A History of English Prose Fiction

by Bayard Tuckerman

[203] Mrs. Cockburn to Rev. Dr. Douglas, 1777; Lockhart's "Life of Scott."
[204] Other novelists belonging especially in Scotland and of considerable reputation, are Maria Porter, Elizabeth Hamilton, A. Cunningham, Mrs. Johnstone, Hogg, Picken, Moir, Sir T.D. Lauder, Hugh Miller, George MacDonald.

IV.

First among the contributors to the novel of Irish life and manners may be mentioned Maria Edgeworth, by whose successful labors Scott was first inspired to undertake his own. In Miss Edgeworth's works, Ireland found a true exposition of her wrongs and her virtues; and also of her follies and errors. The evils of absenteeism were powerfully illustrated in the novel of the same name. In "Castle Rackrent," the trials and difficulties of landlord and tenant were described with genuine sympathy and dramatic force. The peculiarities of Irish temper and character have been studied by Miss Edgeworth with a fidelity which has given her novels the same national stamp and value which belong to those of Scott. Like him, too, she did much to raise fiction in character, scope, and influence. Whether describing Irish, English, or fashionable life, she is always true to nature, always pure and elevated in tone. Her works are neither marred by the coarseness of the past, nor by the false delicacy of the present. She studiously avoids error and exaggeration in every form. Sentimentality and mock heroism have no place in her pages. While she is wanting in poetry, she is singularly rich in the scenes and characters of every-day life, and her novels are marked by a common-sense knowledge of the world which never degenerates into commonplace.

Miss Edgeworth has been ably followed by several students of Irish life. William Carleton's "Traits and Stories of the Irish Peasantry," the novels of Samuel Lover and of John Banim are still well known. Thomas Crofton Croker, with whose amusing description of the "Last of the Irish Sarpints," the reader is probably familiar, has studied his countrymen's superstitions and peculiarities with great success. Charles James Lever has long retained a well-deserved popularity by the production of about thirty jovial dashing novels, among which the most celebrated is "Charles O'Malley, the Irish Dragoon."[205]

[205] Among other novelists of Irish life and manners may be mentioned Lady Morgan, Mrs. S.C. Hall, Gerald Griffin, T.C. Grattan, Justin MacCarthy, and others.

V.

Novels relating particularly to English life and manners have been greater in number and more varied in character than those of any other country. A large volume would be necessary to do any critical justice to the many distinguished writers whom we can only briefly notice here. The most considerable subdivision of the English novel has been that occupied with the study of domestic life,—a department for which women are particularly fitted, and in which they have been eminently successful.

Mrs. Opie's "Simple Tales," "Tales of Real Life," and "Tales of the Heart," although displaying no great talent in construction or style, excel in a natural pathos and a delicacy of sentiment which have made them popular for many years. Miss Edgeworth brought to the study of English life the same practical views and library talents which we have seen in her Irish novels. Her children's stories, "Frank," "Harry and Lucy," and "Rosamund" were among the first contributions to juvenile fiction. "Helen," in which she exposed the evils of untruthfulness, is a good example of the success with which this admirable woman could combine entertainment and moral elevation. Jane Austen's name has long been linked with that of Miss Edgeworth, as the two most powerful female novelists of the earlier part of the century. In "Pride and Prejudice," "Emma," "Mansfield Park," "Sense and Sensibility," she described the country gentry and middle classes of society. She depended neither on exciting scenes, nor on highly wrought effects of human passion for the interest of her stories, but studied every-day life and ordinary people with a sympathy and power of observation which imparted a deep interest to all her works. Miss Ferrier's novels, "Inheritance" and "Marriage," were greatly admired by Scott, and now, some sixty years later, are still widely read, and receive the honor of both cheap and expensive editions. Miss Ferrier's skill in the construction of a plot, her natural studies of character and the liveliness of her descriptions have kept her works popular, notwithstanding great changes in the public taste. Mrs. Trollope, the mother of a more celebrated son, contributed largely to the English domestic novel. The pathetic story of the lives of the Brontë sisters, supplied by Mrs. Gaskell, has deepened the interest excited by the early popularity of "Jane Eyre." Charlotte was the most talented of the family, and won a widespread admiration by her knowledge of life, her freshness, her vigor, and her innocent disregard of conventionality. Mrs. Gaskell described the life and trials of the manufacturing classes with great ability in "Mary Barton" and other novels. Miss Yonge, author of the "Heir of Redclyffe," Mrs. Henry Wood, author of "East Lynne," and Mrs. Lynn Linton have added largely to this department of fiction. The Baroness Tautphoeus described English and German life in the particularly fascinating novels, "Quits," "At Odds," and "The Initials." Miss Thackeray has made good use of talents inherited from her father. Mary R. Mitford and Mrs. Alexander have written many entertaining and popular novels. Miss Mulock began a long list of successful works with "The Ogilvies" and "John Halifax."

But by far the greatest female novelist who has devoted her talents to the English domestic novel, and by far the greatest female writer in the language is undeniably George Eliot. Women almost invariably leave the stamp of their sex upon their work. But George Eliot took and held a man's position in literature from the outset of her career. It was not that she was unfeminine. She brought to her work a woman's sympathy and a woman's attention to detail. But in breadth of conception, in comprehensiveness of thought, her mind was essentially masculine. Her appreciation of varieties and shades of character was almost Shakespearian. She could describe the self-indulgence of a Hetty Sorrel leading to cruelty, and that of a Tito leading to treachery, with perfect distinctness. She could enter into the generous aspirations of a Savonarola, and the selfish desires of a Grandcourt, with equal perspicuity. Her readers do not feel less familiar with the dull barrenness of Casaubon than with the pregnant vivacity of Mrs. Poyser. In the study of the inward workings of the human mind, George Eliot is unsurpassed by any novelist. Thackeray alone can dispute her pre-eminence in this respect. However much the reader may recoil from the horror of Little Hetty's crime, he cannot deny that it follows as a natural consequence. Although Dorothea's marriages are extremely disappointing, the train of thought which led her to enter into them is traced with unerring clearness.

An obstacle to the popularity of George Eliot's novels lies in the slowness of their movement. The author's soliloquies, comments, and reflections, which are so much valued by her especial admirers, constantly interrupt the course of the narrative, and prove cumbersome to such readers as enjoy a rapid, flowing story. But without these interruptions, how much of George Eliot's best wisdom would be lost! How many significant phrases would be lost from familiar language! The commentaries of the authoress herself on the incidents of her tale give her works a value which inclines us to take up her volumes again and again, long after the stories themselves have become familiar. We never weary of such sentences as the following from "Adam Bede": "There is no despair so absolute as that which comes with the first moments of our first great sorrow, when we have not yet known what it is to have suffered and be healed, to have despaired and to have recovered hope." Not less beautiful and concentrated are those few words on woman's love in "Middlemarch":—"Those childlike caresses which are the bent of every sweet woman, who has begun by showering kisses on the hard pate of her bald doll, creating a happy soul within that woodenness from the wealth of her own love."