An American Tragedy

Chapter 3

One of the things that served to darken Clyde’s mood just about the time when he was seeking some practical solution for himself, to say nothing of its profoundly disheartening effect on the Griffiths family as a whole, was the fact that his sister Esta, in whom he took no little interest (although they really had very little in common), ran away from home with an actor who happened to be playing in Kansas City and who took a passing fancy for her.

The truth in regard to Esta was that in spite of her guarded up-bringing, and the seeming religious and moral fervor which at times appeared to characterize her, she was just a sensuous, weak girl who did not by any means know yet what she thought. Despite the atmosphere in which she moved, essentially she was not of it. Like the large majority of those who profess and daily repeat the dogmas and creeds of the world, she had come into her practices and imagined attitude so insensibly from her earliest childhood on, that up to this time, and even later, she did not know the meaning of it all. For the necessity of thought had been obviated by advice and law, or “revealed” truth, and so long as other theories or situations and impulses of an external or even internal, character did not arise to clash with these, she was safe enough. Once they did, however, it was a foregone conclusion that her religious notions, not being grounded on any conviction or temperamental bias of her own, were not likely to withstand the shock. So that all the while, and not unlike her brother Clyde, her thoughts as well as her emotions were wandering here and there — to love, to comfort — to things which in the main had little, if anything, to do with any self-abnegating and self-immolating religious theory. Within her was a chemism of dreams which somehow counteracted all they had to say.

Yet she had neither Clyde’s force, nor, on the other hand, his resistance. She was in the main a drifter, with a vague yearning toward pretty dresses, hats, shoes, ribbons and the like, and super-imposed above this, the religious theory or notion that she should not be. There were the long bright streets of a morning and afternoon after school or of an evening. The charm of certain girls swinging along together, arms locked, secrets a-whispering, or that of boys, clownish, yet revealing through their bounding ridiculous animality the force and meaning of that chemistry and urge toward mating which lies back of all youthful thought and action. And in herself, as from time to time she observed lovers or flirtation-seekers who lingered at street corners or about doorways, and who looked at her in a longing and seeking way, there was a stirring, a nerve plasm palpitation that spoke loudly for all the seemingly material things of life, not for the thin pleasantries of heaven.

And the glances drilled her like an invisible ray, for she was pleasing to look at and was growing more attractive hourly. And the moods in others awakened responsive moods in her, those rearranging chemisms upon which all the morality or immorality of the world is based.

And then one day, as she was coming home from school, a youth of that plausible variety known as “masher” engaged her in conversation, largely because of a look and a mood which seemed to invite it. And there was little to stay her, for she was essentially yielding, if not amorous. Yet so great had been her home drilling as to the need of modesty, circumspection, purity and the like, that on this occasion at least there was no danger of any immediate lapse. Only this attack once made, others followed, were accepted, or not so quickly fled from, and by degrees, these served to break down that wall of reserve which her home training had served to erect. She became secretive and hid her ways from her parents.

Youths occasionally walked and talked with her in spite of herself. They demolished that excessive shyness which had been hers, and which had served to put others aside for a time at least. She wished for other contacts — dreamed of some bright, gay, wonderful love of some kind, with some one.

Finally, after a slow but vigorous internal growth of mood and desire, there came this actor, one of those vain, handsome, animal personalities, all clothes and airs, but no morals (no taste, no courtesy or real tenderness even), but of compelling magnetism, who was able within the space of one brief week and a few meetings to completely befuddle and enmesh her so that she was really his to do with as he wished. And the truth was that he scarcely cared for her at all. To him, dull as he was, she was just another girl — fairly pretty, obviously sensuous and inexperienced, a silly who could be taken by a few soft words — a show of seemingly sincere affection, talk of the opportunity of a broader, freer life on the road, in other great cities, as his wife.

And yet his words were those of a lover who would be true forever. All she had to do, as he explained to her, was to come away with him and be his bride, at once — now. Delay was so vain when two such as they had met. There was difficulty about marriage here, which he could not explain — it related to friends — but in St. Louis he had a preacher friend who would wed them. She was to have new and better clothes than she had ever known, delicious adventures, love. She would travel with him and see the great world. She would never need to trouble more about anything save him; and while it was truth to her — the verbal surety of a genuine passion — to him it was the most ancient and serviceable type of blarney, often used before and often successful.

In a single week then, at odd hours, morning, afternoon and night, this chemic witchery was accomplished.

George Eliot

Mary Anne (alternatively Mary Ann or Marian) Evans (1819 – 1880), better known by her pen name George Eliot, is an English novelist, journalist and translator, and one of the leading writers of the Victorian era. She is the author of seven novels, including Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Middlemarch(1871–72), and Daniel Deronda (1876), most of them set in provincial England and well known for their realism and psychological insight. She used a male pen name, she said, to ensure her works would be taken seriously. Female authors were published under their own names during Eliot's life, but she wanted to escape the stereotype of women only writing lighthearted romances. An additional factor in her use of a pen name may have been a desire to shield her private life from public scrutiny.

Readers in the Victorian era particularly praised her books for their depictions of rural society, for which she drew on her own early experiences, and she shared with Wordsworth the belief that there was much interest and importance in the mundane details of ordinary country lives. Eliot did not, however, confine herself to her bucolic roots

The religious elements in her fiction also owe much to her upbringing, with the experiences of Maggie Tulliver from The Mill on the Floss sharing many similarities with the young Mary Anne Evans's own development. She was at her most autobiographical in Looking Backwards, part of her final printed work Impressions of Theophrastus Such. By the time of Daniel Deronda, Eliot's sales were falling off, and she faded from public view to some degree. This was not helped by the biography written by her husband after her death, which portrayed a wonderful, almost saintly, woman totally at odds with the scandalous life people knew she had led. In the 20th century she was championed by a new breed of critics, most notably by Virginia Woolf, who called Middlemarch "one of the few English novels written for grown-up people". The various film and television adaptations of Eliot's books have re-introduced her to the wider reading public.

