Middlemarch is at once one of the strongest and one of the weakest of English novels. Its predecessors as they appeared might have been described in the same terms; Romola is especially a rare masterpiece, but the least entraînant of masterpieces. Romola sins by excess of analysis; there is too much description and too little drama; too much reflection (all certainly of a highly imaginative sort) and too little creation. Movement lingers in the story, and with it attention stands still in the reader. The error in Middlemarch is not precisely of a similar kind, but it is equally detrimental to the aspect of the work. We can all remember how keenly we wondered, while its early chapters unfolded themselves, what turn in the way of form the story would take -- that of an organized, moulded, balanced composition, gratifying the reader with a sense of design and construction, or a mere chain of episodes, broken into accidental lengths and unconscious of the influence of a plan. We expected the actual result, but for the sake of English imaginative literature which, in this line is rarely in need of examples, we hoped for the other. If it had come we should have had the pleasure of reading, what certainly would have seemed to us in the immediate glow of attention, the first of English novels. But the pleasure has still to hover between prospect and retrospect. Middlemarch is a treasure-house of details, but it is an indifferent whole.
Our objection may seem shallow and pedantic, and may even be represented as a complaint that we have had the less given us rather than the more. Certainly the greatest minds have the defects of their qualities, and as George Eliot's mind is preëminently contemplative and analytic, nothing is more natural than that her manner should be discursive and expansive. "Concentration" would doubtless have deprived us of many of the best things in the book -- of Peter Featherstone's grotesquely expectant legatees, of Lydgate's medical rivals, and of Mary Garth's delightful family. The author's purpose was to be a generous rural historian, and this very redundancy of touch, born of abundant reminiscence, is one of the greatest charms of her work. It is as if her memory was crowded with antique figures, to whom for every tenderness she must grant an appearance. Her novel is a picture -- vast, swarming, deep-colored, crowded with episodes, with vivid images, with lurking master-strokes, with brilliant passages of expression; and as such we may freely accept it and enjoy it. It is not compact, doubtless; but when was a panorama compact ? And yet nominally Middlemarch has a definite subject -- the subject indicated in the eloquent preface. An ardent young girl was to have been the central figure, a young girl framed for a larger moral life than circumstance often affords, yearning for a motive for sustained spiritual effort and only wasting her ardor and soiling her wings against the meanness of opportunity. The author, in other words, proposed to depict the career of an obscure St. Theresa. her success has been great, in spite of serious drawbacks. Dorothea Brooke is a genuine creation, and a most remarkable one when we consider the delicate material in which she is wrought. George Eliot's men are generally so much better than the usual trousered offspring of the female fancy, that their merits have perhaps overshadowed those of her women. Yet her heroines have always been of an exquisite beauty, and Dorothea is only that perfect flower of conception of which her predecessors were the less unfolded blossoms. An indefinable moral elevation is the sign of these admirable creatures; and of the representation of this quality in its superior degrees the author seems to have in English fiction a monopoly. To render the expression of a soul requires a cunning hand; but we seem to look straight into the unfathomable eyes of the beautiful spirit of Dorothea Brooke. She exhales a sort of aroma of spiritual sweetness, and we believe in her as in a woman we might providentially meet some fine day when we should find ourselves doubting of the immortality of the soul. By what unerring mechanism this effect is produced -- whether by fine strokes or broad ones, by description or by narration, we can hardly say; it is certainly the great achievement of the book. Dorothea's career is, however, but an episode, and though doubtless in intention, not distinctly enough in fact, the central one. The history of Lydgate's menage, which shares honors with it, seems rather to the reader to carry off the lion's share. This is certainly a very interesting story, but on the whole it yields in dignity to the record of Dorothea's unresonant woes. The "love-problem", as the author calls it, of Mary Garth, is placed on a rather higher level than the reader willingly grants it. To the end we care less so about Fred Vincy than appears to be expected of us. In so far as the writer's design has been to reproduce the total sum of life in an English village forty years ago, this common-place young gentleman, with his somewhat meagre tribulations and his rather neutral egotism, has his proper place in the picture; but the author narrates his fortunes with a fulness of detail which the reader often finds irritating. The reader indeed is sometimes