George Eliot; a Critical Study of Her Life, Writings and Philosophy

by George Willis Cooke

XVII.

THE SPANISH GYPSY AND OTHER POEMS.

It was The Spanish Gypsy, published in 1868, which brought the name of George Eliot before the public as a poet. This work is a novel written in blank verse, with enough of the heroic and tragic in it to make the story worthy of its poetic form. The story is an excellent one, well conceived and worked out, and had it been given the prose form would have made a powerful and original novel. While it would doubtless have gained in definiteness of detail and clearness of purpose by being presented in the prose form, yet its condensation into a poem is a gain, and the whole setting of the story has been made of greater interest by this method of expression. The poetic form is as original as are the theories of life which the poem is designed to inculcate. In structure it combines, with a method quite its own, the descriptive and dramatic forms of poetry. In this it nearly approaches the method followed in her novels of combining description and dialogue in a unitary structure of great strength and perfection. The descriptive passages in her prose works are strong and impressive, lofty in tone, and yet lovingly faithful in detail. Her conversations are often highly dramatic and add greatly to the whole outcome of these novels. In The Spanish Gypsy the surroundings of the story are first described in verse which, if not always perfectly poetic, is yet imaginatively thought out and executed in a manner befitting the subject. Suddenly, however, the narrative and descriptive form ceases and the dramatic begins. By means also of full "stage directions" to the dramatic portions of the poem, the story is wrought out quite as much in detail as it needs to be; and much is gained of advantage over the length of her novels by this concentration of scene and narrative. While the narrative portion of the poem is much less in extent than the dramatic, yet it has in it some of the main elements of the plot, and those without which the action could not be worked out. The dramatic element gives it a real and living power. The characters are strongly conceived, and nearly all of them are individualities of an original type and of an action thoroughly distinct and human.

As a work of art, the most serious defect in The Spanish Gypsy is its doctrinal tone. It is speculative in its purpose quite as much as poetical, and the speculation is so large an element as to intrude upon the poetry. Thought overtops imagination, the fervor and enthusiasm of the poet are more than matched by the ethical aims of the teacher. This ethical purpose of unfolding in a dramatic form the author's theories of life has filled the book, as it has her novels, with epigrams which are original, splendid and instructive. Into a few lines she condenses some piece of wisdom, and in words full of meaning and purpose. Into the mouth of Sephardo, a character distinctive and noteworthy, she puts some of her choicest wisdom. He says,—

Thought
Has joys apart, even in blackest woe,
And seizing some fine thread of verity
Knows momentary godhead.

Again he utters the same idea, but in more expressive words.

Our growing thought
Makes growing revelation.

Don Silva is made to use this highly poetic imagery.

Speech is but broken light upon the depth
Of the unspoken.

Zarca, that truest and most original character in the poem, says of the great work he purposes to accomplish,

To my inward vision
Things are achieved when they are well begun.

Again, he says,—

New thoughts are urgent as the growth of wings.

Expressive and original as The Spanish Gypsy is, yet it gives the impression of lacking in some poetic quality which is necessary to the highest results. Difficult as it may be to define precisely what it is that is wanting, nearly every reader will feel that something which makes poetry has been somehow left out. Is it imagination, or is it a flexible poetic expression, which is absent? While George Eliot has imagination enough to make a charming prose style, and to adorn her prose with great beauty and an impressive manner, yet its finer quality of subtle expression is not to be found in her poetry. Those original and striking shades of meaning which the poet employs by using words in unique relations, she does not often attain to. It is the thought, the ethical meaning, in her poetry as in her prose, which is often of more importance than the manner of expression; and she is too intent on what is said to give full heed always to how it is said. She has, however, employed that form of verse which is best suited to her style, and one which does not demand those lyrical or those imaginative qualities in which she is deficient. The blank verse is well adapted to her realism, though it does not always answer well to the more dramatic and tragical and impassioned portions of the story.

