The Essays of "George Eliot"

Riehl’s books are not dedicated merely to the argumentative maintenance of this or of any other position; they are intended chiefly as a contribution to that knowledge of the German people on the importance of which he insists. He is less occupied with urging his own conclusions than with impressing on his readers the facts which have led him to those conclusions. In the volume entitled “Land und Leute,” which, though published last, is properly an introduction to the volume entitled “Die Bürgerliche Gesellschaft,” he considers the German people in their physical geographical relations; he compares the natural divisions of the race, as determined by land and climate, and social traditions, with the artificial divisions which are based on diplomacy; and he traces the genesis and influences of what we may call the ecclesiastical geography of Germany – its partition between Catholicism and Protestantism. He shows that the ordinary antithesis of North and South Germany represents no real ethnographical distinction, and that the natural divisions of Germany, founded on its physical geography are threefold – namely, the low plains, the middle mountain region, and the high mountain region, or Lower, Middle, and Upper Germany; and on this primary natural division all the other broad ethnographical distinctions of Germany will be I found to rest. The plains of North or Lower Germany include all the seaboard the nation possesses; and this, together with the fact that they are traversed to the depth of 600 miles by navigable rivers, makes them the natural seat of a trading race. Quite different is the geographical character of Middle Germany. While the northern plains are marked off into great divisions, by such rivers as the Lower Rhine, the Weser, and the Oder, running almost in parallel lines, this central region is cut up like a mosaic by the capricious lines of valleys and rivers. Here is the region in which you find those famous roofs from which the rain-water runs toward two different seas, and the mountain-tops from which you may look into eight or ten German states. The abundance of water-power and the presence of extensive coal-mines allow of a very diversified industrial development in Middle Germany. In Upper Germany, or the high mountain region, we find the same symmetry in the lines of the rivers as in the north; almost all the great Alpine streams flow parallel with the Danube. But the majority of these rivers are neither navigable nor available for industrial objects, and instead of serving for communication they shut off one great tract from another. The slow development, the simple peasant life of many districts is here determined by the mountain and the river. In the south-east, however, industrial activity spreads through Bohemia toward Austria, and forms a sort of balance to the industrial districts of the Lower Rhine. Of course, the boundaries of these three regions cannot be very strictly defined; but an approximation to the limits of Middle Germany may be obtained by regarding it as a triangle, of which one angle lies in Silesia, another in Aix-la-Chapelle, and a third at Lake Constance.

This triple division corresponds with the broad distinctions of climate. In the northern plains the atmosphere is damp and heavy; in the southern mountain region it is dry and rare, and there are abrupt changes of temperature, sharp contrasts between the seasons, and devastating storms; but in both these zones men are hardened by conflict with the roughness of the climate. In Middle Germany, on the contrary, there is little of this struggle; the seasons are more equable, and the mild, soft air of the valleys tends to make the inhabitants luxurious and sensitive to hardships. It is only in exceptional mountain districts that one is here reminded of the rough, bracing air on the heights of Southern Germany. It is a curious fact that, as the air becomes gradually lighter and rarer from the North German coast toward Upper Germany, the average of suicides regularly decreases. Mecklenburg has the highest number, then Prussia, while the fewest suicides occur in Bavaria and Austria.

Both the northern and southern regions have still a large extent of waste lands, downs, morasses, and heaths; and to these are added, in the south, abundance of snow-fields and naked rock; while in Middle Germany culture has almost over-spread the face of the land, and there are no large tracts of waste. There is the same proportion in the distribution of forests. Again, in the north we see a monotonous continuity of wheat-fields, potato-grounds, meadow-lands, and vast heaths, and there is the same uniformity of culture over large surfaces in the southern table-lands and the Alpine pastures. In Middle Germany, on the contrary, there is a perpetual variety of crops within a short space; the diversity of land surface and the corresponding variety in the species of plants are an invitation to the splitting up of estates, and this again encourages to the utmost the motley character of the cultivation.

According to this threefold division, it appears that there are certain features common to North and South Germany in which they differ from Central Germany, and the nature of this difference Riehl indicates by distinguishing the former as Centralized Land and the latter as Individualized Land; a distinction which is well symbolized by the fact that North and South Germany possess the great lines of railway which are the medium for the traffic of the world, while Middle Germany is far richer in lines for local communication, and possesses the greatest length of railway within the smallest space. Disregarding superficialities, the East Frieslanders, the Schleswig-Holsteiners, the Mecklenburghers, and the Pomeranians are much more nearly allied to the old Bavarians, the Tyrolese, and the Styrians than any of these are allied to the Saxons, the Thuringians, or the Rhinelanders. Both in North and South Germany original races are still found in large masses, and popular dialects are spoken; you still find there thoroughly peasant districts, thorough villages, and also, at great intervals, thorough cities; you still find there a sense of rank. In Middle Germany, on the contrary, the original races are fused together or sprinkled hither and thither; the peculiarities of the popular dialects are worn down or confused; there is no very strict line of demarkation between the country and the town population, hundreds of small towns and large villages being hardly distinguishable in their characteristics; and the sense of rank, as part of the organic structure of society, is almost extinguished. Again, both in the north and south there is still a strong ecclesiastical spirit in the people, and the Pomeranian sees Antichrist in the Pope as clearly as the Tyrolese sees him in Doctor Luther; while in Middle Germany the confessions are mingled, they exist peaceably side by side in very narrow space, and tolerance or indifference has spread itself widely even in the popular mind. And the analogy, or rather the causal relation between the physical geography of the three regions and the development of the population goes still further:

