DOCSLIB.ORG

An Annotated Bibliography of British Criticism of George Eliot, 1858-1900

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Annotated Bibliography of British Criticism of George Eliot, 1858-1900 This dissertation has been microfilmed exactly as received 70-6780 GEIBEL, James Wayne, 1936- AN ANNOTATED BIBLIOGRAPHY OF BRITISH CRITICISM OF ^SEORGE ELIOT, 1858-1900,. The Ohio State University, Ph.D., 1969 Language and Literature, modem University Microfilms, Inc., Ann Arbor, Michigan James Wayne Geibel 1970 ALL RIGHTS RESERVED AH ANNOTATED BIBLIOGRAPHY OP BRITISH CRITICISM OP Ie ORGE ELIOT, 1858-1900 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctpr of Philosophy In the Graduate School of The Ohio State University . 37 . James Wayne Geibel, A,B., M.A, ****** The Ohio State University 1969 Approved by IvlBer Department of English ACKNOWLEDGMENTS During the course of the composition of this dissertation a number of people have greatly aided me In my work. My sincerest appreciation goeB especially to my Advisor, James R. Kincaid, whose Interest and valuable criticism have gone far beyond the mere fulfillment of a professional duty. My thanks alBo go to John Gabel and Ford Swetnam, whose careful reading of the dissertation corrected many faults and provided new Insights into the compilation and organization of a bibliography of criticism. The nature of the dissertation forced me to rely heavily on the Interlibrary Loan facilities of The Ohio State University, and the cooperation and expert help I received from Jane Gatliff and her staff literally, made the completion of the dissertation possible. Finally, I wish to thank The Graduate School of The Ohio State University for awarding me a Dissertation Grant that allowed me to obtain items for the bibliography that otherwise would have been unavailable. iii VITA Merch 20, 1936 . Born - Parkersburg, West ^irglnia <u 1962 . ....... A.B., West Virginia University,' Morgantown, West Virginia 1 ^ 6 3 .......... Teaching Assistant, West Virginia University, Morgantown, West Virginia 1 ^6 3 . M.A., West Virginia University, Morgantown, West Virginia 1 ^6 3 - 1 9 6 9 ....... Teaching Associate, Department of English, The Ohio State University Columbus, Ohio FIELDS OF STUDY M^Jor Field: English Literature TABLE OP CONTENTS Page ACKNOWLEDGMENTS . .......... Ill VITA ................ ................ IV INTRODUCTION ...... ........ 1 Character and Plot . ........... • • • 8 Realism........ 26 . Morality ........ 48 Footnotes . ........ 6l SCOPE AND ORGANIZATION OF THE BIBLIOGRAPHY . 68 THE BIBLIOGRAPHY.......... 74 INDEX ........ ................... 249 INTRODUCTION iThe sheer quantity of printed material on George Eliot forces us to notice her public reception In the nineteenth century. .At the urging of George Henry Lewes* she began her career as a writer of fiction lnausplclously in 1857 with a series of three stories for Blackwood 's under the general title of Scenes of Clerical Life. These Btorles showed the promise she was so quickly to fulfill* but they went largely unnoticed by the critics* although the few reviews they did get from Important critical periodicals were high In their praise. With the publication of Adam Bede in 1859* however* George Eliot became the center of English literary attention. From that time through the rest of the century she was criticized* analyzed* gossiped about* and generally examined more extensively than any other Victorian novelist. The publica­ tion of one of her works came to be a major literary event. By the time of her death In 1880 she had achieved the status of England's greatest novelist and with it the image of a fascinatingly regal figure, a retiring* tender, unfortunately plain woman of artistic genius and overpower­ ing Intellect who lived'openly with another woman's husband. Thus, to the Victorians George Eliot presented an Intriguing personality* as evidenced by the extensive attention she 2 received, both personally and artistically, In the British press. The quantity of written material on George Eliot In her own century, however, Is not as Important as the quality and significance of the writing Itself. Every major Victorian periodical presented numerous essays on her art by the foremoBt literary critics of her day. Important writers like R. H. Hutton, Sidney Colvin, Leslie Stephen, George Saintsbury, E. S. Dallas, Frederic Harrison, and John Morley discussed and debated her merits as a literary artist In The Athenaeum, The Saturday Review, The Spectator, The Fortnightly Review, and every other significant Journal. Because of her controversial way of life, individualistic philosophical viewpoint, and striking creative technique, she was not a figure critics tended to be neutral about. In some quarters her fiction was viewed as a threat to established moral and artistic codeB, and In others it was applauded as the work of a visionary who combined: intellectual and artistic perception to a degree never before seen in English fiction. The battleground for the debate was quite naturally the press, and the various Journals usually reflect their individual editorial biases when dealing with her work. The London Quarterly Review, a staunch defender of religious and ethical