Maggie drew a long breath and pushed her heavy hair back, as if to see a sudden vision more clearly. Here, then, was a secret of life that would enable her to renounce all other secrets--here was a sublime height to be reached without the help of outward things--here was insight, and strength, and conquest, to be won by means entirely within her own soul, where a supreme Teacher was waiting to be heard. It flashed through her like the suddenly apprehended solution of a problem, that all the miseries of her young life had come from fixing her heart on her own pleasure, as if that were the central necessity of the universe; and for the first time she saw the possibility of shifting the position from which she looked at the gratification of her own desires, of taking her stand out of herself, and looking at her own life as an insignificant part of a divinely guided whole. She read on and on in the old book, devouring eagerly the dialogues with the invisible Teacher, the pattern of sorrow, the source of all strength; returning to it after she had been called away, and reading until the sun went down behind the willows. With all the hurry of an imagination that could never rest in the present, she sat in the deepening twilight forming plans of self-humiliation and entire devotedness, and, in the ardor of first discovery, renunciation seemed to her the entrance into that satisfaction which she had so long been craving in vain. She had not perceived--how could she until she had lived longer?--the inmost truth of the old monk's outpourings, that renunciation remains sorrow, though a sorrow borne willingly. Maggie was still panting for happiness, and was in ecstasy because she had found the key to it.

She knew nothing of doctrines and systems--of mysticism or quietism; but this voice out of the far-off middle ages was the direct communication of a human soul's belief and experience, and came to Maggie as an unquestioned message. I suppose that is the reason why the small, old-fashioned book, for which you need only pay sixpence at a book-stall, works miracles to this day, turning bitter waters into sweetness, while expensive sermons and treatises, newly issued, leave all things as they were before. It was written down by a hand that waited for the heart's promptings; it is the chronicle of a solitary hidden anguish, struggle, trust and triumph,--not written on velvet cushions to teach endurance to those who are treading with bleeding feet on the stones. And so it remains to all time a lasting record of human needs and human consolations; the voice of a brother who, ages ago, felt, and suffered, and renounced,--in the cloister, perhaps, with serge gown and tonsured head, with much chanting and long fasts, and with a fashion of speech different from ours,--but under the same silent, far-off heavens, and with the same pa.s.sionate desires, the same strivings, the same failures, the same weariness. [Footnote: The Mill on the Floss, Book IV., chapter III.]

Life now has a meaning for Maggie, its secret has been in some measure opened. Only by bitter experiences does she at last learn the full meaning of that word; but all her after-life is told for us in order that the depth and breadth and height of that meaning may be unfolded. Very soon Maggie is heard saying,

"Our life is determined for us--and it makes the mind very free when we give up wishing, and only think of bearing what is laid upon us, and doing what is given us to do."

It is George Eliot who really speaks these words; hers is the thought which inspires them.

Yet Maggie has not learned to give up wishing; and the sorrow, the tragedy of her life comes in consequence. She is pledged in love to Philip, the son of the bitter enemy of her family, and is attracted to Stephen, the lover of her cousin Lucy. A long contest is fought out in her life between attraction and duty; between individual preferences and moral obligations.

The struggle is hard, as when Stephen avows his love, and she replies,--

"Oh, it is difficult--life is very difficult. It seems right to me sometimes that we should follow our strongest feeling; but, then, such feelings continually come across the ties that all our former life has made for us--the ties that have made others dependent on us--and would cut them in two. If life were quite easy and simple, as it might have been in Paradise, and we could always see that one being first toward whom--I mean, if life did not make duties for us before love comes, love would be a sign two people ought to belong to each other. But I see--I feel that it is not so now; there are things we must renounce in life; some of us must resign love. Many things are difficult and dark to me, but I see one thing quite clearly--that I must not, cannot seek my own happiness by sacrificing others. Love is natural; but surely pity, and faithfulness and memory are natural too. And they would live in me still and punish me if I did not obey them. I should be haunted by the suffering I had caused. Our love would be poisoned."

