Elizabeth Gaskell and Jane Austen: How to write what characters think

How does Elizabeth Gaskell write characters’ thoughts? 
Like this:

“'That's what I call a fine girl!' thought Dr. Donaldson, when he was seated in his carriage, and had time to examine his ringed hand, which had slightly suffered from her pressure. 'Who would have thought that little hand could have given such a squeeze? But the bones were well put together, and that gives immense power. What a queen she is! With her head thrown back at first, to force me into speaking the truth; and then bent so eagerly forward to listen. Poor thing! I must see she does not overstrain herself. Though it's astonishing how much those thorough-bred creatures can do and suffer. That girl's game to the back-bone. Another, who had gone that deadly colour, could never have come round without either fainting or hysterics. But she wouldn't do either—not she! And the very force of her will brought her round. Such a girl as that would win my heart, if I were thirty years younger. It's too late now. Ah! here we are at the Archers'.'” (North and South, Ch.16) 

Does that work for you? It got on my nerves. To me, it looks like a clumsy way of describing/ praising our heroine Margaret Hale, through another character. 
Is it a Victorian convention for writing characters’ thoughts? I can’t remember. 
Later in the same chapter, we have something that seems to be a monologue: 

“'Bless her!' said Dixon. 'She's as sweet as a nut. There are three people I love: it's missus, Master Frederick, and her. Just them three. That's all. The rest be hanged, for I don't know what they're in the world for. Master was born, I suppose, for to marry missus. If I thought he loved her properly, I might get to love him in time. But he should ha' made a deal more on her, and not been always reading, reading, thinking, thinking. See what it has brought him to! Many a one who never reads nor thinks either, gets to be Rector, and Dean, and what not; and I dare say master might, if he'd just minded missus, and let the weary reading and thinking alone.—There she goes' (looking out of the window as she heard the front door shut). 'Poor young lady! her clothes look shabby to what they did when she came to Helstone a year ago. Then she hadn't so much as a darned stocking or a cleaned pair of gloves in all her wardrobe. And now—!'” (ibid.) 

And then in the next chapter: 

“Bessy stilled her rocking to gaze after her.
'I wonder if there are many folk like her down South. She's like a breath of country air, somehow. She freshens me up above a bit. Who'd ha' thought that face—as bright and as strong as the angel I dream of—could have known the sorrow she speaks on? I wonder how she'll sin. All on us must sin. I think a deal on her, for sure. But father does the like, I see. And Mary even. It's not often hoo's stirred up to notice much.'” (Ch.17) 

The passages are unfortunately also too close to each other to be ignored. 
Compare this to the way Jane Austen writes characters’ thoughts—she uses free indirect speech. 
For example, let’s look at this passage near the end of Emma: 

“The rest of the day, the following night, were hardly enough for her thoughts.—She was bewildered amidst the confusion of all that had rushed on her within the last few hours. Every moment had brought a fresh surprize; and every surprize must be matter of humiliation to her.—How to understand it all! How to understand the deceptions she had been thus practising on herself, and living under!—The blunders, the blindness of her own head and heart!—she sat still, she walked about, she tried her own room, she tried the shrubbery—in every place, every posture, she perceived that she had acted most weakly; that she had been imposed on by others in a most mortifying degree; that she had been imposing on herself in a degree yet more mortifying; that she was wretched, and should probably find this day but the beginning of wretchedness.
[…]
With insufferable vanity had she believed herself in the secret of every body's feelings; with unpardonable arrogance proposed to arrange every body's destiny. She was proved to have been universally mistaken; and she had not quite done nothing—for she had done mischief. She had brought evil on Harriet, on herself, and she too much feared, on Mr. Knightley.—Were this most unequal of all connexions to take place, on her must rest all the reproach of having given it a beginning; for his attachment, she must believe to be produced only by a consciousness of Harriet's;—and even were this not the case, he would never have known Harriet at all but for her folly.
Mr. Knightley and Harriet Smith!—It was a union to distance every wonder of the kind.—The attachment of Frank Churchill and Jane Fairfax became commonplace, threadbare, stale in the comparison, exciting no surprize, presenting no disparity, affording nothing to be said or thought.—Mr. Knightley and Harriet Smith!—Such an elevation on her side! Such a debasement on his! It was horrible to Emma to think how it must sink him in the general opinion, to foresee the smiles, the sneers, the merriment it would prompt at his expense; the mortification and disdain of his brother, the thousand inconveniences to himself.—Could it be?—No; it was impossible. And yet it was far, very far, from impossible.—Was it a new circumstance for a man of first-rate abilities to be captivated by very inferior powers? Was it new for one, perhaps too busy to seek, to be the prize of a girl who would seek him?—Was it new for any thing in this world to be unequal, inconsistent, incongruous—or for chance and circumstance (as second causes) to direct the human fate?
Oh! had she never brought Harriet forward! Had she left her where she ought, and where he had told her she ought!—Had she not, with a folly which no tongue could express, prevented her marrying the unexceptionable young man who would have made her happy and respectable in the line of life to which she ought to belong—all would have been safe; none of this dreadful sequel would have been…” (Vol.III, ch.11) 

Isn’t that so much better? 
Go back to North and South. 

“Margaret sat utterly silent. How was she ever to go away into comfort and forget that man's voice, with the tone of unutterable agony, telling more by far than his words of what he had to suffer? She took out her purse; she had not much in it of what she could call her own, but what she had she put into Bessy's hand without speaking.” (Ch.19) 

Elizabeth Gaskell uses free indirect speech there. If only she used it more.