“For,” observes Riehl, “the striking connection which has been pointed out between the local geological formations in Germany and the revolutionary disposition of the people has more than a metaphorical significance. Where the primeval physical revolutions of the globe have been the wildest in their effects, and the most multiform strata have been tossed together or thrown one upon the other, it is a very intelligible consequence that on a land surface thus broken up, the population should sooner develop itself into small communities, and that the more intense life generated in these smaller communities should become the most favorable nidus for the reception of modern culture, and with this a susceptibility for its revolutionary ideas; while a people settled in a region where its groups are spread over a large space will persist much more obstinately in the retention of its original character. The people of Middle Germany have none of that exclusive one-sidedness which determines the peculiar genius of great national groups, just as this one-sidedness or uniformity is wanting to the geological and geographical character of their land.”

This ethnographical outline Riehl fills up with special and typical descriptions, and then makes it the starting-point for a criticism of the actual political condition of Germany. The volume is fall of vivid pictures, as well as penetrating glances into the maladies and tendencies of modern society. It would be fascinating as literature if it were not important for its facts and philosophy. But we can only commend it to our readers, and pass on to the volume entitled “Die Bürgerliche Gesellschaft,” from which we have drawn our sketch of the German peasantry. Here Riehl gives us a series of studies in that natural history of the people which he regards as the proper basis of social policy. He holds that, in European society, there are three natural ranks or estates: the hereditary landed aristocracy, the citizens or commercial class, and the peasantry or agricultural class. By natural ranks he means ranks which have their roots deep in the historical structure of society, and are still, in the present, showing vitality above ground; he means those great social groups which are not only distinguished externally by their vocation, but essentially by their mental character, their habits, their mode of life – by the principle they represent in the historical development of society. In his conception of the “Fourth Estate” he differs from the usual interpretation, according to which it is simply equivalent to the Proletariat, or those who are dependent on daily wages, whose only capital is their skill or bodily strength – factory operatives, artisans, agricultural laborers, to whom might be added, especially in Germany, the day-laborers with the quill, the literary proletariat. This, Riehl observes, is a valid basis of economical classification, but not of social classification. In his view, the Fourth Estate is a stratum produced by the perpetual abrasion of the other great social groups; it is the sign and result of the decomposition which is commencing in the organic constitution of society. Its elements are derived alike from the aristocracy, the bourgeoisie, and the peasantry. It assembles under its banner the deserters of historical society, and forms them into a terrible army, which is only just awaking to the consciousness of its corporate power. The tendency of this Fourth Estate, by the very process of its formation, is to do away with the distinctive historical character of the other estates, and to resolve their peculiar rank and vocation into a uniform social relation founded on an abstract conception of society. According to Riehl’s classification, the day-laborers, whom the political economist designates as the Fourth Estate, belong partly to the peasantry or agricultural class, and partly to the citizens or commercial class.

Riehl considers, in the first place, the peasantry and aristocracy as the “Forces of social persistence,” and, in the second, the bourgeoisie and the “fourth Estate” as the “Forces of social movement.”

The aristocracy, he observes, is the only one among these four groups which is denied by others besides Socialists to have any natural basis as a separate rank. It is admitted that there was once an aristocracy which had an intrinsic ground of existence, but now, it is alleged, this is an historical fossil, an antiquarian relic, venerable because gray with age. It what, it is asked, can consist the peculiar vocation of the aristocracy, since it has no longer the monopoly of the land, of the higher military functions, and of government offices, and since the service of the court has no longer any political importance? To this Riehl replies, that in great revolutionary crises, the “men of progress” have more than once “abolished” the aristocracy. But, remarkably enough, the aristocracy has always reappeared. This measure of abolition showed that the nobility were no longer regarded as a real class, for to abolish a real class would be an absurdity. It is quite possible to contemplate a voluntary breaking up of the peasant or citizen class in the socialistic sense, but no man in his senses would think of straightway “abolishing” citizens and peasants. The aristocracy, then, was regarded as a sort of cancer, or excrescence of society. Nevertheless, not only has it been found impossible to annihilate an hereditary nobility by decree, but also the aristocracy of the eighteenth century outlived even the self-destructive acts of its own perversity. A life which was entirely without object, entirely destitute of functions, would not, says Riehl, be so persistent. He has an acute criticism of those who conduct a polemic against the idea of an hereditary aristocracy while they are proposing an “aristocracy of talent,” which after all is based on the principle of inheritance. The Socialists are, therefore, only consistent in declaring against an aristocracy of talent. “But when they have turned the world into a great Foundling Hospital they will still be unable to eradicate the ‘privileges of birth.’” We must not follow him in his criticism, however; nor can we afford to do more than mention hastily his interesting sketch of the mediæval aristocracy, and his admonition to the German aristocracy of the present day, that the vitality of their class is not to be sustained by romantic attempts to revive mediæval forms and sentiments, but only by the exercise of functions as real and salutary for actual society as those of the mediæval aristocracy were for the feudal age. “In modern society the divisions of rank indicate division of labor, according to that distribution of functions in the social organism which the historical constitution of society has determined. In this way the principle of differentiation and the principle of unity are identical.”