As a study of an historic period, The Spanish Gypsy is not so great a success as Romola; yet it more perfectly unfolds a unitary moral purpose, and the various types of character are more originally developed. The conflict of motives, the contrasted and opposed national interests, are distinctly brought out, but the aroma of the time and place are wanting. To describe a poetic and heroic era she is never content to do. Her method is totally different from that of Scott, who reflects the spirit and life of the time he depicts with almost absolute faithfulness. No gypsy was ever such a character as Zarca, no gypsy girl ever had the conscience of Fedalma. As in the case of Romola, so here, an historic period is used, not so much for artistic as for philosophic purposes, because it is well designed to present her ideas about heredity and tradition. The Spanish Gypsy is essentially a romance, and contains much of those more poetic and ideal elements which distinguish Daniel Deronda from her other novels. This romantic element, if it does not develop poetry of the highest quality, does bring out in its most perfect form all the finest characteristics of her style.

While The Spanish Gypsy affords many points of attack for the critic, yet it cannot be dismissed by saying it is not a great poem. Its strong qualities are too many to permit of its being disposed of in haste. With all its defects it is a noble piece of work, and genuinely adds to the author's expression of genius. It is one of those poems which win, not popularity, but the heartiest admiration of a choice and elect few who find life and highest inspiration in it, because giving strength to their thoughts and purpose to their moral convictions. As a study of some of the deeper problems of the ethical and social life of man, it is unsurpassed, and the teaching imparted by it is singularly well and impressively conveyed by the whole make of the poem. It is also remarkable for its large and impressive style, its rich command of words, and the lofty beauty of its diction. One of its most striking qualities, as Mr. Henry James, Jr., suggests, "is its extraordinary rhetorical energy and eloquence," and "its splendid generosity of diction." The same writer says of the character of Don Silva, that "nowhere has her marvellous power of expression, the mingled dignity and pliancy of her style, obtained a greater triumph." The critics have almost without exception dealt severely with the poem, but they have applied to it the canons of poetic art as interpreted by themselves. Genius creates its own laws, makes its own methods, reverses old decisions and triumphs against the whole brood of critics. The world accepts what is true and excellent, however defective in technical requirements. Imperfect meters, and poetic structures not orthodox, may disturb those who deal in criticism, but such limitations as these are not sufficient to fix the final acceptance of a poem. More than one of the greatest poems could not endure such tests. That The Spanish Gypsy has vitality of purpose, enduring interest in treatment, and a lofty eloquence of diction, is doubtless enough to insure it an accepted place among the few greater poems in the language. Its profoundly thoughtful interpretation of some of the greater social problems mankind has to deal with, will necessarily give a permanent interest for the lovers of speculative poetry, while its genuine poetic merits will largely add to that interest, and add to it by its tragic power, its rich ethical wisdom, and its fine portrayal of character.

No other book of George Eliot's is so filled and inspired by the spirit of her teachings as The Spanish Gypsy. Its inspiration and its interest lie mainly in the direction of its moral and spiritual inculcations. Verse did not stimulate her, but was a fetter; it clogged her highest powers. The rich eloquence of her prose, with its pathos and sentiment, its broad perspective and vigorous thought, was to her a continual stimulus and incentive. Her poems are more labored than her novels, and for this very reason they show the philosophy which gives them meaning more clearly. Their greater concentration and less varied elements also largely help to make apparent the teachings they contain. Her sympathy with the evolution philosophy of the day is conspicuous in The Spanish Gypsy. It is simply a dramatic interpretation of the higher phases of Darwinism. The doctrinal element does not intrude itself, however; it is not on the surface, it is well subordinated to the artistic elements of the poem. Even intelligent readers may not detect it, and the majority of those who read the poem without any preconceptions may not discover its philosophic bearings. Yet to the studious reader the philosophy must be the most conspicuous element which enters into the poem, and it gives character and meaning to the work far more fully than in the case of any of her novels.

