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156 having but little resemblance to an Italian woman of the fifteenth century, seems to me less relevant. The lofty dignity, the pride, the intense adhesion to family traditions were, on the contrary, very marked attributes of a high national type during the period of Italian supremacy. In fact, the character is not without hints and suggestions of such a woman as Vittoria Colonna, while its didactic tendency slightly recalls "those awful women of Italy who held professorial chairs, and were great in civil and canon law." In one sense Romola is a true child of the Renaissance. Brought up by her father, the enthusiastic old scholar, in pagan ideas, she had remained aloof from Roman Catholic beliefs and superstitions, and even when transformed by the mighty influence of Savonarola into a devoted Piagnone, her attitude always remains more or less that of a Protestant, unwilling to surrender the right of private judgment to the Church.

The clash of character when a woman like Romola finds herself chained in a life-long bond to such a nature as Tito's—the beautiful, wily, insinuating Greek—is wrought out with wonderful skill and matchless subtlety of analysis. Indeed Tito is not only one of George Eliot's most original creations, he is a unique character in fiction. Novelists, as a rule, only depict the full-blown villain or traitor, their virtuous and wicked people being separated from each other by a hard and fast line much like the goats and sheep. They continually treat character as something permanent and unchangeable, whereas to George Eliot it presents itself as an organism flexible by nature, subject to change under varying conditions, liable on the one hand to disease and