The elaborate study of the German bourgeoisie, which forms the next division of the volume, must be passed over, but we may pause a moment to note Riehl’s definition of the social Philister (Philistine), an epithet for which we have no equivalent, not at all, however, for want of the object it represents. Most people who read a little German know that the epithet Philister originated in the Burschen-leben, or Student-life of Germany, and that the antithesis of Bursch and Philister was equivalent to the antithesis of “gown” and “town;” but since the word has passed into ordinary language it has assumed several shades of significance which have not yet been merged into a single, absolute meaning; and one of the questions which an English visitor in Germany will probably take an opportunity of asking is, “What is the strict meaning of the word Philister?” Riehl’s answer is, that the Philister “is one who is indifferent to all social interests, all public life, as distinguished from selfish and private interests; he has no sympathy with political and social events except as they affect his own comfort and prosperity, as they offer him material for amusement or opportunity for gratifying his vanity. He has no social or political creed, but is always of the opinion which is most convenient for the moment. He is always in the majority, and is the main element of unreason and stupidity in the judgment of a “discerning public.” It seems presumptuous in us to dispute Riehl’s interpretation of a German word, but we must think that, in literature, the epithet Philister has usually a wider meaning than this – includes his definition and something more. We imagine the Philister is the personification of the spirit which judges everything from a lower point of view than the subject demands; which judges the affairs of the parish from the egotistic or purely personal point of view; which judges the affairs of the nation from the parochial point of view, and does not hesitate to measure the merits of the universe from the human point of view. At least this must surely be the spirit to which Goethe alludes in a passage cited by Riehl himself, where he says that the Germans need not be ashamed of erecting a monument to him as well as to Blucher; for if Blucher had freed them from the French, he (Goethe) had freed them from the nets of the Philister:

“Ihr mögt mirimmer ungescheut
Gleich Blüchern Denkmal setzen!
Von Franzosen hat er euch befreit,
Ich von Philister-netzen.”

Goethe could hardly claim to be the apostle of public spirit; but he is eminently the man who helps us to rise to a lofty point of observation, so that we may see things in their relative proportions.

The most interesting chapters in the description of the “Fourth Estate,” which concludes the volume, are those on the “Aristocratic Proletariat” and the “Intellectual Proletariat.” The Fourth Estate in Germany, says Riehl, has its centre of gravity not, as in England and France, in the day laborers and factory operatives, and still less in the degenerate peasantry. In Germany the educated proletariat is the leaven that sets the mass in fermentation; the dangerous classes there go about, not in blouses, but in frock coats; they begin with the impoverished prince and end in the hungriest littérateur. The custom that all the sons of a nobleman shall inherit their father’s title necessarily goes on multiplying that class of aristocrats who are not only without function but without adequate provision, and who shrink from entering the ranks of the citizens by adopting some honest calling. The younger son of a prince, says Riehl, is usually obliged to remain without any vocation; and however zealously he may study music, painting, literature, or science, he can never be a regular musician, painter, or man of science; his pursuit will be called a “passion,” not a “calling,” and to the end of his days he remains a dilettante. “But the ardent pursuit of a fixed practical calling can alone satisfy the active man.” Direct legislation cannot remedy this evil. The inheritance of titles by younger sons is the universal custom, and custom is stronger than law. But if all government preference for the “aristocratic proletariat” were withdrawn, the sensible men among them would prefer emigration, or the pursuit of some profession, to the hungry distinction of a title without rents.

The intellectual proletaires Riehl calls the “church militant” of the Fourth Estate in Germany. In no other country are they so numerous; in no other country is the trade in material and industrial capital so far exceeded by the wholesale and retail trade, the traffic and the usury, in the intellectual capital of the nation. Germany yields more intellectual produce than it can use and pay for.

“This over-production, which is not transient but permanent, nay, is constantly on the increase, evidences a diseased state of the national industry, a perverted application of industrial powers, and is a far more pungent satire on the national condition than all the poverty of operatives and peasants… Other nations need not envy us the preponderance of the intellectual proletariat over the proletaires of manual labor. For man more easily becomes diseased from over-study than from the labor of the hands; and it is precisely in the intellectual proletariat that there are the most dangerous seeds of disease. This is the group in which the opposition between earnings and wants, between the ideal social position and the real, is the most hopelessly irreconcilable.”

We must unwillingly leave our readers to make acquaintance for themselves with the graphic details with which Riehl follows up this general statement; but before quitting these admirable volumes, let us say, lest our inevitable omissions should have left room for a different conclusion, that Riehl’s conservatism is not in the least tinged with the partisanship of a class, with a poetic fanaticism for the past, or with the prejudice of a mind incapable of discerning the grander evolution of things to which all social forms are but temporarily subservient. It is the conservatism of a clear-eyed, practical, but withal large-minded man – a little caustic, perhaps, now and then in his epigrams on democratic doctrinaires who have their nostrum for all political and social diseases, and on communistic theories which he regards as “the despair of the individual in his own manhood, reduced to a system,” but nevertheless able and willing to do justice to the elements of fact and reason in every shade of opinion and every form of effort. He is as far as possible from the folly of supposing that the sun will go backward on the dial because we put the hands of our clock backward; he only contends against the opposite folly of decreeing that it shall be mid-day while in fact the sun is only just touching the mountain-tops, and all along the valley men are stumbling in the twilight.