Against her will she elopes with Stephen, or her departure with him is so understood; but us soon as she realizes what she has done, her better nature a.s.serts itself, and she refuses to go on. Stephen pleads that the natural law which has drawn them together is greater than every other obligation; but Maggie replies,--

"If we judged in that way, there would be a warrant for all treachery and cruelty. We should justify breaking the most sacred ties that can ever be formed on earth."

He then asks what is outward faithfulness and constancy without love.

Maggie pleads the better spirit.

"That seems right--at first; but when I look further, I'm sure it is not right. Faithfulness and constancy mean something else besides doing what is easiest and pleasantest to ourselves. They mean renouncing whatever is opposed to the reliance others have in us--whatever would cause misery to those whom the course of our lives has made dependent on us. If we--if I had been better, n.o.bler, those claims would have been so strongly present with me--I should have felt them pressing on my heart so continually, just as they do now in the moments when my conscience is awake, that the opposite feeling would never have grown in me as it has done: it would have been quenched at once. I should have prayed for help so earnestly--I should have rushed away as we rush from hideous danger. I feel no excuse for myself--none. I should never have failed toward Lucy and Philip as I have done, if I had not been weak, selfish and hard--able to think of their pain without a pain to myself that would have destroyed all temptation. Oh. what is Lucy feeling now? She believed in me--she loved me--she was so good to me!

Think of her!"

She can see no good for herself which is apart from the good of others, no joy which is the means of pain to those she holds dear. The past has made ties and; memories which no present love or future joy can take away; she must be true to past obligations as well as present inclinations.

"There are memories and affections, and longing after perfect goodness, that have such a strong hold on me, they would never quit me for long; they would come back and be pain to me--repentance. I couldn't live in peace if I put the shadow of a wilful sin between myself and G.o.d. I have caused sorrow already--I know--I feel it; but I have never deliberately consented to it; I have never said, 'They shall suffer that I may have joy.'"

And again, she says,--

"We can't choose happiness either for ourselves or for another; we can't tell where that will lie. We can only choose whether we will indulge ourselves in the present moment, or whether we will renounce that, for the sake of obeying the divine voice within us--for the sake of being true to all the motives that sanctify our lives. I know this belief is hard; it has slipped away from me again and again; but I have felt that if I let it go forever I should have no light through the darkness of this life."

In these remarkable pa.s.sages from _Romola_ and _The Mill on the Floss_, George Eliot presented her own theory of life. One of her friends, in giving an account of her moral influence, speaks of "the impression she produced, that one of the greatest duties of life was that of resignation.

Nothing was more impressive as exhibiting the power of feelings to survive the convictions which gave them birth, than the earnestness with which she dwelt, on this as the great and real remedy for all the ills of life. On one occasion she appeared to apply it to herself in speaking of the short s.p.a.ce of life that lay before her, and the large amount of achievement that must be laid aside as impossible to compress into it--and the sad, gentle tones in which the word _resignation_ was uttered, still vibrate on the ear." [Footnote: Contemporary Review, February, 1881.] Not only renunciation but resignation was by her held to be a prime requisite of a truly moral life. Man must renounce many things for the sake of humanity, but he must also resign himself to endure many things because the universe is under the dominion of invariable laws. Much of pain and sorrow must come to us which can in no way be avoided. A true resignation and renunciation will enable us to turn pain and sorrow into the means of a higher life. In _Adam Bede_ she says that "deep, unspeakable suffering may well be called a baptism, a regeneration, the initiation into a new state." She teaches that man can attain true unity with the race only through renunciation, and renunciation always means suffering. Self-sacrifice means hardship, struggle and sorrow; but the true end of life can only be attained when self is renounced for that higher good which comes through devotion to humanity. Her n.o.blest characters, Maggie Tulliver, Romola, Jubal, Fedalma, Armgart, attain peace only when they have found their lives taken up in the good of others. To her the highest happiness consists in being loyal to duty, and it "often brings so much pain with it that we can only tell it from pain by its being what we would choose before everything else, because our souls see it is good."

