Defective art is noticeable in the minor as well as the principal features of the dénouement of Griffith Gaunt. There is the case of the unhappy little baby of Mercy. It is plain that the infant is a stumbling-block in its mother's path to Neville Cross; but we have scarcely begun to lament its presence, when it is swiftly put to death by a special despatch from the obliging destiny of the denouement. The event is a coincidence, to say the least, and is scarcely less an operation than the transfusion of blood by which Griffith Gaunt and his wife are preserved to a long life of happiness. But this part of the work is full of wonders. The cruel enchantments are all dissolved by more potent preternatural agencies, and a superhuman prosperity dwells alike with the just and the unjust, Mrs. Ryder excepted, who will probably go to the Devil as some slight compensation for the loss of Griffith Gaunt.
But if the conclusion of the fiction is weak, how great it is in every other part! The management of the plot was so masterly, that the story proceeded without a pause or an improbability until the long fast of a month falling between the feasts of its publication became almost insupportable. It was a plot that grew naturally out of the characters, for humanity is prolific of events, and these characters are all human beings. They are not in the least anachronistic. They act and speak a great deal in the coarse fashion of the good old times. Griffith Gaunt is half tipsy when Kate plights her troth to him; and he is drunk upon an occasion not less solemn and interesting. They are of an age that was very gallant and brutal, that wore goldlace upon its coat, and ever so much profanity upon its speech; and Mr. Reade has treated them with undeniable frankness and sincerity. Mercy Vint alone seems to belong to a better time; but then goodness and purity are the contemporaries of every generation, and, besides, Mercy Vint's puritan character is an exceptional phase of the life of the time. It is admirable to see in this fiction, as we often see in the world, how wise and refined religion makes an ignorant and lowly-bred person. As a retrospective study, Griffith Gaunt cannot be placed below Henry Esmond. As a study of passions and principles that do not change with civilizations, it is even more excellent. Griffith Gaunt himself is the most perfect figure in the book, because the plot does not at any period interfere with his growth. We start with a knowledge of the frankness and generosity native to a somewhat coarse texture of mind, and we readily perceive why a nature so prone to love and wrath should fall a helpless prey to jealousy, which is a thing altogether different from the suspicion of ungenerous spirits. It is jealousy which drives Griffith to deceive Mercy Vint, for even his desolation and his need of her consoling care cannot bring him to it, and it is only when his triumphing rival appears that this frank and kindly soul consents to enact a cruel lie. The crime committed, there is no longer virtue or courage in the man, and we see without surprise his cowardly reluctance to do the one brave and noble thing possible to him, lest he be arrested for bigamy. The letter, so weak and so boisterous, which he gives Mercy Vint to prove him alive before the court, is in keeping with the development of his character; and it is not unnatural that he should think the literal gift of his blood to his wife a sort of compensation and penance for his sins against her. The wonder is that the author should fall into the same error, as he seems to do.
The character of Kate Gaunt is treated in the dénouement with a violence which almost destroys its identity, but throughout the whole previous progress of the story it is a most artistic and consistent creation. From the beautiful girl, so virginal and dreamy and insecure of her destiny in the world, with her high aspirations and her high temper, there is a certain lapse to the handsome matron united with a man beneath her in mind and spirit, and assured of the commonplace fact that in her love and duty to him is her happiness; but as Love must often mate men and women unequally, it is perfectly natural that Love in her case should strive to keep his eyes shut when no longer blind. Great exigencies afterwards develop her character, and it gains in dignity and beauty from her misfortunes, and we do not again think compassionately of her till she is reunited with Griffith. In spite of all her faults, she is wonderfully charming. The reader himself falls in love with her, and perhaps a subtile sense of jealousy and personal loss mingles with his dissatisfaction in seeing her given up again to her unworthy husband. She should have been left a lovely and stately widow, to whom we could all have paid our court, without suffering too poignantly when Sir George Neville finally won her.