VI. SILLY NOVELS BY LADY NOVELISTS

Silly Novels by Lady Novelists are a genus with many species, determined by the particular quality of silliness that predominates in them – the frothy, the prosy, the pious, or the pedantic. But it is a mixture of all these – a composite order of feminine fatuity – that produces the largest class of such novels, which we shall distinguish as the mind-and-millinery species. The heroine is usually an heiress, probably a peeress in her own right, with perhaps a vicious baronet, an amiable duke, and an irresistible younger son of a marquis as lovers in the foreground, a clergyman and a poet sighing for her in the middle distance, and a crowd of undefined adorers dimly indicated beyond. Her eyes and her wit are both dazzling; her nose and her morals are alike free from any tendency to irregularity; she has a superb contralto and a superb intellect; she is perfectly well dressed and perfectly religious; she dances like a sylph, and reads the Bible in the original tongues. Or it may be that the heroine is not an heiress – that rank and wealth are the only things in which she is deficient; but she infallibly gets into high society, she has the triumph of refusing many matches and securing the best, and she wears some family jewels or other as a sort of crown of righteousness at the end. Rakish men either bite their lips in impotent confusion at her repartees, or are touched to penitence by her reproofs, which, on appropriate occasions, rise to a lofty strain of rhetoric; indeed, there is a general propensity in her to make speeches, and to rhapsodize at some length when she retires to her bedroom. In her recorded conversations she is amazingly eloquent, and in her unrecorded conversations amazingly witty. She is understood to have a depth of insight that looks through and through the shallow theories of philosophers, and her superior instincts are a sort of dial by which men have only to set their clocks and watches, and all will go well. The men play a very subordinate part by her side. You are consoled now and then by a hint that they have affairs, which keeps you in mind that the working-day business of the world is somehow being carried on, but ostensibly the final cause of their existence is that they may accompany the heroine on her “starring” expedition through life. They see her at a ball, and they are dazzled; at a flower-show, and they are fascinated; on a riding excursion, and they are witched by her noble horsemanship; at church, and they are awed by the sweet solemnity of her demeanor. She is the ideal woman in feelings, faculties, and flounces. For all this she as often as not marries the wrong person to begin with, and she suffers terribly from the plots and intrigues of the vicious baronet; but even death has a soft place in his heart for such a paragon, and remedies all mistakes for her just at the right moment. The vicious baronet is sure to be killed in a duel, and the tedious husband dies in his bed requesting his wife, as a particular favor to him, to marry the man she loves best, and having already dispatched a note to the lover informing him of the comfortable arrangement. Before matters arrive at this desirable issue our feelings are tried by seeing the noble, lovely, and gifted heroine pass through many mauvais moments, but we have the satisfaction of knowing that her sorrows are wept into embroidered pocket-handkerchiefs, that her fainting form reclines on the very best upholstery, and that whatever vicissitudes she may undergo, from being dashed out of her carriage to having her head shaved in a fever, she comes out of them all with a complexion more blooming and locks more redundant than ever.

We may remark, by the way, that we have been relieved from a serious scruple by discovering that silly novels by lady novelists rarely introduce us into any other than very lofty and fashionable society. We had imagined that destitute women turned novelists, as they turned governesses, because they had no other “ladylike” means of getting their bread. On this supposition, vacillating syntax, and improbable incident had a certain pathos for us, like the extremely supererogatory pincushions and ill-devised nightcaps that are offered for sale by a blind man. We felt the commodity to be a nuisance, but we were glad to think that the money went to relieve the necessitous, and we pictured to ourselves lonely women struggling for a maintenance, or wives and daughters devoting themselves to the production of “copy” out of pure heroism – perhaps to pay their husband’s debts or to purchase luxuries for a sick father. Under these impressions we shrank from criticising a lady’s novel: her English might be faulty, but we said to ourselves her motives are irreproachable; her imagination may be uninventive, but her patience is untiring. Empty writing was excused by an empty stomach, and twaddle was consecrated by tears. But no! This theory of ours, like many other pretty theories, has had to give way before observation. Women’s silly novels, we are now convinced, are written under totally different circumstances. The fair writers have evidently never talked to a tradesman except from a carriage window; they have no notion of the working-classes except as “dependents;” they think five hundred a year a miserable pittance; Belgravia and “baronial halls” are their primary truths; and they have no idea of feeling interest in any man who is not at least a great landed proprietor, if not a prime minister. It is clear that they write in elegant boudoirs, with violet-colored ink and a ruby pen; that they must be entirely indifferent to publishers’ accounts, and inexperienced in every form of poverty except poverty of brains. It is true that we are constantly struck with the want of verisimilitude in their representations of the high society in which they seem to live; but then they betray no closer acquaintance with any other form of life. If their peers and peeresses are improbable, their literary men, tradespeople, and cottagers are impossible; and their intellect seems to have the peculiar impartiality of reproducing both what they have seen and heard, and what they have not seen and heard, with equal unfaithfulness.

There are few women, we suppose, who have not seen something of children under five years of age, yet in “Compensation,” a recent novel of the mind-and-millinery species, which calls itself a “story of real life,” we have a child of four and a half years old talking in this Ossianic fashion:

“‘Oh, I am so happy, dear grand mamma; – I have seen – I have seen such a delightful person; he is like everything beautiful – like the smell of sweet flowers, and the view from Ben Lemond; – or no, better than that– he is like what I think of and see when I am very, very happy; and he is really like mamma, too, when she sings; and his forehead is like that distant sea,’ she continued, pointing to the blue Mediterranean; ‘there seems no end – no end; or like the clusters of stars I like best to look at on a warm fine night… Don’t look so.. your forehead is like Loch Lomond, when the wind is blowing and the sun is gone in; I like the sunshine best when the lake is smooth… So now – I like it better than ever.. It is more beautiful still from the dark cloud that has gone over it, when the sun suddenly lights up all the colors of the forests and shining purple rocks, and it is all reflected in the waters below.’”

