drawn between this wonderful acuteness of perception and his moral obtuseness, that while thoroughly detesting him for the latter trait, the reader is surprised to find himself stirred by an undoubted feeling of admiration for this power of silent observation which Grandcourt, in spite of his outward semblance of lassitude, and in strange contrast with his seeming indifference, is everywhere exerting. Henleigh Malinger Grandcourt, in short, is a character the study of which would be infinitely instructive to the English lady novelists of the Mrs. Alexander type with their insatiable itching for ennuied heroes with languid, or, as we believe they call it, "trainant" voices.

In spite, however, of the wonderful skill shown in the delineation of this character and that of the eccentric musician Klesmer, the work is, to our mind, inferior as a whole to at least three of its predecessors. As a story it lacks the interest and sweetness of The Mill on the Floss, while as a work of art, we are inclined to believe that most critics would pronounce it inferior to either Romola or Middlemarch, in both of which George Eliot reaches her height in the exercise of that capacity for searching analysis which is the most striking feature of her genius.

In "Daniel Deronda," her favorite method of introducing a chapter by an intricate sort of word-puzzle is practiced to excess. Take for example the heading to the first book commencing, "Man can do nothing without the make-believe of a beginning-," which, instead of affording a clue to what is to follow, gives to the uninitiated the confused idea of a paraphrased quotation. Moreover her great power of analyzation seems to have been employed in this work to such an extent that the mind of the average reader, at least, is likely to weary of the incessant examination of motive-play which he is called upon to follow in the study of each of the prominent characters of the plot. Take, for instance, the delineation of Mordecai's aspirations, or the searching self-scrutiny which Deronda forces himself to undergo before venturing to yield to an apparently natural desire to accord Gwendolen the advice she asks for.

In almost all the scenes between these two the reader is apt to grow bewildered in an attempt to calculate the relative force of a multiplicity of influences which seem to be at work in the mind of each; so that one is apt to conclude that it will be impossible for Deronda to raise his hat without going into an interminable ratiocination to satisfy himself as to the propriety of the impulses which result in this apparently insignificant act.

It is, then, upon the strength of her other works, we think, that George Eliot's name will go down to posterity as a great writer of fiction. For "Daniel Deronda," while it cannot be said to diminish her reputation, will hardly be able to add anything to the distinction she has already won of being the greatest living novelist of the day.

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