George Eliot's religion is without G.o.d, without immortality, without a transcendent spiritual aim and duty. It consists in a humble submission to the invariable laws of the universe, a profound love of humanity, a glorification of feeling and affection, and a renunciation of personal and selfish desires for an altruistic devotion to the good of the race. Piety without G.o.d, renunciation without immortality, mysticism without the supernatural, everywhere finds eloquent presentation in her pages. Offering that which she believes satisfies the spiritual wants of man, she yet rejects all the legitimate objects of spiritual desire. Even when her characters hold to the most fervent faith, and use with the greatest enthusiasm the old expressions of piety, it is the human elements in that faith which are made to appear most prominently. We are told that no radiant angel came across the gloom with a clear message for Romola in her moment of direst distress and need. Then we are told that many such see no angels; and we are made to realize that angelic voices are to George Eliot the voices of her fellows.

In those times, as now, there were human beings who never saw angels or heard perfectly clear messages. Such truth as came to them was brought confusedly in the voices and deeds of men not at all like the seraphs of unfailing wing and piercing vision--men who believed falsities as well as truths, and did the wrong as well as the right. The helping hands stretched out to them were the hands of men who stumbled and often saw dimly, so that these beings unvisited by angels had no other choice than to grasp that stumbling guidance along the path of reliance and action which is the path of life, or else to pause in loneliness and disbelief, which is no path, but the arrest of inaction and death.

The same thought is expressed in _Silas Marner_, that man is to expect no help and consolation except from his fellow-man.

In old days there were angels who came and took men by the hand and led them away from the city of destruction. We see no white-winged angels now. But yet men are led away from threatening destruction: a hand is put into theirs, which leads them forth gently towards a calm and bright land, so that they look no more backward; and the hand may he a little child's.

Even more explicit in its rejection of all sources of help, except the human, is the motto to "The Lifted Veil."

Give me no light, great Heaven, but such as turns To energy of human fellowship; No powers beyond the growing heritage That makes completer manhood.

The purpose of this story is to show that supernatural knowledge is a curse to man. The narrator of the story is gifted with the power of divining even the most secret thoughts of those about him, and of beholding coming events. This knowledge brings him only evil and sorrow. His spiritual insight did not save him from folly, and he is led to say,--

"There is no short cut, no patent tram-road to wisdom. After all the centuries of invention, the soul's path lies through the th.o.r.n.y wilderness, which must be still trodden in solitude, with bleeding feet, with sobs for help, as it was trodden by them of old time."

He also discourses of the gain which it is to man that the future is hidden from his knowledge,

"So absolute is our soul's need of something hidden and uncertain for the maintenance of that doubt and hope and effort which are the breath of its life, that if the whole future were laid bare to us beyond to-day, the interest of all mankind would be bent on the hours that lie between; we should pant after the uncertainties of our one morning and our one afternoon; we should rush fiercely to the exchange for our last possibility of speculation, of success, of disappointment; we should have a glut of political prophets foretelling a crisis or a no-crisis within the only twenty-four hours left open to prophecy.

Conceive the condition of the human mind if all propositions whatsoever were self-evident except one, which was to become self-evident at the close of a summer's day, but in the mean time might be the subject of question, of hypothesis, of debate. Art and philosophy, literature and science, would fasten like bees on that one proposition that had the honey of probability in it, and be the more eager because their enjoyment would end with sunset. Our impulses, our spiritual activities, no more adjust themselves to the idea of their future reality than the beating of our heart, or the irritability of our muscles."

All is hidden from man that does not grow out of human experience, and it is better so. Such is George Eliot's method of dealing with our craving for a higher wisdom and a direct revelation. Such wisdom and such revelation are not to be had, and they would not help man if he had them.

The mystery of existence rouses his curiosity, stimulates his powers, develops art, religion, sympathy, and all that is best in human life. In her presentations of the men and women most affected by religious motives she adheres to this theory, and represents them as impelled, not by the sense of G.o.d's presence, but by purely human considerations. She makes Dorothea Brooke say,--

"I have always been thinking of the different ways in which Christianity is taught, and whenever I find one way that makes it a wider blessing than any other, I cling to that as the truest--I mean that which takes in the most good of all kinds, and brings in the most people as sharers in it."

