of a moral purpose was altogether a gain to her art may be more fitly discussed in connection with the analysis of her works of fiction. It is only needful to point out here how close and binding she wished to make the union between ethics and æsthetics.
Almost identical views concerning fundamental laws of Art are discussed in an equally terse, vigorous, and pictorial manner in an article called 'Realism in Art: Recent German Fiction.' This article, however, is not by George Eliot, but by George Henry Lewis. It was published in October 1858, and appeared after their joint sojourn in Germany during the spring and summer of that year. I think that if one carefully compares 'Realism in Art' with George Eliot's other articles, there appears something like a marriage of their respective styles in this paper. It seems probable that Lewis, with his flexible adaptiveness, had come under the influence of George Eliot's powerful intellect, and that many of the views he expresses here at the same time render George Eliot's, as they frequently appear, identical with hers. In the article in question the manner as well as the matter has a certain suggestion of the novelist's style. For example she frequently indicates the quality of human speech by its resemblance to musical sounds. She is fond of speaking of "the staccato tones of a voice," "an adagio of utter indifference," and in the above-mentioned essay there are such expressions as the "stately largo" of good German prose. Again, in the article in question, we find the following satirical remarks about the slovenly prose of the generality of German writers: "To be gentlemen of somewhat slow, sluggish minds is perhaps their misfortune; but to be writers deplorably deficient in the first principles
