Her method of attacking a subject shows the influence of Jane Austen, especially in parts of _Middlemarch_; one can detect also the stronger influence of Mrs Gaskell, of Charlotte Brontë, and of Miss Edgeworth. It was, however, but an influence, and no more than a man writer, anxious to acquire a knowledge of the feminine point of view, might have absorbed from a study of these women novelists. One often hears that she is not artistic; that her characterization is less distinct than Jane Austen's; that she tells more than should be known of her heroes and heroines. But it should be remembered that Jane Austen dealt with familiar domestic types, whereas George Eliot excelled in the presentation of extraordinary souls. One woman drew members of polite society with correct notions, while the other woman depicted social rebels with ideas and ideals. In every one of George Eliot's books, the protagonists, tortured by dreams of perfection, are in revolt against the prudent compromises of the worldly. All through her stories, one hears the clash of "the heroic for earth too high," and the desperate philosophy, disguised it is true, of Omar Khayyam. In her day, Epicureanism had not reached the life of the people, nor passed into the education of the mob. Few dared to confess that the pursuit of pleasure, whether real or imagined, was the aim of mankind. The charm of Jane Austen is the charm of the untroubled and well-to-do materialist, who sees in a rich marriage, a comfortable house, carriages and an assured income the best to strive for; and in a fickle lover of either sex or the loss of money the severest calamities which can befall the human spirit. Jane Austen despised the greater number of her characters: George Eliot suffered with each of hers. Here, perhaps, we find the reason why she is accused of being inartistic. She could not be impersonal.