Of the same character is the belief which comforts Dorothea, and takes the place to her of prayer.

"That by desiring what is perfectly good, even when we don't quite know what it is and cannot do what we would, we are a part of the divine power against evil--widening the skirts of light and making the struggle with darkness narrower."

Mr. Tryan, in _Janet's Repentance_, is a most ardent disciple of Evangelicalism, and accepts all its doctrines; but George Eliot contrives to show throughout the book, that all the value of his work and religion consisted in the humanitarian spirit of renunciation he awakened.

George Eliot does not entirely avoid the supernatural, but she treats it as unexplainable. Instances of her use of it are to be found in Adam Bede's experience while at work on his father's coffin, in the visions of Savonarola, and in Mordecai's strange faith in a coming successor to his own faith and work. For Adam Bede's experience there is no explanation given, nor for that curious power manifest in the "Lifted Veil." On the other hand, the spiritual power of Savonarola and Mordecai have their explanation, in George Eliot's philosophy, in that intuition which is inherited insight. In her treatment of such themes she manifests her appreciation of the great mystery which surrounds man's existence, but she shows no faith in a spiritual world which impinges on the material, and ever manifests itself in gleams and fore-tokenings.

It is to be noted, however, that many traces of mysticism appear in her works. This might have been expected from her early love of the transcendentalists, as well as from her frequent perusal of Thomas a Kempis. More especially was this to be expected from her conception of feeling as the source of all that is best in man's life. The mystics always make feeling the source of truth, prefer emotion to reason. All thinkers who lay stress on the value of feeling are liable to become mystics, even if materialists in their philosophy. Here and there in her pages this tendency towards mysticism, which manifests itself in some of the more poetic of the scientists of the present time, is to be seen in George Eliot. Some of her words about love, music and nature partake of this character. Her sayings about altruism and renunciation touch the border of the mystical occasionally. Had she been less thoroughly a rationalist she would doubtless have become a mystic in fact. Her tendency in this direction hints at the close affinity between the evolutionists of to-day and the idealists of a century ago. They unite in making matter and mind identical, and in regarding feeling as a source of truth. These are the two essential thoughts on which all mysticism rests. As modern science becomes the basis of speculation about religion, and gives expression to these doctrines, it will develop mysticism. Indeed, it is difficult to know wherein much that George Eliot wrote differs from mysticism. Her subjective immortality derived much of its acceptableness and beauty from those poetic phases given to it by idealistic pantheism. Her altruism caught the glow of the older humanitarianism, Her conception of feeling and emotional sympathy is touched everywhere with that ideal glamour given it by the mystical teachings of an earlier generation. Had she lived half a century earlier she might have been one of Fichte's most ardent disciples, and found in his subjective idealism the incentive to a higher inspiration than that attained to under the leadership of Comte. Her religion would then have differed but little from what it did in fact, but there would have been a new sublimity and a loftier spirit at the heart of it.

George Eliot retains the traditional life, piety and symbolism of Christianity, but she undertakes to show they have quite another meaning than that usually given them. Her peculiarity is that she should wish to retain the form after the substance is gone. Comte undertook to give a new outward expression to those needs of the soul which lead to worship and piety; but George Eliot accepted the traditional symbolisms as far better than anything which can be invented. If we would do no violence to feeling and the inner needs of life, we must not break with the past, we must not destroy the temple of the soul. The traditional worship, piety and consecration, the poetic expression of feeling and sentiment, must be kept until new traditions, a new symbolism, have developed themselves out of the experiences of the race. G.o.d is a symbol for the great mystery of the universe and of being, the eternity and universality of law. Immortality is a symbol for the transmitted impulse which the person communicates to the race. The life and death of Christ is a symbol of that altruistic spirit of renunciation and sorrow willingly borne, by which humanity is being lifted up and brought towards its true destiny. Feeling demands these symbols, the heart craves for them. The bare enunciation of principles is not enough; they must be clothed upon by sentiment and affection. The Christian symbols answer to this need, they most fitly express this craving of the soul for a higher and purer life. The spontaneous, creative life of humanity has developed them as a fit mode of voicing its great spiritual cravings, and only the same creative genius can replace them. The inquiring intellect cannot furnish subst.i.tutes for them; rationalism utterly fails in all its attempts to satisfy the spiritual nature.

