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Rh, she flies unperceived from the premises at night. Being searched for in vain, she is suspected of having committed suicide. After some days of almost unbearable suspense, news is brought that Tina is lying ill at the cottage of a former maid in the household. With reviving hopes her anxious lover rides to the farm, sees the half-stunned, unhappy girl, and, after a while, manages to remove her to his sister's house. She gradually recovers under Mrs. Heron's gentle tendance, and one day a child's accidental striking of a deep bass note on the harpsichord suddenly revives her old passionate delight in music. And 'the soul that was born anew to music was born anew to love.' After a while Tina agrees to become Mr. Gilfil's wife, who has been given the living at Shepperton, where a happy future seems in store for the Vicar. "But the delicate plant had been too deeply bruised, and in the struggle to put forth a blossom it died.

"Tina died, and Maynard Gilfil's love went with her into deep silence for evermore."

Besides this sympathy with the homeliest characters and situations, or, more properly speaking, springing from it, there already runs through these three tales the delicious vein of humour irradiating George Eliot's otherwise sombre pictures of life with sudden flashes of mirth as of sunlight trembling above dark waters. In this depth and richness of humour George Eliot not only takes precedence of all other distinguished women, but she stands among them without a rival. Hers is that thoughtful outlook on life, that infinite depth of observation which, taking note of the inconsistencies and the blunders, the self-delusions and "fantastic pranks" of her fellow-men, finds the source