Ch. 13: On English Novelists of the Present Day - Page 2

which he conceived, and in the language which he used; I do not know that there is any perceptible change; but in The Virginians and in Philip the reader is introduced to no character with which he makes a close and undying acquaintance. And this, I have no doubt, is so because Thackeray himself had no such intimacy. His mind had come to be weary of that fictitious life which is always demanding the labour of new creation, and he troubled himself with his two Virginians and his Philip only when he was seated at his desk.

At the present moment George Eliot is the first of English novelists, and I am disposed to place her second of those of my time. She is best known to the literary world as a writer of prose fiction, and not improbably whatever of permanent fame she may acquire will come from her novels. But the nature of her intellect is very far removed indeed from that which is common to the tellers of stories. Her imagination is no doubt strong, but it acts in analysing rather than in creating. Everything that comes before her is pulled to pieces so that the inside of it shall be seen, and be seen if possible by her readers as clearly as by herself. This searching analysis is carried so far that, in studying her latter writings, one feels oneself to be in company with some philosopher rather than with a novelist. I doubt whether any young person can read with pleasure either Felix Holt, Middlemarch, or Daniel Deronda. I know that they are very difficult to many that are not young.

Her personifications of character have been singularly terse and graphic, and from them has come her great hold on the public,--though by no means the greatest effect which she has produced. The lessons which she teaches remain, though it is not for the sake of the lessons that her pages are read. Seth Bede, Adam Bede, Maggie and Tom Tulliver, old Silas Marner, and, much above all, Tito, in Romola, are characters which, when once known, can never be forgotten. I cannot say quite so much for any of those in her later works, because in them the philosopher so greatly overtops the portrait-painter, that, in the dissection of the mind, the outward signs seem to have been forgotten. In her, as yet, there is no symptom whatever of that weariness of mind which, when felt by the reader, induces him to declare that the author has written himself out. It is not from decadence that we do not have another Mrs. Poyser, but because the author soars to things which seem to her to be higher than Mrs. Poyser.

It is, I think, the defect of George Eliot that she struggles too hard to do work that shall be excellent. She lacks ease. Latterly the signs of this have been conspicuous in her style, which has always been and is singularly correct, but which has become occasionally obscure from her too great desire to be pungent. It is impossible not to feel the struggle, and that feeling begets a flavour of affectation. In Daniel Deronda, of which at this