FREDERICK W. H. MYERS: ‘George Eliot.’ _Century Magazine_, November, 1881.
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[Sidenote: Her personal bearing.]
[Sidenote: Love of laughter.]
[Sidenote: Distinctively feminine qualities.]
In her personal bearing George Eliot was seldom moved by the hurry which mars all dignity in action. Her commanding brows and deep, penetrating eyes were seconded by the sweet, restrained, impressive speech, which claimed something like an awed attention from strangers. But to those very near to her there was another side of her nature, scarcely suspected by outside friends and acquaintances. No one could be more capable of enjoying and of communicating genuine, loving, hearty, uncontrollable laughter. It was a deep-seated wish, expressed in the poem of ‘Agatha’--“I would have young things merry.” And I remember, many years ago, at the time of our first acquaintance, how deeply it pained her when, in reply to a direct question, I was obliged to admit that, with all my admiration for her books, I found them, on the whole, profoundly sad. But sadness was certainly not the note of her intimate converse. For she had the distinctively feminine qualities which lend a rhythm to the movement of life. The quick sympathy that understands without words; the capacity for creating a complete atmosphere of loving interest; the detachment from outside influences; the delight in everything worthy--even the smallest thing--for its own sake; the readiness to receive as well as to give impressions; the disciplined mental habit which can hold in check and conquer the natural egoism of a massive, powerful personality; the versatility of mind; the varied accomplishments--these are characteristics to be found more highly developed among gifted women than among gifted men.
J. W. CROSS: ‘George Eliot’s Life.’
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[Sidenote: Type of her face.]
The face was one of a group of four, ... all of the same spiritual family, and with a curious interdependence of likeness. These four are Dante, Savonarola, Cardinal Newman and herself.... In the group of which George Eliot was one, there is the same straight wall of brow; the droop of the powerful nose; mobile lips, touched with strong passion kept resolutely under control; a square jaw, which would make the face stern were it not counteracted by the sweet smile of lips and eye.
We can hardly hope that posterity will ever know her from likenesses as those who had the honor of her acquaintance knew her in life. The two or three portraits that exist, though valuable, give but a very imperfect presentment. The mere shape of the head would be the despair of any painter. It was so grand and massive that it would scarcely be possible to represent it without giving the idea of disproportion to the frame, of which no one ever thought for a moment when they saw her, although it was a surprise, when she stood up, to see that, after all, she was but a little fragile woman who bore this weight of brow and brain.
C. KEGAN PAUL: ‘George Eliot.’
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[Sidenote: Her appearance described.]
[Sidenote: Conversation.]
... Her face, instead of beauty, possessed a sweet benignity, and at times flashed into absolute brilliancy. She was older than I had imagined, for her hair, once fair, was gray, and unmistakable lines of care and thought were on the low, broad brow.... Dressed in black velvet, with point lace on her hair, and repeated at throat and wrists, she made me think at once of Romola and Dorothea Brooke.... She talked as she wrote; in descriptive passages, with the same sort of humor, and the same manner of linking events by analogy and inference.
[Sidenote: Her surroundings.]
The walls were covered with pictures. I remember Guido’s Aurora, Michael Angelo’s prophets, Raphael’s sibyls, while all about were sketches, landscapes and crayon drawings, gifts from the most famous living painters, many of whom are friends of the house. A grand piano, open and covered with music, indicated recent and continual use.
MRS. ANNIE DOWNS: ‘A Visit to George Eliot.’ _The Congregationalist_, May 28th, 1879.
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[Sidenote: Account of a visit to George Eliot.]
[Sidenote: Her gracious welcome.]
[Sidenote: Her voice.]
No one who had ever seen her could mistake the large head (her brain must be heavier than most men’s) covered with a mass of rich auburn hair. At first I thought her tall; for one could not think that such a head could rest on an ordinary woman’s shoulders. But, as she rose up, her figure appeared but of medium height. She received me very kindly. In seeing, for the first time, one to whom we owed so many happy hours, it was impossible to feel towards her as a stranger. All distance was removed by her courtesy. Her manners are very sweet, because very simple, and free from affectation. To me her welcome was the more grateful as that of one woman to another. There is a sort of freemasonry among women, by which they understand at once those with whom they have any intellectual sympathy. A few words, and all reserve was gone. “Come, sit by me on this sofa,” she said; and instantly, seated side by side, we were deep in conversation. It is in such intimacy that one feels the magnetism of a large mind informed by a true woman’s heart; then, as the soul shines through the face, one perceives its intellectual beauty. No portrait can give the full expression of the eye, any more than of the voice. Looking into that clear, calm eye, one sees a transparent nature, a soul of goodness and truth, an impression which is deepened as you listen to her soft and gentle tones. A low voice is said to be an excellent thing in woman. It is a special charm of the most finely-cultured English ladies. But never did a sweeter voice fascinate a listener--so soft and low, that one must almost bend to hear.
[Sidenote: Conversation.]
[Sidenote: Tact.]
[Sidenote: Earnestness.]
... I should do her great injustice, if I gave the impression that there was in her conversation any attempt at display. There is no wish to “shine.” She is above that affectation of brilliancy which is often mere flippancy. Nor does she seek to attract homage and admiration. On the contrary, she is very averse to speak of herself, or even to hear the heart-felt praise of others. She does not engross the conversation, but is more eager to listen than to talk. She has that delicate tact--which is one of the fine arts among women--to make others talk, suggesting topics the most rich and fruitful, and by a word drawing the conversation into a channel where it may flow with a broad, free current. Thus she makes you forget the celebrated author, and think only of the refined and highly-cultivated woman. You do not feel awed by her genius, but only quickened by it, as something that calls out all that is better and truer. While there is no attempt to impress you with her intellectual superiority, you feel naturally elevated into a higher sphere. The conversation of itself floats upward into a region above the commonplace. The small-talk of ordinary society would seem an impertinence. There is a singular earnestness about her, as if those mild eyes looked deep into the great, sad, awful truths of existence. To her, life is a serious reality, and the gift of genius a grave responsibility.
MRS. HENRY M. FIELD: ‘Home Sketches in France, and other Papers.’ New York: G. P. Putnam’s Sons, 1875.
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[Sidenote: The character of Casaubon.]
[Sidenote: A confession.]
Mr. Lewes and she were one day good-humoredly recounting the mistaken effusiveness of a too-sympathizing friend, who insisted on assuming that Mr. Casaubon was a portrait of Mr. Lewes, and on condoling with the sad experience which had taught the gifted authoress of ‘Middlemarch’ to depict that gloomy man. And there was indeed something ludicrous in the contrast between the dreary pedant of the novel and the gay self-content of the living _savant_ who stood acting his vivid anecdotes before our eyes. “But from whom, then,” said a friend, turning to Mrs. Lewes, “did you draw Casaubon?” With a humorous solemnity, which was quite in earnest, nevertheless, she pointed to her own heart. She went on to say--and this we could well believe--that there was one character, that of Rosamond Vincy, which she had found it hard to sustain; such complacency of egoism being alien to her own habits of mind. But she laid no claim to any such natural magnanimity as could avert Casaubon’s temptations of jealous vanity, of bitter resentment. No trace of these faults was ever manifest in her conversation. But much of her moral weight was derived from the impression which her friends received that she had not been by any means without her full share of faulty tendencies to begin with, but that she had upbuilt with strenuous pains a resolute virtue--what Plato calls _an iron sense of truth and right_--to which others also, however faulty, by effort might attain.