"criticism" from me. I hate "sitting in the seat of
judgment," and I would rather try to impress the public generally with
the sense that they may get the best result from a book without
necessarily forming an "opinion" about it, than I would rush into
stating opinions of my own. The floods of nonsense printed in the form
of critical opinions seem to me a chief curse of our times--a chief
obstacle to true culture.

It is not to be forgotten, however, that George Eliot had done much
critical work before she became a novelist, and that much of it was of a
keen and cutting nature. Severely as she was handled by the critics, no one
of them was more vigorous than was her treatment of Young and Cumming. Even
in later years, when she took up the critical pen, the effect was felt. Mr.
Lecky did not pass gently through her hands when she reviewed his
_Rationalism in Europe_. Her criticisms in _Theophrastus Such_ were
penetrating and severe.

For the same reason, she read few works of contemporary fiction, that her
mind might not be biassed and that she might not be discouraged in her own
work. Always busy with some special subject which absorbed all her time and
strength, she could give little attention to contemporary literature. To
one correspondent she wrote,--

My constant groan is, that I must leave so much of the greatest writing
which the centuries have sifted for me, unread for want of time.

The style adopted by George Eliot is for the most part fresh, vital and
energetic. It is pure in form, rich in illustrations, strong and expressive
in manner. There are exceptions to this statement, it is true, and she is
sometimes turgid and dry, again gaudy and verbose. Sententious in her
didactic passages, she is pure and noble in her sentiment, poetical and
impressive in her descriptions of nature. Her diction is choice, her range
of expression large, and she admirably suits her words to the thought she
would present. There is a rich, teeming fulness of life in her books, the
canvas is crowded, there is movement and action. An abundance of passion,
delicate feeling and fine sensibility is expressed.

The critics have almost universally condemned the plots of George Eliot's
novels for their want of unity. They tell us that the flow of events is
often not orderly, while improbable scenes are introduced, superfluous
incidents are common, the number of characters is too great, and the
analysis of