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- Herausgeber: e-artnow Collections
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
Tales of the English Countryside – 3 Classic Literary Fictions is a captivating anthology that weaves together the thematic richness of rural England through the unique perspectives of its contributing authors. The collection highlights the rustic landscapes and intricate social dynamics of the 19th-century English countryside, offering a tapestry of narratives that blend realism, romanticism, and social critique. Each story serves as a lens into the pastoral life, exploring themes of love, morality, and societal change with both poignancy and depth, making this collection a significant addition to the literary canon of the period. The anthology features the works of George Eliot, Elizabeth Cleghorn Gaskell, and Thomas Hardy, each renowned for their profound contributions to English literature. These authors collectively explore the intersections of human experience and natural environment, drawing from their own interactions with the cultural and historical shifts of the Victorian era. Their narratives are informed by personal insights and societal observations, reflecting the rapidly changing world around them. Such diverse literary voices provide a rich contextual framework, allowing readers to trace the evolution of literary movements like realism and romanticism within the anthology. For readers eager to traverse the landscapes of Victorian England through a compendium of voices, Tales of the English Countryside offers a uniquely enriching experience. This anthology not only provides a window into the diverse storytelling traditions of the time but also encourages dialogue on themes still relevant today. Its multifaceted approach and the harmonious blend of narrative styles make it an invaluable resource for both literary enthusiasts and scholars seeking to comprehend the enduring allure of the English countryside across literary history.
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Veröffentlichungsjahr: 2025
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Tales of the English Countryside – 3 Classic Literary Fictions
Table of Contents
Introduction
Curatorial Vision
These three narratives by George Eliot, Elizabeth Cleghorn Gaskell, and Thomas Hardy are gathered to illuminate the English countryside as a crucible of character, conscience, and change. Each work turns rural life into a stage where intimate decisions carry communal repercussions, and where place acts not as backdrop but as pressure and promise. The aim is to foreground how village lanes, fields, and heaths shape ethical vision as forcefully as any city street. Together they ask how belonging is earned, how suspicion forms, and how repair might begin, while keeping faith with the textures of labor, ritual, and seasonal time.
Silas Marner probes withdrawal and renewal through a plainstyle moral intensity; A Dark Night’s Work distills secrecy, guilt, and responsibility into the tight focus of domestic crisis; The Return of the Native widens the horizon to a tragic encounter between desire and the stubbornness of place. This range of scale—novel of intimate conscience, nocturne of culpability, tragic pastoral—shows a through-line: the testing of character when custom collides with contingency. The collection underscores recurring motifs of trust and betrayal, the economies of care and money, and the way laboring landscapes become mirrors for moral imagination.
Presented side by side rather than in isolation, these works offer a composite portrait that accentuates continuities and reveals productive frictions. Read sequentially or in conversation, they trace an arc from the possibility of communal restoration to darker reckonings with irreversible choice. The juxtaposition invites attention to shifts in scale, from cottage hearth to wide heath, and to changing registers of irony and compassion. It also highlights how different narrative tempos—measured, brisk, fateful—modulate similar ethical questions, allowing readers to perceive inner kinships that may be less evident when each work is encountered alone.
The curatorial aim is not to reduce the countryside to nostalgia, but to frame it as a site where modernity arrives unevenly, testing loyalties and identities. Each selection turns on how small communities negotiate difference, how private wounds become public narratives, and how nature can both shelter and expose. By linking these inquiries across three distinct voices, the collection emphasizes the countryside’s capacity to stage conflicts between habit and aspiration, security and risk. In doing so, it offers a concentrated field for thinking about responsibility, reciprocity, and the stubborn afterlives of even the quietest choices.
Thematic & Aesthetic Interplay
Across the volume, secrecy functions as both fuel and fog: concealed acts, misunderstood motives, and half-known histories generate moral weather that can nourish or devastate. Communities respond with rumor, pity, or suspicion, and the consequences radiate through work, worship, and kinship. Loss is a recurring threshold; so is the possibility of a redrawn belonging. Money, property, and craft—whether weaving, managing households, or working the land—become ethical instruments as much as material ones. These repeating motifs allow the texts to echo one another, turning familiar rural objects and routines into emblems of trust, accountability, and fragile hope.
The tonal palette varies in ways that create dialogue. Eliot’s measured, humane irony disciplines judgment even as it exposes error, offering a patient clarity about motives and consequences. Gaskell compresses that ethical inquiry into a taut study of culpability that balances tenderness with suspense. Hardy, by contrast, stages desire and will against an elemental landscape, combining lyric intensity with a stoic awareness of limit. These tonal contrasts—compassionate realism, domestic psychological drama, tragic expansiveness—generate a conversation about whether character bends under pressure or shatters, and about how much of fate is made rather than met.
All three works test the boundaries between individual conscience and communal norm. The outsider, the marginal, or the misunderstood figure becomes a lens on village solidarity, revealing its generosity and its guardrails. Lawful process and inward remorse vie for authority; chance intersects with habit; time serves as both healer and reckoner. The settings, meticulously felt, function like second protagonists, shaping movement, mood, and moral stakes. In such a world, attention itself is an ethical act: to see truly is to begin to repair, yet to look too narrowly is to turn necessity into condemnation.
While the authors speak in distinct cadences, their narratives often appear to answer one another’s questions. The concentrated crisis in A Dark Night’s Work sharpens the dilemma of what must be confessed, which deepens the patient moral attention exemplified in Silas Marner. The Return of the Native then amplifies these concerns, recasting isolation and longing on a vaster stage where place refuses to yield. The sequence thus suggests a widening gyre—from intimate rehabilitation to public reckoning to tragic scale—without insisting on a single thesis, allowing readers to register correspondences that feel earned rather than imposed.