Adam Bede

1. The Workshop

With a single drop of ink for a mirror, the Egyptian sorcerer undertakes to reveal to any chance comer far-reaching visions of the past. This is what I undertake to do for you, reader. With this drop of ink at the end of my pen, I will show you the roomy workshop of Mr. Jonathan Burge, carpenter and builder, in the village of Hay slope, as it appeared on the eighteenth of June, in the year of our Lord 1799.

The afternoon sun was warm on the five workmen there, busy upon doors and window-frames and wainscoting. A scent of pine-wood from a ten tlike pile of planks outside the open door mingled itself with the scent of the elder-bushes which were spreading their summer snow close to the open window opposite; the slanting sunbeams shone through the transparent shavings that flew before the steady plane, and lit up the fine grain of the oak panelling which stood propped against the wall. On a heap of those soft shavings a rough, grey shepherd dog had made himself a pleasant bed, and was lying with his nose between his forepaws, occasionally wrinkling his brows to cast a glance at the tallest of the five workmen, who was carving a shield in the centre of a wooden mantelpiece. It was to this workman that the strong barytone belonged which was heard above the sound of plane and hammer singing--Awake, my soul, and with the sun Thy daily stage of duty run; Shake off dull sloth... Here some measurement was to be taken which required more concentrated attention, and the sonorous voice subsided into a low whistle; but it presently broke out again with renewed vigour-- Let all thy converse be sincere, Thy conscience as the noonday clear. Such a voice could only come from a broad chest, and the broad chest belonged to a large-boned, muscular man nearly six feet high, with a back so flat and a head so well poised that when he drew himself up to take a more distant survey of his work, he had the air of a soldier standing at ease. The sleeve rolled up above the elbow showed an arm that was likely to win the prize for feats of strength; yet the long supple hand, with its broad finger-tips, looked ready for works of skill. In his tall stalwartness Adam Bede was a Saxon, and justified his name; but the jet-black hair, made the more noticeable by its contrast with the light paper cap, and the keen glance of the dark eyes that shone from under strongly marked, prominent and mobile eyebrows, indicated a mixture of Celtic blood. The face was large and roughly hewn, and when in repose had no other beauty than such as belongs to an expression of good-humoured honest intelligence.

It is clear at a glance that the next workman is Adam's brother. He is nearly as tall; he has the same type of features, the same hue of hair and complexion; but the strength of the family likeness seems only to render more conspicuous the remarkable difference of expression both in form and face. Seth's broad shoulders have a slight stoop; his eyes are grey; his eyebrows have less prominence and more repose than his brother's; and his glance, instead of being keen, is confiding and benign. He has thrown off his paper cap, and you see that his hair is not thick and straight, like Adam's, but thin and wavy, allowing you to discern the exact contour of a coronal arch that predominates very decidedly over the brow.

The idle tramps always felt sure they could get a copper from Seth; they scarcely ever spoke to Adam. The concert of the tools and Adam's voice was at last broken by Seth, who, lifting the door at which he had been working intently, placed it against the wall, and said, "There! I've finished my door to-day, anyhow." The workmen all looked up; Jim Salt, a burly, red-haired man known as Sandy Jim, paused from his planing, and Adam said to Seth, with a sharp glance of surprise, "What! Dost think thee'st finished the door?"

"Aye, sure," said Seth, with answering surprise; "what's awanting to't?" A loud roar of laughter from the other three workmen made Seth look round confusedly. Adam did not join in the laughter, but there was a slight smile on his face as he said, in a gentler tone than before, "Why, thee'st forgot the panels." The laughter burst out afresh as Seth clapped his hands to his head, and coloured over brow and crown.

"Hoorray!" shouted a small lithe fellow called Wiry Ben, running forward and seizing the door. "We'll hang up th' door at fur end o' th' shop an' write on't 'Seth Bede, the Methody, his work.' Here, Jim, lend's hould o' th' red pot." "Nonsense!" said Adam. "Let it alone, Ben Cranage. You'll mayhap be making such a slip yourself some day; you'll laugh o' th' other side o' your mouth then." "Catch me at it, Adam. It'll be a good while afore my head's full o' th' Methodies," said Ben. "Nay, but it's often full o' drink, and that's worse." Ben, however, had now got the "red pot" in his hand, and was about to begin writing his inscription, making, by way of preliminary, an imaginary S in the air. "Let it alone, will you?" Adam called out, laying down his tools, striding up to Ben, and seizing his right shoulder. "Let it alone, or I'll shake the soul out o' your body."

Ben shook in Adam's iron grasp, but, like a plucky small man as he was, he didn't mean to give in. With his left hand he snatched the brush from his powerless right, and made a movement as if he would perform the feat of writing with his left. In a moment Adam turned him round, seized his other shoulder, and, pushing him along, pinned him against the wall. But now Seth spoke. "Let be, Addy, let be. Ben will be joking. Why, he's i' the right to laugh at me--I canna help laughing at myself." "I shan't loose him till he promises to let the door alone," said Adam. "Come, Ben, lad," said Seth, in a persuasive tone, "don't let's have a quarrel about it. You know Adam will have his way. You may's well try to turn a waggon in a narrow lane. Say you'll leave the door alone, and make an end on't." "I binna frighted at Adam," said Ben, "but I donna mind sayin' as I'll let 't alone at your askin', Seth."

George Eliot

Date: 2015-12-24; view: 758