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Rh from me." A terrible word to utter for one so great. But never again, he knew, would he meet with the same complete comprehension, and, lacking that, his genius itself seemed less his own than before.

There is an impression abroad that Mr. Lewes, if anything, did some injury to George Eliot from a literary point of view; that the nature of his pursuits led her to adopt too technical and pedantic a phraseology in her novels. But this idea is unjust to both. In comparing her earliest with her latest style, it is clear that from the first she was apt to cull her illustrations from the physical sciences, thereby showing how much these studies had become part of herself. Indeed, she was far more liable to introduce these scientific modes of expression than Mr. Lewes, as may be easily seen by comparing his 'Life of Goethe,' partly re-written in 1854, with some of her essays of the same date. As to her matter, it is curious how much of it was drawn from the earliest sources of memory—from that life of her childhood to which she may sometimes have turned yearningly as to a long-lost Paradise. Most of her works might, indeed, not inaptly be called 'Looking Backward.' They are a half-pathetic, half-humorous, but entirely tender revivification of the "days that are no more." No one, however intimate, could really intermeddle with the workings of a genius drawing its happiest inspiration from the earliest experiences of its own individual past.

Nothing is more characteristic of this obvious tendency than the first of the 'Scenes of Clerical Life,' 'The Sad Fortunes of the Rev. Amos Barton.' At Chilvers Coton the curious in such matters may still see the identical church where the incumbent of