Enduring Impact & Critical Reception
The collection remains vital because it reframes the countryside as a site of modern ethical struggle rather than a retreat from it. Questions about social safety nets, stigma, and the burden of reputation persist, as do tensions between local custom and individual aspiration. These works illuminate how communities can fail or sustain their most vulnerable members, and how resource, craft, and care interlock. Their patience with ordinary detail offers a counterweight to quick judgment, reminding us that explanation is not exoneration, and that repair often starts with attention to the unglamorous labors that knit lives together.
These texts have long anchored conversations about English-language realism and the tragic imagination, and they continue to circulate widely in classrooms and public discourse. Their rural settings and moral puzzles have fed countless reinterpretations across performance and visual culture, as well as recurrent citation in political and ethical debate. The durability of certain images—fields worked at dawn, a house darkened by secrecy, a heath under watchful sky—speaks to their capacity to condense experience into resonant forms. Familiarity has not dulled their edge; rather, it has provided a shared vocabulary for discussing responsibility and desire.
Scholarly and popular readings have repeatedly returned to debates staged here: whether character is shaped more by choice or by circumstance; how much forgiveness a community can bear; and where justice ends and mercy begins. Discussions of class, gender, labor, and belief often use these narratives as case studies for larger arguments about social change and moral psychology. The works reward both ethical and aesthetic scrutiny, coupling structural elegance with psychological breadth. Their careful orchestration of suspense and recognition encourages a form of reading that is not only interpretive but also civic, asking what forms of regard we owe.
Assembled together, the works sharpen one another’s relevance. The intimate compass of Silas Marner clarifies what can be salvaged; the pressure-cooker of A Dark Night’s Work tests the costs of concealment; the breadth of The Return of the Native confronts the limits of will under an unyielding horizon. The arrangement is designed to provoke comparison without foreclosing judgment, offering varied vantage points on community, solitude, and fate. In a moment attuned to belonging and estrangement, these narratives retain the power to unsettle and console, and to suggest that the most local stories can hold the widest arcs.
Historical Context
Socio-Political Landscape
Set against the long Victorian century, these countryside narratives unfold within a nation negotiating the authority of Parliament, the Church, and the landed classes while accommodating new commercial elites. Rural parishes remain sites of social surveillance and aid, yet county towns and market networks pull villagers into a broader web of credit, law, and reputation. The state's legitimacy rests on property and patriarchal households, but pressure for suffrage expansion and municipal reform is mounting. In this atmosphere, Silas Marner, A Dark Night's Work, and The Return of the Native present local communities where custom and hierarchy shape daily life even as modernization strains their bonds.
The Poor Law Amendment Act (1834) reconfigured relief, discouraging parish support and pushing the rural poor toward wage labor and migration. Cottage industries such as hand weaving declined as capital and machinery centralized production, exposing solitary artisans to suspicion and economic precarity. Silas Marner situates a displaced artisan within a village economy dominated by farmers, small tradesmen, and a paternalist squirearchy. Trust, thrift, and informal credit substitute for state protection, and gossip functions as social regulation. The novel's early nineteenth-century setting accentuates the tension between inherited obligations and the cash nexus, an imbalance that shapes attitudes toward outsiders and their labor.
Mid-century legal reforms standardized procedures and extended professional authority, yet rural justice still depended on local gentlemen, solicitors, and personal influence. A Dark Night's Work scrutinizes the anxieties of a provincial household whose status rests on reputation, property, and the smooth operation of the law. The central event, while not described here in detail, exposes how class deference, patriarchal secrecy, and fear of scandal could distort justice in small communities. Gaskell's setting observes the delicate ties between county elites and aspiring professionals, suggesting that the modernizing state cannot entirely replace the informal bargains and silences upon which rural respectability depends.
Although enclosure largely preceded these plots, its legacy persists in customary rights, hedged fields, and remaining commons. The Return of the Native stages life on a vast heath whose inhabitants balance seasonal labor, ritual gatherings, and market opportunities with isolation from metropolitan centers. Marriage, inheritance, and apprenticeship operate as mechanisms for transferring resources and managing desire; they also serve as instruments of community discipline. Ambitions to escape or to import fashionable tastes meet the practical limits of geography and kinship. Hardy's setting embodies the negotiation between collective restraint and individual aspiration that defined rural power long after Parliament's reforms.
Religious life, while diverse, remains a principal axis of legitimacy. Parish churches coordinate charity, calendar customs, and moral discourse; dissenting chapels challenge clerical authority and provide alternative networks of care. Silas Marner pointedly observes how congregational belonging can both console and exclude, and how the loss of a faith community may expose a worker to suspicion. A Dark Night's Work depicts conventional piety as social code more than metaphysical inquiry. The Return of the Native places ritual observances amid elemental landscape, where belief is braided with habit and folklore. Across them, conscience competes with reputation as the true arbiter of conduct.
Foreign wars and imperial administration rarely intrude directly upon these plots, yet their economic and rhetorical pressures saturate the countryside. Taxation, military news, and commodity flows tie provincial households to distant campaigns. Cotton markets, shipping insurance, and colonial governance shape prices and opportunities, even for those who never travel beyond a county boundary. After the Crimean campaign and the Indian uprising, debates about duty, discipline, and national character intensified. The fiction's emphasis on domestic order, reputation, and self-control reflects a culture that links personal morality with imperial stewardship, measuring rural steadiness against narratives of national endurance and reform.
Improvements in roads, postal service, and, later, railways altered the tempo of rural life. Letters, newspapers, and cheap print carried legal knowledge, fashion, and rumor into hamlets. Silas Marner retains a pre-railway tempo in which a visit to market is momentous. A Dark Night's Work operates in a provincial circuit where news travels quickly but remains mediated by drawing rooms and offices. The Return of the Native dramatizes a marginal landscape whose few roads magnify distance while still admitting traders and outsiders. The partial penetration of networks preserves the authority of local gatekeepers even as national conversations reach the hearth.