The aim of the poem is to show how hereditary race influences act as a tragic element in opposition to individual emotions and inclinations. The teaching of Romola is much of it reproduced, at least that portion of it which inculcates renunciation and altruism. Its distinguishing features, however, more nearly resemble those of Daniel Deronda. The race element is introduced, and the effect of the past is shown as it forms character and gives direction to duties. One phase of its meaning has been very clearly described by Mr. R.H. Hutton, who says the poem teaches "how the inheritance of the definite streams of impulse and tradition stored up in what we call race, often puts a veto upon any attempt of spontaneous individual emotion or volitions to ignore or defy their Control, and to emancipate itself from the tyranny of their disputable and apparently cruel rule." "How the threads," he says again, "of hereditary capacity and hereditary sentiment control as with invisible chords the orbits of even the most powerful characters,—how the fracture of those threads, so far as can be accomplished by mere will, may have even a greater effect in wrecking character than moral degeneracy would itself produce,—how the man who trusts and uses the hereditary forces which natural descent has bestowed upon him, becomes a might and a centre in the world, while the man, intrinsically the nobler, who dissipates his strength by trying to swim against the stream of his past, is neutralized and paralyzed by the vain effort,—again, how a divided past, a past not really homogeneous, may weaken this kind of power, instead of strengthening it by the command of a larger experience—all this George Eliot's poem paints with tragical force."

The main thought of The Spanish Gypsy is, that the moral and spiritual in man is the result of social conditions which, if neglected, lead to the destruction of all that is best in human nature. In the description of Mine Host, in the opening pages of the poem, this evil result of a severing of life from tradition is described. He was educated in the Jewish faith, but was made a Christian at the age of ten.

So he had to be converted with his sire,
To doff the awe he learned as Ephriam,
And suit his manners to a Christian name.

The poet then delivers one of her doctrinal utterances, and one which is in this case the keynote of the whole poem.

But infant awe, that unborn moving thing,
Dies with what nourished it, can never rise
From the dead womb and walk and seek new pasture.

That awe which grows up in childhood, if destroyed later, brings anarchy into human life. All the characters of the poem exemplify this teaching, and each is but a product of his past, individual or social. Don Silva, Zarca, Fedalma, the Prior, Sephardo, illustrate this idea. The latter gives utterance to the thought of the poem, when Don Silva says to him that he has need of a friend who is not tied to sect or party, but who is capable of following his "naked manhood" into what is just and right, without regard to other considerations.

My lord, I will be frank; there's no such thing
As naked manhood. If the stars look down
On any mortal of our shape, whose strength
Is to judge all things without preference,
He is a monster, not a faithful man.
While my heart beats, it shall wear livery—
My people's livery, whose yellow badge
Marks them for Christian scorn. I will not say
Man is first man to me, then Jew or Gentile:
That suits the rich marranos; but to me
My father is first father and then man.
So much for frankness' sake. But let that pass.
'Tis true at least, I am no Catholic
But Salomo Sephardo, a born Jew,
Willing to serve Don Silva.

[Footnote: In a note George Eliot gives the following explanation of the word marranos: "The name given by the Spanish Jews to the multitudes of their race converted to Christianity at the end of the fourteenth century and beginning of the fifteenth. The lofty derivation from Maran-atha, the Lord cometh, seems hardly called for, seeing that marrano is Spanish for pig. The 'old Christians' learned to use the word as a term of contempt for the 'new Christians,' or converted Jews and their descendants; but not too monotonously, for they often interchanged it with the fine old crusted opprobrium of the name Jew. Still, many Marranos held the highest secular and ecclesiastical prizes in Spain, and were respected accordingly.">[

In the conversation between Don Silva and this uncle, the Prior expresses in the strongest language his conviction that Fedalma will in time reveal her gypsy blood, and that any rejection on the part of Don Silva of the life assigned him by his birth will end in sorrow and misery. When Don Silva declares his intention of following his own inclinations the Prior answers,—

Your strength will turn to anguish, like the strength
Of fallen angels. Can you change your blood?
You are a Christian, with the Christian awe
In every vein. A Spanish noble, born
To serve your people and your people's faith.
Strong, are you? Turn your back upon the Cross—
Its shadow is before you. Leave your place:
Quit the great ranks of knighthood: you will walk
Forever with a tortured double self,
A self that will be hungry while you feast,
Will blush with shame while you are glorified,
Will feel the ache and chill of desolation
Even in the very bosom of your love.

