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قراءة كتاب The Ethics of George Eliot's Works
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sorrows; the aiming at the highest attainable good in our own place, irrespective of all results of joy or sorrow, of apparent success or failure,—such is the lesson that begins to be conveyed to us in these “Scenes.”
The lesson comes to us in the quiet unselfish love, the sweet hourly self-devotion of the “Milly” of Amos Barton, so touchingly free and full that it never recognises itself as self-devotion at all. In “Mr Gilfil’s Love-Story” we have it taught affirmatively through the deep unselfishness of Mr Gilfil’s love to Tina, and his willingness to offer up even this, the one hope and joy of his life, upon the altar of duty; negatively, through the hard, cold, callous, self-pleasing of Captain Wybrow—a type of character which, never repeated, is reproduced with endless variations and modifications in nearly all the author’s subsequent works. It is, however, in “Janet’s Repentance” that the power of the author is put most strongly forth, and also that what we conceive to be the vital aim of her works is most definitely and firmly pronounced. Here also we have illustrated that breadth of nature,
that power of discerning the true and good under whatsoever external form it may wear, which is almost a necessary adjunct of the author’s true and large ideal of the Christian life. She goes, it might almost seem, out of her way to select, from that theological school with which her whole nature is most entirely at dissonance, one of her most touching illustrations of a life struggling on towards its highest through contempt, sorrow, and death. That narrowest of all sectarianisms, which arrogates to itself the name Evangelical, and which holds up as the first aim to every man the saving of his own individual soul, has furnished to her Mr Tryan, whose life is based on the principle laid down by the one great Evangelist, “He that loveth his soul shall lose it; he that hateth his soul shall keep it unto life eternal.” {15}
Mr Tryan, as first represented to us, is not an engaging figure. Narrow and sectarian, full of many uncharities, to a great extent vain and self-conscious, glad to be flattered and idolised by men and women by no means of large calibre or lofty standard—it might well seem impossible to invest such a figure with one heroic element. Yet it is before this man
we are constrained to bow down in reverence, as before one truer, greater, nobler than ourselves; and as we stand with Janet Dempster beside the closing grave, we may well feel that one is gone from among us whose mere presence made it less hard to fight our battle against “the world, the flesh, and the devil.” The explanation of the paradox is not far to seek. The principle which animated the life now withdrawn from sight—which raised it above all its littlenesses and made it a witness for God and His Christ, constraining even the scoffers to feel the presence of “Him who is invisible”—this principle was self-sacrifice. So at least the imperfections of human speech lead us to call that which stands in antagonism to self-pleasing; but before Him to whom all things are open, what we so call is the purification and exaltation of that self in us which is the highest created reflex of His image—the growing up of it into His likeness for ever.
We may here, once for all, and very briefly, advert to one specialty of the author’s works, which, if we are right in our interpretation of their central moral import, flows almost necessarily as a corollary from it. In each of these sketches one principal figure is blotted out just when our regards are fixed most strongly on it. Milly, Tina, and Mr Tryan all die, at what may well appear the crisis of life and destiny for themselves or others. There is in this—if not in specific intention, certainly in practical teaching—
something deeper and more earnest than any mere artistic trick of pathos—far more real than the weary commonplace of suggesting to us any so-called immortality as the completion and elucidation of earthly life; far profounder and simpler, too, than the only less trite commonplace of hinting to us the mystery of God’s ways in what we call untimely death. The true import of it we take to be the separation of all the world calls success or reward from the life that is thus seeking its highest fulfilment. In conformity with the average doctrine of “compensation,” Amos Barton should have appeared before us at last installed in a comfortable living, much respected by his flock, and on good terms with his brethren and well-to-do neighbours around. With a truer and deeper wisdom, the author places him before us in that brief after-glimpse still a poor, care-worn, bowed-down man, and the sweet daughter-face by his side shows the premature lines of anxiety and sorrow. Love, anguish, and death, working their true fruits within, bring no success or achievement that the eye can note. By all the principles of “poetic justice,” Mr Tryan ought to have recovered and married Janet; under the influence of her larger nature to have shaken off his narrownesses; to have lived down all contempt and opposition, and become the respected influential incumbent of the town; and in due time to have toned down from his “enthusiasm of humanity” into the simply earnest, hard-working, and rather
commonplace town rector. Better, because truer, as it is. Only in the earlier dawn of this higher life of the soul, either in the race or in the individual man; only in the days of the Isaacs and Jacobs of our young humanity, though not with the Abrahams, the Moses’, or the Joshuas even then; only when the soul first begins to apprehend that its true relation to God is to be realised only through the Cross—is there conscience and habitual “respect unto the recompense” of any reward.
In ‘Adam Bede,’ the first of George Eliot’s more elaborate works, the illustrations of the great moral purpose we have assigned to her are so numerous and varied, that it is not easy to select from among them. On the one hand, Dinah Morris—one of the most exquisitely serene and beautiful creations of fiction—and Seth and Adam Bede present to us, variously modified, the aspect of that life which is aiming toward the highest good. On the other hand, Arthur Donnithorne and Hetty Sorrel—poor little vain and shallow-hearted Hetty—bring before us the meanness, the debasement, and, if unarrested, the spiritual and remediless death inevitably associated with and accruing from that “self-pleasing” which, under one form or other, is the essence of all evil and sin. Of these, Arthur Donnithorne and Adam Bede seem to us the two who are most sharply and subtilely contrasted; and to these we shall confine our remarks.
In Arthur Donnithorne, the slight sketch placed before us in Captain Wybrow is elaborated into minute completeness, and at the same time freed from all that made Wybrow even superficially repellent. Handsome, accomplished, and gentlemanly; loving and lovable; finding his keenest enjoyment in the enjoyment of others; irreproachable in life, and free from everything bearing the semblance of vice,—what more could the most exacting fictionist desire to make up his ideal hero? Yet, without ceasing to be all thus portrayed, he scatters desolation and crime in his path. He does this, not through any revulsion of being in himself, but in virtue of that very principle of action from which his lovableness proceeds. Of duty simply as duty, of