Intellectual & Aesthetic Currents
The three works participate in a realism that joins ethical inquiry to careful social observation. Narrative attention falls on ordinary households, habitual speech, and the small transactions through which reputation is won or lost. The narrators solicit sympathy for conflicting perspectives, allowing motives to unfold within the limits of memory, misunderstanding, and habit. Silas Marner exemplifies psychological realism oriented toward redemption through social bonds. A Dark Night's Work, tightly focused and swift, borrows suspense from crime narrative while sustaining a sober look at class and law. The Return of the Native fuses tragic plotting with the textures of seasonal rural labor.
Romantic legacies inform descriptions of nature and feeling, yet these books revise that inheritance through skepticism about self-dramatisation. The Return of the Native gives the heath an ontological weight that contests fashionable desires, redirecting sublime language toward communal endurance. A Dark Night's Work absorbs elements of the sensation tale—secrecy, shock, the moral consequences of a single night—without abandoning a measured, social tone. Silas Marner incorporates folktale motifs within a restrained idiom attentive to work, kinship, and moral cause and effect. The result is a countryside aesthetic poised between lyric intensity and the documentary patience of realist prose.
Mid-century sciences altered the imagination of time, causation, and character. Geological deep time and new biological theories unsettled providential certainties, while statistics and social surveys suggested patterned behavior in crowds and classes. Silas Marner treats chance, habit, and happenstance as vehicles of ethical testing rather than miraculous intervention. A Dark Night's Work explores how a single error can ramify through institutions, invoking a probabilistic sense of consequence. The Return of the Native gravitates toward ideas of fate and environment, granting landscape a formative pressure upon choice. All three adjust older moral narratives to a world where lawlike processes rival design.
Modes of publication and access shaped style and scope. Periodical culture cultivated appetite for concise, eventful installments and rewarded clarity of scene and motive. Lending libraries favored respectability, discouraging overt political radicalism while welcoming social critique framed as moral analysis. These constraints encouraged plots in which private decisions expose public structures. A Dark Night's Work bears the imprint of a compact, serialized form. Silas Marner's measured arc suits single-volume reading but retains the legibility prized by circulating readers. The Return of the Native answers the expectations of the substantial novel, yet its regional focus defies metropolitan complacency.
Regional writing becomes a method for thinking. Dialect, proverb, and custom carry knowledge about work rhythms, reciprocity, and pride. The Return of the Native records speech and ritual that anchor a community to ground and season. Silas Marner situates a Midlands village where idiom and hospitality define belonging, and where artisan independence marks difference. A Dark Night's Work navigates the cusp between rural parish and county town, translating legal and genteel registers for a broader audience. Such regionalism is not mere local color; it is an aesthetic of scale, showing national debates refracted through the small politics of neighbors.
Legacy & Reassessment Across Time
Initial receptions registered the works' blend of moral scrutiny and provincial detail. Silas Marner was admired for compassion toward humble life and for its shapely design. A Dark Night's Work pleased readers who valued clear plotting and social conscience, though some judged it a cautionary tract rather than a panoramic novel. The Return of the Native perplexed admirers of cheerful rural scenes; its intensity and stark hedge between desire and duty appeared audacious. Across reviews, critics argued over how much darkness a countryside tale should bear, revealing a culture unsure whether provincial England was idyll, schoolroom, or battleground of character.
Early twentieth-century tastes oscillated between impatience with Victorian didacticism and nostalgia for prewar rural continuities. Silas Marner retained a place in schoolrooms as a model of humane realism and ethical reflection. A Dark Night's Work, slimmer and more overtly moralized, receded from critical prominence but endured in anthologies and reprints. The Return of the Native gained stature as a rural tragedy of uncommon severity, its landscape read less as background than as structural force. World conflict and urbanization made these portraits of neighborly scrutiny and limited horizons seem at once remote and clarifying about the costs and consolations of belonging.
Later twentieth-century scholarship reframed the trio through gender, class, and legal history. Analysts traced how inheritance rules, legitimacy, and marital conventions constrain choices, redirecting attention from personal failings to structural pressures. Silas Marner became a touchstone for debates about work, caregiving, and the ethics of community inclusion. A Dark Night's Work was reread as a critique of professional masculinity and the social uses of secrecy, with law as theater of power rather than neutral instrument. The Return of the Native invited analysis of marriage markets and educational aspiration, illuminating how the countryside mediates, rather than denies, national hierarchies.
Ecocritical approaches reframed rural space as agent rather than backdrop. The Return of the Native, with its heath that seems to think and endure, became central to examinations of nonhuman agency, risk, and resilience. Silas Marner's village has been read as an ecological community whose informal welfare models a moral economy, yet also polices difference. A Dark Night's Work, attentive to thresholds, gardens, lanes, and riverbanks, reveals how landscape enables both concealment and revelation. In an era of environmental anxiety, these texts speak to stewardship and belonging, asking how customs distribute attention, and whether modernization must mean estrangement from place.
Contemporary reassessment reflects broadened audiences and media. Film and television versions have emphasized visual landscapes and courtroom or household drama, while classroom editions foreground dialect and social history through notes and glossaries. Digital archives and open access materials facilitate comparative study of rural governance, labor, and speech. Global readers now test the English countryside against their own agrarian and postcolonial histories, illuminating the quiet presence of empire in domestic economies. Ongoing debates pivot on determinism versus agency, charity versus rights, and the ethics of representation. The endurance of these works suggests that village stories remain laboratories of national self-understanding.
Tales of the English Countryside – 3 Classic Literary Fictions
Rural Society and Social Change
Fate, Passion, and Moral Transformation
George Eliot
Silas Marner
“A child, more than all other gifts
That earth can offer to declining man,
Brings hope with it, and forward-looking thoughts.”
—Wordsworth.
Part One.
Chapter I.
