dom this gifted woman has startled the world with such novels as "Scenes from Clerical Life," "Adam Bede," "Mill on the Floss," and "Silas Marner," making an era in English fiction, and raising herself above rivalry. Experience has been much to her: her men are men, her women women, and long did English readers rack their brains to discover the sex of George Eliot. We do not aver that Mrs. Lewes has actually encountered the characters so vividly portrayed by her. Genius looks upon Nature, and then creates. The scene in the pot-house in "Silas Marner" is as perfect as a Dutch painting, yet the author never entered a pot-house. Her strong physique has enabled her to brush against the world, and in thus brushing she has gathered up the dust, fine and coarse, out of which human beings great and small are made. It is a powerful argument in the "Woman Question," that—without going to France for George Sand—"Adam Bede" and the wonderfully unique conception "Paul Ferroll" are women's work and yet real. Men cannot know women by knowing men; and a discriminating public will soon admit, if it has not done so already, that women are quite as capable of drawing male portraits as men are of drawing female. Half a century ago a woman maintained that genius had no sex;—the dawn of this truth is only now flashing upon the world.
We know not whether George Eliot visited Florence con intenzione, yet it almost seems as though "Romola" were the product of that fortnight's sojourn. It could scarce have been written by one whose eye was unfamiliar with the tone of Florentine localities. As a novel, "Romola" is not likely to be popular, however extensively it may be read; but viewed as a sketch of Savonarola and his times, it is most interesting and valuable. The deep research and knowledge of mediæval life and manners displayed are cause of wonderment to erudite Florentines, who have lived to learn from a foreigner. "Son rimasti" to use their own phraseology. The couleur locale is marvellous;—nothing could be more delightfully real, for example, than the scenes which transpire in Nello's barber's-shop. Her dramatis personæ are not English men and women in fancy-dress, but true Tuscans who express themselves after the manner of natives. It would be difficult to find a greater contrast than exists between "Romola" and the previous novels of George Eliot: they have little in common but genius; and genius, we begin to think, has not only no sex, but no nationality. "Romola" has peopled the streets of Florence still more densely to our memory.
It would seem as though the newly revived interest in Savonarola, after centuries of apathy, were a sign of the times. Uprisings of peoples and wars for "ideas" have made such a market for martyrs as was never known before. Could we jest upon what is a most encouraging trait in present humanity, we should say that martyrs were fashionable; for even Toussaint L'Ouverture has found a biographer, and Frenchmen are writing Lives of Jesus. Yet Orthodoxy stigmatizes this age of John Browns as irreligious:—rather do we think it the dawn of the true faith. It is to another habitué of Villino Trollope, Pasquale Villari, Professor of History at Pisa, that we owe in great part the revival of Savonarola's memory; and it must have been no ordinary love for his noble aspirations that led the young Neopolitan exile to bury the ten best years of his life in old Florentine libraries, collecting material for a full life of the friar of San Marco. So faithfully has he done his work, that future writers upon Savonarola will go to Villari, and not to Florentine manuscripts for their facts. This history was published in 1859, and it may be that "Romola" is the flower of the sombre Southern plant. Genius requires but a suggestion to create,—though, indeed, Mr. Lewes, who is a wonderfully clever man, au fait in all things, from acting to languages, living and dead, and from languages to natural history, may have anticipated Villari in that suggestion.