This eloquent expostulation against rejection of any of those ties and obligations imposed by birth and race is repeated again in the plea of Zarca to his daughter, when he urges that there is no life and joy for Fedalma apart from that race to which she belongs and those social conditions which gave her mind its characteristics.

Will you adopt a soul without its thoughts,
Or grasp a life apart from flesh and blood?
Till then you cannot wed a Spanish Duke
And not wed shame at mention of your race,
And not wed hardness to their miseries—
Nay, wed not murder.

Zarca and the Prior are each faithful to race, religion and social tradition. Each knows his duty, is content with the opportunities given him by social inheritance, is thoroughly in harmony with his own past. Both are consequently strong, resolute, successful. Zarca is a grand character, and though a hero in a nation of vagabonds, he wholly identifies himself with his people and accepts their destiny as his own. The Prior is a haughty Spanish Churchman, who has inherited all the traits of a noble family, and is proud of his priestly functions.

In the case of Don Silva and Fedalma there is a conflict between love and race. The one is a Spanish nobleman, the other the daughter of a Zincala chief. Yet they love, and feel that no outward circumstances are sufficient to separate them. This verdict of their hearts is the verdict of mankind in all ages; but it is not the one arrived at by George Eliot in obedience to her philosophy. The reasons why these two should not wed grew entirely out of the social circumstances of the time. An English nobleman of to-day could marry such a woman as Fedalma without social or other loss. The capacities of soul are superior to conditions of race. Virtue and genius do not depend on social circumstances. Yet The Spanish Gypsy has for its motive the attempt to prove that the life of tradition and inheritance is the one which provides all our moral and social and religious obligations. In conformity with this theory the conflict of the poem arises, because Don Silva is not in intellectual harmony with his own character. A thoughtful, fastidious, sensitive soul was his, not resolute and concentrated in purpose, He was no bigot, could not be content with any narrow aim, saw good on many sides.

A man of high-wrought strain, fastidious
In his acceptance, dreading all delight
That speedy dies and turns to carrion:
His senses much exacting, deep instilled
With keen imagination's airy needs;—
Like strong-limbed monsters studded o'er with eyes,
Their hunger checked by overwhelming vision,
Or that fierce lion in symbolic dream
Snatched from the ground by wings and new-endowed
With a man's thought-propelled relenting heart.
Silva was both the lion and the man;
First hesitating shrank, then fiercely sprang,
Or having sprung, turned pallid at his deed
And loosed the prize, paying his blood for naught.
A nature half-transformed, with qualities
That oft betrayed each other, elements
Not blent but struggling, breeding strange effects,
Passing the reckoning of his friends or foes.
Haughty and generous, grave and passionate;
With tidal moments of devoutest awe,
Sinking anon to furthest ebb of doubt;
Deliberating ever, till the sting
Of a recurrent ardor made him rush
Right against reasons that himself had drilled
And marshalled painfully. A spirit framed
Too proudly special for obedience,
Too subtly pondering for mastery:
Born of a goddess with a mortal sire,
Heir of flesh-fettered, weak divinity,
Doom-gifted with long resonant consciousness
And perilous heightening of the sentient soul.

Too noble and generous to accept the narrow views of his uncle, Don Silva insisted on marrying Fedalma, because he loved her and because she was a pure and true woman. He had a poet's nature, was sensitive to all beauty, and his heart vibrated to all ideal excellence. His love became to him a thing apart, a sacred shrine; and Fedalma was made one with all joy and beauty.

He thought all loveliness was lovelier,
She crowning it; all goodness credible,
Because of that great trust her goodness bred.

His love gave a delicious content and melody to his day dreams.