We are not surprised to learn that the mother of this infant phenomenon, who exhibits symptoms so alarmingly like those of adolescence repressed by gin, is herself a phœnix. We are assured, again and again, that she had a remarkably original in mind, that she was a genius, and “conscious of her originality,” and she was fortunate enough to have a lover who was also a genius and a man of “most original mind.”

This lover, we read, though “wonderfully similar” to her “in powers and capacity,” was “infinitely superior to her in faith and development,” and she saw in him “‘Agape’ – so rare to find – of which she had read and admired the meaning in her Greek Testament; having, from her great facility in learning languages, read the Scriptures in their original tongues.” Of course! Greek and Hebrew are mere play to a heroine; Sanscrit is no more than abc to her; and she can talk with perfect correctness in any language, except English. She is a polking polyglot, a Creuzer in crinoline. Poor men. There are so few of you who know even Hebrew; you think it something to boast of if, like Bolingbroke, you only “understand that sort of learning and what is writ about it;” and you are perhaps adoring women who can think slightingly of you in all the Semitic languages successively. But, then, as we are almost invariably told that a heroine has a “beautifully small head,” and as her intellect has probably been early invigorated by an attention to costume and deportment, we may conclude that she can pick up the Oriental tongues, to say nothing of their dialects, with the same aërial facility that the butterfly sips nectar. Besides, there can be no difficulty in conceiving the depth of the heroine’s erudition when that of the authoress is so evident.

In “Laura Gay,” another novel of the same school, the heroine seems less at home in Greek and Hebrew but she makes up for the deficiency by a quite playful familiarity with the Latin classics – with the “dear old Virgil,” “the graceful Horace, the humane Cicero, and the pleasant Livy;” indeed, it is such a matter of course with her to quote Latin that she does it at a picnic in a very mixed company of ladies and gentlemen, having, we are told, “no conception that the nobler sex were capable of jealousy on this subject. And if, indeed,” continues the biographer of Laura Gray, “the wisest and noblest portion of that sex were in the majority, no such sentiment would exist; but while Miss Wyndhams and Mr. Redfords abound, great sacrifices must be made to their existence.” Such sacrifices, we presume, as abstaining from Latin quotations, of extremely moderate interest and applicability, which the wise and noble minority of the other sex would be quite as willing to dispense with as the foolish and ignoble majority. It is as little the custom of well-bred men as of well-bred women to quote Latin in mixed parties; they can contain their familiarity with “the humane Cicero” without allowing it to boil over in ordinary conversation, and even references to “the pleasant Livy” are not absolutely irrepressible. But Ciceronian Latin is the mildest form of Miss Gay’s conversational power. Being on the Palatine with a party of sight-seers, she falls into the following vein of well-rounded remark: “Truth can only be pure objectively, for even in the creeds where it predominates, being subjective, and parcelled out into portions, each of these necessarily receives a hue of idiosyncrasy, that is, a taint of superstition more or less strong; while in such creeds as the Roman Catholic, ignorance, interest, the basis of ancient idolatries, and the force of authority, have gradually accumulated on the pure truth, and transformed it, at last, into a mass of superstition for the majority of its votaries; and how few are there, alas! whose zeal, courage, and intellectual energy are equal to the analysis of this accumulation, and to the discovery of the pearl of great price which lies hidden beneath this heap of rubbish.” We have often met with women much more novel and profound in their observations than Laura Gay, but rarely with any so inopportunely long-winded. A clerical lord, who is half in love with her, is alarmed by the daring remarks just quoted, and begins to suspect that she is inclined to free-thinking. But he is mistaken; when in a moment of sorrow he delicately begs leave to “recall to her memory, a depôt of strength and consolation under affliction, which, until we are hard pressed by the trials of life, we are too apt to forget,” we learn that she really has “recurrence to that sacred depôt,” together with the tea-pot. There is a certain flavor of orthodoxy mixed with the parade of fortunes and fine carriages in “Laura Gay,” but it is an orthodoxy mitigated by study of “the humane Cicero,” and by an “intellectual disposition to analyze.”

“Compensation” is much more heavily dosed with doctrine, but then it has a treble amount of snobbish worldliness and absurd incident to tickle the palate of pious frivolity. Linda, the heroine, is still more speculative and spiritual than Laura Gay, but she has been “presented,” and has more and far grander lovers; very wicked and fascinating women are introduced – even a French lionne; and no expense is spared to get up as exciting a story as you will find in the most immoral novels. In fact, it is a wonderful pot pourri of Almack’s, Scotch second-sight, Mr. Rogers’s breakfasts, Italian brigands, death-bed conversions, superior authoresses, Italian mistresses, and attempts at poisoning old ladies, the whole served up with a garnish of talk about “faith and development” and “most original minds.” Even Miss Susan Barton, the superior authoress, whose pen moves in a “quick, decided manner when she is composing,” declines the finest opportunities of marriage; and though old enough to be Linda’s mother (since we are told that she refused Linda’s father), has her hand sought by a young earl, the heroine’s rejected lover. Of course, genius and morality must be backed by eligible offers, or they would seem rather a dull affair; and piety, like other things, in order to be comme il faut, must be in “society,” and have admittance to the best circles.

