Part 20

"Where is this Death of whom you have spoken?" furiously demand the three young men. The old man replied, "You will find him under an oak tree in yonder grove." The three rush forward; and upon arriving at the oak find three bags full of gold coin. Overjoyed at their good fortune they are afraid to carry the treasure into town by day lest they be suspected of robbery. They therefore resolve to wait until night and in the meantime to make merry. For the latter purpose one of the three goes to town after food and drink. As soon as he is out of hearing, the two who remain under the tree resolve to murder their companion on his return so that they may be the richer by his portion of the treasure; he, on the other hand, whilst buying his victual in town, shrewdly drops a great lump of poison into the bottle of drink he is to carry back so that his companions may perish and he take all.

To make a long story short, the whole plot is carried out. As soon as he who was sent to town returns, his companions fall upon him and murder him; they then proceed merrily to eat and drink what he has brought; the poison does its work; presently all three lie dead under the oak tree by the side of the gold, and the old man's direction has come true, and they _have_ found death under that tree. In George Eliot's story the young English Squire also finds death in finding gold. You will all remember how Dunstan Cass in returning late at night from a fox-hunt on foot--for he had killed his horse in the chase--finds himself near the stone hut where Silas Marner the weaver has long plied his trade, and where he is known to have concealed a large sum in gold. The young man is extraordinarily pressed for money; he resolves to take Marner's gold; the night is dark and misty; he makes his way through the mud and darkness to the cottage and finds the door open, Marner being, by the rarest of accidents, away from the hut. The young man quickly discovers the spot in the floor where the weaver kept his gold; he seizes the two heavy leathern bags filled with guineas; and the chapter ends. "So he stepped forward into the darkness." All this occurs in Chapter IV. The story then proceeds; nothing more is heard of Dunstan Cass in the village for many years; the noise of the robbery has long ago died away; Silas Marner has one day found a golden head of hair lying on the very spot of his floor where he used to finger his own gold; the little outcast who had fallen asleep with her head in this position, after having wandered into Marner's cottage, has been brought up by him to womanhood; when one day, at a critical period in Silas Marner's existence, it happens that in draining some lower grounds the pit of an old stone quarry, which had for years stood filled with rain-water near his house, becomes dry, and on the bottom is revealed a skeleton with a leathern bag of gold in each hand. The young man plunging out into the dark, laden with his treasure, had fallen in and lain for all these years to be afterwards brought to light as another phase of the frequent identity between death and gold. Here, too, one is obliged to remember those doubly dreadful words in _Romeo and Juliet_, where Romeo having with difficulty bought poison from the apothecary, cries:

"There is thy gold; worse poison to men's souls, Doing more murder in this loathsome world Than these poor compounds which thou mayst not sell. I sell thee poison, thou hast sold me none. Farewell; buy food and get thyself in flesh."

I must also instance one little passing picture in _Silas Marner_ which though extremely fanciful, is yet, a charming type of some of the greatest and most characteristic work that George Eliot has done. Silas Marner had been a religious enthusiast of an obscure sect of a small manufacturing town of England; suddenly a false accusation of theft in which the circumstantial evidence was strong against him brings him into disgrace among his fellow-disciples. With his whole faith in God and man shattered he leaves his town, wanders over to the village of Raveloe, begins aimlessly to pursue his trade of weaving, presently is paid for some work in gold; in handling the coin he is smit with the fascination of its yellow radiance, and presently we find him pouring out all the prodigious intensity of his nature, which had previously found a fitter field in religion, in the miser's passion. Working day and night while yet a young man he fills his two leathern bags with gold; and George Eliot gives us some vivid pictures of how, when his day's work would be done, he would brighten up the fire in his stone hut which stood at the edge of the village, eagerly lift up the particular brick of the stone floor under which he kept his treasure concealed, pour out the bright yellow heaps of coin and run his long white fingers through them with all the miser's ecstasy. But after he is robbed the utter blank in his soul--and one can imagine such a blank in such a soul, for he was essentially religious--becomes strangely filled. One day a poor woman leading her little golden-haired child is making her way along the road past Marner's cottage; she is the wife, by private marriage, of the Squire's eldest son, and after having been cruelly treated by him for years has now desperately resolved to appear with her child at a great merry-making which goes on at the Squire's to-day, there to expose all and demand justice. It so happens however that in her troubles she has become an opium-taker; just as she is passing Marner's cottage the effect of an unusually large dose becomes overpowering; she lies down and falls off into a stupor which this time ends in death. Meantime the little golden-haired girl innocently totters into the open door of Marner's cottage during his absence; presently lies down, places her head with all its golden wealth upon the very brick which Marner used to lift up in order to bring his gold to light, and so falls asleep, while a ray of sunlight strikes through the window and illuminates the little one's head. Marner now returns; he is dazed at beholding what seems almost to be another pile of gold at the familiar spot on the floor. He takes this new treasure into his hungry heart and brings up the little girl who becomes a beautiful woman and faithful daughter to him. His whole character now changes and the hardness of his previous brutal misanthropy softens into something at least approaching humanity. Now, it is fairly characteristic of George Eliot that she constantly places before us lives which change in a manner of which this is typical: that is to say, she is constantly showing us intense and hungry spirits first wasting their intensity and hunger upon that which is unworthy, often from pure ignorance of anything worthier, then finding where love _is_ worthy, and thereafter loving larger loves, and living larger lives.

