Aspects of the novel

by E. M. Forster

Let us distinguish between the prophet and the non-prophet.

There were two novelists, who were both brought up in Christianity. They speculated and broke away, yet they neither left nor did they want to leave the Christian spirit which they interpreted as a loving spirit. They both held that sin is always punished, and punishment a purgation, and they saw this process not with the detachment of an ancient Greek or a modern Hindu, but with tears in their eyes. Pity, they felt, is the atmosphere in which morality exercises its logic, a logic which otherwise is crude and meaningless. What is the use of a sinner being punished and cured if there is not an addition in the cure, a heavenly bonus? And where does the addition come from? Not out of the machinery, but out of the atmosphere in which the process occurs, out of the love and pity which (they believed) are attributes of God.

How similar these two novelists must have been! Yet one of them was George Eliot and the other Dostoevsky.

It will be said that Dostoevsky had vision. Still, so had George Eliot. To classify them apart—and they must be parted—is not so easy. But the difference between them will define itself at once exactly if I read two passages from their works. To the classifier the passages will seem similar: to any one who has an ear for song they come out of different worlds.

I will begin with a passage—fifty years ago it was a very famous passage—out of Adam Bede. Hetty is in prison, condemned to die for the murder of her illegitimate child. She will not confess, she is hard and impenitent. Dinah, the Methodist, comes to visit her and tries to touch her heart.

Dinah began to doubt whether Hetty was conscious who it was that sat beside her. But she felt the Divine presence more and more—nay, as if she herself were a part of it, and it was the Divine pity that was beating in her heart, and was willing the rescue of this helpless one. At last she was prompted to speak, and find out how far Hetty was conscious of the present.

"Hetty," she said gently, "do you know who it is that sits by your side?"

"Yes," Hetty answered slowly, "it's Dinah." Then, after a pause, she added, "But you can do nothing for me. You can't make 'em do anything. They'll hang me o' Monday—it's Friday now."

"But, Hetty, there is some one else in this cell besides me, some one close to you."

Hetty said, in a frightened whisper, "Who?"

"Some one who has been with you through all your hours of sin and trouble—who has known every thought you have had—has seen where you went, where you lay down and rose up again, and all the deeds you have tried to hide in darkness. And on Monday, when I can't follow you, when my arms can't reach you, when death has parted us, He who is with you now and knows all, will be with you then. It makes no difference—whether we live or die we are in the presence of God."

"Oh, Dinah, won't nobody do anything for me? Will they hang me for certain? ... I wouldn't mind if they'd let me live ... help me.... I can't feel anything like you ... my heart is hard."

Dinah held the clinging hand, and all her soul went forth in her voice: "... Come, mighty Saviour! let the dead hear Thy voice; let the eyes of the blind be opened: let her see that God encompasses her; let her tremble at nothing but the sin that cuts her off from Him. Melt the hard heart; unseal the closed lips: make her cry with her whole soul, 'Father, I have sinned.'"

"Dinah," Hetty sobbed out, throwing her arms round Dinah's neck, "I will speak ... I will tell ... I won't hide it any more. I did do it, Dinah ... I buried in the wood ... the little baby ... and it cried ... I heard it cry ... ever such a way off ... all night ... and I went back because it cried."

She paused and then spoke hurriedly in a louder pleading tone.

"But I thought perhaps it wouldn't die—there might somebody find it. I didn't kill it—I didn't kill it myself. I put it down there and covered it up, and when I came back it was gone.... I don't know what I felt until I found that the baby was gone. And when I put it there, I thought I should like somebody to find it and save it from dying, but when I saw it was gone, I was struck like a stone, with fear. I never thought o' stirring, I felt so weak. I knew I couldn't run away, and everybody as saw me 'ud know about the baby. My heart went like stone; I couldn't wish or try for anything; it seemed like as if I should stay there for ever, and nothing 'ud ever change. But they came and took me away."

Hetty was silent, but she shuddered again, as if there was still something behind: and Dinah waited, for her heart was so full that tears must come before words. At last Hetty burst out with a sob.

"Dinah, do you think God will take away that crying and the place in the wood, now I've told everything?"

"Let us pray, poor sinner: let us fall on our knees again, and pray to the God of all mercy."