“Rank and Beauty” is a more frothy and less religious variety of the mind-and-millinery species. The heroine, we are told, “if she inherited her father’s pride of birth and her mother’s beauty of person, had in herself a tone of enthusiastic feeling that, perhaps, belongs to her age even in the lowly born, but which is refined into the high spirit of wild romance only in the far descended, who feel that it is their best inheritance.” This enthusiastic young lady, by dint of reading the newspaper to her father, falls in love with the prime minister, who, through the medium of leading articles and “the resumé of the debates,” shines upon her imagination as a bright particular star, which has no parallax for her living in the country as simple Miss Wyndham. But she forthwith becomes Baroness Umfraville in her own right, astonishes the world with her beauty and accomplishments when she bursts upon it from her mansion in Spring Gardens, and, as you foresee, will presently come into contact with the unseen objet aimé. Perhaps the words “prime minister” suggest to you a wrinkled or obese sexagenarian; but pray dismiss the image. Lord Rupert Conway has been “called while still almost a youth to the first situation which a subject can hold in the universe,” and even leading articles and a resumé of the debates have not conjured up a dream that surpasses the fact.

“The door opened again, and Lord Rupert Conway entered. Evelyn gave one glance. It was enough; she was not disappointed. It seemed as if a picture on which she had long gazed was suddenly instinct with life, and had stepped from its frame before her. His tall figure, the distinguished simplicity of his air – it was a living Vandyke, a cavalier, one of his noble cavalier ancestors, or one to whom her fancy had always likened him, who long of yore had with an Umfraville fought the Paynim far beyond the sea. Was this reality?”

Very little like it, certainly.

By and by it becomes evident that the ministerial heart is touched. Lady Umfraville is on a visit to the Queen at Windsor, and —

“The last evening of her stay, when they returned from riding, Mr. Wyndham took her and a large party to the top of the Keep, to see the view. She was leaning on the battlements, gazing from that ‘stately height’ at the prospect beneath her, when Lord Rupert was by her side. ‘What an unrivalled view!’ exclaimed she.

“‘Yes, it would have been wrong to go without having been up here. You are pleased with your visit?’

“‘Enchanted! A Queen to live and die under, to live and die for!’

“‘Ha!’ cried he, with sudden emotion, and with a eureka expression of countenance, as if he had indeed found a heart in unison with his own.”

The “eureka expression of countenance” you see at once to be prophetic of marriage at the end of the third volume; but before that desirable consummation there are very complicated misunderstandings, arising chiefly from the vindictive plotting of Sir Luttrel Wycherley, who is a genius, a poet, and in every way a most remarkable character indeed. He is not only a romantic poet, but a hardened rake and a cynical wit; yet his deep passion for Lady Umfraville has so impoverished his epigrammatic talent that he cuts an extremely poor figure in conversation. When she rejects him, he rushes into the shrubbery and rolls himself in the dirt; and on recovering, devotes himself to the most diabolical and laborious schemes of vengeance, in the course of which he disguises himself as a quack physician and enters into general practice, foreseeing that Evelyn will fall ill, and that he shall be called in to attend her. At last, when all his schemes are frustrated, he takes leave of her in a long letter, written, as you will perceive from the following passage, entirely in the style of an eminent literary man:

“Oh, lady, nursed in pomp and pleasure, will you ever cast one thought upon the miserable being who addresses you? Will you ever, as your gilded galley is floating down the unruffled stream of prosperity, will you ever, while lulled by the sweetest music – thine own praises – hear the far-off sigh from that world to which I am going?”

On the whole, however, frothy as it is, we rather prefer “Rank and Beauty” to the two other novels we have mentioned. The dialogue is more natural and spirited; there is some frank ignorance and no pedantry; and you are allowed to take the heroine’s astounding intellect upon trust, without being called on to read her conversational refutations of sceptics and philosophers, or her rhetorical solutions of the mysteries of the universe.

Writers of the mind-and-millinery school are remarkably unanimous in their choice of diction. In their novels there is usually a lady or gentleman who is more or less of a upas tree; the lover has a manly breast; minds are redolent of various things; hearts are hollow; events are utilized; friends are consigned to the tomb; infancy is an engaging period; the sun is a luminary that goes to his western couch, or gathers the rain-drops into his refulgent bosom; life is a melancholy boon; Albion and Scotia are conversational epithets. There is a striking resemblance, too, in the character of their moral comments, such, for instance, as that “It is a fact, no less true than melancholy, that all people, more or less, richer or poorer, are swayed by bad example;” that “Books, however trivial, contain some subjects from which useful information may be drawn;” that “Vice can too often borrow the language of virtue;” that “Merit and nobility of nature must exist, to be accepted, for clamor and pretension cannot impose upon those too well read in human nature to be easily deceived;” and that “In order to forgive, we must have been injured.” There is doubtless a class of readers to whom these remarks appear peculiarly pointed and pungent; for we often find them doubly and trebly scored with the pencil, and delicate hands giving in their determined adhesion to these hardy novelties by a distinct très vrai, emphasized by many notes of exclamation. The colloquial style of these novels is often marked by much ingenious inversion, and a careful avoidance of such cheap phraseology as can be heard every day. Angry young gentlemen exclaim, “’Tis ever thus, methinks;” and in the half hour before dinner a young lady informs her next neighbor that the first day she read Shakespeare she “stole away into the park, and beneath the shadow of the greenwood tree, devoured with rapture the inspired page of the great magician.” But the most remarkable efforts of the mind-and-millinery writers lie in their philosophic reflections. The authoress of “Laura Gay,” for example, having married her hero and heroine, improves the event by observing that “if those sceptics, whose eyes have so long gazed on matter that they can no longer see aught else in man, could once enter with heart and soul, into such bliss as this, they would come to say that the soul of man and the polypus are not of common origin, or of the same texture.” Lady novelists, it appears, can see something else besides matter; they are not limited to phenomena, but can relieve their eyesight by occasional glimpses of the noumenon, and are, therefore, naturally better able than any one else to confound sceptics, even of that remarkable but to us unknown school which maintains that the soul of man is of the same texture as the polypus.