Is not this substantially the experience of Janet Dempster, of Adam Bede, replacing the love of Hetty with that of Dinah Morris; of Romola, of Dorothea, of Gwendolen Harleth?

This last name brings us directly to the work which we were specially to study to-day. George Eliot's novels have all striking relationships among themselves which cause them to fall into various groups according to various points of view. There is one point however from which her entire work divides itself into two groups, of which one includes the whole body of her writings up to 1876: the other group consists solely of _Daniel Deronda_. This classification is based on the fact that all the works in the first group concern the life of a time which is past. It is only in _Daniel Deronda_, after she has been writing for more than twenty years, that George Eliot first ventures to deal with English society of the present day. To this important claim upon our interest may be added a further circumstance which will in the sequel develop into great significance. _Daniel Deronda_ has had the singular fate of being completely misunderstood to such a degree that the greatest admirers of George Eliot have even ventured to call it a failure, while the Philistines have rioted in abusing Gwendolen Harleth as a weak and rather disagreeable personage, Mirah and Daniel as unmitigated prigs, and the plot as an absurd attempt to awaken interest in what is called the religious patriotism of the Jews. This comparative failure of _Daniel Deronda_ to please current criticism and even the ardent admirers of George Eliot, so clearly opens up what is to my view a singular and lamentable weakness in certain vital portions of the structure of our society that I have thought I could not render better service than by conducting our analysis of _Daniel Deronda_ so as to make it embrace some of the most common of the objections urged against that work. Let us recall in largest possible outline the movement of _Daniel Deronda_. This can be done in a surprisingly brief statement. The book really concerns two people--one is Gwendolen Harleth, a beautiful English girl, brought up with all those delicate tastes and accomplishments which we understand when we think of the highest English refinement, wayward--mainly because she has seen as yet no way that seemed better to follow than her own--and ambitious, but evidently with that sacred discontent which desires the best and which will only be small when its horizon contains but small objects. The other main personage is Daniel Deronda, who has been brought up as an Englishman of rank, has a striking face and person, a natural love for all that is beautiful and noble, a good sense that enables him to see through the banalities of English political life and to shrink from involving his own existence in such littleness, and who, after some preliminary account of his youth in the earlier chapters, is placed before us early in the first book as a young man of twenty who is seriously asking himself whether life is worth living.

It so happens however that presently Gwendolen Harleth is found asking herself the same question. Tempted by a sudden reverse of fortune, by the chance to take care of her mother, and one must add by her own desire--guilty enough in such a connection--for plenty of horses to ride, and for all the other luxurious accompaniments which form so integral a portion of modern English life; driven, too, by what one must not hesitate to call the cowardliest shrinking from the name and position of a governess; conciliated by a certain infinite appearance of lordliness which in Grandcourt is mainly nothing more than a blase brutality which has exhausted desire, Gwendolen accepts the hand of Grandcourt, quickly discovers him to be an unspeakable brute, suffers a thousand deaths from remorse and is soon found--as is just said--wringing her hands and asking if life is worth living.

Now the sole purpose and outcome of the book lie in its answers to the questions of these two young people. It does answer them, and answers them satisfactorily. On the one hand, Gwendolen Harleth, in the course of her married life, is several times thrown with Daniel Deronda; his loftiness, his straightforwardness, his fervor, his frankness, his general passion for whatsoever things are large and fine,--in a word, his goodness--form a complete revelation to her. She suddenly discovers that life is not only worth living, but that the possibility of making one's life a good life invests it with a romantic interest whose depth is infinitely beyond that of all the society-pleasures which had hitherto formed her horizon. On the other hand, Daniel Deronda discovers that he is a Jew by birth, and fired by the visions of a fervent Hebrew friend, he resolves to devote his life and the wealth that has fallen to him from various sources to the cause of reestablishing his people in their former Eastern home. Thus also for him, instead of presenting the dreary doubt whether it is worth living, life opens up a boundless and fascinating field for energies of the loftiest kind.

