike of her Jewish origin," clings with inviolable tenacity to the memory of that origin and to the fellows.h.i.+p of her people. The author leaves one in little doubt as towards which side her own sympathies incline to. She is not so much the artist here, impartially portraying different kinds of characters, as the special pleader proclaiming that one set of motives are righteous, just, and praiseworthy, as well as that the others are mischievous and reprehensible.

This seems carrying the principle of nationality to an extreme, if not pernicious length. If there were never any breaking up of old forms of society, any fresh blending of nationalities and races, we should soon reduce Europe to another China. This unwavering faithfulness to the traditions of the past may become a curse to the living. A rigidity as unnatural as it is dangerous would be the result of too tenacious a clinging to inherited memories. For if this doctrine were strictly carried out, such a country as America, where there is a slow amalgamation of many allied and even heterogeneous races into a new nation, would practically become impossible. Indeed, George Eliot does not absolutely hold these views. She considers them necessary at present in order to act as a drag to the too rapid transformations of society.

In the most interesting paper of 'Theophrastus Such,' that called 'The Modern Hep! Hep! Hep!' she remarks: "The tendency of things is towards quicker or slower fusion of races. It is impossible to arrest this tendency; all we can do is to moderate its course so as to hinder it from degrading the moral status of societies by a too rapid effacement of those national traditions and customs which are the language of the national genius--the deep suckers of healthy sentiment. Such moderating and guidance of inevitable movement is worthy of all effort."

Considering that George Eliot was convinced of this modern tendency towards fusion, it is all the more singular that she should, in 'Daniel Deronda,' have laid such stress on the reconstruction, after the lapse of centuries, of a Jewish state; singular, when one considers that many of the most eminent Jews, so far from aspiring towards such an event, hardly seem to have contemplated it as a desirable or possible prospect.

The sympathies of Spinoza, the Mendelssohns, Rahel, Meyerbeer, Heine, and many others, are not distinctively Jewish but humanitarian. And the grandest, as well as truest thing that has been uttered about them is that saying of Heine's: "The country of the Jews is the ideal, is G.o.d."

Indeed, to have a true conception of Jewish nature and character, of its brilliant lights and deep shadows, of its pathos, depth, sublimity, degradation, and wit; of its infinite resource and boundless capacity for suffering--one must go to Heine and not to 'Daniel Deronda.' In 'Jehuda-ben-Halevy' Heine expresses the love and longing of a Jewish heart for Jerusalem in accents of such piercing intensity that compared with it, "Mordecai's" fervid desire fades into mere abstract rhetoric.

Nature and experience were the princ.i.p.al sources of George Eliot's inspiration. And though she knew a great deal about the Jews, her experience had not become sufficiently incorporated with her consciousness. Otherwise, instead of portraying such tame models of perfection as Deronda and Mirah, she would have so mixed her colours as to give us that subtle involvement of motive and tendency--as of cross-currents in the sea--which we find in the characters of nature's making and in her own finest creations, such as Maggie, Silas Marner, Dorothea Casaubon, and others.

In turning to the English portion of the story there is at once greater play of spontaneity in the people depicted. Grandcourt, Gascoigne, Rex, Mrs. Davilow, Sir Hugh Mallinger, and especially Gwendolen, show all the old cunning in the psychological rendering of human nature. Curiously enough, this novel consists of two perfectly distinct narratives; the only point of junction being Daniel Deronda himself, who, as a Jew by birth and an English gentleman by education, stands related to both sets of circ.u.mstances. The influence he exerts on the spiritual development of Gwendolen seems indeed the true _motif_ of the story. Otherwise there is no intrinsic connection between the group of people cl.u.s.tering round Mordecai, and that of which Gwendolen is the centre: unless it be that the author wished to show the greater intensity of aim and higher moral worth of the Jews as contrasted with these purposeless, worldly, unideal Christians of the nineteenth century.

