"Nonsense! There 's no pleasure for old women...... What are your pleasures, Denner, besides being a slave to me?'

"O, there's pleasure in knowing one is not a fool, like half the people one sees about. And managing one's husband is some pleasure, and doing one's business well. Why, if I've only got some orange-flowers to candy, I should n't like to die till I see them all right. Then there's the sunshine now and then; I like that, as the cats do. I look upon it life is like our game at whist, when Banks and his wife come to the still-room of an evening. I don't enjoy the game much, but I like to play my cards well, and see what will be the end of it; and I want to see you make the best of your hand, madam, for your luck has been mine these forty years now.'"

And, on another occasion, when her mistress exclaims, in a fit of distress, that "God was cruel when he made women," the author says:

"The waiting-woman had none of that awe which could be turned into defiance; the sacred grove was a common thicket to her.

"It may n't be good luck to be a woman,' she said. 'But one begins with it from a baby; one gets used to it. And I should n't like to be a man, to cough so loud, and stand straddling about on a wet day, and be so wasteful with meat and drink. They're a coarse lot, I think?”

I should think they were, beside Mrs. Denner.

This glimpse of her is made up of what I have called the author's touches. She excels in the portrayal of homely stationary figures for which her well-stored memory furnishes her with types. Here is another touch, in which satire predominates. Harold Transome makes a speech to the electors at Treby.

Harold's only interruption came from his own party. The oratorical clerk at the Factory, acting as the tribune of the dissenting interest, and feeling bound to put questions, might

have been troublesome; but his voice being unpleasantly sharp, while Harold's was full and penetrating, the questioning was cried down."

Of the four English stories, "The Mill on the Floss" seems to me to have most dramatic continuity, in distinction from that descriptive, discursive method of narration which I have attempted to indicate. After Hetty Sorrel, I think Maggie Tulliver the most successful of the author's young women, and after Tito Melema, Tom Tulliver the best of her young men. English novels abound in pictures of childhood; but I know of none more truthful and touching than the early pages of this work. Poor erratic Maggie is worth a hundred of her positive brother, and yet on the very threshold of life she is compelled to accept him as her master. He falls naturally into the man's privilege of always being in the right. The following scene is more than a reminiscence; it is a real retrospect. Tom and Maggie are sitting upon the bough of an elder-tree, eating jam- puffs. At last only one remains, and Tom undertakes to divide it.

"The knife descended on the puff, and it was in two; but the result was not satisfactory to Tom, for he still eyed the halves doubtfully. At last he said, 'Shut your eyes, Maggie.' "What for?'

"Now, which 'll you have, Maggie, right hand or left?'

"I'll have that one with the jam run out,' said Maggie, keeping her eyes shut to please Tom.

"Why, you don't like that, you silly. You may have it if it comes to you fair, but I sha'n't give it to you without. Right or left, you choose now. Ha-a-a!' said Tom, in a tone of exasperation, as Maggie peeped. 'You keep your eyes shut now, else you sha'n't have any.'

"Maggie's power of sacrifice did not extend so far; indeed, I fear she

cared less that Tom should enjoy the utmost possible amount of puff, than that he should be pleased with her for giving him the best bit. So she shut her eyes quite close until Tom told her to say which,' and then she said, 'Left hand.'

told as if it were destined to have, if not a strictly happy termination, at least one within ordinary probabilities. As it stands, the dénouement shocks the reader most painfully. Nothing has prepared him for it; the story does not move towards it; it casts no shadow

a bitter tone.

"What! the bit with the jam run out?'

"No; here, take it,' said Tom, firmly, handing decidedly the best piece to Maggie.

“O, please, Tom, have it; I don't mind, I like the other; please take this.'

"No, I sha'n't,' said Tom, almost crossly, beginning on his own inferior piece.

"Maggie, thinking it was of no use to contend further, began too, and ate up her half puff with considerable relish as well as rapidity. But Tom had finished first, and had to look on while Maggie ate her last morsel or two, feel ing in himself a capacity for more. Maggie didn't know Tom was looking at her: she was seesawing on the elderbough, lost to everything but a vague sense of jam and idleness.

666

“O, you greedy thing!' said Tom, when she had swallowed the last morsel."

The portions of the story which bear upon the Dodson family are in their way not unworthy of Balzac ; only that, while our author has treated its peculiarities humorously, Balzac would have treated them seriously, almost solemnly. We are reminded of him by the attempt to classify the Dodsons socially in a scientific manner, and to accumulate small examples of their idiosyncrasies. I do not mean to say that the resemblance is very deep. The chief defect -indeed, the only serious one - in "The Mill on the Floss" is its conclusion. Such a conclusion is in itself assuredly not illegitimate, and there is nothing in the fact of the flood, to my knowledge, cssentially unnatural: what I object to is its relation to the preceding part of the story. The story is

within the author's intentions from the first, or was it a tardy expedient for the solution of Maggie's difficulties? This question the reader asks himself, but of course he asks it in vain. For my part, although, as long as humanity is subject to floods and earthquakes, I have no objection to see them made use of in novels, I would in this particular case have infinitely preferred that Maggie should have been left to her own devices. I understand the author's scruples, and to a certain degree I respect them. A lonely spinsterhood seemed but a dismal consummation of her generous life; and yet, as the author conceives, it was unlikely that she would return to Stephen Guest. I respect Maggie profoundly; but nevertheless I ask, Was this after all so unlikely? I will not try to answer the question. I have shown enough courage in asking it. But one thing is certain: a dénouement by which Maggie should have called Stephen back would have been extremely interesting, and would have had far more in its favor than can be put to confusion by a mere exclamation of horror.