Place then, clearly before your minds these two distinct strands of story. One of these might be called _The Repentance of Gwendolen Harleth_, and this occupies much the larger portion of the work. The other might be called _The Mission of Daniel Deronda_. These two strands are, as we have just seen, united into one artistic thread by the organic purpose of the book which is to furnish a fair and satisfactory answer to the common question over which these two young protagonists struggle: "Is life worth living?"

Now the painting of this repentance of Gwendolen Harleth, the development of this beautiful young aristocrat Daniel Deronda into a great and strong man consecrated to a holy purpose: all this is done with such skillful reproduction of contemporary English life, with such a wealth of flesh-and-blood character, with an art altogether so subtile, so analytic, yet so warm and so loving withal, that if I were asked for the most significant, the most tender, the most pious and altogether the most uplifting of modern books, it seems to me I should specify _Daniel Deronda_.

It was remarked two lectures ago that Shakspeare had never drawn a repentance; and if we consider for a single moment what is required in order to paint such a long and intricate struggle as that through which our poor, beautiful Gwendolen passed, we are helped towards a clear view of some reasons at least why this is so. For upon examining the instances of repentance alleged by those who disagree with me on this point--as mentioned in my last lecture--I find that the real difference of opinion between us is, not as to whether Shakspeare ever drew a repentance, but as to what is a repentance. There certainly are in Shakspeare pictures of regret for injuries done to loved ones under mistake or under passion, and sometimes this regret is long-drawn. But surely such reversal of feeling is only that which would be felt by any man of ordinarily manful make upon discovering that he had greatly wronged anyone, particularly a loved one. It is to this complexion that all the alleged instances of repentances in Shakspeare come at last. Nowhere do we find any special portrayal of a character engaged to its utmost depths in that complete subversion of the old by the new,--that total substitution of some higher motive for the whole existing body of emotions and desires,--that emergence out of the twilight world of selfishness into the large and sunlit plains of a love which does not turn upon self,

"Which bends not with the remover to remove" Nor "alters when it alteration finds."

For example, Leontes, in _Winter's Tale_, who is cited as a chief instance of Shakspeare's repentances, quite clearly shows by word and act that his regret is mainly a sense of personal loss, not a change of character. He is sorrowful not so much because he has sinned as because he has hurt himself. In Act V. just before the catastrophe which restores him his wife and daughter, we find him exclaiming:

"Good Pauline O that ever I Had squared me to thy counsel! Then even now I might have looked upon my queen's full eyes Have taken treasure from her lips--&c,"

And again in the same scene, where Florizel and Perdita have been brought before him, he cries:

"What might I have been, Might I a son and daughter now have looked on Such goodly things as you!"

In these it is clear that Leontes is speaking from personal regret; there is no thought here of that total expansion of an ego into a burning love of all other egos, implied in the term repentance, as I have used it. Similarly, King Lear, who has also been cited as an example of Shakspeare's repentances is simply an example of regret for the foulest of wrongs done in a moment of silly passion. After the poor old man, upon regaining his consciousness under Cordelia's tender ministrations, is captured together with Cordelia, in Scene III of Act V, Cordelia says, as if to comfort him:

"We are not the first Who with best meaning have incurred the worst. For thee, oppressed king, am I cast down.

Shall we not see these daughters and these sisters?" _Lear._--No, no, no, no! Come let's away to prison; We two alone will sing like birds i' the cage; When thou dost ask me blessing, I'll kneel down And ask of thee forgiveness."

Here, clearly enough, is regret for his injury to Cordelia, but quite as clearly, no general state of repentance; and in the very few other words uttered by the old king before the play ends surely nothing indicating such a state appears. Of all the instances suggested only one involves anything like the process of character-change which I have called a repentance, such as Gwendolen Harleth's for example; but this one, unfortunately, is not drawn by Shakspeare: it is only mentioned as having occurred. This is the repentance of Duke Frederick in _As you Like it_. Just at the end of that play, when Orlando and Rosalind, Oliver, and Celia and all the rest have unraveled all their complications, and when everything that can be called plot in the play is finished, the son of old Sir Rowland appears before the company in the wood and calls out:

"Let me have audience for a word or two.