Such is George Eliot's religion. It is the "Religion of Humanity" as interpreted by a woman, a poet and a genius. It differs from Comte's as the work of a poet differs from that of a philosopher, as that of a woman differs from that of a man. His _positive religion_ gives the impression of being invented; it is artificial, unreal. Hers is, at least, living and beautiful and impressive; it is warm, tender and full of compa.s.sion, He invents a new symbolism, a new hierarchy, and a new worship; that is, he remodels Catholicism to fit the Religion of Humanity. She is too sensible, too wise, or rather too poetic and sympathetic, to undertake such a transformation, or to be satisfied with it when accomplished by another.

She gives a new poetic and spiritual meaning to the old faith and worship; and in doing this makes no break with tradition, rejects nothing of the old symbolism.

It was her conviction that nothing of the real meaning and power of religion escaped by the transformation she made in its spiritual contents.

She believed that she had dropped only its speculative teachings, while all that had ever made it of value was retained. That she was entirely mistaken in this opinion scarcely needs to be said; or that her speculative interpretation, if generally accepted, would destroy for most persons even those elements of religion which she accepted. A large rich mind, gifted with genius and possessed of wide culture, as was hers, could doubtless find satisfaction in that attenuated subst.i.tute for piety and worship which she accepted. There certainly could be no Mr. Tryan, no Dinah Morris, no Savonarola, no Mordecai, if her theories were the common ones; and it would be even less possible for a Dorothea, a Felix Holt, a Daniel Deronda, or a Romola to develop in such an atmosphere. What her intellectual speculations would accomplish when accepted as the motives of life, is seen all too well in the case of those many radical thinkers whom this century has produced.

Only the most highly cultivated, and those of an artistic or poetic temperament, could accept her subst.i.tute for the old religion. The motives she presents could affect but a few persons; only here and there are to be found those to whom altruism would be a motive large enough to become a religion. To march in the great human army towards a higher destiny for humanity may have a strong fascination for some, and is coming to affect and inspire a larger number with every century; but it is not enough to know that the race is growing better. What is the end of human progress?

we have a right to ask. Does that progress go on in accordance with some universal purpose, which includes the whole universe? We must look not only for a perfect destiny for man, but for a perfect destiny for all worlds and beings throughout the infinitude of G.o.d's creative influence. A progressive, intellectual religion such as will answer to the larger needs of modern life, must give belief in a universal providence, and it must teach man to trust in the spiritual capacities of his own soul. Unless the universe means something which is intelligible, and unless it has a purpose and destiny progressive and eternal, it is impossible that religion will continue to inspire men. That is, only a philosophy which gives such an interpretation to the universe can be the basis of an enduring and progressive religion.

If religion is to continue, it is also necessary that man should be able to believe in the soul as something more than the product of environment and heredity. It is not merely the belief in immortality which has inspired the greatest minds, but the inward impulse of creative activity, resting on the conviction that they were working with G.o.d for enduring results. Absorption into the life of humanity can be but a feeble motive compared with that which grows out of faith in the soul's spiritual eternity in co-operation with G.o.d.

George Eliot's religion is highly interesting, and in many ways it is suggestive and profitable. Her insistence on feeling and sympathy as its main impulses is profoundly significant; but that teaching is as good for Theism or Christianity as for the Religion of Humanity, and needs everywhere to be accepted. In like manner, her altruistic spirit may be accepted and realized by those who can find no sympathy for her intellectual speculations. Love of man, self-sacrifice for human good, cannot be urged by too many teachers. The greater the number of motives leading to that result, the better for man.

XII.

ETHICAL SPIRIT.