O, all comforters,
All soothing things that bring mild ecstasy,
Came with her coming, in her presence lived.
Spring afternoons, when delicate shadows fall
Pencilled upon the grass; high summer morns
When white light rains upon the quiet sea
And cornfields flush with ripeness; odors soft—
Dumb vagrant bliss that seems to seek a home
And find it deep within 'mid stirrings vague
Of far-off moments when our life was fresh;
All sweetly tempered music, gentle change
Of sound, form, color, as on wide lagoons
At sunset when from black far-floating prows
Comes a clear wafted song; all exquisite joy
Of a subdued desire, like some strong stream
Made placid in the fulness of a lake—
All came with her sweet presence, for she brought
The love supreme which gathers to its realm
All powers of loving. Subtle nature's hand
Waked with a touch the far-linked harmonies
In her own manifold work. Fedalma there,
Fastidiousness became the prelude fine
For full contentment; and young melancholy,
Lost for its origin, seemed but the pain
Of waiting for that perfect happiness.

So strong was Don Silva's love, so ardent his passion for Fedalma, that he forsook all duties and social obligations and became a Zincala for her sake. Yet once awakened to the real consequences of his act, he killed Zarca and sought to regain by hard penances his lost knighthood.

With Fedalma also love was an absorbing passion. The passionate devotion of a woman is in her words.

No ills on earth, though you should count them up
With grains to make a mountain, can outweigh
For me his ill who is my supreme love.
All sorrows else are but imagined flames,
Making me shudder at an unfelt smart;
But his imagined sorrow is a fire
That scorches me.

With great earnestness she says she will—

Never forsake that chief half of her soul
Where lies her love.

With what depth of love does she utter these words:

I belong to him who loves me—whom I love—
Who chose me—whom I chose—to whom I pledged
A woman's truth. And that is nature too,
Issuing a fresher law than laws of birth.

Though her love is deep and passionate and full of a woman's devotedness, the mark of race is set deep within her soul. The moment the claim of race is brought clearly before her as the claim of duty, as the claim of father and of kindred, she accepts it. Her love is not thrown hastily aside, for she loves deeply and truly, and it tears her heart in sunder to renounce it; but she is faithful to duty. Her love grows not less, loses none of its hold upon her heart.

No other crown
Is aught but thorns on my poor woman's brow.

Hers is not a divided self, however; to see the way of duty with her, was to follow in it. Her father's invincible will, courage and patient purpose are her own by inheritance. Once realizing the claim of birth and race, she does not falter, love is resolutely put aside, all delight in culture and refinement becomes dross in her eyes.

I will not count
On aught but being faithful. I will take
This yearning self of mine and strangle it.
I will not be half-hearted: never yet
Fedalma did aught with a wavering soul.
Die, my young joy—die, all my hungry hopes!
The milk you cry for from the breast of life
Is thick with curses. O, all fatness here
Snatches its meat from leanness—feeds on graves.
I will seek nothing but to shun base joy.
The saints were cowards who stood by to see
Christ crucified: they should have flung themselves
Upon the Roman spears, and died in vain—
The grandest death, to die in vain—for love
Greater than sways the forces of the world!
That death shall be my bridegroom. I will wed
The curse that blights my people. Father, come!

The poem distinctly teaches that Fedalma was strong, because the ties of blood were strongly marked upon her mind and willingly accepted by her intellect and conscience; while Don Silva was weak, because he did not acknowledge those ties and accept their law. In the end, however, both declare that the inherited life is the only one which gives joy or duty, and that all individual aims and wishes are to be renounced. The closing scene of this great poem is full of sadness, and yet is strong with moral purpose. Don Silva and Fedalma meet for the last time, she on her way to Africa with her tribe to find a home for it there, he on his way to Rome, to seek the privilege of again using his knightly sword. Both are sad, both feel that life has lost all its joy, both believe it is a bitter destiny which divides them from the fulfilment of their love, and yet both are convinced that love must be forsworn for a higher duty. Their last conversation, opened by Don Silva, is full of power, and concentrates into its last words the total meaning of the poem.

I bring no puling prayer, Fedalma—ask
No balm of pardon that may soothe my soul
For others' bleeding wounds: I am not come
To say, "Forgive me:" you must not forgive,
For you must see me ever as I am—
Your father's…

FEDALMA.

Speak it not! Calamity
Comes like a deluge and o'erfloods our crimes,
Till sin is hidden in woe. You—I—we two,
Grasping we knew not what, that seemed delight,
Opened the sluices of that deep.