The most pitiable of all silly novels by lady novelists are what we may call the oracular species – novels intended to expound the writer’s religious, philosophical, or moral theories. There seems to be a notion abroad among women, rather akin to the superstition that the speech and actions of idiots are inspired, and that the human being most entirely exhausted of common-sense is the fittest vehicle of revelation. To judge from their writings, there are certain ladies who think that an amazing ignorance, both of science and of life, is the best possible qualification for forming an opinion on the knottiest moral and speculative questions. Apparently, their recipe for solving all such difficulties is something like this: Take a woman’s head, stuff it with a smattering of philosophy and literature chopped small, and with false notions of society baked hard, let it hang over a desk a few hours every day, and serve up hot in feeble English when not required. You will rarely meet with a lady novelist of the oracular class who is diffident of her ability to decide on theological questions – who has any suspicion that she is not capable of discriminating with the nicest accuracy between the good and evil in all church parties – who does not see precisely how it is that men have gone wrong hitherto – and pity philosophers in general that they have not had the opportunity of consulting her. Great writers, who have modestly contented themselves with putting their experience into fiction, and have thought it quite a sufficient task to exhibit men and things as they are, she sighs over as deplorably deficient in the application of their powers. “They have solved no great questions” – and she is ready to remedy their omission by setting before you a complete theory of life and manual of divinity in a love story, where ladies and gentlemen of good family go through genteel vicissitudes, to the utter confusion of Deists, Puseyites, and ultra-Protestants, and to the perfect establishment of that peculiar view of Christianity which either condenses itself into a sentence of small caps, or explodes into a cluster of stars on the three hundred and thirtieth page. It is true, the ladies and gentlemen will probably seem to you remarkably little like any you have had the fortune or misfortune to meet with, for, as a general rule, the ability of a lady novelist to describe actual life and her fellow-men is in inverse proportion to her confident eloquence about God and the other world, and the means by which she usually chooses to conduct you to true ideas of the invisible is a totally false picture of the visible.

As typical a novel of the oracular kind as we can hope to meet with, is “The Enigma: a Leaf from the Chronicles of the Wolchorley House.” The “enigma” which this novel is to solve is certainly one that demands powers no less gigantic than those of a lady novelist, being neither more nor less than the existence of evil. The problem is stated and the answer dimly foreshadowed on the very first page. The spirited young lady, with raven hair, says, “All life is an inextricable confusion;” and the meek young lady, with auburn hair, looks at the picture of the Madonna which she is copying, and – “There seemed the solution of that mighty enigma.” The style of this novel is quite as lofty as its purpose; indeed, some passages on which we have spent much patient study are quite beyond our reach, in spite of the illustrative aid of italics and small caps; and we must await further “development” in order to understand them. Of Ernest, the model young clergyman, who sets every one right on all occasions, we read that “he held not of marriage in the marketable kind, after a social desecration;” that, on one eventful night, “sleep had not visited his divided heart, where tumultuated, in varied type and combination, the aggregate feelings of grief and joy;” and that, “for the marketable human article he had no toleration, be it of what sort, or set for what value it might, whether for worship or class, his upright soul abhorred it, whose ultimatum, the self-deceiver, was to him the great spiritual lie, ‘living in a vain show, deceiving and being deceived;’ since he did not suppose the phylactery and enlarged border on the garment to be merely a social trick.” (The italics and small caps are the author’s, and we hope they assist the reader’s comprehension.) Of Sir Lionel, the model old gentleman, we are told that “the simple ideal of the middle age, apart from its anarchy and decadence, in him most truly seemed to live again, when the ties which knit men together were of heroic cast. The first-born colors of pristine faith and truth engraven on the common soul of man, and blent into the wide arch of brotherhood, where the primæval law of order grew and multiplied each perfect after his kind, and mutually interdependent.” You see clearly, of course, how colors are first engraven on the soul, and then blent into a wide arch, on which arch of colors – apparently a rainbow – the law of order grew and multiplied, each – apparently the arch and the law – perfect after his kind? If, after this, you can possibly want any further aid toward knowing what Sir Lionel was, we can tell you that in his soul “the scientific combinations of thought could educe no fuller harmonies of the good and the true than lay in the primæval pulses which floated as an atmosphere around it!” and that, when he was sealing a letter, “Lo! the responsive throb in that good man’s bosom echoed back in simple truth the honest witness of a heart that condemned him not, as his eye, bedewed with love, rested, too, with something of ancestral pride, on the undimmed motto of the family – ‘Loiaute.’”

