‘You might have allowed me to beg for a new gown for you, Molly, when you knew how much I admired that figured silk at Brown’s the other day. And now, of course, I can’t be so selfish as to get it for myself, and you to have nothing. You should learn to understand the wishes of other people. Still, on the whole, you are a dear, sweet girl, and I only wish—well, I know what I wish; only dear papa does not like it to be talked about. And now cover me up close, and let me go to sleep, and dream about my dear Cynthia and my new shawl!’
CONCLUDING REMARKS BY THE EDITOR OF THE CORNHILL MAGAZINE
Here the story is broken off, and it can never be finished. What promised to be the crowning work of a life is a memorial of death. A few days longer, and it would have been a triumphal column, crowned with a capital of festal leaves and flowers: now it is another sort of column—one of those sad white pillars which stand broken in the churchyard. 1
But if the work is not quite complete, little remains to be added to it, and that little has been distinctly reflected into our minds. We know that Roger Hamley will marry Molly, and that is what we are most concerned about. Indeed, there was little else to tell. Had the writer lived, she would have sent her hero back to Africa forthwith; and those scientific parts of Africa are a long way from Hamley; and there is not much to choose between a long distance and a long time. How many hours are there in twenty-four when you are all alone in a desert place, a thousand miles from the happiness which might be yours to take—if you were there to take it? How many, when from the sources of the Topinambo your heart flies back ten times a day, like a carrier-pigeon, to the one only source of future good for you, and ten times a day returns with its message undelivered? Many more than are counted on the calendar. So Roger found. The days were weeks that separated him from the time when Molly gave him a certain little flower, and months from the time which divorced him from Cynthia, whom he had begun to doubt before he knew for certain that she was never much worth hoping for. And if such were his days, what was the slow procession of actual weeks and months in those remote and solitary places? They were like years of a stay-at-home life, with liberty and leisure to see that nobody was courting Molly meanwhile. The effect of this was, that long before the term of his engagement was ended all that Cynthia had been to him was departed from Roger’s mind, and all that Molly was and might be to him filled it full.
He returned; but when he saw Molly again he remembered that to her the time of his absence might not have seemed so long, and was oppressed with the old dread that she would think him fickle. Therefore this young gentleman, so self-reliant and so lucid in scientific matters, found it difficult after all to tell Molly how much he hoped she loved him; and might have blundered if he had not thought of beginning by showing her the flower that was plucked from the nosegay How charmingly that scene would have been drawn, had Mrs. Gaskell lived to depict it, we can only imagine: that it would have been charming-especially in what Molly did, and looked, and said—we know
Roger and Molly are married; and if one of them is happier than the other, it is Molly. Her husband has no need to draw upon the little fortune which is to go to poor Osborne’s boy, for he becomes professor at some great scientific institution, and wins his way in the world handsomely. The squire is almost as happy in this marriage as his son. If any one suffers for it, it is Mr. Gibson. But he takes a partner, so as to get a chance of running up to London to stay with Molly for a few days now and then, and ‘to get a little rest from Mrs. Gibson.’ Of what was to happen to Cynthia after her marriage the author was not heard to say much; and, indeed, it does not seem that anything needs to be added. One little anecdote, however, was told of her by Mrs. Gaskell, which is very characteristic. One day, when Cynthia and her husband were on a visit to Hollingford, Mr. Henderson learned for the first time, through an innocent casual remark of Mr. Gibson’s that the famous traveller, Roger Hamley, was known to the family. Cynthia had never happened to mention it. How well that little incident, too, would have been described!
But it is useless to speculate upon what would have been done by the delicate strong hand which can create no more Molly Gibsons—no more Roger Hamleys. We have repeated, in this brief note all that is known of her designs for the story, which would have been completed in another chapter. There is not so much to regret, then, so far as this novel is concerned; indeed, the regrets of those who knew her are less for the loss of the novelist than of the woman—one of the kindest and wisest of her time. But yet, for her own sake as a novelist alone, her untimely death is a matter for deep regret. It is clear in this novel of Wives and Daughters, in the exquisite little story that preceded it, Cousin Phillis,en and in Sylvia’s Lovers,eo that Mrs. Gaskell had within these five years started upon a new career with all the freshness of youth, and with a mind which seemed to have put off its clay and to have been born again. But that ‘put off its clay’ must be taken in a very narrow sense. All minds are tinctured more or less with the ‘muddy vesture’ in which they are contained; but few minds ever showed less of base earth than Mrs. Gaskell’s. It was so at all times; but lately even the original slight tincture seemed to disappear. While you read any one of the last three books we have named, you feel yourself caught out of an abominable wicked world, crawling with selfishness and reeking with base passions, into one where there is much weakness, many mistakes, sufferings long and bitter, but where it is possible for people to live calm and wholesome lives; and, what is more, you feel that this is at least as real a world as the other. The kindly spirit which thinks no ill looks out of her pages irradiate ; and while we read them, we breathe the purer intelligence which prefers to deal with emotions and passions which have a living root in minds within the pale of salvation, and not with those that rot without it. This spirit is more especially declared in Cousin Phillis and Wives and Daughters-their author’s latest works; they seem to show that for her the end of life was not descent amongst the clods of the valley, but ascent into the purer air of the heaven-aspiring hills.
We are saying nothing now of the merely intellectual qualities displayed in these later works. Twenty years to come that may be thought the more important question of the two; in the presence of her grave we cannot think so; but it is true, all the same, that as mere works of art and observation, these later novels of Mrs. Gaskell’s are among the finest of our time. There is a scene in Cousin Phillis—where Holman, making hay with his men, ends the day with a psalm—which is not excelled as a picture in all modern fiction; and the same may be said of that chapter of this last story in which Roger smokes a pipe with the squire after the quarrel with Osborne. There is little in either of these scenes, or in a score of others which succeed each other like gems in a cabinet, which the ordinary novel-maker could ‘seize.’ There is no ‘material’ for him in half a dozen farming men singing hymns in a field, or a discontented old gentleman smoking tobacco with his son. Still less could he avail himself of the miseries of a little girl sent to be happy in a fine house full of fine people; but it is just in such things as these that true genius appears brightest and most unapproachable. It is the same with the personages in Mrs. Gaskell’s works. Cynthia is one of the most difficult characters which have ever been attempted in our time. Perfect art always obscures the difficulties it overcomes; and it is not till we try to follow the processes by which such a character as the Tito of Romola is created, for instance, that we begin to understand what a marvellous piece of work it is. To be sure, Cynthia was not so difficult, nor is it nearly so great a creation as that splendid achievement of art and thought—of the rarest art, of the profoundest thought. But she also belongs to the kind of characters which are conceived only in minds large, clear, harmonious, and just, and which can be portrayed fully and without flaw only by hands obedient to the finest motions of the mind. Viewed in this light, Cynthia is a more important piece of work even than Molly, delicately as she is drawn, and true and harmonious as that picture is also. And what we have said of Cynthia may be said with equal truth of Osborne Hamley. The true delineation of a character like that is as fine a test of art as the painting of a foot or a hand, which also seems so easy, and in which perfection is most rare. In this case the work is perfect. Mrs. Gaskell has drawn a dozen characters more striking than Osborne since she wrote Mary Barton,ep but not one which shows more exquisite finish.