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1866.] she is at least an exquisite describer. But one can as little help feeling that it is no more than a strictly logical retribution, that in her hour of need (dramatically speaking) she should find them indifferent to their duties as heroes. I profoundly doubt whether the central object of a novel may successfully be a passionless creature. The ultimate eclipse, both of Adam Bede and of Felix Holt would seem to justify my question. Tom Tulliver is passionless, and Tom Tulliver lives gratefully in the memory; but this, I take it, is because he is strictly a subordinate figure, and awakens no reaction of feeling on the reader's part by usurping a position which he is not the man to fill.

Dinah Morris is apparently a study from life; and it is warm praise to say, that, in spite of the high key in which she is conceived, morally, she retains many of the warm colors of life. But I confess that it is hard to conceive of a woman so exalted by religious fervor remaining so cool-headed and so temperate. There is in Dinah Morris too close an agreement between her distinguished natural disposition and the action of her religious faith. If by nature she had been passionate, rebellious, selfish, I could better understand her actual self-abnegation. I would look upon it as the logical fruit of a profound religious experience. But as she stands, heart and soul go easily hand in hand. I believe it to be very uncommon for what is called a religious conversion merely to intensify and consecrate pre-existing inclinations. It is usually a change, a wrench; and the new life is apt to be the more sincere as the old one had less in common with it. But, as I have said, Dinah Morris bears so many indications of being a reflection of facts well known to the author,—and the phenomena of Methodism, from the frequency with which their existence is referred to in her pages, appear to be so familiar to her,—that I hesitate to do anything but thankfully accept her portrait. About Hetty Sorrel I shall have no hesitation whatever: I accept her with all my heart. Of all George Eliot's female figures she is the least ambitious, and on the whole, I think, the most successful. The part of the story which concerns her is much the most forcible; and there is something infinitely tragic in the reader's sense of the contrast between the sternly prosaic life of the good people about her, their wholesome decency and their noonday probity, and the dusky sylvan path along which poor Hetty is tripping, light-footed, to her ruin. Hetty's conduct throughout seems to me to be thoroughly consistent. The author has escaped the easy error of representing her as in any degree made serious by suffering. She is vain and superficial by nature; and she remains so to the end. As for Arthur Donnithorne, I would rather have had him either better or worse. I would rather have had a little more premeditation before his fault, or a little more repentance after it; that is, while repentance could still be of use. Not that, all things considered, he is not a very fair image of a frank-hearted, well-meaning, careless, self-indulgent young gentleman; but the author has in his case committed the error which in Hetty's she avoided,—the error of showing him as redeemed by suffering. I cannot but think that he was as weak as she. A weak woman, indeed, is weaker than a weak man; but Arthur Donnithorne was a superficial fellow, a person emphatically not to be moved by a shock of conscience into a really interesting and dignified attitude, such as he is made to assume at the close of the book. Why not see things in their nakedness? the impatient reader is tempted to ask. Why not let passions and foibles play themselves out?

It is as a picture, or rather as a series of pictures, that I find "Adam Bede" most valuable. The author succeeds better in drawing attitudes of feeling than in drawing movements of feeling. Indeed, the only attempt at development of character or of purpose in the book occurs in the case of Arthur Donnithorne, where the