mental style for the new author's terse, vigorous and simple prose.
It was impossible, however, for an author to remain a mere nameless abstraction. An appellation of some kind became an imperative necessity, and, during the passage of 'Mr. Gilfil's Love Story' through the press, the pseudonym of "George Eliot"—a name destined to become so justly renowned—was finally assumed.
The 'Scenes of Clerical Life' were to George Eliot's future works what a bold, spirited sketch is to a carefully elaborated picture. All the qualities that distinguished her genius may be discovered in this, her first essay in fiction. With all Miss Austen's matchless faculty for painting commonplace characters, George Eliot has that other nobler faculty of showing what tragedy, pathos, and humour may be lying in the experience of a human soul "that looks out through dull grey eyes, and that speaks in a voice of quite ordinary tones." While depicting some commonplace detail of every day life, she has the power to make her reader realise its close relation to the universal life. She never gives you the mere dry bones and fragments of existence as represented in some particular section of society, but always manages to keep before the mind the invisible links connecting it with the world at large. In 'Mr. Gilfil's Love-Story' there is a passage as beautiful as any in her works, and fully illustrating this attitude of her mind. It is where Tina, finding herself deceived in Captain Wybrow, gives way to her passionate grief in solitude.
"While this poor little heart was being bruised with a weight too heavy for it, Nature was holding on her calm inexorable way, in unmoved and terrible beauty.
