Abstract
flat plains of George Eliot's St. Ogg's, or to find witches spying on regular rotations of mill on Floss. George Eliot's insistence on a moral apprehension of real seems to banish all such strange shapes from her landscape. But stolid world of The Mill on Floss is more receptive to uncanny than its surface appears to be. The novel is often condemned for a loss of moral balance arising from George Eliot's overidentification with her heroine, Maggie Tulliver.2 It is true that Maggie's pull on novel causes George Eliot to relinquish her sharply defined moral perspective in favor of a sense of immediate immersion in the depths in life-a loss of perspective that is
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