presence of genius, or innate prompting, is directly opposed to the
perpetual consciousness of a rule. The action of faculty is imperious,
and excludes the reflection _why_ it should act. In the same way, in
proportion as morality is emotional, _i.e._, has affinity with art, it
will exhibit itself in direct sympathetic feeling and action, and not
as the recognition of a rule. Love does not say, "I ought to love"--it
loves. Pity does not say, "It is right to be pitiful"--it pities.
Justice does not say, "I am bound to be just"--it feels justly. It is
only where moral emotion is comparatively weak that the contemplation
of a rule or theory habitually mingles with its action; and in
accordance with this; we think experience, both in literature and life,
has shown that the minds which are pre-eminently didactic--which insist
on a "lesson," and despise everything that will not convey a moral, are
deficient in sympathetic emotion.

The moral and social problems of life seem to fire her creative powers,
kindle her imagination, and give rein to her genius. While the thoughtful
reader may find in _Felix Holt_ and _Middlemarch_ more that interests his
speculative faculties than of what will satisfy his sentiments and
imagination, yet he must keep in mind the fact that these are works
depending largely for their effect on the mind to their poetic qualities.
There is in them both a large and thoughtful contemplation of life, but
with a constant reference to its passion, sentiment and ideal aims. If they
are realistic it is not to the exclusion of spiritual elements; and the
poetic, sentimental phases of human existence are never ignored.

XVI.

DANIEL DERONDA.

The purpose of George Eliot's last novel is distinctly constructive. While
there is much of criticism in its pages, and criticism of the severest
kind, its aim is that of spiritual renewal and upbuilding. It unfolds her
conception of social growth, and of the influence of tradition and the
national idea, much more completely than any other of her works. Moreover,
it is all aglow with moral enthusiasm and spiritual ardor. It indicates a
greater spontaneity than any of her books after _The Mill on the Floss_,
and gives ample evidence that it possessed and absorbed the author's mind
with its purpose and spirit. It is written from a great depth of conviction
and moral earnestness. That it is her greatest book, artist