rials 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. It is not in her conceptions nor her composition that George Eliot is strongest: it is in her touches. In these she is quite original. She is a good deal of a humorist, and something of a satirist; but she is neither Dickens nor Thackeray. She has over them the great advantage that she is also a good deal of a philosopher; and it is to this union of the keenest observation with the ripest reflection, that her style owes its essential force. She is a thinker,—not, perhaps, a passionate thinker, but at least a serious one; and the term can be applied with either adjective neither to Dickens nor Thackeray. The constant play of lively and vigorous thought about the objects furnished by her observation animates these latter with a surprising richness of color and a truly human interest. It gives to the author's style, moreover, that lingering, affectionate, comprehensive quality which is its chief distinction; and perhaps occasionally it makes her tedious. George Eliot is so little tedious, however, because, if, on the one hand, her reflection never flags, so, on the other, her observation never ceases to supply it with material. Her observation, I think, is decidedly of the feminine kind; it deals, in preference, with small things. This fact may be held to explain the excellence of what I have called her pictures, and the comparative feebleness of her dramatic movement. The contrast here indicated, strong in "Adam Bede," is most striking in "Felix Holt, the Radical." The latter work is an admirable tissue of details; but it seems to me quite without character as a composition. It leaves upon the mind no single impression. Felix Holt's radicalism, the pretended motive of the story, is utterly choked amidst a mass of subordinate interests. No representation is attempted of the growth of his opinions, or of their action upon his character: he is marked by the same singular rigidity of outline and fixedness of posture which characterized Adam Bede,—except, perhaps, that there is a certain inclination towards poetry in Holt's attitude. But if the general outline is timid and undecided in "Felix Holt," the different parts are even richer than in former works. There is no person in the book who attains to triumphant vitality; but there is not a single figure, of however little importance, that has not caught from without a certain reflection of life. There is a little old waiting-woman to a great lady,—Mrs. Denner by name,—who does not occupy five pages in the story, but who leaves upon the mind a most vivid impression of decent, contented, intelligent, half-stoical servility.
"There were different orders of beings,—so ran Denner's creed,—and she belonged to another order than that to which her mistress belonged. She had a mind as sharp as a needle, and would have seen through and through the ridiculous pretensions of a born servant who did not submissively accept the rigid fate which had given her born superiors. She would have called such pretensions the wrigglings of a worm that tried to walk on its tail.... She was a hard-headed, godless little woman, but with a character to be reckoned on as you reckon on the qualities of iron."
"I'm afraid of ever expecting anything good again," her mistress says to her in a moment of depression.
"'That's weakness, madam. Things don't happen because they are bad or good, else all eggs would be addled or none at all, and at the most it is but six to the dozen. There's good chances and bad chances, and nobody's luck is pulled only by one string. . . . . . There's a good deal of pleasure in life for you yet.'