DON SILVA.

We two?—
Fedalma, you were blameless, helpless.

FEDALMA.

No!
It shall not be that you did aught alone.
For when we loved I willed to reign in you,
And I was jealous even of the day
If it could gladden you apart from me.

And so, it must be that I shared each deed
Our love was root of.

DON SILVA.

Dear! you share the woe—
Nay, the worst part of vengeance fell on you.

FEDALMA.

Vengeance! She does but sweep us with her skirts.
She takes large space, and lies a baleful light
Revolving with long years—sees children's children,
Blights them in their prime. Oh, if two lovers leane
To breathe one air and spread a pestilence,
They would but lie two livid victims dead
Amid the city of the dying. We
With our poor petty lives have strangled one
That ages watch for vainly.

DON SILVA.

Deep despair
Fills all your tones as with slow agony.
Speak words that narrow anguish to some shape:
Tell me what dread is close before you?

FEDALMA.

None.
No dread, but clear assurance of the end.
My father held within his mighty frame
A people's life: great futures died with him
Never to rise, until the time shall ripe
Some other hero with the will to save
The outcast Zincali.

DON SILVA.

And yet their shout—
I heard it—sounded as the plenteous rush
Of full-fed sources, shaking their wild souls
With power that promised sway.

FEDALMA.

Ah yes, that shout
Came from full hearts: they meant obedience.
But they are orphaned: their poor childish feet
Are vagabond in spite of love, and stray
Forgetful after little lures. For me—
I am but as the funeral urn that bears
The ashes of a leader.

DON SILVA.

O great God!
What am I but a miserable brand
Lit by mysterious wrath? I lie cast down
A blackened branch upon the desolate ground.
Where once I kindled ruin. I shall drink
No cup of purest water but will taste
Bitter with thy lone hopelessness, Fedalma.

FEDALMA.

Nay, Silva, think of me as one who sees
A light serene and strong on one sole path
Which she will tread till death…
He trusted me, and I will keep his trust:
My life shall be its temple. I will plant
His sacred hope within the sanctuary
And die its priestess—though I die alone,
A hoary woman on the altar-step,
Cold 'mid cold ashes. That is my chief good.
The deepest hunger of a faithful heart
Is faithfulness. Wish me naught else. And you—
You too will live….

DON SILVA.

I go to Rome, to seek
The right to use my knightly sword again;
The right to fill my place and live or die
So that all Spaniards shall not curse my name.
I sate one hour upon the barren rock
And longed to kill myself; but then I said,
I will not leave my name in infamy,
I will not be perpetual rottenness
Upon the Spaniard's air. If I must sink
At last to hell, I will not take my stand
Among the coward crew who could not bear
The harm themselves had done, which others bore.
My young life yet may fill some fatal breach,
And I will take no pardon, not my own,
Not God's—no pardon idly on my knees;
But it shall come to me upon my feet
And in the thick of action, and each deed
That carried shame and wrong shall be the sting
That drives me higher up the steep of honor
In deeds of duteous service to that Spain
Who nourished me on her expectant breast,
The heir of highest gifts. I will not fling
My earthly being down for carrion
To fill the air with loathing: I will be
The living prey of some fierce noble death
That leaps upon me while I move. Aloud
I said, "I will redeem my name," and then—
I know not if aloud: I felt the words
Drinking up all my senses—"She still lives.
I would not quit the dear familiar earth
Where both of us behold the self-same sun,
Where there can be no strangeness 'twixt our thoughts
So deep as their communion." Resolute
I rose and walked.—Fedalma, think of me
As one who will regain the only life
Where he is other than apostate—one
Who seeks but to renew and keep the vows
Of Spanish knight and noble. But the breach—
Outside those vows—the fatal second breach—
Lies a dark gulf where I have naught to cast,
Not even expiation—poor pretence,
Which changes naught but what survives the past,
And raises not the dead. That deep dark gulf
Divide us.

FEDALMA.