I have come to the end of my space without speaking of "Romola,” which, as the most important of George Eliot's works, I had kept in reserve. I have only room to say that on the whole I think it is decidedly the most important, not the most entertaining nor the most readable, but the one in which the largest things are attempted and grasp i. The figure of Savonarola, subordinate though it is, is a figure on a larger scale than any which George Eliot has eisewhere undertaken; and in the career of Tito Melema there is a fuller representation of the development of a character. Considerable as are our author's qualities as an artist, and largely as

they are displayed in "Romola," the book strikes me less as a work of art than as a work of morals. Like all of George Eliot's works, its dramatic construction is feeble; the story drags and halts, the setting is too large for the picture; but I remember that, the first time I read it, I declared to myself that much should be forgiven it for the sake of its generous feeling and its elevated morality. I still recognize this latter fact, but I think I find it more on a level than I at first found it with the artistic conditions of the book. "Our deeds determine us," George Eliot says somewhere in "Adam Bede," "as much as we determine our deeds." This is the moral lesson of "Romola." A man has no associate so intimate as his own character, his own career, his present and his past; and if he builds up his career of timid and base actions, they cling to him like evil companions, to sophisticate, to corrupt, and to damn him. As in Maggie Tulliver we had a picture of the elevation of the moral tone by honesty and generosity, so that when the mind found itself face to face with the need for a strong muscular effort, it was competent to perform it; so in Tito we have a picture of that depression of the moral tone by falsity and self-indulgence, which gradually evokes on every side of the subject some implacable claim, to be avoided or propitiated. At last all his unpaid debts join issue before him, and he finds the path of life a hideous blind alley. Can any argument be more plain?

Can

any lesson be more salutary? "Under every guilty secret," writes the author, with her usual felicity, "there is a hidden brood of guilty wishes, whose unwholesome, infecting life is cherished by the darkness. The contaminating effect of deeds often lies less in the commission than in the consequent adjustment of our desires, - the enlistment of self-interest on the side of falsity; as, on the other hand, the purifying influence of public confession springs from the fact, that by it the hope in lies is forever swept away, and the soul recovers the noble attitude of simplicity."

And again: "Tito was experiencing that inexorable law of human souls, that we prepare ourselves for sudden deeds by the reiterated choice of good or evil that gradually determines character." Somewhere else I think she says, in purport, that our deeds are like our children; we beget them, and rear them and cherish them, and they grow up and turn against us and misuse us. The fact that has led me to a belief in the fundamental equality between the worth of "Romola" as a moral argument and its value as a work of art, is the fact that in each character it seems to me essentially prosaic. The excellence both of the spirit and of the execution of the book is emphatically an obvious excellence. They make no demand upon the imagination of the reader. It is true of both of them that he who runs may read them. It may excite surprise that I should intimate that George Eliot is deficient in imagination; but I believe that I am right in so doing. Very readable novels have been written without imagination; and as compared with writers who, like Mr. Trollope, are totally destitute of the faculty, George Eliot may be said to be richly endowed with it. But as compared with writers whom we are tempted to call decidedly imaginative, she must, in my opinion, content herself with the very solid distinction of being exclusively an observer. In confirmation of this I would suggest a comparison of those chapters in "Adam Bede" which treat of Hetty's flight and wanderings, and those of Miss Bronte's "Jane Eyre" which describe the heroine's escape from Rochester's house and subsequent perambulations. The former are throughout admirable prose; the latter are in portions very good poetry.

One word more. Of all the impressions and they are numerous which a reperusal of George Eliot's writings has given me, I find the strongest to be this: that (with all deference to "Felix Holt, the Radical") the author is in morals and esthetics essentially a conservative.

In morals her problems are still the old, passive problems. I use the word "old" with all respect. What moves her most is the idea of a conscience harassed by the memory of slighted obligations. Unless in the case of Savonarola, she has made no attempt to depict a conscience taking upon itself great and novel responsibilities. In her last work, assuredly such an attempt was considering the titleconspicuous by its absence. Of a corresponding tendency in the second department of her literary character, or perhaps I should say in a certain middle field where morals and æsthetics move in concert, it is very diffi

cult to give an example. A tolerably good one is furnished by her inclination to compromise with the old tradition and here I use the word "old" without respect- which exacts that a serious story of manners shall close with the factitious happiness of a fairytale. I know few things more irritating in a literary way than each of her final chapters, for even in "The Mill on the Floss" there is a fatal "Conclusion." Both as an artist and a thinker, in other words, our author is an optimist; and although a conservative is not necessarily an optimist, I think an optimist is pretty likely to be a conservative.

