As a study of an historic period, The Spanish Gypsy is not so great a success as Romola; yet it more perfectly unfolds a unitary moral purpose, and the various types of character are more originally developed.  The conflict of motives, the contrasted and opposed national interests, are distinctly brought out, but the aroma of the time and place are wanting.  To describe a poetic and heroic era she is never content to do.  Her method is totally different from that of Scott, who reflects the spirit and life of the time he depicts with almost absolute faithfulness.  No gypsy was ever such a character as Zarca, no gypsy girl ever had the conscience of Fedalma.  As in the case of Romola, so here, an historic period is used, not so much for artistic as for philosophic purposes, because it is well designed to present her ideas about heredity and tradition. The Spanish Gypsy is essentially a romance, and contains much of those more poetic and ideal elements which distinguish Daniel Deronda from her other novels.  This romantic element, if it does not develop poetry of the highest quality, does bring out in its most perfect form all the finest characteristics of her style.

While The Spanish Gypsy affords many points of attack for the critic, yet it cannot be dismissed by saying it is not a great poem.  Its strong qualities are too many to permit of its being disposed of in haste.  With all its defects it is a noble piece of work, and genuinely adds to the author’s expression of genius.  It is one of those poems which win, not popularity, but the heartiest admiration of a choice and elect few who find life and highest inspiration in it, because giving strength to their thoughts and purpose to their moral convictions.  As a study of some of the deeper problems of the ethical and social life of man, it is unsurpassed, and the teaching imparted by it is singularly well and impressively conveyed by the whole make of the poem.  It is also remarkable for its large and impressive style, its rich command of words, and the lofty beauty of its diction.  One of its most striking qualities, as Mr. Henry James, Jr., suggests, “is its extraordinary rhetorical energy and eloquence,” and “its splendid generosity of diction.”  The same writer says of the character of Don Silva, that “nowhere has her marvellous power of expression, the mingled dignity and pliancy of her style, obtained a greater triumph.”  The critics have almost without exception dealt severely with the poem, but they have applied to it the canons of poetic art as interpreted by themselves.  Genius creates its own laws, makes its own methods, reverses old decisions and triumphs against the whole brood of critics.  The world accepts what is true and excellent, however defective in technical requirements.  Imperfect meters, and poetic structures not orthodox, may disturb those who deal in criticism, but such limitations as these are not sufficient to fix the final acceptance of