Yes, forever. We must walk
Apart unto the end. Our marriage rite
Is our resolve that we will each be true
To high allegiance, higher than our love.
Our dear young love—its breath was happiness!
But it had grown upon a larger life
Which tore its roots asunder. We rebelled—
The larger life subdued us. Yet we are wed;
For we shall carry each the pressure deep
Of the other's soul. I soon shall leave the shore.
The winds to-night will bear me far away.
My lord, farewell!

What has been said of The Spanish Gypsy applies very nearly as well to all her other poems. They are thoughtful, philosophic, realistic; they are sonorous in expression, stately in style, and of a diction eloquent and beautiful. On the whole, the volume containing the shorter poems is a poetical advance on The Spanish Gypsy, containing more genuine poetry, more lyrical fire, and a greater proportion of humor, sympathy and passion. They are carefully polished and refined; and yet that indefinable something which marks the truest poetry is wanting. They are saturated with her ideas, the flavor of her thought impregnates them all, with but two or three exceptions.

Her artistic conceptions are more fully developed in some of these poems than in any of her novels, especially in "Armgart" and "The Legend of Jubal." The special thought of "Armgart" is, that no artistic success is of so much worth as a loving sympathy with others. The longing of Armgart was to be—

a happy spiritual star
Such as old Dante saw, wrought in a rose
Of light in Paradise, whose only self
Was consciousness of glory wide-diffused,
Music, life, power—I moving in the midst
With a sublime necessity of good.

Her ambition runs very high.

May the day be near when men
Think much to let my horses draw me home,
And new lands welcome me upon their beach,
Loving me for my fame. That is the truth
Of what I wish, nay, yearn for. Shall I lie?
Pretend to seek obscurity—to sing
In hope of disregard? A vile pretence!
And blasphemy besides. For what is fame
But the benignant strength of One, transformed
To joy of Many? Tributes, plaudits come
As necessary breathing of such joy;
And may they come to me!

Armgart is beloved of the Graf, and he tries to persuade her to abandon her artistic career and become his wife. He says to her,—

A woman's rank
Lies in the fulness of her womanhood:
Therein alone she is loyal.

Again he says to her,—

Pain had been saved,
Nay, purer glory reached, had you been throned
As woman only, holding all your art
As attribute to that dear sovereignty—
Concentering your power in home delights
Which penetrate and purify the world.

Armgart will not listen; her whole heart is enlisted in music. She says to the Graf,—

I will live alone and pour my pain
With passion into music, where it turns
To what is best within my better self.

A year later Armgart's throat has failed, and her career has ended in nothing. Then her servant and friend, Walpurga, who has devoted her life to Armgart, speaks that lesson George Eliot would convey in this little story, that a true life is a life of service. Walpurga chides Armgart's false ambition in these words:

I but stand
As a small symbol for the mighty sum
Of claims unpaid to needy myriads;
I think you never set your loss beside
That mighty deficit. Is your work gone—
The prouder queenly work that paid itself
And yet was overpaid with men's applause!
Are you no longer chartered, privileged,
But sunk to simple woman's penury,
To ruthless Nature's chary average—
Where is the rebel's right for you alone?
Noble rebellion lifts a common load;
But what is he who flings his own load off
And leaves his fellows toiling? Rebel's right?
Say, rather, the deserter's.

Armgart learns from her master, the old and noble Leo, that he had also been ambitious, that he had won only small success, and that he now lived for the sake of the good he could do to those about him. He says to her,—

We must bury our dead joys,
And live above them with a living world.

Then Armgart is brought to see that there is a noble privilege in living as her friend has lived, in making music a joy to others, and in doing what she can to make life better for humanity.

There are two very distinct ideas running through the poem, that a life guided by altruism is better than—a merely artistic life, and that woman is to find in home and wedded joys that opportunity for the development of her soul, without which no artistic career can be complete. The words of the Graf speak George Eliot's own thought, that Armgart's life and her art would have been both more perfect and more noble had she held all her art as attribute to the dear sovereignty of affection.

