open-eyed, loving” young

Maynard?  Because “it is with men as with trees: if you lop off their finest branches into which they were pouring their young life-juice, the wounds will be healed over with some rough boss, some odd excrescence, and what might have been a grand tree, expanding into liberal shade, is but a whimsical, misshapen trunk.  Many an irritating fault, many an unlovely oddity, has come of a hard sorrow which has crushed and maimed the nature just when it was expanding into plenteous beauty; and the trivial, erring life, which we visit with our harsh blame, may be but as the unsteady motion of a man whose best limb is withered.  The dear old Vicar had been sketched out by nature as a noble tree.  The heart of him was sound, the grain was of the finest, and in the gray-haired man, with his slipshod talk and caustic tongue, there was the main trunk of the same brave, faithful, tender nature that had poured out the finest, freshest forces of its life-current in a first and only love.”

Her style is influenced by her purpose—may be said, indeed, to be created by it.  The excellences and the blemishes of the diction come of the end sought to be attained by it.  Its subtleties and obscurities were equally inevitable.  Analytical thinking takes on an analytical phraseology.  It is a striking instance of a mental habit creating a vocabulary.  The method of thought produces the form of rhetoric.  Some of the sentences are mental landscapes.  The meaning seems to be in motion on the page.  It is elusive from its very subtlety.  It is more our analyst than her character of Rufus Lyon, who “would fain find language subtle enough to follow the utmost intricacies of the soul’s pathways.”  Mrs. Transome’s “lancet-edged epigrams” are dull in comparison with her own.  She uses them with startling success in dissecting motive and analyzing feeling.  They deserve as great renown as “Nélaton’s probe.”

For example: “Examine your words well, and you will find that even when you have no motive to be false, it is a very hard thing to say the exact truth, especially about your own feelings—

much harder than to say something fine about them which is not the exact truth.”  That ought to make such a revelation of the religious diary-keeper to himself as to make him ashamed of himself.  And this will fit in here: “Our consciences are not of the same pattern, an inner deliverance of fixed laws—they are the voice of sensibilities as various as our memories;” and this: “Every strong feeling makes to itself a conscience of its own—has its own piety.”

Who can say that the joints of his armor are not open to this thrust?  “The lapse of time during which a given event has not happened is in the logic of habit, constantly alleged as a reason why the event should never happen, even when the lapse of time is precisely the added condition which makes the event imminent.  A man will tell you that he worked in a mine for forty years unhurt by an accident as a reason why he should apprehend no danger, though the roof is beginning to sink.”  Silas Marner lost his money through his “sense of security,” which “more frequently springs from habit than conviction.”  He went unrobbed for fifteen years, which supplied the only needed condition for his being robbed now.  A compensation for stupidity: “If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel’s heart beat, and we should die of that roar that lies on the other side of silence.  As it is, the quickest of us walk about well wadded with stupidity.”  Who does not at once recognize “that mixture of pushing forward and being pushed forward” as “the brief history of most human beings?”  Who has not seen “advancement hindered by impetuous candor?” or “private grudges christened by the name of public zeal?” or “a church built with an exuberance of faith and a deficiency of funds?” or a man “who would march determinedly along the road he thought best, but who was easily convinced which was best?” or a preacher “whose oratory was like a Belgian railway horn, which shows praiseworthy intentions inadequately fulfilled?”

There is something chemical about such an analysis as this

of Rosamond: “Every nerve and muscle was adjusted to the consciousness that she was being looked at.  She was by nature an actress of parts that entered into her physique.  She even acted her own character, and so well that she did not know it to be precisely her own!”  Nor is the exactness of this any less cruel: “We may handle extreme opinions with impunity, while our furniture and our dinner-giving link us to the established order.”  Why not own that “the emptiness of all things is never so striking to us as when we fail in them?”  Is it not better to avoid “following great reformers beyond the threshold of their own homes?”  Does not “our moral sense learn the manners of good society?”

The lancet works impartially, because the hand that holds it is the hand of a conscientious artist.  She will endure the severest test you can apply to an artist in fiction.  She does not betray any religious bias in her novels, which is all the more remarkable now that we find it in these essays.  Nor is it at all remarkable that this bias is so very easily discovered in the novels by those who have found it in her essays!  Whatever opinions she may have expressed in her critical reviews, she is not the Evangelical, or the Puritan, or the Jew, or the Methodist, or the Dissenting Minister, or the Churchman, any more than she is the Radical, the Liberal, or the Tory, who talks in the pages of her fiction.

Every side has its say, every prejudice its voice, and every prejudice and side and vagary even has the philosophical reason given for it, and the charitable explanation applied to it.  She analyzes the religious motives without obtrusive criticism or acrid cynicism or nauseous cant—whether of the orthodox or heretical form.

The art of fiction has nothing more elevated, or more touching, or fairer to every variety of religious experience, than the delineation of the motives that actuated Dinah Morris the Methodist preacher, Deronda the Jew, Dorothea the Puritan, Adam and Seth Bede, and Janet Dempster.

Who can object to this?  “Religious ideas have the fate of

melodies, which, once set afloat in the world, are taken up by all sorts of instruments, some of them woefully coarse, feeble, or out of tune, until people are in danger of crying out that the melody itself is detestable.”  Is it not one of the “mixed results of revivals” that “some gain a religious vocabulary rather than a religious experience?”  Is there a descendant of the Puritans who will not relish the fair play of this?  “They might give the name of piety to much that was only Puritanic egoism; they might call many things sin that were not sin, but they had at least the feeling that sin was to be avoided and resisted, and color-blindness, which may mistake drab for scarlet, is better than total blindness, which sees no distinction of color at all.”  Is not Adam Bede justified in saying that “to hear some preachers you’d think a man must be doing nothing all his life but shutting his eyes and looking at what’s going on in the inside of him,” or that “the doctrines are like finding names for your feelings so that you can talk of them when you’ve never known them?”  Read all she has said before you object to anything she has said.  Then see whether you will find fault with her for delineating the motives of those with whom