, 1880-12-26
GEORGE ELIOT.
A Strong Eu,ogy OF tho Dead Novel;
Int, Mrs. Cross.

a Strong Eu,ogy OF tho Dead Novel.
Int, Mrs. Cross.
Nttr ToFk Times.
No one will dispute the rank Of George Eliot
nIrs. Cross among tn. novelists Of her SEX In
England there have been but two women whose
novels have gained place In English literature:
but "Evaliua" and tAprile and Prejudice
will bear no comparison with tho best work or
George Eliot. Years ago it was the fashion to
speak Of George Eliot as tho worthy rival OF
George Sand; but time has modified the estima-
ton in which the clever and audacious French
womua was once held. and, though tho charm OF
her style can never be underrated. 1t is evident
that her reputation as novelist has greatly de-
cliued during the past twenty years, and no
cool critic would now think Of comparing tho
crude solor1ug of Is Indiana =" with the broad
and mastery canvas Of "Mlddlemarch-
George Eliot Is not only recognized universally
as the first among female norettsts, but she 1s
ranked with the masters OF English fiction, ana
IS acla By many to bo the peer Of Thackeray, and
even OF Scott
1t has long been the fashion to say of George
Eliot that her genius was essentially masculine;
and it is said that her first publisher, to whom
she was personally unknown, firmly believed
that the "Scenes Of Clerical Lifo" was written
by mnu. In the attribute OF strength George
ElIot's novels may be loosely said to be n1ascu-
line: though this implies, and without sufficient
reason. that strength is exclusively a character
igtic Of masculine genius. Unqucsuonabiy she
had this quality. She was not confined, as arc
canvas large enough only for three or four fig
ures: and her creative power was not exhausted
she introduced US to grand gallery Of portraits,
every one Of which had It's own and striking
merits In ''Mtddlemarch,' which in some re-
dozen people, any Of whom is q distinct crca-
uon, and all Of whom are painted with power
and fidelity which onty master OF fiction could
ftt1f F~r a - ~
finished study as HnWthognes "Scarlct Let
ter" is to compare the grand canvases OF Thu
rsh noTe has been e
Of power. Tho teemtng brain Of Dickens gave
US countless caricatures; but even in David
secm capable Of Of sefsustained lie are are very
few. Sir Walter Scott lartshed his best efforts
on a few central figures in each ono Of his nov
els, and filled in the background with host OF
lay figures, OF little more individuality than be-
longs to the First ana Second Citizens OF historic
cal dramas George Eliot did nothing fecoly
She gave aB much care to the supernumernrieS
as to the leading actors Of her novels; and the
result is a sustained and uniform strength That
sets them apart from all other works conceived
on ANYTHING like as broad scale.
There was, however one characteristic Of
George Eliot which was dlstinctively masculine.
women ~ writer's, but George Eliot is the only
woman In whose novels we dnd the parest type
OF humor. The humor displayed, perhaps con-
seeusy seuy b b de s R Is
unlike any thing that any other won,an writer
has given us This Is the one truit of George
Eliot which fully justified her masculine nan,e,
and might have excused careless critic IN mis-
taking it's wearer for u man.
The femninity OF George Eliot WAS, on the
other hnnd. visible on every page OF her bQ2ks
In nothing was it moro evident than til her in
ability to draw hero who was at once noble,
and manly, and real. Her pet heroes-Addm
Bed, and Ftltr IIot, and Daniel Deronda,-
are dstincttveiy women's men. They
the heroes OF Mr. George Macdonald,
whose genius is typically feminine While
George Eliots women are trresistible,-for no
painter has ever e. cellcd the long list Of female
portraits beginning with Dindt and Hctty and
ending with Gtocndone,-hcr men aro unreul
just in proportion as she strives to commend
them to our admira ton, and her greatest liter
arY failure is that intoleFuble prig, OeT0ndd4
Sne meant thnt we should have heurty disap-
prevail of G1ce7ldolfne; but that young woman's
noble qualities showed themselves in spite OF
her creators frown, and she made conqucsts
where she was expected to act as rcpellant
example OF worldliness and selfshness. Had
she been less real, George Eliot could have done
with her as she listed, but she speedily grew out
Of her control. Tho fact Is, perhaps, the highest
compliment that could be paid to the novelist.
It is idle to predict the place that novelist
will hold in the estimation of postcrity, but
there cau be but little doubt OF the permauency
EtintfQ