The same artistic conception pervades "The Legend of Jubal." That fame for which Jubal also yearns comes to him, he is taught, in the good which he leaves behind him for humanity to enjoy. He dies, and ceases to be as a personal being. At least this may be inferred from the concluding lines.

Quitting mortality, a quenched sun-wave,
The All-creating Presence for his grave.

A sun-wave while living, his being is now quenched. But he lives on in the life of the race, lives on in man's joy of music, in the deeper life which music awakens in all bosoms through all ages. He is told that he has no need of—

aught else for share
Of mortal good, than in his soul to bear
The growth of song, and feel the sweet unrest
Of the world's springtide in his conscious breast.

His own loved Past says to him,—

This was thy lot, to feel, create, bestow,
And that immeasurable life to know
From which the fleshly self falls shrivelled, dead,
A seed primeval that has forests bred.

This poem views death as positivism conceives it, and gives a poetic interpretation of that subjective immortality, or that immortality in the race, in which George Eliot so heartily believed. No other artistic presentation of this theory has ever been made which equals that given in this poem, and in the one beginning, "O may I join the choir invisible." This latter poem is not only beautiful in itself, but it has made altruism attractive and lovely. Its tone of thought is elevated, its spirit lofty and noble, and its ideal pure and gracious. All that can be said to make altruism lovely and winning, to inspire men with its spirit and motive, is here said. The thought presented in these two poems is repeated in "The Death of Moses." Here we have Moses living forever in the human influence he created.

He dwells not with you dead, but lives as Law.

For her ideas about resignation we must turn to the pages of The Mill on the Floss and Romola, for those about heredity and the past to The Spanish Gypsy and Daniel Deronda; but in these shorter poems she has completely unfolded the positivist conception, as she accepted it, of death and immortality. The degree to which she was moved and inspired by this belief in an immortality in humanity is seen in the greater ardor and poetic merit of these poems than any others she wrote.

It is interesting to note that she introduces music into "The Legend of Jubal" and "Armgart". It was the art she most loved. She even said that if she could possess the power most satisfactory to her heart, it would be that of making music the instrument of the homage which the great performers secure. Yet she teaches in "Armgart" that there is a power higher than this, the power of affectionate service. Her books are full of the praise of music. She makes Maggie Tulliver express her own delight in it.

"I think I should have no other mortal wants, if I could always have plenty of music. It seems to infuse strength into my limbs, and ideas into my brain. Life seems to go on without effort, when I am filled with music."

In Adam Bede she becomes most poetic when extolling the power of exquisite music to work on the soul.

To feel its wondrous harmonies searching the subtlest windings of your soul, the delicate fibres of life wherein memory can penetrate, and binding together your whole being, past and present, in one unspeakable vibration, melting you in one moment with all the tenderness, all the love, that has been scattered through the toilsome years, concentrating in one emotion of heroic courage or resignation all the hard-learnt lessons of self-renouncing sympathy, blending your present joy with past sorrow, and your present sorrow with all your past joy.

In the "Minor Prophet" is to be found George Eliot's theory of progress. That poem also repeats her faith in common humanity, and gives new emphasis to her joy in the common toils and affections of men. In the "College Breakfast Party" and "Self and Life," her thoughts take a more truly philosophic form than in any of her other poems, but the first of these is the poorest piece of poetic work she gave to the public. Nothing new in the way of teaching appears in these or her other poems.

George Eliot is the poet of positivism. What is beautiful, touching and inspiring in that conception of the world she has sung, and in as poetic a manner as that philosophy is ever likely to inspire. Her poetry is full of the thoughts and sentiments of the time. It reflects the mood of her generation. Prof. Sidney Colvin has truly said that "there is nothing in the literature of the day so rousing—to the mind of the day there is scarcely anything so rousing in all literature—as her writing is. What she writes is full of her time. It is full of observation, imagination, pathos, wit and humor, all of a high class in themselves; but what is more, all saturated with modern ideas poured into a language of which every word bites home with peculiar sharpness to the contemporary consciousness." This is true even more of her poetry than of her prose. That poetry lacks where the age lacks, in true poetic quality. The ideal, the breath of eternal spring, is not in it.