"'Nonsense! There's no pleasure for old women. . . . . . What are your pleasures, Denner, besides being a slave to me?'
"O, there's pleasure in knowing one is not a fool, like half the people one sees about. And managing one's husband is some pleasure, and doing one's business well. Why, if I've only got some orange-flowers to candy, I shouldn't like to die till I see them all right. Then there's the sunshine now and then; I like that, as the cats do. I look upon it life is like our game at whist, when Banks and his wife come to the still-room of an evening. I don't enjoy the game much, but I like to play my cards well, and see what will be the end of it; and I want to see you make the best of your hand, madam, for your luck has been mine these forty years now.'"
And, on another occasion, when her mistress exclaims, in a fit of distress, that "God was cruel when he made women," the author says:—
"The waiting-woman had none of that awe which could be turned into defiance; the sacred grove was a common thicket to her.
"'It mayn't be good luck to be a woman,' she said. 'But one begins with it from a baby; one gets used to it. And I shouldn't like to be a man,—to cough so loud, and stand straddling about on a wet day, and be so wasteful with meat and drink. They're a coarse lot, I think.'"
I should think they were, beside Mrs. Denner.
This glimpse of her is made up of what I have called the author's touches. She excels in the portrayal of homely stationary figures for which her well-stored memory furnishes her with types. Here is another touch, in which satire predominates. Harold Transome makes a speech to the electors at Treby.
"Harold's only interruption came from his own party. The oratorical clerk at the Factory, acting as the tribune of the dissenting interest, and feeling bound to put questions, might have been troublesome; but his voice being unpleasantly sharp, while Harold's was full and penetrating, the questioning was cried down."
Of the four English stories, "The Mill on the Floss" seems to me to have most dramatic continuity, in distinction from that descriptive, discursive method of narration which I have attempted to indicate. After Hetty Sorrel, I think Maggie Tulliver the most successful of the author's young women, and after Tito Melema, Tom Tulliver the best of her young men. English novels abound in pictures of childhood; but I know of none more truthful and touching than the early pages of this work. Poor erratic Maggie is worth a hundred of her positive brother, and yet on the very threshold of life she is compelled to accept him as her master. He falls naturally into the man's privilege of always being in the right. The following scene is more than a reminiscence; it is a real retrospect. Tom and Maggie are sitting upon the bough of an elder-tree, eating jam-puffs. At last only one remains, and Tom undertakes to divide it.
"The knife descended on the puff, and it was in two; but the result was not satisfactory to Tom, for he still eyed the halves doubtfully. At last he said, 'Shut your eyes, Maggie.'
"'What for?'
"'You never mind what for,—shut 'em when I tell you.'
"Maggie obeyed.
"'Now, which 'll you have, Maggie, right hand or left?'
"'I'll have that one with the jam run out,' said Maggie, keeping her eyes shut to please Tom.
"'Why, you don't like that, you silly. You may have it if it comes to you fair, but I sha'n't give it to you without. Right or left,—you choose now. Ha-a-a!' said Tom, in a tone of exasperation, as Maggie peeped. 'You keep your eyes shut now, else you sha'n't have any.'
"Maggie's power of sacrifice did not extend so far; indeed, I fear she
