After this estimate of the value of culture to women, it is interesting to turn to George Eliot's words concerning the legitimate work which women can perform in literature. What she says on this subject shows that she not only had culture, but also the wisdom which is its highest result. She saw that while a woman is to ask for no leniency towards her work because she is a woman, yet that she is not to imitate men or to ignore her sex. She is to portray life as a woman sees it, with a woman's sympathies and experiences. To interpret the feminine side of life is her legitimate province as a literary artist.
If we regard literature as the expression of the emotions, the whims, the caprices, the enthusiasms, the fluctuating idealisms which move each epoch, we shall not be far wrong; and inasmuch as women necessarily take part in these things, they ought to give them their expression. And this leads us to the heart of the question, what does the literature of women mean? It means this: while it is impossible for men to express life otherwise than as they know it—and they can only know it profoundly according to their own experience—the advent of female literature promises woman's view of life, woman's experience; in other words, a new element. Make what distinctions you please in the social world, it still remains true that men and women have different organizations, consequently different experiences. To know life you must have both sides depicted. Let him paint what he knows. And if you limit woman's sphere to the domestic circle, you must still recognize the concurrent necessity of domestic life finding its homeliest and truest expression in the woman who lives it.
Keeping to the abstract heights we have chosen, too abstract and general to be affected by exceptions, we may further say that the masculine mind is characterized by the predominance of the intellect, and the feminine by the predominance of the emotions. According to this rough division, the regions of philosophy would be assigned to men, those of literature to women. We need scarcely warn the reader against too rigorous an interpretation of this statement, which is purposely exaggerated the better to serve as a signpost. It is quite true that no such absolute distinction will be found in authorship. There is no man whose mind is shrivelled up into pure intellect; there is no woman whose intellect is completely absorbed by her emotions. But in most men the intellect does not move in such inseparable alliance with the emotions as in most women, and hence, although often not so great as in women, yet the intellect is more commonly dominant. In poets, artists, and men of letters, par excellence, we observe this feminine trait, that their intellect habitually moves in alliance with their emotions; and one of the best descriptions of poetry was that given by Professor Wilson, as the "intellect colored by the feelings."
Woman, by her greater affectionateness, her greater range and depth of emotional experience, is well fitted to give expression to the emotional facts of life, and demands a place in literature corresponding to that she occupies in society; and that literature must be greatly benefited thereby, follows from the definition we have given of literature.
But hitherto, in spite of illustrations, the literature of woman has fallen short of its function, owing to a very natural and a very explicable weakness—it has been too much a literature of imitation. To write as men write, is the aim and besetting sin of women; to write as women, is the real office they have to perform. Our definition of literature includes this necessity. If writers are bound to express what they have really known, felt and suffered, that very obligation imperiously declares they shall not quit their own point of view for the point of view of others. To imitate is to abdicate. We are in no need of more male writers; we are in need of genuine female experience. The prejudices, notions, passions and conventionalisms of men are amply illustrated; let us have the same fulness with respect to women. Unhappily the literature of women may be compared with that of Rome: no amount of graceful talent can disguise the internal defect. Virgil, Ovid and Catullus were assuredly gifted with delicate and poetic sensibility; but their light is, after all, the light of moons reflected from the Grecian suns, and such as brings little life with its rays, To speak in Greek, to think in Greek, was the ambition of all cultivated Romans, who could not see that it would be a grander thing to utter their pure Roman natures in sincere originality. So of women. The throne of intellect has so long been occupied by men, that women naturally deem themselves bound to attend the court. Greece domineered over Rome; its intellectual supremacy was recognized, and the only way of rivalling it seemed to be imitation. Yet not so did Rome vanquish Pyrrhus and his elephants; not by employing elephants to match his, but by Roman valor.
Of all departments of literature, fiction is the one to which, by nature and by circumstance, women are best adapted. Exceptional women will of course be found competent to the highest success in other departments; but speaking generally, novels are their forte. The domestic experiences which form the bulk of woman's knowledge finds an appropriate form in novels; while the very nature of fiction calls for that predominance of sentiment which we have already attributed to the feminine mind. Love is the staple of fiction, for it "forms the story of a woman's life." The joys and sorrows of affection, the incidents of domestic life, the aspirations and fluctuations of emotional life, assume typical forms in the novel. Hence we may be prepared to find women succeeding better in finesse of detail, in pathos and sentiment, while men generally succeed better in the construction of plots and the delineation of character. Such a novel as Tom Jones or Vanity Fair we shall not get from a woman, nor such an effort of imaginative history as Ivanhoe or Old Mortality; but Fielding, Thackeray and Scott are equally excluded from such perfection in its kind as Pride and Prejudice, Indiana or Jane Eyre. As an artist Jane Austen surpasses all the male novelists that ever lived; and for eloquence and depth of feeling no man approaches George Sand.
We are here led to another curious point in our subject, viz., the influence of sorrow upon female literature. It may be said without exaggeration that almost all literature has some remote connection with suffering. "Speculation," said Novalis, "is disease." It certainly springs from a vague disquiet. Poetry is analogous to the pearl which the oyster secretes in its malady.
"Most wretched men
Are cradled into poetry by wrong,
They learn in suffering what they teach in song."
What Shelley says of poets, applies with greater force to women. If they turn their thoughts to literature, it is—when not purely an imitative act—always to solace by some intellectual activity the sorrow that in silence wastes their lives, and by a withdrawal of the intellect from the contemplation of their pain, or by a transmutation of their secret anxieties into types, they escape from the pressure of that burden. If the accidents of her position make her solitary and inactive, or if her thwarted affections shut her somewhat from that sweet domestic and maternal sphere to which her whole being spontaneously moves, she turns to literature as to another sphere. We do not here simply refer to those notorious cases where literature was taken up with the avowed and conscious purpose of withdrawing thoughts from painful subjects; but to the unconscious, unavowed influence of domestic disquiet and unfulfilled expectations, in determining the sufferer to intellectual activity. The happy wife and busy mother are only forced into literature by some hereditary organic tendency, stronger even than the domestic; and hence it is that the cleverest women are not those who have written books.
In the later essay on "Silly Novels" her powers of sarcasm were fully displayed. It showed keen critical powers, and a clear insight into the defects inherent in most novel-writing. She spared no faults, had no mercy for presumption, and condemned unsparingly the pretence of culture. She described four kinds of silly novels, classing them as being of the mind-and-millinery, the _oracular, the white-neck-cloth, and the modern-antique varieties. All her powers of analysis and insight shown in her novels appeared in this article.