I have not done justice to this scene, because I have had to cut it, and it is on her massiveness that George Eliot depends—she has no nicety of style. The scene is sincere, solid, pathetic, and penetrated with Christianity. The god whom Dinah summons is a living force to the authoress also: he is not brought in to work up the reader's feelings; he is the natural accompaniment of human error and suffering.

Now contrast with it the following scene from The Brothers Karamazov (Mitya is being accused of the murder of his father, of which he is indeed spiritually though not technically guilty).

They proceeded to a final revision of the protocol. Mitya got up, moved from his chair to the corner by the curtain, lay down on a large chest covered by a rug, and instantly fell asleep.

He had a strange dream, utterly out of keeping with the place and the time.

He was driving somewhere in the steppes, where he had been stationed long ago, and a peasant was driving him in a cart with a pair of horses, through snow and sleet. Not far off was a village; he could see the black huts, and half the huts were burned down, there were only the charred beams sticking up. And as they drove in, there were peasant women drawn up along the road, a lot of women, a whole row, all thin and wan, with their faces a sort of brownish colour, especially one at the edge, a tall bony woman, who looked forty, but might have been only twenty, with a long thin face. And in her arms was a little baby crying. And her breasts seemed so dried up that there was not a drop of milk in them. And the child cried and cried, and held out its little bare arms, with its little fists blue from cold.

"Why are they crying? Why are they crying?" Mitya asked as they dashed gaily by.

"It's the babe," answered the driver. "The babe weeping."

And Mitya was struck by his saying, in his peasant way, "the babe," and he liked the peasant calling it "the babe." There seemed more pity in it.

"But why is it weeping?" Mitya persisted stupidly. "Why are its little arms bare? Why don't they wrap it up?"

"Why, they're poor people, burnt out. They've no bread. They're begging because they've been burnt out."

"No, no," Mitya, as it were, still did not understand. "Tell me, why is it those poor mothers stand there? Why are people poor? Why is the babe poor? Why is the steppe barren? Why don't they hug each other and kiss? Why don't they sing songs of joy? Why are they so dark from black misery? Why don't they feed the babe?"

And he felt that, though his questions were unreasonable and senseless, yet he wanted to ask just that, and he had to ask it just in that way. And he felt that a passion of pity, such as he had never known before, was rising in his heart, that he wanted to cry, that he wanted to do something for them all, so that the babe should weep no more, so that the dark-faced dried-up mother should not weep, that no one should shed tears again from that moment, and he wanted to do it at once, at once, regardless of all obstacles, with all the recklessness of the Karamazovs.... And his heart glowed, and he struggled forward towards the light, and he longed to live, to go on and on, towards the new beckoning light, and to hasten, hasten, now, at once!

"What! Where?" he exclaimed, opening his eyes, and sitting up on the chest, as though he had revived from a swoon, smiling brightly. Nikolay Parfenovitch was standing over him, suggesting that he should hear the protocol read aloud and sign it. Mitya guessed that he had been asleep an hour or more, but he did not hear Nikolay Parfenovitch. He was suddenly struck by the fact that there was a pillow under his head, which hadn't been there when he leant back exhausted, on the chest.

"Who put that pillow under my head? Who was so kind?" he cried, with a sort of ecstatic gratitude, and tears in his voice, as though some great kindness had been shown him.

He never found out who this kind man was, perhaps one of the peasant witnesses, or Nikolay Parfenovitch's little secretary had compassionately thought to put a pillow under his head, but his whole soul was quivering with tears. He went to the table and said he would sign whatever they liked.

"I've had a good dream, gentlemen," he said in a strange voice, with a new light, as of joy, in his face.

Now what is the difference in these passages—a difference that throbs in every phrase? It is that the first writer is a preacher, and the second a prophet. George Eliot talks about God, but never alters her focus; God and the tables and chairs are all in the same plane, and in consequence we have not for a moment the feeling that the whole universe needs pity and love—they are only needed in Hetty's cell. In Dostoevsky the characters and situations always stand for more than themselves; infinity attends them; though yet they remain individuals they expand to embrace it and summon it to embrace them; one can apply to them the saying of St. Catherine of Siena that God is in the soul and the soul is in God as the sea is in the fish and the fish is in the sea. Every sentence he writes implies this extension, and the implication is the dominant aspect of his work. He is a great novelist in the ordinary sense—that is to say his characters have relation to ordinary life and also live in their own surroundings, there are incidents which keep us excited, and so on; he has also the greatness of a prophet, to which our ordinary standards are inapplicable.