Compared with the immaculate Mirah, Gwendolen Harleth is a very naughty, spoiled, imperfect specimen of maidenhood. But she has life in her; and one speculates as to what she will say and do next, as if she were a person among one's acquaintances. On that account most readers of 'Daniel Deronda' find their interest engrossed by the fate of Gwendolen, and the conjugal relations between her and Grandcourt. This is so much the case, that one suspects her to have been the first idea of the story. She is at any rate its most attractive feature. In Gwendolen, George Eliot once remarked, she had wished to draw a girl of the period. Fascinating, accomplished, of siren-like beauty, she has every outward grace combined with a singular inward vacuity. The deeper aspects of life are undreamed of in her philosophy. Her religion consists in a vague awe of the unknown and invisible, and her ambition in the acquisition of rank, wealth, and personal distinction. She is selfish, vain, frivolous, worldly, domineering, yet not without sudden impulses of generosity, and jets of affection. Something there is in her of Undine before she had a soul--something of a gay, vivacious, unfeeling sprite, who recks nothing of human love or of human misery, but looks down with utter indifference on the poor humdrum mortals around her, whom she inspires at once with fear and fondness: something, also, of the "princess in exile, who in time of famine was to have her breakfast-roll made of the finest bolted flour from the seven thin ears of wheat, and in a general decampment was to have her silver fork kept out of the baggage."

How this bewitching creature, whose "iridescence of character" makes her a psychological problem, is gradually brought to accept Henleigh Grandcourt, in spite of the promise she has given to Lydia Glasher (his discarded victim), and her own fleeting presentiments, is described with an a.n.a.lytical subtlety unsurpa.s.sed in George Eliot's works. So, indeed, is the whole episode of the married life of Grandcourt. This territorial magnate, who possesses every worldly advantage that Gwendolen desired, is worthy, as a study of character, to be placed beside that of Casaubon himself. Gwendolen's girlish type of egoism, which loves to be the centre of admiration, here meets with that far other deadlier form of an "exorbitant egoism," conspicuous for its intense obstinacy and tenacity of rule, "in proportion as the varied susceptibilities of younger years are stripped away." This cold, negative nature lies with a kind of withering blight on the susceptible Gwendolen. Roused from the complacent dreams of girlhood by the realities of her married life, shrinking in helpless repulsion from the husband whom she meant to manage, and who holds her as in a vice, the unhappy woman has nothing to cling to in this terrible inward collapse of her happiness, but the man, who, from the first moment when his eye arrests hers at the gaming table at Leubronn, becomes, as it were, a conscience visibly incarnate to her. This incident, which is told in the first chapter of the novel, recalls a sketch by Dante Rossetti, where Mary Magdalene, in the flush of joyous life, is held by the Saviour's gaze, and in a sudden revulsion from her old life, breaks away from companions that would fain hold her back, with a pa.s.sionate movement towards the Man of Sorrow. This impressive conception may have unconsciously suggested a somewhat similar situation to the novelist, for that George Eliot was acquainted with this drawing is shown by the following letter addressed in 1870 to Dante Rossetti:

"I have had time now to dwell on the photographs. I am especially grateful to you for giving me the head marked June 1861: it is exquisite. But I am glad to possess every one of them. The subject of the Magdalene rises in interest for me, the more I look at it. I hope you will keep in the picture an equally pa.s.sionate type for her. Perhaps you will indulge me with a little talk about the modifications you intend to introduce."

The relation of Deronda to Gwendolen is of a Christlike nature. He is her only moral hold in the fearful temptations that a.s.sail her now and again under the intolerable irritations of her married life, temptations which grow more urgent when Grandcourt leads his wife captive, after his fas.h.i.+on, in a yacht on the Mediterranean. For "the intensest form of hatred is that rooted in fear, which compels to silence, and drives vehemence into a constructive vindictiveness, an imaginary annihilation of the detested object, something like the hidden rites of vengeance, with which the persecuted have made a dark vent for their rage, and soothed their suffering into dumbness. Such hidden rites went on in the secrecy of Gwendolen's mind, but not with soothing effect--rather with the effect of a struggling terror. Side by side with dread of her husband had grown the self-dread which urged her to flee from the pursuing images wrought by her pent-up impulse."

The evil wish at last finds fulfilment, the murderous thought is outwardly realised. And though death is not eventually the result of the criminal desire, it yet seems to the unhappy wife as if it had a determining power in bringing about the catastrophe. But it is precisely this remorse which is the redeeming quality of her nature, and awakens a new life within her. In this quickening of the moral consciousness through guilt we are reminded, although in a different manner, of a similar process, full of pregnant suggestions, described in Nathaniel Hawthorne's 'Transformation.' It will be remembered that Donatello leads a purely instinctive, that is to say animal, existence, till the commission of a crime awakens the dormant conscience, and a soul is born in the throes of anguish and remorse.