In the days when the spinning-wheels hummed busily in the farmhouses—and even great ladies, clothed in silk and thread-lace, had their toy spinning-wheels of polished oak—there might be seen in districts far away among the lanes, or deep in the bosom of the hills, certain pallid undersized men, who, by the side of the brawny country-folk, looked like the remnants of a disinherited race. The shepherd’s dog barked fiercely when one of these alien-looking men appeared on the upland, dark against the early winter sunset; for what dog likes a figure bent under a heavy bag?—and these pale men rarely stirred abroad without that mysterious burden. The shepherd himself, though he had good reason to believe that the bag held nothing but flaxen thread, or else the long rolls of strong linen spun from that thread, was not quite sure that this trade of weaving, indispensable though it was, could be carried on entirely without the help of the Evil One. In that far-off time superstition clung easily round every person or thing that was at all unwonted, or even intermittent and occasional merely, like the visits of the pedlar or the knife-grinder. No one knew where wandering men had their homes or their origin; and how was a man to be explained unless you at least knew somebody who knew his father and mother? To the peasants of old times, the world outside their own direct experience was a region of vagueness and mystery: to their untravelled thought a state of wandering was a conception as dim as the winter life of the swallows that came back with the spring; and even a settler, if he came from distant parts, hardly ever ceased to be viewed with a remnant of distrust, which would have prevented any surprise if a long course of inoffensive conduct on his part had ended in the commission of a crime; especially if he had any reputation for knowledge, or showed any skill in handicraft. All cleverness, whether in the rapid use of that difficult instrument the tongue, or in some other art unfamiliar to villagers, was in itself suspicious: honest folk, born and bred in a visible manner, were mostly not overwise or clever—at least, not beyond such a matter as knowing the signs of the weather; and the process by which rapidity and dexterity of any kind were acquired was so wholly hidden, that they partook of the nature of conjuring. In this way it came to pass that those scattered linen-weavers—emigrants from the town into the country—were to the last regarded as aliens by their rustic neighbours, and usually contracted the eccentric habits which belong to a state of loneliness.
In the early years of this century, such a linen-weaver, named Silas Marner, worked at his vocation in a stone cottage that stood among the nutty hedgerows near the village of Raveloe, and not far from the edge of a deserted stone-pit. The questionable sound of Silas’s loom, so unlike the natural cheerful trotting of the winnowing-machine, or the simpler rhythm of the flail, had a half-fearful fascination for the Raveloe boys, who would often leave off their nutting or birds’-nesting to peep in at the window of the stone cottage, counterbalancing a certain awe at the mysterious action of the loom, by a pleasant sense of scornful superiority, drawn from the mockery of its alternating noises, along with the bent, tread-mill attitude of the weaver. But sometimes it happened that Marner, pausing to adjust an irregularity in his thread, became aware of the small scoundrels, and, though chary of his time, he liked their intrusion so ill that he would descend from his loom, and, opening the door, would fix on them a gaze that was always enough to make them take to their legs in terror. For how was it possible to believe that those large brown protuberant eyes in Silas Marner’s pale face really saw nothing very distinctly that was not close to them, and not rather that their dreadful stare could dart cramp, or rickets, or a wry mouth at any boy who happened to be in the rear? They had, perhaps, heard their fathers and mothers hint that Silas Marner could cure folks’ rheumatism if he had a mind, and add, still more darkly, that if you could only speak the devil fair enough, he might save you the cost of the doctor. Such strange lingering echoes of the old demon-worship might perhaps even now be caught by the diligent listener among the grey-haired peasantry; for the rude mind with difficulty associates the ideas of power and benignity. A shadowy conception of power that by much persuasion can be induced to refrain from inflicting harm, is the shape most easily taken by the sense of the Invisible in the minds of men who have always been pressed close by primitive wants, and to whom a life of hard toil has never been illuminated by any enthusiastic religious faith. To them pain and mishap present a far wider range of possibilities than gladness and enjoyment: their imagination is almost barren of the images that feed desire and hope, but is all overgrown by recollections that are a perpetual pasture to fear. “Is there anything you can fancy that you would like to eat?” I once said to an old labouring man, who was in his last illness, and who had refused all the food his wife had offered him. “No,” he answered, “I’ve never been used to nothing but common victual, and I can’t eat that.” Experience had bred no fancies in him that could raise the phantasm of appetite.
And Raveloe was a village where many of the old echoes lingered, undrowned by new voices. Not that it was one of those barren parishes lying on the outskirts of civilization—inhabited by meagre sheep and thinly-scattered shepherds: on the contrary, it lay in the rich central plain of what we are pleased to call Merry England, and held farms which, speaking from a spiritual point of view, paid highly-desirable tithes. But it was nestled in a snug well-wooded hollow, quite an hour’s journey on horseback from any turnpike, where it was never reached by the vibrations of the coach-horn, or of public opinion. It was an important-looking village, with a fine old church and large churchyard in the heart of it, and two or three large brick-and-stone homesteads, with well-walled orchards and ornamental weathercocks, standing close upon the road, and lifting more imposing fronts than the rectory, which peeped from among the trees on the other side of the churchyard:—a village which showed at once the summits of its social life, and told the practised eye that there was no great park and manor-house in the vicinity, but that there were several chiefs in Raveloe who could farm badly quite at their ease, drawing enough money from their bad farming, in those war times, to live in a rollicking fashion, and keep a jolly Christmas, Whitsun, and Easter tide.