Whatever may be said of George Eliot's philosophy and theology, her moral purpose was sound and her ethical intent n.o.ble. She had a strong pa.s.sion for the ethical life, her convictions regarding it were very deep and earnest, and she dwelt lovingly on all its higher accomplishments. Her books are saturated with moral teaching, and her own life was ordered after a lofty ethical standard. She seems to have yearned most eagerly after a life of moral helpfulness and goodness, and she has made her novels the teachers of a vigorous morality.

Her friends bear enthusiastic testimony to the n.o.bleness of her moral life and to her zeal for ethical culture. We are told by one of them that "she had upbuilt with strenuous pains a resolute virtue," conquering many faults, and gaining a lofty n.o.bleness of spirit. Another has said, that "precious as the writings of George Eliot are and must always be, her life and character were yet more beautiful than they." Her zeal for morality was very great; she was an ethical prophet; the moral order of life roused her mind to a lofty inspiration. If she could not conceive of G.o.d, if she could not believe in immortality, yet she accepted duty as peremptory and absolute. Her faith in duty and charity seemed all the more vigorous and confident because her religion was so attenuated and imperfect. Love of man with her grew into something like that mighty and absorbing love of G.o.d which is to be seen in some of the greatest souls. Morality became to her a religion, not so intense as with saints and prophets, but more sympathetic and ardent than with most ethical teachers. She was no stoic, no teacher of moral precepts, no didactic debater about moral duties, no mere _dilettante_ advocate of human rights. She was a warm, tender, yearning, sympathetic, womanly friend of individuals, who hoped great things for humanity, and who believed that man can find happiness and true culture only in a moral life.

She was distinctively a moral teacher in her books. The novel was never to her a work of art alone. The moral purpose was always present, always apparent, always clear and emphatic. There was something to teach for her whenever she took the pen in hand; some deep lesson of human experience, some profound truth of human conduct, some tender word of sympathy for human sorrow and suffering. She seems to have had no sympathy with that theory which says that the poet and the novelist are to picture life as it is, without regard to moral obligations and consequences. In this respect she was one of the most partisan of all partisans, an absolute dogmatist; for she never forgot for a moment the moral consequences of life. She was one of the most ardent of modern preachers, her books are crowded with teaching of the most positive character. In her way she was a great believer, and when she believed she never restrained her pen, but taught the full measure of her convictions. She did not look upon life as a scene to be sketched, but as an experience to be lived, and a moral order to be improved by sympathy and devotedness. Consequently the artist appears in the teacher's garb, the novelist has become an ethical preacher. She does not describe life as something outside of herself, nor does she regard human sorrows and sufferings and labors merely as materials for the artist's use; but she lives in and with all that men do and suffer and aspire to. Hers is not the manner of Homer and Scott, who hide their personality behind the wonderful distinctness of their personalities, making the reader forget the author in the strength and power of the characters described. It is not that of Shakspere, of whom we seem to get no glimpse in his marvellous readings of human nature, who paints other men as no one else has done, but who does not paint himself. Hers is rather the manner of Wordsworth and Goethe, who have a theory of life to give us, and whose personality appears on every page they wrote. She has a philosophy, a morality and a religion to inculcate. She had a vast subjective intensity of conviction, and a strong individualism of purpose, which would not hide itself behind the scenes. Her philosophy impregnates with a strong personality all her cla.s.sic utterances; her ethics present a marked purpose in the development of her plots and in her presentation of the outcome of human experience; and her religion glows in the personal ardor and sympathy of her n.o.blest characters, and in their pa.s.sion for renunciation and altruism.

Her ethical pa.s.sion adds to the strength and purpose of George Eliot's genius. No supreme literary creator has been devoid of this characteristic, however objective and impersonal he may have been. Homer, Virgil, Dante, Cervantes, Shakspere, Scott, were all earnest ethical teachers. The moral problems of life impressed them profoundly, and they showed a strong personal preference for righteousness. The literary masters of all times and countries have loved virtue, praised purity, and admired ethical uprightness. Any other att.i.tude than this argues something less than genius, though genius may be far from didactic and not given to preaching.