George Eliot; a Critical Study of Her Life, Writings and PhilosophyCooke, George Willis
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George Eliot; a Critical Study of Her Life, Writings and Philosophy
Cooke, George Willis
Eliot, George, 1819-1880; Novelists, English -- 19th century -- Biography
The ride to Stone Court, which Fred and Rosamond took the next morning,
lay through a pretty bit of midland landscape, almost all meadows and
pastures, with hedgerows still allowed to grow in bushy beauty, and to
spread out coral fruit for the birds. Little details gave each field a
particular physiognomy, dear to the eyes that have looked on them from
childhood; the pool in the corner where the grasses were dank and
trees leaned whisperingly; the great oak shadowing a bare place in
mid-pasture; the high bank where the ash-trees grew; the sudden slope
of the old marl-pit making a red background for the burdock; the
huddled roofs and ricks of the homestead without a traceable way of
approach; the gray gate and fences against the depths of the bordering
wood; and the stray hovel, its old, old thatch full of mossy hills and
valleys, with wondrous modulations of light and shadow, such as we
travel far to see in later life, and see larger, but not more
beautiful. These are the things that made the gamut of joy in landscape
to midland-bred souls--the things they toddled among, or perhaps
learned by heart, standing between their father's knees while he drove
leisurely. [Footnote: Middlemarch, chapter XII.]
It is nature as affecting man, and man as transformed into a creature of
feeling and passion by the mysterious conditions of his existence, which
oftenest arouses the poetic fervor in her. The enthusiasm of high resolves,
yearnings after the pure and beautiful, and love's regenerating power, give
to her themes which kindle poetic expression to a glow. The vision of
Mordecai on Blackfriars' bridge affords a fine example of her love of the
ideal in moral purpose, and shows how stimulating it is to her imagination.
It is a poetic picture of the finest quality she has given in this chapter,
one that could easily have been made to find expression in verse of great
beauty; but it is poetry in thought and spirit alone, not in form or
structure. It is true prose in form, strong in its fulness of detail, knit
together with words of the right texture, built up into a true prose image
of beauty in thought.
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