It was fifteen years since Silas Marner had first come to Raveloe; he was then simply a pallid young man, with prominent short-sighted brown eyes, whose appearance would have had nothing strange for people of average culture and experience, but for the villagers near whom he had come to settle it had mysterious peculiarities which corresponded with the exceptional nature of his occupation, and his advent from an unknown region called “North’ard”. So had his way of life:—he invited no comer to step across his door-sill, and he never strolled into the village to drink a pint at the Rainbow, or to gossip at the wheelwright’s: he sought no man or woman, save for the purposes of his calling, or in order to supply himself with necessaries; and it was soon clear to the Raveloe lasses that he would never urge one of them to accept him against her will—quite as if he had heard them declare that they would never marry a dead man come to life again. This view of Marner’s personality was not without another ground than his pale face and unexampled eyes; for Jem Rodney, the mole-catcher, averred that one evening as he was returning homeward, he saw Silas Marner leaning against a stile with a heavy bag on his back, instead of resting the bag on the stile as a man in his senses would have done; and that, on coming up to him, he saw that Marner’s eyes were set like a dead man’s, and he spoke to him, and shook him, and his limbs were stiff, and his hands clutched the bag as if they’d been made of iron; but just as he had made up his mind that the weaver was dead, he came all right again, like, as you might say, in the winking of an eye, and said “Good-night”, and walked off. All this Jem swore he had seen, more by token that it was the very day he had been mole-catching on Squire Cass’s land, down by the old saw-pit. Some said Marner must have been in a “fit”, a word which seemed to explain things otherwise incredible; but the argumentative Mr. Macey, clerk of the parish, shook his head, and asked if anybody was ever known to go off in a fit and not fall down. A fit was a stroke, wasn’t it? and it was in the nature of a stroke to partly take away the use of a man’s limbs and throw him on the parish, if he’d got no children to look to. No, no; it was no stroke that would let a man stand on his legs, like a horse between the shafts, and then walk off as soon as you can say “Gee!” But there might be such a thing as a man’s soul being loose from his body, and going out and in, like a bird out of its nest and back; and that was how folks got over-wise, for they went to school in this shell-less state to those who could teach them more than their neighbours could learn with their five senses and the parson. And where did Master Marner get his knowledge of herbs from—and charms too, if he liked to give them away? Jem Rodney’s story was no more than what might have been expected by anybody who had seen how Marner had cured Sally Oates, and made her sleep like a baby, when her heart had been beating enough to burst her body, for two months and more, while she had been under the doctor’s care. He might cure more folks if he would; but he was worth speaking fair, if it was only to keep him from doing you a mischief.
It was partly to this vague fear that Marner was indebted for protecting him from the persecution that his singularities might have drawn upon him, but still more to the fact that, the old linen-weaver in the neighbouring parish of Tarley being dead, his handicraft made him a highly welcome settler to the richer housewives of the district, and even to the more provident cottagers, who had their little stock of yarn at the year’s end. Their sense of his usefulness would have counteracted any repugnance or suspicion which was not confirmed by a deficiency in the quality or the tale of the cloth he wove for them. And the years had rolled on without producing any change in the impressions of the neighbours concerning Marner, except the change from novelty to habit. At the end of fifteen years the Raveloe men said just the same things about Silas Marner as at the beginning: they did not say them quite so often, but they believed them much more strongly when they did say them. There was only one important addition which the years had brought: it was, that Master Marner had laid by a fine sight of money somewhere, and that he could buy up “bigger men” than himself.
But while opinion concerning him had remained nearly stationary, and his daily habits had presented scarcely any visible change, Marner’s inward life had been a history and a metamorphosis, as that of every fervid nature must be when it has fled, or been condemned, to solitude. His life, before he came to Raveloe, had been filled with the movement, the mental activity, and the close fellowship, which, in that day as in this, marked the life of an artisan early incorporated in a narrow religious sect, where the poorest layman has the chance of distinguishing himself by gifts of speech, and has, at the very least, the weight of a silent voter in the government of his community. Marner was highly thought of in that little hidden world, known to itself as the church assembling in Lantern Yard; he was believed to be a young man of exemplary life and ardent faith; and a peculiar interest had been centred in him ever since he had fallen, at a prayer-meeting, into a mysterious rigidity and suspension of consciousness, which, lasting for an hour or more, had been mistaken for death. To have sought a medical explanation for this phenomenon would have been held by Silas himself, as well as by his minister and fellow-members, a wilful self-exclusion from the spiritual significance that might lie therein. Silas was evidently a brother selected for a peculiar discipline; and though the effort to interpret this discipline was discouraged by the absence, on his part, of any spiritual vision during his outward trance, yet it was believed by himself and others that its effect was seen in an accession of light and fervour. A less truthful man than he might have been tempted into the subsequent creation of a vision in the form of resurgent memory; a less sane man might have believed in such a creation; but Silas was both sane and honest, though, as with many honest and fervent men, culture had not defined any channels for his sense of mystery, and so it spread itself over the proper pathway of inquiry and knowledge. He had inherited from his mother some acquaintance with medicinal herbs and their preparation—a little store of wisdom which she had imparted to him as a solemn bequest—but of late years he had had doubts about the lawfulness of applying this knowledge, believing that herbs could have no efficacy without prayer, and that prayer might suffice without herbs; so that the inherited delight he had in wandering in the fields in search of foxglove and dandelion and coltsfoot, began to wear to him the character of a temptation.
Among the members of his church there was one young man, a little older than himself, with whom he had long lived in such close friendship that it was the custom of their Lantern Yard brethren to call them David and Jonathan. The real name of the friend was William Dane, and he, too, was regarded as a shining instance of youthful piety, though somewhat given to over-severity towards weaker brethren, and to be so dazzled by his own light as to hold himself wiser than his teachers. But whatever blemishes others might discern in William, to his friend’s mind he was faultless; for Marner had one of those impressible self-doubting natures which, at an inexperienced age, admire imperativeness and lean on contradiction. The expression of trusting simplicity in Marner’s face, heightened by that absence of special observation, that defenceless, deer-like gaze which belongs to large prominent eyes, was strongly contrasted by the self-complacent suppression of inward triumph that lurked in the narrow slanting eyes and compressed lips of William Dane. One of the most frequent topics of conversation between the two friends was Assurance of salvation: Silas confessed that he could never arrive at anything higher than hope mingled with fear, and listened with longing wonder when William declared that he had possessed unshaken assurance ever since, in the period of his conversion, he had dreamed that he saw the words “calling and election sure” standing by themselves on a white page in the open Bible. Such colloquies have occupied many a pair of pale-faced weavers, whose unnurtured souls have been like young winged things, fluttering forsaken in the twilight.
