About Hetty Sorrel I shall have no hesitation whatever: I accept her with all my heart. Of all George Eliot's female figures she is the least ambitious, and on the whole, I think, the most successful. The part of the story which concerns her is much the most forcible; and there is something infinitely tragic in the reader's sense of the contrast between the sternly prosaic life of the good people about her, their wholesome decency and their noon-day probity, and the dusky sylvan path along which poor Hetty is tripping, light-footed, to her ruin. Hetty's conduct throughout seems to me to be thoroughly consistent. The author has escaped the easy error of representing her as in any degree made serious by suffering. She is vain and superficial by nature; and she remains so to the end.
As for Arthur Donnithorne, I would rather have had him either better or worse. I would rather have had a little more premeditation before his fault, or a little more repentance after it; that is, while repentance could still be of use. Not that, all things considered, he is not a very fair image of a frank-hearted, well-meaning, careless, self-indulgent young gentleman; but the author has in his case committed the error which in Hetty's she avoided,--the error of showing him as redeemed by suffering. I cannot but think that he was as weak as she. A weak woman, indeed, is weaker than a weak man; but Arthur Donnithorne was a superficial fellow, a person emphatically not to be moved by a shock of conscience into a really interesting and dignified attitude, such as he is made to assume at the close of the book. Why not see things in their nakedness? the impatient reader is tempted to ask. Why not let passions and foibles play themselves out?
It is as a picture, or rather as a series of pictures, that I find _Adam Bede_ most valuable. The author succeeds better in drawing attitudes of feeling than in drawing movements of feeling. Indeed, the only attempt at development of character or of purpose in the book occurs in the case of Arthur Donnithorne, where the materials are of the simplest kind. Hetty's lapse into disgrace is not gradual, it is immediate: it is without struggle and without passion. Adam himself has arrived at perfect righteousness when the book opens; and it is impossible to go beyond that. In his case too, therefore, there is no dramatic progression. The same remark applies to Dinah Morris.