In 'Daniel Deronda' there is an entire absence of that rich, genial humour which seemed spontaneously to bubble up and overflow her earlier works. Whether George Eliot's conception of the Jews as a peculiarly serious race had any share in bringing about that result, it is difficult to say. At any rate, in one of her essays she remarks that, "The history and literature of the ancient Hebrews gives the idea of a people who went about their business and pleasure as gravely as a society of beavers." Certainly Mordecai, Deronda, and Mirah, are preternaturally solemn; even the Cohen family are not presented with any of those comic touches one would have looked for in this great humorist; only in the boy Jacob are there gleams of drollery, such as in this description of him by Hans Meyrick: "He treats me with the easiest familiarity, and seems in general to look at me as a second-hand Christian commodity, likely to come down in price; remarking on my disadvantages with a frankness which seems to imply some thoughts of future purchase. It is pretty, though, to see the change in him if Mirah happens to come in. He turns child suddenly--his age usually strikes one as being like the Israelitish garments in the desert, perhaps near forty, yet with an air of recent production."

A certain subdued vein of humour is not entirely absent from the portraiture of the Meyrick family, a delightful group, who "had their little oddities, streaks of eccentricity from the mother's blood as well as the father's, their minds being like mediaeval houses with unexpected recesses and openings from this into that, flights of steps, and sudden outlooks." But on the whole, instead of the old humour, we find in 'Daniel Deronda' a polished irony and epigrammatic sarcasm, which were afterwards still more fully developed in the 'Impressions of Theophrastus Such.'

Soon after the publication of this novel, we find the following allusion to it in one of George Eliot's letters to Mrs. Bray: "I don't know what you refer to in the _Jewish World_. Perhaps the report of Dr. Hermann Adler's lecture on 'Deronda' to the Jewish working-men, given in the _Times_. Probably the Dr. Adler whom you saw is Dr. Hermann's father, still living as Chief Rabbi. I have had some delightful communications from Jews and Jewesses, both at home and abroad. Part of the Club scene in 'D. D.' is flying about in the Hebrew tongue through the various Hebrew newspapers, which have been copying the 'Maga.' in which the translation was first sent to me three months ago. The Jews naturally are not indifferent to themselves."

This Club scene gave rise at the time to quite a controversy. It could not fail to be identified with that other club of philosophers out at elbows so vividly described by G. H. Lewes in the 'Fortnightly Review'

of 1866. Nor was it possible not to detect an affinity between the Jew Cohen, the poor consumptive journeyman watchmaker, with his weak voice and his great calm intellect, and Ezra Mordecai Cohen, in precisely similar conditions; the difference being that the one is penetrated by the philosophical idea of Spinozism, and the other by the political idea of reconst.i.tuting a Jewish State in Palestine. This difference of mental bias, no doubt, forms a contrast between the two characters, without, however, invalidating the surmise that the fict.i.tious enthusiast may have been originally suggested by the n.o.ble figure of the living Jew. Be that as it may, Lewes often took the opportunity in conversation of "pointing out that no such resemblance existed, Cohen being a keen dialectician and a highly impressive man, but without any specifically Jewish enthusiasm."

When she undertook to write about the Jews, George Eliot was deeply versed in Hebrew literature, ancient and modern. She had taught herself Hebrew when translating the _Leben Jesu_, and this knowledge now stood her in good stead. She was also familiar with the splendid utterances of Jehuda-ben-Halevy; with the visionary speculations of the Cabbalists, and with the brilliant Jewish writers of the Hispano-Arabic epoch. She had read portions of the Talmud, and remarked one day in conversation that Spinoza had really got something from the Cabbala. On her friend humbly suggesting that by ordinary accounts it appeared to be awful nonsense, she said "that it nevertheless contained fine ideas, like Plato and the Old Testament, which, however, people took in the lump, being accustomed to them."

CHAPTER XV.

LAST YEARS.

'Daniel Deronda' is the last great imaginative work with which George Eliot was destined to enrich the world. It came out in small volumes, the appearance of each fresh number being hailed as a literary event. In allusion to an author's feeling on the conclusion of a weighty task, George Eliot remarks in one of her letters: "As to the great novel which remains to be written, I must tell you that I never believe in future books.... Always after finis.h.i.+ng a book I have a period of despair that I can never again produce anything worth giving to the world. The responsibility of the writer 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 oneself to do it."

