Aspects and Impressions

But George Eliot, whatever may have been her preliminary enthusiasms, was radically and permanently anti-romantic. This was the source of her strength and of her weakness; this, carefully examined, explains the soaring and the sinking of her fame. Unlike George Sand, she kept to the facts; she found that all her power quitted her at once if she dealt with imaginary events and the clash of ideal passions. She had been drawn in her youth to sincere admiration of the Indianas and Lelias of her florid French contemporary, and we become aware that in the humdrum years at Coventry, when the surroundings of her own life were arduous and dusty, she felt a longing to spread her wings and fly up and out to some dim Cloud-Cuckoo Land the confines of which were utterly vague to her. The romantic method of Dumas, for instance, and even of Walter Scott, appealed to her as a mode of escaping to dreamland from the flatness and vulgarity of life under the "miserable reign of Mammon."