It had seemed to the unsuspecting Silas that the friendship had suffered no chill even from his formation of another attachment of a closer kind. For some months he had been engaged to a young servant-woman, waiting only for a little increase to their mutual savings in order to their marriage; and it was a great delight to him that Sarah did not object to William’s occasional presence in their Sunday interviews. It was at this point in their history that Silas’s cataleptic fit occurred during the prayer-meeting; and amidst the various queries and expressions of interest addressed to him by his fellow-members, William’s suggestion alone jarred with the general sympathy towards a brother thus singled out for special dealings. He observed that, to him, this trance looked more like a visitation of Satan than a proof of divine favour, and exhorted his friend to see that he hid no accursed thing within his soul. Silas, feeling bound to accept rebuke and admonition as a brotherly office, felt no resentment, but only pain, at his friend’s doubts concerning him; and to this was soon added some anxiety at the perception that Sarah’s manner towards him began to exhibit a strange fluctuation between an effort at an increased manifestation of regard and involuntary signs of shrinking and dislike. He asked her if she wished to break off their engagement; but she denied this: their engagement was known to the church, and had been recognized in the prayer-meetings; it could not be broken off without strict investigation, and Sarah could render no reason that would be sanctioned by the feeling of the community. At this time the senior deacon was taken dangerously ill, and, being a childless widower, he was tended night and day by some of the younger brethren or sisters. Silas frequently took his turn in the night-watching with William, the one relieving the other at two in the morning. The old man, contrary to expectation, seemed to be on the way to recovery, when one night Silas, sitting up by his bedside, observed that his usual audible breathing had ceased. The candle was burning low, and he had to lift it to see the patient’s face distinctly. Examination convinced him that the deacon was dead—had been dead some time, for the limbs were rigid. Silas asked himself if he had been asleep, and looked at the clock: it was already four in the morning. How was it that William had not come? In much anxiety he went to seek for help, and soon there were several friends assembled in the house, the minister among them, while Silas went away to his work, wishing he could have met William to know the reason of his non-appearance. But at six o’clock, as he was thinking of going to seek his friend, William came, and with him the minister. They came to summon him to Lantern Yard, to meet the church members there; and to his inquiry concerning the cause of the summons the only reply was, “You will hear.” Nothing further was said until Silas was seated in the vestry, in front of the minister, with the eyes of those who to him represented God’s people fixed solemnly upon him. Then the minister, taking out a pocket-knife, showed it to Silas, and asked him if he knew where he had left that knife? Silas said, he did not know that he had left it anywhere out of his own pocket—but he was trembling at this strange interrogation. He was then exhorted not to hide his sin, but to confess and repent. The knife had been found in the bureau by the departed deacon’s bedside—found in the place where the little bag of church money had lain, which the minister himself had seen the day before. Some hand had removed that bag; and whose hand could it be, if not that of the man to whom the knife belonged? For some time Silas was mute with astonishment: then he said, “God will clear me: I know nothing about the knife being there, or the money being gone. Search me and my dwelling; you will find nothing but three pound five of my own savings, which William Dane knows I have had these six months.” At this William groaned, but the minister said, “The proof is heavy against you, brother Marner. The money was taken in the night last past, and no man was with our departed brother but you, for William Dane declares to us that he was hindered by sudden sickness from going to take his place as usual, and you yourself said that he had not come; and, moreover, you neglected the dead body.”
“I must have slept,” said Silas. Then, after a pause, he added, “Or I must have had another visitation like that which you have all seen me under, so that the thief must have come and gone while I was not in the body, but out of the body. But, I say again, search me and my dwelling, for I have been nowhere else.”
The search was made, and it ended—in William Dane’s finding the well-known bag, empty, tucked behind the chest of drawers in Silas’s chamber! On this William exhorted his friend to confess, and not to hide his sin any longer. Silas turned a look of keen reproach on him, and said, “William, for nine years that we have gone in and out together, have you ever known me tell a lie? But God will clear me.”
“Brother,” said William, “how do I know what you may have done in the secret chambers of your heart, to give Satan an advantage over you?”
Silas was still looking at his friend. Suddenly a deep flush came over his face, and he was about to speak impetuously, when he seemed checked again by some inward shock, that sent the flush back and made him tremble. But at last he spoke feebly, looking at William.
“I remember now—the knife wasn’t in my pocket.”
William said, “I know nothing of what you mean.” The other persons present, however, began to inquire where Silas meant to say that the knife was, but he would give no further explanation: he only said, “I am sore stricken; I can say nothing. God will clear me.”
On their return to the vestry there was further deliberation. Any resort to legal measures for ascertaining the culprit was contrary to the principles of the church in Lantern Yard, according to which prosecution was forbidden to Christians, even had the case held less scandal to the community. But the members were bound to take other measures for finding out the truth, and they resolved on praying and drawing lots. This resolution can be a ground of surprise only to those who are unacquainted with that obscure religious life which has gone on in the alleys of our towns. Silas knelt with his brethren, relying on his own innocence being certified by immediate divine interference, but feeling that there was sorrow and mourning behind for him even then—that his trust in man had been cruelly bruised. The lots declared that Silas Marner was guilty. He was solemnly suspended from church-membership, and called upon to render up the stolen money: only on confession, as the sign of repentance, could he be received once more within the folds of the church. Marner listened in silence. At last, when everyone rose to depart, he went towards William Dane and said, in a voice shaken by agitation—
“The last time I remember using my knife, was when I took it out to cut a strap for you. I don’t remember putting it in my pocket again. You stole the money, and you have woven a plot to lay the sin at my door. But you may prosper, for all that: there is no just God that governs the earth righteously, but a God of lies, that bears witness against the innocent.”