This singular diffidence, arising from a sense of the tremendous responsibility which her position entailed, was one of the most noticeable characteristics of this great woman, and struck every one who came in contact with her. Her conscientiousness made her even painfully anxious to enter sympathetically into the needs of every person who approached her, so as to make her speech a permanently fruitful influence in her hearer's life. Such an interview, for example, as that between Goethe and Heine--where the younger poet, after thinking all the way what fine things to say to Goethe, was so disconcerted by the awe-inspiring presence of the master, that he could find nothing better to say than that the plums on the road-side between Jena and Weimar were remarkably good--would have been impossible with one so eager always to give of her best.

This deep seriousness of nature made her Sunday afternoon receptions, which became more and more fas.h.i.+onable as time went on, something of a tax to one who preferred the intimate converse of a few to that more superficially brilliant talk which a promiscuous gathering brings with it. Among the distinguished visitors to be met more or less frequently at the Priory maybe mentioned Mr. Herbert Spencer, Professor Huxley, Mr.

Frederic Harrison, Professor Beesly, Dr. and Mrs. Congreve, Madame Bodichon, Lord Houghton, M. Tourguenief, Mr. Ralston, Sir Theodore and Lady Martin (better known as Helen Faucit), Mr. Burton of the National Gallery, Mr. George Howard and his wife, Mr. C. G. Leland, Mr. Moncure Conway, Mr. Justin McCarthy, Dr. Hueffer, Mr. and Mrs. Buxton Forman, Mr. F. Myers, Mr. Sully, Mr. Du Maurier, Mr. and Mrs. Mark Pattison, Mr.

and Mrs. Clifford, Lady Castletown and her daughters, Mr. and Mrs. Burne Jones, Mr. John Everett Millais, Mr. Robert Browning, and Mr. Tennyson.

Persons of celebrity were not the only ones, however, that were made welcome at the Priory. The liveliest sympathy was shown by both host and hostess in many young people as yet struggling in obscurity, but in whom they delighted to recognise the promise of some future excellence.

If a young man were pursuing some original scientific inquiry, or striking out a new vein of speculation, in all London there was none likely to enter with such zest into his ideas as G. H. Lewes. His generous appreciation of intellectual gifts is well shown in the following lines to the late Professor W. K. Clifford:

"Few things have given us more pleasure than the intimation in your note that you had a _fiancee_. May she be the central happiness and motive force of your career, and, by satisfying the affections, leave your _rare_ intellect free to work out its glorious destiny. For, if you don't become a glory to your age and time, it will be a sin and a shame.

Nature doesn't often send forth such gifted sons, and when she does, Society usually cripples them. Nothing but marriage--a happy marriage--has seemed to Mrs. Lewes and myself wanting to your future."

On the Sunday afternoon receptions just mentioned, G. H. Lewes acted, so to speak, as a social cement. His vivacity, his ready tact, the fascination of his manners, diffused that general sense of ease and _abandon_ so requisite to foster an harmonious flow of conversation. He was inimitable as a _raconteur_, and Thackeray, Trollope, and Arthur Helps were fond of quoting some of the stories which he would dramatise in the telling. One of the images which, on these occasions, recurs oftenest to George Eliot's friends, is that of the frail-looking woman who would sit with her chair drawn close to the fire, and whose winning womanliness of bearing and manners struck every one who had the privilege of an introduction to her. Her long, pale face, with its strongly-marked features, was less rugged in the mature prime of life than in youth, the inner meanings of her nature having worked themselves more and more to the surface, the mouth, with its benignant suavity of expression, especially softening the too prominent under-lip and ma.s.sive jaw. Her abundant hair, untinged with grey, whose smooth bands made a kind of frame to the face, was covered by a lace or muslin cap, with lappets of rich point or Valenciennes lace fastened under her chin. Her grey-blue eyes, under noticeable eyelashes, expressed the same acute sensitiveness as her long, thin, beautifully-shaped hands. She had a pleasant laugh and smile, her voice being low, distinct, and intensely sympathetic in quality: it was contralto in singing, but she seldom sang or played before more than one or two friends. Though her conversation was perfectly easy, each sentence was as finished, as perfectly formed, as the style of her published works. Indeed, she laid great stress on the value of correct speaking and clearness of enunciation; and in 'Theophrastus Such' she laments "the general ambition to speak every language except our mother English, which persons 'of style' are not ashamed of corrupting with slang, false foreign equivalents, and a p.r.o.nunciation that crushes out all colour from the vowels, and jams them between jostling consonants."

