The Essays of "George Eliot". George Eliot

only have found that out before instead of after her own marriage!

      But “what greater thing,” exclaims our novelist, “is there for two human souls than to feel that they are joined for life, to strengthen each other in all labor, to minister to each other in all pain, to be one with each other in silent, unspeakable memories at the last parting?”

      While a large proportion of her work in the analysis of motives is confined to woman, she has done nothing more skilful or memorable than the “unravelling” of Bulstrode’s mental processes by which he “explained the gratification of his desires into satisfactory agreement with his beliefs.” If there were no Dorothea in “Middlemarch” the character of Bulstrode would give that novel a place by itself among the masterpieces of fiction. The Bulstrode wound was never probed in fiction with more scientific precision. The pious villain finally finds himself so near discovery that he becomes conscientious. “His equivocation now turns venomously upon him with the full-grown fang of a discovered lie.” The past came back to make the present unendurable. “The terror of being judged sharpens the memory.” Once more “he saw himself the banker’s clerk, as clever in figures as he was fluent in speech, and fond of theological definition. He had striking experience in conviction and sense of pardon; spoke in prayer-meeting and on religious platforms. That was the time he would have chosen now to awake in and find the rest of dream. He remembered his first moments of shrinking. They were private and were filled with arguments – some of these taking the form of prayer.”

      Private prayer – but “is private prayer necessarily candid? Does it necessarily go to the roots of action? Private prayer is inaudible speech, and speech is representative. Who can represent himself just as he is, even in his own reflections?”

      Bulstrode’s course up to the time of his being suspected “had, he thought, been sanctioned by remarkable providences, appearing to point the way for him to be the agent in making the best use of a large property.” Providence would have him use for the glory of God the money he had stolen. “Could it be for God’s service that this fortune should go to” its rightful owners, when its rightful owners were “a young woman and her husband who were given up to the lightest pursuits, and might scatter it abroad in triviality – people who seemed to lie outside the path of remarkable providences?”

      Bulstrode felt at times “that his action was unrighteous, but how could he go back? He had mental exercises calling himself naught, laid hold on redemption and went on in his course of instrumentality.” He was “carrying on two distinct lives” – a religious one and a wicked one. “His religious activity could not be incompatible with his wicked business as soon as he had argued himself into not feeling it incompatible.”

      “The spiritual kind of rescue was a genuine need with him. There may be coarse hypocrites, who consciously affect beliefs and emotions for the sake of gulling the world, but Bulstrode was not one of them. He was simply a man whose desires had been stronger than his theoretic beliefs, and who had gradually explained the gratification of his desires into satisfactory agreement with those beliefs.”

      And now Providence seemed to be taking sides against him. “A threatening Providence – in other words, a public exposure – urged him to a kind of propitiation which was not a doctrinal transaction. The divine tribunal had changed its aspect to him. Self-prostration was no longer enough. He must bring restitution in his hand. By what sacrifice could he stay the rod? He believed that if he did something right God would stay the rod, and save him from the consequences of his wrong-doing.” His religion was “the religion of personal fear,” which “remains nearly at the level of the savage.” The exposure comes, and the explosion. Society shudders with hypocritical horror, especially in the presence of poor Mrs. Bulstrode, who “should have some hint given her, that if she knew the truth she would have less complacency in her bonnet.” Society when it is very candid, and very conscientious, and very scrupulous, cannot “allow a wife to remain ignorant long that the town holds a bad opinion of her husband.” The photograph of the Middlemarch gossips sitting upon the case of Mrs. Bulstrode is taken accurately. Equally accurate, and far more impressive, is the narrative of circumstantial evidence gathering against the innocent Lydgate and the guilty Bulstrode – circumstances that will sometimes weave into one tableau of public odium the purest and the blackest characters. From this tableau you may turn to that one in “Adam Bede,” and see how circumstances are made to crush the weak woman and clear the wicked man. And then you can go to “Romola,” or indeed to almost any of these novels, and see how wrong-doing may come of an indulged infirmity of purpose, that unconscious weakness and conscious wickedness may bring about the same disastrous results, and that repentance has no more effect in averting or altering the consequences in one case than the other. Tito’s ruin comes of a feeble, Felix Holt’s victory of an unconquerable, will. Nothing is more characteristic of George Eliot than her tracking of Tito through all the motives and counter motives from which he acted. “Because he tried to slip away from everything that was unpleasant, and cared for nothing so much as his own safety, he came at last to commit such deeds as make a man infamous.” So poor Romola tells her son, as a warning, and adds: “If you make it the rule of your life to escape from what is disagreeable, calamity may come just the same, and it would be calamity falling on a base mind, which is the one form of sorrow that has no balm in it.”

      Out of this passion for the analysis of motives comes the strong character, slightly gnarled and knotted by natural circumstances, as trees that are twisted and misshapen by storms and floods – or characters gnarled by some interior force working in conjunction with or in opposition to outward circumstances. She draws no monstrosities, or monsters, thus avoiding on the one side romance and on the other burlesque. She keeps to life – the life that fails from “the meanness of opportunity,” or is “dispersed among hindrances” or “wrestles” unavailingly “with universal pressure.”

      Why had Mr. Gilfil in those late years of his beneficent life “more of the knots and ruggedness of poor human nature than there lay any clear hint of it in the open-eyed, loving” young Maynard? Because “it is with men as with trees: if you lop off their finest branches into which they were pouring their young life-juice, the wounds will be healed over with some rough boss, some odd excrescence, and what might have been a grand tree, expanding into liberal shade, is but a whimsical, misshapen trunk. Many an irritating fault, many an unlovely oddity, has come of a hard sorrow which has crushed and maimed the nature just when it was expanding into plenteous beauty; and the trivial, erring life, which we visit with our harsh blame, may be but as the unsteady motion of a man whose best limb is withered. The dear old Vicar had been sketched out by nature as a noble tree. The heart of him was sound, the grain was of the finest, and in the gray-haired man, with his slipshod talk and caustic tongue, there was the main trunk of the same brave, faithful, tender nature that had poured out the finest, freshest forces of its life-current in a first and only love.”

      Her style is influenced by her purpose – may be said, indeed, to be created by it. The excellences and the blemishes of the diction come of the end sought to be attained by it. Its subtleties and obscurities were equally inevitable. Analytical thinking takes on an analytical phraseology. It is a striking instance of a mental habit creating a vocabulary. The method of thought produces the form of rhetoric. Some of the sentences are mental landscapes. The meaning seems to be in motion on the page. It is elusive from its very subtlety. It is more our analyst than her character of Rufus Lyon, who “would fain find language subtle enough to follow the utmost intricacies of the soul’s pathways.” Mrs. Transome’s “lancet-edged epigrams” are dull in comparison with her own. She uses them with startling success in dissecting motive and analyzing feeling. They deserve as great renown as “Nélaton’s probe.”

      For example: “Examine your words well, and you will find that even when you have no motive to be false, it is a very hard thing to say the exact truth, especially about your own feelings – much harder than to say something fine about them which is not the exact truth.” That ought to make such a revelation of the religious diary-keeper to himself as to make him ashamed of himself. And this will fit in here: “Our consciences are not of the same pattern, an inner deliverance of fixed laws – they are the voice of sensibilities as various as our memories;” and this: “Every strong feeling makes to itself a conscience of its own – has its own piety.”

      Who