There was a general shudder at this blasphemy.
William said meekly, “I leave our brethren to judge whether this is the voice of Satan or not. I can do nothing but pray for you, Silas.”
Poor Marner went out with that despair in his soul—that shaken trust in God and man, which is little short of madness to a loving nature. In the bitterness of his wounded spirit, he said to himself, “She will cast me off too.” And he reflected that, if she did not believe the testimony against him, her whole faith must be upset as his was. To people accustomed to reason about the forms in which their religious feeling has incorporated itself, it is difficult to enter into that simple, untaught state of mind in which the form and the feeling have never been severed by an act of reflection. We are apt to think it inevitable that a man in Marner’s position should have begun to question the validity of an appeal to the divine judgment by drawing lots; but to him this would have been an effort of independent thought such as he had never known; and he must have made the effort at a moment when all his energies were turned into the anguish of disappointed faith. If there is an angel who records the sorrows of men as well as their sins, he knows how many and deep are the sorrows that spring from false ideas for which no man is culpable.
Marner went home, and for a whole day sat alone, stunned by despair, without any impulse to go to Sarah and attempt to win her belief in his innocence. The second day he took refuge from benumbing unbelief, by getting into his loom and working away as usual; and before many hours were past, the minister and one of the deacons came to him with the message from Sarah, that she held her engagement to him at an end. Silas received the message mutely, and then turned away from the messengers to work at his loom again. In little more than a month from that time, Sarah was married to William Dane; and not long afterwards it was known to the brethren in Lantern Yard that Silas Marner had departed from the town.
Chapter II.
Even people whose lives have been made various by learning, sometimes find it hard to keep a fast hold on their habitual views of life, on their faith in the Invisible, nay, on the sense that their past joys and sorrows are a real experience, when they are suddenly transported to a new land, where the beings around them know nothing of their history, and share none of their ideas—where their mother earth shows another lap, and human life has other forms than those on which their souls have been nourished. Minds that have been unhinged from their old faith and love, have perhaps sought this Lethean influence of exile, in which the past becomes dreamy because its symbols have all vanished, and the present too is dreamy because it is linked with no memories. But even their experience may hardly enable them thoroughly to imagine what was the effect on a simple weaver like Silas Marner, when he left his own country and people and came to settle in Raveloe. Nothing could be more unlike his native town, set within sight of the widespread hillsides, than this low, wooded region, where he felt hidden even from the heavens by the screening trees and hedgerows. There was nothing here, when he rose in the deep morning quiet and looked out on the dewy brambles and rank tufted grass, that seemed to have any relation with that life centring in Lantern Yard, which had once been to him the altar-place of high dispensations. The whitewashed walls; the little pews where well-known figures entered with a subdued rustling, and where first one well-known voice and then another, pitched in a peculiar key of petition, uttered phrases at once occult and familiar, like the amulet worn on the heart; the pulpit where the minister delivered unquestioned doctrine, and swayed to and fro, and handled the book in a long accustomed manner; the very pauses between the couplets of the hymn, as it was given out, and the recurrent swell of voices in song: these things had been the channel of divine influences to Marner—they were the fostering home of his religious emotions—they were Christianity and God’s kingdom upon earth. A weaver who finds hard words in his hymn-book knows nothing of abstractions; as the little child knows nothing of parental love, but only knows one face and one lap towards which it stretches its arms for refuge and nurture.
And what could be more unlike that Lantern Yard world than the world in Raveloe?—orchards looking lazy with neglected plenty; the large church in the wide churchyard, which men gazed at lounging at their own doors in service-time; the purple-faced farmers jogging along the lanes or turning in at the Rainbow; homesteads, where men supped heavily and slept in the light of the evening hearth, and where women seemed to be laying up a stock of linen for the life to come. There were no lips in Raveloe from which a word could fall that would stir Silas Marner’s benumbed faith to a sense of pain. In the early ages of the world, we know, it was believed that each territory was inhabited and ruled by its own divinities, so that a man could cross the bordering heights and be out of the reach of his native gods, whose presence was confined to the streams and the groves and the hills among which he had lived from his birth. And poor Silas was vaguely conscious of something not unlike the feeling of primitive men, when they fled thus, in fear or in sullenness, from the face of an unpropitious deity. It seemed to him that the Power he had vainly trusted in among the streets and at the prayer-meetings, was very far away from this land in which he had taken refuge, where men lived in careless abundance, knowing and needing nothing of that trust, which, for him, had been turned to bitterness. The little light he possessed spread its beams so narrowly, that frustrated belief was a curtain broad enough to create for him the blackness of night.
His first movement after the shock had been to work in his loom; and he went on with this unremittingly, never asking himself why, now he was come to Raveloe, he worked far on into the night to finish the tale of Mrs. Osgood’s table-linen sooner than she expected—without contemplating beforehand the money she would put into his hand for the work. He seemed to weave, like the spider, from pure impulse, without reflection. Every man’s work, pursued steadily, tends in this way to become an end in itself, and so to bridge over the loveless chasms of his life. Silas’s hand satisfied itself with throwing the shuttle, and his eye with seeing the little squares in the cloth complete themselves under his effort. Then there were the calls of hunger; and Silas, in his solitude, had to provide his own breakfast, dinner, and supper, to fetch his own water from the well, and put his own kettle on the fire; and all these immediate promptings helped, along with the weaving, to reduce his life to the unquestioning activity of a spinning insect. He hated the thought of the past; there was nothing that called out his love and fellowship toward the strangers he had come amongst; and the future was all dark, for there was no Unseen Love that cared for him. Thought was arrested by utter bewilderment, now its old narrow pathway was closed, and affection seemed to have died under the bruise that had fallen on its keenest nerves.