Besides M. d'Albert's Genevese portrait of George Eliot, we have a drawing by Mr. Burton, and another by Mr. Lawrence, the latter taken soon after the publication of 'Adam Bede.' In criticising the latter likeness, a keen observer of human nature remarked that it conveyed no indication of the infinite depth of her observant eye, nor of that cold, subtle, and unconscious cruelty of expression which might occasionally be detected there. George Eliot had an unconquerable aversion to her likeness being taken: once, however, in 1860, she was photographed for the sake of her "dear sisters" at Rosehill. But she seems to have repented of this weakness, for, after the lapse of years, she writes: "Mr. Lewes has just come to me after reading your letter, and says, 'For G.o.d's sake tell her not to have the photograph reproduced!' and I had nearly forgotten to say that the fading is what I desired. I should not like this image to be perpetuated. It needs the friendly eyes that regret to see it fade, and must not be recalled into emphatic black and white for indifferent gazers. Pray let it vanish."

Those who knew George Eliot were even more struck by the force of her entire personality than by her writings. Sympathetic, witty or learned in turn, her conversation deeply impressed her hearers, being enriched by such felicities of expression as: "The best lesson of tolerance we have to learn is to tolerate intolerance." In answer to a friend's surprise that a clever man should allow himself to be contradicted by a stupid one, without dropping down on him, she remarked: "He is very liable to drop down as a baked apple would." And of a very plain acquaintance she said: "He has the most dreadful kind of ugliness one can be afflicted with, because it takes on the semblance of beauty."

Poetry, music, and art naturally absorbed much attention at the Priory.

Here Mr. Tennyson has been known to read 'Maud' aloud to his friends: Mr. Browning expatiated on the most recondite metrical rules: and Rossetti sent presents of poems and photographs. In the following unpublished letters George Eliot thanks the latter for his valued gifts--"We returned only the night before last from a two months'

journey to the Continent, and among the parcels awaiting me I found your generous gift. I am very grateful to you both as giver and poet.

"In cutting the leaves, while my head is still swimming from the journey, I have not resisted the temptation to read many things as they ought not to be read--hurriedly. But even in this way I have received a stronger impression than any fresh poems have for a long while given me, that to read once is a reason for reading again. The sonnets towards 'The House of Life' attract me peculiarly. I feel about them as I do about a new cahier of music which I have been 'trying' here and there with the delightful conviction that I have a great deal to become acquainted with and to like better and better." And again, in acknowledgment of some photographs: "The 'Hamlet' seems to me perfectly intelligible, and altogether admirable in conception, except in the type of the man's head. I feel sure that 'Hamlet' had a square anterior lobe.

"Mr. Lewes says, this conception of yours makes him long to be an actor who has 'Hamlet' for one of his parts, that he might carry out this scene according to your idea.

"One is always liable to mistake prejudices for sufficient inductions, about types of head and face, as well as about all other things. I have some impressions--perhaps only prejudices dependent on the narrowness of my experience--about forms of eyebrow and their relation to pa.s.sionate expression. It is possible that such a supposed relation has a real anatomical basis. But in many particulars facial expression is like the expression of hand-writing: the relations are too subtle and intricate to be detected, and only shallowness is confident."

George Eliot read but little contemporary fiction, being usually absorbed in the study of some particular subject. "For my own spiritual good I need all other sort of reading," she says, "more than I need fiction. I know nothing of contemporary English novelists with the exception of ----, and a few of ----'s works. 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." For the same reason, on being recommended by a literary friend to read Walt Whitman, she hesitated on the ground of his not containing anything spiritually needful for her, but, having been induced to take him up, she changed her opinion and admitted that he _did_ contain what was "good for her soul." As to lighter reading, she was fond of books of travel, p.r.o.nouncing "'The Voyage of the Challenger' a splendid book." Among foreign novelists she was very partial to Henry Greville, and speaks of 'Les Koumia.s.sine' as a pleasant story.