tempted to complain of a tendency which we are at a loss exactly to express -- a tendency to make light of the serious elements of the story and to sacrifice them to the more trivial ones. Is it an unconscious instinct or is it a deliberate plan ? With its abundant and massive ingredients Middlemarch ought somehow to have depicted a weightier drama. Dorothea was altogether too superb a heroine to be wasted; yet she plays a narrower part than the imagination of the reader demands. She is of more consequence than the action of which she is the nominal centre. She marries enthusiastically a man whom she fancies a great thinker, and who turns out to be but an arid pedant. Here, indeed, is a disappointment with much of the dignity of tragedy; but the situation seems to us never to expand to its full capacity. It is analyzed with extraordinary penetration, but one may say of it, as of most of the situations in the book, that it is treated with too much refinement and too little breadth. It revolves too constantly on the same pivot; it abounds in fine shades, but it lacks, we think, the great dramatic chiaroscuro. Mr. Casaubon, Dorothea's husband (of whom more anon) embittered, on his side, by matrimonial disappointment, takes refuge in vain jealousy of his wife's relations with an interesting young cousin of his own and registers this sentiment in a codicil to his will, making the forfeiture of his property the penalty of his widow's marriage with this gentleman. Mr. Casaubon's death befalls about the middle of the story, and from this point to the close our interest in Dorothea is restricted to the question, will she or will she not marry Will Ladislaw ? The question is relatively trivial and the implied struggle slightly factitious. The author has depicted the struggle with a sort of elaborate solemnity which in the interviews related in the two last books tends to become almost ludicrously excessive.
The dramatic current stagnates; it runs between hero and heroine almost a game of hair-splitting. Our dissatisfaction here is provoked in a great measure by the insubstantial character of the hero. The figure of Will Ladislaw is a beautiful attempt, with many finely-completed points; but on the whole it seems to us a failure. It is the only eminent failure in the book, and its defects are therefore the more striking. It lacks sharpness of outline and depth of color; we have not found ourselves believing in Ladislaw as we believe in Dorothea, in Mary garth, in Rosamond, in Lydgate, in Mr. Brooke and Mr. Cauaubon. He is meant, indeed, to be a light creature (with a large capacity for gravity, for he finally gets into Parliament), and a light creature certainly should not be heavily drawn. The author, who is evidently very fond of him, has found for him here and there some charming and eloquent touches; but in spite of these he remains vague and impalpable to the end. He is, we may say, the one figure which a masculine intellect of the same power as George Eliot's would not have conceived with the same complacency; he is, in short, roughly speaking, a woman's man. It strikes us as an oddity in the author's scheme that she would have chosen just this figure of Ladislaw as the creature in whom Dorothea was to find her spiritual compensations. He is really, after all, not the ideal foil to Mr. Casaubon, which her soul must have imperiously demanded, and if the author of the Key to all Mythologies sinned by lack of order, Ladislaw too has not the concentrated fervor essential in the man chosen by so nobly strenuous a heroine. The impression once given that he is a dilettante is never properly removed, and there is slender poetic justice in Dorothea's marrying a dilettante. We are doubtless less content with Ladislaw, on account of the noble, almost sepulchral, relief of the neighboring figure of Lydgate, the real hero of the story. It is an illustration of the generous scale of the author's picture and of the conscious power of her imagination that she has given us a hero and heroine of broadly distinct interests -- erected, as it were, two suns in her firmament, each with its own independent solar system. Lydgate is so richly successful a figure that we have regretted strongly at moments, for immediate interests' sake, that the current of his fortunes should not mingle more freely with the occasionally thin-flowing stream of Dorothea's. Toward the close, these two fine characters are brought into momentary contact so effectively, as to suggest a wealth of dramatic possibility between them; but if this train had been followed we should have lost Rosamond Vincy -- a rare psychological study. Lydgate is a really complete portrait of a man, which seems to us high praise. It is striking evidence of the altogether superior quality of George Eliot's imagination that, though elaborately represented, Lydgate should be treated so little from what we may roughly (and we trust without offence) call the sexual point of view. Perception charged with feeling has constantly guided the author's hand, and yet her stroke remain as firm, her curves as free, her whole manner as serenely impersonal, as if, on a small scale, she were emulating the creative wisdom itself. Several English romancers -- notably Fielding, Thackeray, and Charles Reade -- have won great praise for their figures of women: but they owe it, in reversed conditions, to a meaner sort of art, it seems to us, than George Eliot has used in the case of Lydgate; to an indefinable appeal to masculine prejudice -- to a sort of titillation of the masculine sense of difference. George Eliot's manner is more philosophic -- more broadly intelligent, and yet her result is as concrete or, if you please, as picturesque. We have no space to dwell on Lydgate's character; we can but repeat that he is a vividly consistent, manly figure -- powerful, ambitious, sagacious, with the maximum rather than the minimum of egotism, strenuous, generous, fallible, and altogether human. A work of the liberal scope of Middlemarch contains a multitude of artistic intentions, some of the finest of which become clear only in the meditative after-taste of perusal. This is the case with the balanced contrast between the two histories of Lydgate and Dorothea . Each is a tale of matrimonial infelicity, but the conditions in each are so different and the circumstances so broadly opposed that the mind passes from one to the other with that supreme sense of the vastness and variety of human life, under aspects apparently similar, which it belongs only to the greatest novels to produce. The most perfectly successful passages in the book are perhaps those painful fireside scenes between Lydgate and his miserable little wife. The author's rare psychological penetration is much lavished upon this veritably mulish domestic flower. There is nothing more powerfully real than these scenes in all English fiction, and nothing certainly more intelligent. Their impressiveness, and (as regards Lydgate) their pathos, is deepened by the constantly low key in which they are pitched. It is a tragedy based on unpaid butcher's bills, and the urgent need for small economies. The author has desired to be strictly real and to adhere to the facts of the common lot, and she has given us a powerful version of that typical human drama, the struggles of an ambitious soul with sordid disappointments and vulgar embarrassments. As to her catastrophe we hesitate to pronounce (for Lydgate's ultimate assent to his wife's worldly programme is nothing less than a catastrophe). We almost believe that some terrific explosion would have been more probable than his twenty years of smothered aspiration. Rosamond deserves almost to rank with Tito in Romola as a study of a gracefully vicious, or at least of a practically baleful nature. There is one point, however, on which we question the consistency. The author insists on her instincts of coquetry, which seems to us a discordant note. They would have made her better or worse -- more generous or more reckless; in either case more manageable. As it is, Rosamond represents, in a measure, the fatality of British decorum.
In reading we have marked innumerable passages for quotation and comment; but we lack space and the work is so ample that half a dozen extracts would be an ineffective illustration. There would be a great deal to say on the broad array of secondary figures, Mr. Casaubon, Mr. Brooke, Mr. Bulstrode, Mr. Farebrother, Caleb garth, Mrs. Cadwallader, Celia Brooke. Mr. Casaubon is an excellent invention; as a dusky repoussoir to the luminous figure of his wife he could not have been better imagined. There is indeed something very noble in the way in which the author has apprehended his character. To depict hollow pretentiousness and mouldy egotism with so little of narrow sarcasm and so much of philosophic sympathy, is to be a rare moralist as well as a rare story-teller. The whole portrait of Mr. Casaubon has an admirably sustained greyness of tone in which the shadows are never carried to the vulgar black of coarser artists. Every stroke contributes to the unwholesome, helplessly sinister expression. Here and there perhaps (as in his habitual diction), there is a hint of exaggeration; but we confess we like fancy to be fanciful. Mr. Brooke and Mr. Garth are in their different lines supremely genial creations; they are drawn with the touch of a Dickens chastened and intellectualized. Mrs. Cadwallader is, in another walk of life, a match for Mrs. Poyser, and Celia Brooke is as pretty a fool as any of Miss Austen's. Mr. Farebrother and his delightful "womankind" belong to a large group of figures begotten of the super-abundance of the author's creative instinct. At times they seem to encumber the stage and to produce a rather ponderous mass of dialogue; but they add to the reader's impression of having walked in the Middlemarch lanes and listened to the Middlemarch accent. To but one of these accessory episodes -- that of Mr. Bulstrode, with its multiplex ramifications -- do we take exception. It has a slightly artificial cast, a melodramatic tinge, unfriendly to the richly natural coloring of the whole. Bulstrode himself -- with the history of whose troubled conscience the author has taken great pains -- is, to our sense, too diffusely treated; he never grasps the reader's attention. But the touch of genius is never idle or vain. The obscure figure of Bulstrode's comely wife emerges at the needful moment, under a few light strokes, into the happiest reality.
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