* * * *

Duke Frederick hearing how that every day Men of great worth resorted to this forest Addressed a mighty power purposely to take His brother here and put him to the sword, And to the skirts of this wild wood he came, Where meeting with an old religious man, After some questions with him was converted Both from his enterprise and from the world; His crown bequeathing to his banished brother, And all their lands restored to them again That were with him exiled."

Here we have indeed a true repentance, but this is all we have of it; the passage I have read contains the whole picture.

If we now go on and ask ourselves why these fascinating phenomena of repentance, which George Eliot has treated with such success, never engaged Shakspeare's energy, we come at the very first step upon a limitation of the drama as opposed to the novel which, in the strongest way, confirms the view I was at such pains to set forth in my earlier lectures of that necessity for a freer form than the dramatic, which arises from the more complete relations between modern personalities and which has really developed the novel out of the drama.

How, for instance, could Shakspeare paint the yeas and nays, the twists, the turns, the intricacies of Gwendolen Harleth's thought during the long weeks while she was debating whether she should accept Grandcourt? The whole action of this drama, you observe, is confined within the small round head of the girl herself. How could such action be brought before the audience of a play? The only hope would be in a prolonged soliloquy, for these are thoughts which no young woman would naturally communicate to any one; but what audience could stand so prolonged a soliloquy, even if any character could be found in whom it would be natural? And sometimes, too, the situation is so subtly complex that Gwendolen is soliloquizing in such a manner that we, the audience, hear her while Grandcourt, who is standing by, does not.

"I used to think archery was a great bore," Grandcourt began. He spoke with a fine accent, but with a certain broken drawl, as of a distinguished personage with a distinguished cold in his chest.

"Are you converted to-day?" said Gwendolen.

(Pause, during which she imagined various degrees and modes of opinion about herself that might be entertained by Grandcourt.)

"Yes, since I saw you shooting. In things of this sort one generally sees people missing and simpering."

"And do you care about the turf? or is that among the things you have left off?"

(Pause, during which Gwendolen thought that a man of extremely calm cold manners might be less disagreeable as a husband than other men, and not likely to interfere with his wife's preferences.)

"You would perhaps like tiger-hunting or pig-sticking. I saw some of that for a season or two in the East. Everything here is poor stuff after that."

"You are fond of danger then?"

(Pause, during which Gwendolen speculated on the probability that the men of coldest manners were the most adventurous, and felt the strength of her own insight, supposing the question had to be decided.)

"One must have something or other. But one gets used to it."

"I begin to think I am very fortunate, because everything is new to me; it is only that I can't get enough of it. I am not used to anything except being dull, which I should like to leave off as you have left off shooting."

(Pause, during which it occurred to Gwendolen that a man of cold and distinguished manners might possibly be a dull companion; but on the whole, the thought that most persons were dull, and that she had not observed husbands to be companions.)

"Why are you dull?"

"This is a dreadful neighborhood, there is nothing to be done in it. That is why I practised my archery."

(Pause, during which Gwendolen reflected that the life of an unmarried woman who could not go about and had no command of anything, must necessarily be dull through all the degrees of comparison as time went on.)

"You have made yourself queen of it. I imagine you will carry the first prize."

"I don't know that. I have great rivals. Did you not observe how well Miss Arrowpoint shot?"

(Pause, wherein Gwendolen was thinking that men had been known to choose some one else than the woman they most admired, and recalled several experiences of that kind in novels.)

At this point we come upon an element of difference between the novel and the drama which has not hitherto been fairly appreciated, so far as I know. Consider for a moment the wholly supernatural power which is necessarily involved in the project of thus showing the most secret workings of the mind and heart of this young girl Gwendolen Harleth! In real life what power less than God's can make me see the deepest thought and feeling of a fellow-creature? But since the novel is always a transcript of real, or at any rate of possible, life, you observe that wherever these workings of heart and brain are thus laid bare, the tacit supposition is, in plain terms, that God is the writer, or that the writer is a god. In the drama no supposition is necessary because here we become acquainted with only such matters as are shown us in the ordinary way, by scenery or by the speech or gesture of the actor. This consideration seems to me to lift the novel to the very highest and holiest plane of creative effort; he who takes up the pen of the novelist assumes, as to that novel, to take up along with it the omniscience of God. He proposes, in effect, to bring about the revelations of Judgment Day long before the trumpet has sounded. George Eliot shows us the play of Gwendolen Harleth's soul with the same uncompromising fulness with which the most literal believer expects to give account of the deeds done in the body at the last day.

In contemplating this vast ascent from the attitude of the dramatist to that of the novelist--the dramatist is a man; the novelist--as to that novel, is a god--we are contemplating simply another phase of the growth of man from Shakspeare to George Eliot.