epigrammatic sallies. But now, after a second reading, Mrs. Poyser is the last figure I think of, and a fresh perusal of her witticisms has considerably diminished their classical flavor. And if I must tell the truth, Adam himself is next to the last; and sweet Dinah Morris third from the last. The person immediately evoked by the title of the work is poor Hetty Sorrel. Mrs. Poyser is too epigrammatic; her wisdom smells of the lamp. I do not mean to say that she is not natural, and that women of her class are not often gifted with her homely fluency, her penetration, and her turn for forcible analogies. But she is too sustained; her morality is too shrill,—too much in staccato; she too seldom subsides into the commonplace. Yet it cannot be denied that she puts things very happily. Remonstrating with Dinah Morris on the undue disinterestedness of her religious notions, "But for the matter o' that," she cries, "if everybody was to do like you, the world must come to a stand-still; for if everybody tried to do without house and home and eating and drinking, and was always talking as we must despise the things o' the world, as you say, I should like to know where the pick of the stock, and the corn, and the best new milk-cheeses 'ud have to go? Everybody 'ud be wanting to make bread o' tail ends, and everybody 'ud be running after everybody else to preach to 'em, i'stead o' bringing up their families and laying by against a bad harvest." And when Hetty comes home late from the Chase, and alleges in excuse that the clock at home is so much earlier than the clock at the great house: "What, you'd be wanting the clock set by gentlefolks' time, would you? an' sit up burning candle, and lie a-bed wi' the sun a-bakin' you, like a cowcumber i' the frame?" Mrs. Poyser has something almost of Yankee shrewdness and angularity; but the figure of a New England rural housewife would lack a whole range of Mrs. Poyser's feelings, which, whatever may be its effect in real life, gives its subject in a novel at least a very picturesque richness of color; the constant sense, namely, of a superincumbent layer of "gentlefolks," whom she and her companions can never raise their heads unduly without hitting.
My chief complaint with Adam Bede himself is that he is too good. He is meant, I conceive, to be every inch a man; but, to my mind, there are several inches wanting. He lacks spontaneity and sensibility, he is too stiff-backed. He lacks that supreme quality without which a man can never be interesting to men,—the capacity to be tempted. His nature is without richness or responsiveness. I doubt not that such men as he exist, especially in the author's thrice-English Loamshire; she has partially described them as a class, with a felicity which carries conviction. She claims for her hero that, although a plain man, he was as little an ordinary man as he was a genius.
"He was not an average man. Yet such men as he are reared here and there in every generation of our peasant artisans, with an inheritance of affections nurtured by a simple family life of common need and common industry, and an inheritance of faculties trained in skilful, courageous labor; they make their way upward, rarely as geniuses, most commonly as painstaking, honest men, with the skill and conscience to do well the tasks that lie before them. Their lives have no discernible echo beyond the neighborhood where they dwelt; but you are almost sure to find there some good piece of road, some building, some application of mineral produce, some improvement in farming practice, some reform of parish abuses, with which their names are associated by one or two generations after them. Their employers were the richer for them; the work of their hands has worn well, and the work of their brains has guided well the hands of other men."
One cannot help feeling thankful to the kindly writer who attempts to perpetuate their memories beyond the generations which profit immediately by their toil. If she is not a great dramatist,