But at last Mrs. Osgood’s table-linen was finished, and Silas was paid in gold. His earnings in his native town, where he worked for a wholesale dealer, had been after a lower rate; he had been paid weekly, and of his weekly earnings a large proportion had gone to objects of piety and charity. Now, for the first time in his life, he had five bright guineas put into his hand; no man expected a share of them, and he loved no man that he should offer him a share. But what were the guineas to him who saw no vista beyond countless days of weaving? It was needless for him to ask that, for it was pleasant to him to feel them in his palm, and look at their bright faces, which were all his own: it was another element of life, like the weaving and the satisfaction of hunger, subsisting quite aloof from the life of belief and love from which he had been cut off. The weaver’s hand had known the touch of hard-won money even before the palm had grown to its full breadth; for twenty years, mysterious money had stood to him as the symbol of earthly good, and the immediate object of toil. He had seemed to love it little in the years when every penny had its purpose for him; for he loved the purpose then. But now, when all purpose was gone, that habit of looking towards the money and grasping it with a sense of fulfilled effort made a loam that was deep enough for the seeds of desire; and as Silas walked homeward across the fields in the twilight, he drew out the money and thought it was brighter in the gathering gloom.
About this time an incident happened which seemed to open a possibility of some fellowship with his neighbours. One day, taking a pair of shoes to be mended, he saw the cobbler’s wife seated by the fire, suffering from the terrible symptoms of heart-disease and dropsy, which he had witnessed as the precursors of his mother’s death. He felt a rush of pity at the mingled sight and remembrance, and, recalling the relief his mother had found from a simple preparation of foxglove, he promised Sally Oates to bring her something that would ease her, since the doctor did her no good. In this office of charity, Silas felt, for the first time since he had come to Raveloe, a sense of unity between his past and present life, which might have been the beginning of his rescue from the insect-like existence into which his nature had shrunk. But Sally Oates’s disease had raised her into a personage of much interest and importance among the neighbours, and the fact of her having found relief from drinking Silas Marner’s “stuff” became a matter of general discourse. When Doctor Kimble gave physic, it was natural that it should have an effect; but when a weaver, who came from nobody knew where, worked wonders with a bottle of brown waters, the occult character of the process was evident. Such a sort of thing had not been known since the Wise Woman at Tarley died; and she had charms as well as “stuff”: everybody went to her when their children had fits. Silas Marner must be a person of the same sort, for how did he know what would bring back Sally Oates’s breath, if he didn’t know a fine sight more than that? The Wise Woman had words that she muttered to herself, so that you couldn’t hear what they were, and if she tied a bit of red thread round the child’s toe the while, it would keep off the water in the head. There were women in Raveloe, at that present time, who had worn one of the Wise Woman’s little bags round their necks, and, in consequence, had never had an idiot child, as Ann Coulter had. Silas Marner could very likely do as much, and more; and now it was all clear how he should have come from unknown parts, and be so “comical-looking”. But Sally Oates must mind and not tell the doctor, for he would be sure to set his face against Marner: he was always angry about the Wise Woman, and used to threaten those who went to her that they should have none of his help any more.
Silas now found himself and his cottage suddenly beset by mothers who wanted him to charm away the whooping-cough, or bring back the milk, and by men who wanted stuff against the rheumatics or the knots in the hands; and, to secure themselves against a refusal, the applicants brought silver in their palms. Silas might have driven a profitable trade in charms as well as in his small list of drugs; but money on this condition was no temptation to him: he had never known an impulse towards falsity, and he drove one after another away with growing irritation, for the news of him as a wise man had spread even to Tarley, and it was long before people ceased to take long walks for the sake of asking his aid. But the hope in his wisdom was at length changed into dread, for no one believed him when he said he knew no charms and could work no cures, and every man and woman who had an accident or a new attack after applying to him, set the misfortune down to Master Marner’s ill-will and irritated glances. Thus it came to pass that his movement of pity towards Sally Oates, which had given him a transient sense of brotherhood, heightened the repulsion between him and his neighbours, and made his isolation more complete.
Gradually the guineas, the crowns, and the half-crowns grew to a heap, and Marner drew less and less for his own wants, trying to solve the problem of keeping himself strong enough to work sixteen hours a-day on as small an outlay as possible. Have not men, shut up in solitary imprisonment, found an interest in marking the moments by straight strokes of a certain length on the wall, until the growth of the sum of straight strokes, arranged in triangles, has become a mastering purpose? Do we not wile away moments of inanity or fatigued waiting by repeating some trivial movement or sound, until the repetition has bred a want, which is incipient habit? That will help us to understand how the love of accumulating money grows an absorbing passion in men whose imaginations, even in the very beginning of their hoard, showed them no purpose beyond it. Marner wanted the heaps of ten to grow into a square, and then into a larger square; and every added guinea, while it was itself a satisfaction, bred a new desire. In this strange world, made a hopeless riddle to him, he might, if he had had a less intense nature, have sat weaving, weaving—looking towards the end of his pattern, or towards the end of his web, till he forgot the riddle, and everything else but his immediate sensations; but the money had come to mark off his weaving into periods, and the money not only grew, but it remained with him. He began to think it was conscious of him, as his loom was, and he would on no account have exchanged those coins, which had become his familiars, for other coins with unknown faces. He handled them, he counted them, till their form and colour were like the satisfaction of a thirst to him; but it was only in the night, when his work was done, that he drew them out to enjoy their companionship. He had taken up some bricks in his floor underneath his loom, and here he had made a hole in which he set the iron pot that contained his guineas and silver coins, covering the bricks with sand whenever he replaced them. Not that the idea of being robbed presented itself often or strongly to his mind: hoarding was common in country districts in those days; there were old labourers in the parish of Raveloe who were known to have their savings by them, probably inside their flock-beds; but their rustic neighbours, though not all of them as honest as their ancestors in the days of King Alfred, had not imaginations bold enough to lay a plan of burglary. How could they have spent the money in their own village without betraying themselves? They would be obliged to “run away”—a course as dark and dubious as a balloon journey.
