Page:The Atlantic Monthly, Volume 18.djvu/776

768 concerning Mr. Readers management of the moralities and the proprieties, but no question at all, we think, as to the wonderful power he has shown, and the interest he has awakened. Even those who have blamed him have followed him eagerly,—without doubt to see what crowning insult he would put upon decency, and to be confirmed in their virtuous abhorrence of his work. It is to be hoped that these have been disappointed, for it must be confessed that, in the dénouement of the novel, others who totally differed from them in purpose and opinion have been brought to some confusion.

It is not as a moralist that we have primarily to find fault with Mr. Reade, but as an artist, for his moral would have been good if his art had been true. The work, up to the conclusion of Catharine Gaunt's trial, is in all respects too fine and high to provoke any reproach from us; after that, we can only admire it as a piece of literary gallantry and desperate resolution. "C'est magnifique; mais ce n'est pas la guerre." It is courageous, but it is not art. It is because of the splendid elan in all Mr. Reade writes, that in his failure he does not fall flat upon the compassion of his reader, as Mr. Dickens does with his "Golden Dustman." But it is a failure, nevertheless; and it must become a serious question in aesthetics how far the spellbound reader may be tortured with an interest which the power awakening it is not adequate to gratify. Is it generous, is it just in a novelist, to lift us up to a pitch of tragic frenzy, and then drop us down into the last scene of a comic opera? We refuse to be comforted by the fact that the novelist does not, perhaps, consciously mock our expectation.

Let us take the moral of "Griffith Gaunt,"—so poignant and effective for the most part,—and see how lamentably it suffers from the defective art of the dénouement. In brief: up to the end of Mrs. Gaunt's trial we are presented with a terrible image of the evils that jealousy, anger, and lies bring upon their guilty and innocent victims. Griffith Gaunt is made to suffer—as men in life suffer—a dreadful remorse and anguish for the crimes he has committed and the falsehoods to which they have committed him. A man with a heart at first tender and true becomes a son of perdition, utterly incapable of tenderness and truth,—consciously held away from them by ever-cumulative force. The spectacle is not new,—it is old as sin itself; but it is here revealed with the freshest and most authentic power, and with a repelling efficacy which we have seldom seen equalled in literature. Mrs. Gaunt justly endures the trouble brought upon her by pride and unbridled bad temper, and unavoidably endures the consequences of another's wrong. Mercy Vint is a guiltless and lovely sacrifice to both almost equally.

What is the end? Mercy Vint is given in marriage to the honestest and faithfulest gentleman in the book, whose heroism we admire without envying. But in any case so good a woman would have achieved peace for herself, and it is at some cost to our regard for her entirety that we consent to see her rewarded by being made a nobleman's wife and the mother of nine children. In this character she lives a life less perfect and consequent than she might have led in a station less exalted, but distant from the circles in which she could not appear at the same time with the man who had infamously wronged her without exciting whispers painful to herself and embarrassing to her husband. Indeed, there seems to be rather more of vicarious expiation in her fate than the interests of population and of "young women who have been betrayed" have any right to demand.

Mrs. Gaunt fully expiates her error before her trial ends. But how of her husband? Mr. Reade seems to like his Griffith Gaunt, who is not to our mind, and who is never less worthy of happiness than at the moment when his wife forgives him. It is not that he is a bigamist and betrayer of innocence that his redemption seems impossible through the means employed; but how can Catharine Gaunt love a coward and sneak, even in the wisdom which a court of justice has taught her? This furious and stupid traitor is afraid to appear and save his wife lest he be branded in the hand; and we are to pardon him because, at no risk to himself, he gives the worthless blood of his veins to rescue her from death. If the fable teaches anything in Griffith Gaunt's case, it is this: Betray two noble women, and after some difficulty you shall get rid of one, be forgiven by the other, come into a handsome property, and have a large and interesting family. If the reader will take the fate of Griffith Gaunt and contrast it with that of Tito Melema, in "Romola," he shall see all the difference that passes between an artificial and an artistic solution of a moral problem.