Persons who were privileged enough to be admitted to the intimacy of George Eliot and Mr. Lewes could not fail to be impressed by the immense admiration which they had for one another. Lewes's tenderness, always on the watch lest the great writer, with her delicately poised health, should over-exert herself, had something of doglike fidelity. On the other hand, in spite of George Eliot's habitually retiring manner, if any one ever engaged on the opposite side of an argument to that maintained by the brilliant _savant_, in taking his part, she usually had the best of it, although in the most gentle and feminine way.

Although there was entire oneness of feeling between them, there was no unanimity of opinion. George Eliot had the highest regard for Lewes's opinions, but held to her own. One of the chief subjects of difference consisted in their att.i.tude towards Christianity: whereas he was its uncompromising opponent, she had the greatest sympathy with its various manifestations, from Roman Catholic asceticism to Evangelical austerity and Methodist fervour. Her reverence for every form of wors.h.i.+p in which mankind has more or less consciously embodied its sense of the mystery of all "this unintelligible world" increased with the years. She was deeply penetrated by that tendency of the Positivist spirit which recognises the beneficial element in every form of religion, and sees the close, nay indissoluble, connection between the faith of former generations and the ideal of our own. She herself found ample scope for the needs and aspirations of her spiritual nature in the religion of humanity. As has already been repeatedly pointed out, there runs through all her works the same persistent teaching of "the Infinite Nature of Duty." And with Comte she refers "the obligations of duty, as well as all sentiments of devotion, to a concrete object, at once ideal and real; the Human Race, conceived as a continuous whole, including the past, the present, and the future."

Though George Eliot drew many of her ideas of moral cultivation from the doctrines of Comte's _Philosophie Positive_, she was not a Positivist in the strict sense of the word. Her mind was far too creative by nature to give an unqualified adhesion to such a system as Comte's. Indeed, her devotion to the idea of mankind, conceived as a collective whole, is not so much characteristic of Positivists as of the greatest modern minds, minds such as Lessing, Bentham, Sh.e.l.ley, Mill, Mazzini, and Victor Hugo.

Inasmuch as Comte co-ordinated these ideas into a consistent doctrine, George Eliot found herself greatly attracted to his system; and Mr.

Beesly, after an acquaintance of eighteen years, considered himself justified in stating that her powerful intellect had accepted the teaching of Auguste Comte, and that she looked forward to the reorganisation of belief on the lines which he had laid down. Still her adherence, like that of G. H. Lewes, was only partial, and applied mainly to his philosophy, and not to his scheme of social policy. She went farther than the latter, however, in her concurrence. For Mr.

Lewes, speaking of the _Politique Positive_ in his 'History of Philosophy,' admits that his antagonistic att.i.tude had been considerably modified on learning from the remark of one very dear to him, "to regard it as an Utopia, presenting hypotheses rather than doctrines--suggestions for future inquiries rather than dogmas for adepts."

On the whole, although George Eliot did not agree with Comte's later theories concerning the reconstruction of society, she regarded them with sympathy "as the efforts of an individual to antic.i.p.ate the work of future generations." This sympathy with the general Positivist movement she showed by subscribing regularly to Positivist objects, especially to the fund of the Central Organisation presided over by M. Laffitte, but she invariably refused all members.h.i.+p with the Positivist community. In conversation with an old and valued friend, she also repeatedly expressed her objection to much in Comte's later speculations, saying on one occasion, "I cannot submit my intellect or my soul to the guidance of Comte." The fact is that, although George Eliot was greatly influenced by the leading Positivist ideas, her mind was too original not to work out her own individual conception of life.

What this conception is has been already indicated, so far as s.p.a.ce would permit, in the discussion of her successive works. Perhaps in the course of time her moralising a.n.a.lytical tendency encroached too much on the purely artistic faculty. Her eminently dramatic genius--which enabled her to realise characters the most varied and opposite in type, somewhat in the manner of Shakespeare--became hampered by theories and abstract views of life. This was especially shown in her latest work, 'The Impressions of Theophrastus Such,' a series of essays chiefly satirising the weaknesses and vanities of the literary cla.s.s. In these unattractive "impressions" the wit is often laboured, and does not play "beneficently round the changing facets of egoism, absurdity, and vice, as the suns.h.i.+ne over the rippling sea or the dewy meadows." Its cutting irony and incisive ridicule are no longer tempered by the humorous laugh, but have the corrosive quality of some acrid chemical substance.

