of an emotional nature akin to the moral faculty.
It is at this point that we touch the secret spring of George Eliot's art: her whole work is imbued with ethical notions. The novel is, no less than the poem, a criticism of life; and the remarkable influence of George Eliot's novels has been mainly due to the consistent application of moral ideas to the problems set by each novel. Their stimulative effect was due to the fact that her ethical views were in consonance with some of the most advanced ideas of the age. The three chief principles which dominated her thinking were the reign of law in human affairs, the solidarity of society, and the constitution of society as incarnate history (the phrase is Riehl's). Flowing from these were the ethical laws which rule the world of her novels, the principle summed up in Novalis's words, 'Character is Fate,' the radiation of good and evil deeds throughout society, and the supreme claims of family or race. Add to these the scientific tone of impartiality, with its moral analogue, the extension of sympathy to all, and we have exhausted the idées mères of George Eliot's ethical system, which differentiates her novels from all others of the age.
These general remarks on George Eliot's art have been suggested by the essay on
