Critical discussion over the years has addressed a number of ways in which the legacy of Romanticism is apparent in the work of George Eliot. This attention has focused to a great extent on her debt to Wordsworth, whom she admired greatly and read throughout her life. 1 Romanticism has of course many faces 2 and the distinctions that have been made are particularly relevant to The Mill on the Floss, where two major and very different strains are apparent: on the one hand the Wordsworthian, and on the other a strain which leads us to Schiller, seen as one of the 'fathers' of German Romanticism.