Spain, a country that must have possessed a peculiar interest for both; for in 1846 Lewes had published a charming, if one-sided, little book on 'The Spanish Drama,' with especial reference to Lope de Vega and Calderon; and in 1864, only a year after the appearance of 'Romola,' George Eliot produced the first draught of 'The Spanish Gypsy.' On becoming personally acquainted with this land of "old romance," however, her impressions were so far modified and deepened that she re-wrote and amplified her poem, which was not published till 1868.
The subject of the gypsies was probably suggested to George Eliot by her own memorable adventure in childhood, which thus became the germ of a very impressive poem. Be that as it may, it is worth noticing that the conception of 'The Spanish Gypsy' should have followed so closely on the completion of the Italian novel, both being foreign subjects, belonging to much the same period of history. In both the novelist has departed from her habitual track, seeking for "pastures new" in a foreign soil. After inculcating on the artist the desirability of giving "the loving pains of a life to the faithful representation of commonplace things," she remarks in 'Adam Bede' that "there are few prophets in the world, few sublimely beautiful women, few heroes," and that we cannot afford to give all our love and reverence to such rarities. But having followed this rule, and given the most marvellously truthful delineations of her fellow-men as they are ordinarily to be met with, she now also felt prompted to draw the exceptional types of human character, the rare prophets, and the sublime heroes.
To her friend Miss Simcox, George Eliot one day