The slightest matters have their vulgarity fumigated out of them by the same elevated style. Commonplace people would say that a copy of Shakespeare lay on a drawing-room table; but the authoress of “The Enigma,” bent on edifying periphrasis, tells you that there lay on the table, “that fund of human thought and feeling, which teaches the heart through the little name, ‘Shakespeare.’” A watchman sees a light burning in an upper window rather longer than usual, and thinks that people are foolish to sit up late when they have an opportunity of going to bed; but, lest this fact should seem too low and common, it is presented to us in the following striking and metaphysical manner: “He marvelled – as a man will think for others in a necessarily separate personality, consequently (though disallowing it) in false mental premise – how differently he should act, how gladly he should prize the rest so lightly held of within.” A footman – an ordinary Jeames, with large calves and aspirated vowels – answers the door-bell, and the opportunity is seized to tell you that he was a “type of the large class of pampered menials, who follow the curse of Cain – ‘vagabonds’ on the face of the earth, and whose estimate of the human class varies in the graduated scale of money and expenditure… These, and such as these, O England, be the false lights of thy morbid civilization!” We have heard of various “false lights,” from Dr. Cumming to Robert Owen, from Dr. Pusey to the Spirit-rappers, but we never before heard of the false light that emanates from plush and powder.

In the same way very ordinary events of civilized life are exalted into the most awful crises, and ladies in full skirts and manches à la Chinoise, conduct themselves not unlike the heroines of sanguinary melodramas. Mrs. Percy, a shallow woman of the world, wishes her son Horace to marry the auburn-haired Grace, she being an heiress; but he, after the manner of sons, falls in love with the raven-haired Kate, the heiress’s portionless cousin; and, moreover, Grace herself shows every symptom of perfect indifference to Horace. In such cases sons are often sulky or fiery, mothers are alternately manœuvring and waspish, and the portionless young lady often lies awake at night and cries a good deal. We are getting used to these things now, just as we are used to eclipses of the moon, which no longer set us howling and beating tin kettles. We never heard of a lady in a fashionable “front” behaving like Mrs. Percy under these circumstances. Happening one day to see Horace talking to Grace at a window, without in the least knowing what they are talking about, or having the least reason to believe that Grace, who is mistress of the house and a person of dignity, would accept her son if he were to offer himself, she suddenly rushes up to them and clasps them both, saying, “with a flushed countenance and in an excited manner” – “This is indeed happiness; for, may I not call you so, Grace? – my Grace – my Horace’s Grace! – my dear children!” Her son tells her she is mistaken, and that he is engaged to Kate, whereupon we have the following scene and tableau:

“Gathering herself up to an unprecedented height (!) her eyes lightening forth the fire of her anger:

“‘Wretched boy!’ she said, hoarsely and scornfully, and clenching her hand, ‘Take then the doom of your own choice! Bow down your miserable head and let a mother’s – ’

“‘Curse not!’ spake a deep low voice from behind, and Mrs. Percy started, scared, as though she had seen a heavenly visitant appear, to break upon her in the midst of her sin.

“Meantime Horace had fallen on his knees, at her feet, and hid his, face in his hands.

“Who then, is she – who! Truly his ‘guardian spirit’ hath stepped between him and the fearful words, which, however unmerited, must have hung as a pall over his future existence; – a spell which could not be unbound – which could not be unsaid.

“Of an earthly paleness, but calm with the still, iron-bound calmness of death – the only calm one there – Katherine stood; and her words smote on the ear in tones whose appallingly slow and separate intonation rung on the heart like a chill, isolated tolling of some fatal knell.

“‘He would have plighted me his faith, but I did not accept it; you cannot, therefore – you dare not curse him. And here,’ she continued, raising her hand to heaven, whither her large dark eyes also rose with a chastened glow, which, for the first time, suffering had lighted in those passionate orbs – ‘here I promise, come weal, come woe, that Horace Wolchorley and I do never interchange vows without his mother’s sanction – without his mother’s blessing!’”

Here, and throughout the story, we see that confusion of purpose which is so characteristic of silly novels written by women. It is a story of quite modern drawing-room society – a society in which polkas are played and Puseyism discussed; yet we have characters, and incidents, and traits of manner introduced, which are mere shreds from the most heterogeneous romances. We have a blind Irish harper, “relic of the picturesque bards of yore,” startling us at a Sunday-school festival of tea and cake in an English village; we have a crazy gypsy, in a scarlet cloak, singing snatches of romantic song, and revealing a secret on her death-bed which, with the testimony of a dwarfish miserly merchant, who salutes strangers with a curse and a devilish laugh, goes to prove that Ernest, the model young clergyman, is Kate’s brother; and we have an ultra-virtuous Irish Barney, discovering that a document is forged, by comparing the date of the paper with the date of the alleged signature, although the same document has passed through a court of law and occasioned a fatal decision. The “Hall” in which Sir Lionel lives is the venerable country-seat of an old family, and this, we suppose, sets the imagination of the authoress flying to donjons and battlements, where “lo! the warder blows his horn;” for, as the inhabitants are in their bedrooms on a night certainly within the recollection of Pleaceman X. and a breeze springs up, which we are at first told was faint, and then that it made the old cedars bow their branches to the greensward, she falls into this mediæval vein of description (the italics are ours): “The banner unfurled it at the sound, and shook its guardian wing above, while the startled owl flapped her in the ivy; the firmament looking down through her ‘argus eyes’ —

‘Ministers of heaven’s mute melodies.’