One of the papers, however, that ent.i.tled 'Debasing the Moral Currency,'

expresses a strongly marked characteristic of George Eliot's mind. It is a pithy protest against the tendency of the present generation to turn the grandest deeds and n.o.blest works of art into food for laughter. For she hated nothing so much as mockery and ridicule of what other people reverenced, often remarking that those who considered themselves freest from superst.i.tious fancies were the most intolerant. She carried this feeling to such a pitch that she even disliked a book like 'Alice in Wonderland' because it laughed at the things which children had had a kind of belief in. In censuring this vicious habit of burlesquing the things that ought to be regarded with awe and admiration, she remarks, "Let a greedy buffoonery debase all historic beauty, majesty and pathos, and the more you heap up the desecrated symbols, the greater will be the lack of the enn.o.bling emotions which subdue the tyranny of suffering, and make ambition one with virtue."

'Looking Backward' is the only paper in 'Theophrastus Such' quite free from cynicism. It contains, under a slightly veiled form, pathetically tender reminiscences of her own early life. This volume, not published till May 1879, was written before the incalculable loss which befell George Eliot in the autumn of the preceding year.

After spending the summer of 1878 in the pleasant retirement of Witley, Lewes and George Eliot returned to London. A severe cold taken by Lewes proved the forerunner of a serious disorder, and, after a short illness, this bright, many-sided, indefatigable thinker, pa.s.sed away in his sixty-second year. He had frequently said to his friends that the most desirable end of a well-spent life was a painless death; and although his own could not be called painless, his sufferings were at least of short duration. Concerning the suffering and anguish of her who was left behind to mourn him, one may most fitly say, in her own words, that, "for the first sharp pangs there is no comfort--whatever goodness may surround us, darkness and silence still hang about our pain." In her case, also, the "clinging companions.h.i.+p with the dead" was gradually linked with her living affections, and she found alleviation for her sorrow in resuming those habits of continuous mental occupation which had become second nature with her. In a letter addressed to a friend, who, only a few short months afterwards, suffered a like heavy bereavement, there breathes the spirit in which George Eliot bore her own sorrow: "I understand it all.... There is but one refuge--the having much to do. You have the mother's duties. Not that these can yet make your life other than a burden to be patiently borne. Nothing can, except the gradual adaptation of your soul to the new conditions.... It is among my most cherished memories that I knew your husband, and from the first delighted in him.... All blessing--and even the sorrow that is a form of love has a heart of blessing--is tenderly wished for you."

On seeing this lady for the first time after their mutual loss, George Eliot asked her eagerly: "Do the children help? Does it make any difference?" Some help there was for the widowed heart of this sorrowing woman in throwing herself, with all her energies, into the work which Lewes had left unfinished at his death, and preparing it for publication, with the help of an expert. Another subject which occupied her thoughts at this time, was the foundation of the "George Henry Lewes Students.h.i.+p," in order to commemorate the name of one who had done so much to distinguish himself in the varied fields of literature, science, and philosophy. The value of the students.h.i.+p is slightly under 200 a year. It is worth noticing that persons of both s.e.xes are received as candidates. The object of the endowment is to encourage the prosecution of original research in physiology, a science to whose study Lewes had devoted himself most a.s.siduously for many years. Writing of this matter to a young lady, one of the Girton students, George Eliot says: "I know ... will be glad to hear also that both in England and Germany the type, or scheme, on which the students.h.i.+p is arranged has been regarded with satisfaction, as likely to be a useful model."

Amid such preoccupations, and the preparation of 'Theophrastus Such' for the press, the months pa.s.sed on, and George Eliot was beginning to see her friends again, when one day she not only took the world, but her intimate circle by surprise, by her marriage with Mr. John Walter Cross, on the 6th of May, 1880. The acquaintance with this gentleman, dating from the year 1867, had long ago grown into the warmest friends.h.i.+p, and his boundless devotion to the great woman whose society was to him as his daily bread, no doubt induced her to take a step which could not fail to startle even those who loved her the most. But George Eliot's was a nature that needed some one especially to love. And though that precious companions.h.i.+p, at once stimulating and sympathetic, which she had so long enjoyed, was taken from her, she could still find comfort during the remainder of her life in the love, the appreciation, and the tender care which were proffered to her by Mr. Cross. Unfortunately her life was not destined to be prolonged.