OU

CHAPTER XLI.

say the pedler was a hundred yards behind my husband. Which of the two men was walking fastest?"

Thomas Hayes considered a moment. "Well, Dame, I think the Squire was walking rather the smartest of the two."

"Did the pedler seem likely to overtake him?"

“ Nay. Ye see, Dame, Squire he walked straight on; but the pedler he took both sides of the road at onst, as the saying is."

Prisoner. Forgive me, Thomas, but I don't know what you mean. Hayes (compassionately). How should ye? You are never the worse for liquor, the likes of you.

Prisoner (very keenly). O, he was in liquor, was he?

Hayes. Come, Dame, you do brew good ale at Hernshaw Castle. Ye need n't go to deny that; for, Lord knows, 't is no sin; and a poor fellow may be jolly, yet not to say drunk.

Judge (sternly). Witness, attend, and answer directly.

Prisoner. Nay, my lord, 't is a plain country body, and means no ill. Good Thomas, be so much my friend as to answer plainly. Was the man drunk or sober?

Hayes. All I know is he went from one side o' the road to t' other.

Prisoner. Thomas Hayes, as you hope to be saved eternally, was the pedler drunk or sober?

Hayes. Well, if I must tell on my neighbor or else be damned, then that there pedler was as drunk as a lord.

Here, notwithstanding the nature of the trial, the laughter was irrepressible, and Mrs. Gaunt sat quietly down (for she was allowed a seat), and said

no more.

To the surgeon who had examined the body officially, she put this question: "Did you find any signs of violence?"

Surgeon. None whatever; but then there was nothing to go by, except the head and the bones.

Prisoner. Have you experience in

murdered bodies?

Surgeon. Yes.

Prisoner. How many?
Surgeon. Two before this.

Prisoner. O, pray, pray, do not say "before this"! I have great hopes no murder at all hath been committed here. Let us keep to plain cases. Please you describe the injuries in those two undoubted cases.

Surgeon. In Wellyn's the skull was fractured in two places. In Sherrett's the right arm was broken, and there were some contusions on the head; but the cause of death was a stab that penetrated the lungs.

Prisoner. Suppose Wellyn's murderers had thrown his body into the water, and the fishes had so mutilated it as they have this one, could you by your art have detected the signs of violence?

Surgeon. Certainly. The man's skull was fractured. Wellyn's, I mean. Prisoner. I put the same question with regard to Sherrett's.

it ;

Surgeon. I cannot answer here the lungs were devoured by the fishes; no signs of lesion can be detected in an organ that has ceased to exist.

Prisoner. This is too partial. Why select one injury out of several? What I ask is this: could you have detected violence in Sherrett's case, although the fishes had eaten the flesh off his body.

Surgeon. I answer that the minor injuries of Sherrett would have been equally perceptible; to wit, the bruises on the head, and the broken arm; but not the perforation of the lungs; and that it was killed the man.

Prisoner. Then, so far as you know, and can swear, about murder, more blows have always been struck than one, and some of the blows struck in Sherrett's case, and Wellyn's, would have left traces that fishes' teeth could not efface?

Surgeon. That is so, if I am to be peevishly confined to my small and narrow experience of murdered bodies.

ways in which life may be taken by

violence

The judge stopped him, and said that could hardly be admitted as evidence against his actual experience.

The prisoner put a drawing of the castle, the mere, and the bridge, into the witnesses' hands, and elicited that it was correct, and also the distances marked on it. They had, in fact, been measured exactly for her.

The hobnailed shoes were produced, and she made some use of them, particularly in cross-examining Jane Ban

nister.

Prisoner. Look at those shoes. Saw you ever the like on Mr. Gaunt's feet? Jane. That I never did, Dame.

Prisoner. What, not when he came into the kitchen on the 15th of October?

Jane. Nay, he was booted. By the same token I saw the boy a cleaning of them for supper.

Prisoner. Those boots, when you broke into his room, did you find them?

Jane. Nay, when the man went his boots went; as reason was. We found naught of his but a soiled glove.

Prisoner. Had the pedler boots on? Jane. Alas! who ever seed a booted pedler?

Prisoner. Had he these very shoes on? Look at them.

Jane. I could n't say for that. He had shoon, for they did properly clatter on my bricks.

Judge. Clatter on her bricks! What in the world does she mean?

Prisoner. I think she means on the floor of her kitchen. 'Tis a brick floor, if I remember right.

Fudge. Good woman, say, is that what you mean?

Jane. Ay, an 't please you, my lord. Prisoner. Had the pedler a mole on his forehead?

Jane. Not that I know on. I never took so much notice of the man. But, la, dame, now I look at you, I don't believe you was ever the one to murder our master.