orthodoxy, is, for example, quite skeptical of the moral quality of George Eliot’s fiction. The staunchly Tory Quarterly Review 3 and the conservative Catholic Dublin Review are Just as predictably negative toward her somewhat unorthodox philosophy and technique. The Times, conscious of Its Immense prestige, Is careful to be fair* but most often finds sufficient reason to praise her works. Thus, the 4 reception of her fiction provides a steady and clear-cut Insight Into both the critical approaches of the major Victorian critics and the editorial viewpoints of the most influential periodicals of the last half of the century.. Zn a brief discussion of a body of material that encompasses over four-hundred separate Items and stretches across forty-two years, some subjects must necessarily be omitted. Most of the significant biographical Information, for example, has been adequately summarized elsewhere, most extensively In Gordon Haights recently published biography George Eliot (Oxford, 1 9 6 8). A point worthy of note here, however. Is the attitude of the press toward the fact that George Eliot and George Henry Lewes lived together from 1854 until his death In 1 8 7 8. During this time the press maintained a discreet silence on the relationship. Lewes 1b often mentioned In articles on George Eliotrs work, and the fact that he had urged her to write fiction and was her most valued critic was well known. The living arrangement itself, however, was not discussed until after George Eliot*s death In 1880. Even then, the obituary 4 articles generally avoided the subject, unless they chose to defend the relationship. It was not until J. W. Cross’s •publication of George Eliot's life and letters in 1885 that the topic was widely discussed in the press. Detrac­ tors were predictably numerous, but defenders were surprisingly even more so. Those who disapproved.usually did so on orthodox grounds, but defenders were quick to point out that Lewes was tied to a sordid marriage by a technicality that prevented an otherwise obtainable divorce, and his relationship with George Eliot wat honest and respectable in all ways. The literary establishment was split between the opinion that Cross had done a wise thing by suppressing details of the relationship in his Life and Letters, and the conviction that full exposure would have allowed for greater understanding and consequent vindication of the action. For a representative sampling of public reaction to what Cross did Include in his biography, one should note the correspondence on the subject in The Pall Mall Gazette in January and February, 1 8 8 5. [Items 3^1, 3^9-352, 357] Another point of biographical interest that must be noted only in passing is the-comical business that resulted from George Eliot's initial desire to conceal her true identity. In 1859 Joseph Llgglns, an indigent Nuneaton resident, enjoyed a brief moment of fame by allowing 5 frlendB to 'believe he was the author of Adam Bede. The same year, Thomas Newby, a piratical London publisher, attempted to capitalize on the Instant success of Adam Bede by publishing Adam Bede, Jr., A Sequel. These two Incidents, plus several random guesses at her Identity, were Instrumen­ tal In forcing George Eliot to identify herself In order to clear up the confusion before she felt quite ready to do so. Other matters of essentially biographical interest cannot be discussed at length here. Biographical informa­ tion Is at times used In obvious critical contexts, most frequently In discussions of the effect' of her philosophical attitudes on her fiction. For the most part, however, the biographical detail in obituary articles follows a standard pattern of discussion of her childhood, early friends and Influences, life as a sub-editor for the Westminster Review, and publishing career. The full scale biographies of G. W. Cooke (1883), Mathilde Blind (1 8 8 3), J. W. Cross (1 8 8 5), and Oscar Browning (1 8 9 0) drew particularly wide critical attention, but served more to revive interest in George Eliot as an artist than to shed light on her as a person. The most complex and interesting material in this bibliography is that which attempts to evaluate George Eliot as a literary artist, and it is therefore this material that is moBt in need of extended discussion. Even in this area, however, there are critical tendencies that 6 must be viewed as fascinating minor issues rather than major concerns. The Insistently negative critical reception of the serialization of Mlddlemarch and Daniel Deronda, for example, suggests a developing view of the i ‘ ' ' ' ' . organic nature of fiction, but the objection Is never fully developed nor clearly related to other Issues and therefore does not constitute a major trend In nineteenth-century criticism of her work. The major critical considerations, then, the critical attitudes and subjects that seem most consistently a part of Victorian criticism of George Eliot’s work, are the subjects that will here command the most extended examina­ tion.
Load more

Recommended publications
  • Vanity Fair. a New Kind of Hero in the Victorian Novel
    Corso di Laurea Magistrale in Lingue e Letterature Europee, Americane e Postcoloniali ex. D.M. 270/2004 Tesi di Laurea Vanity Fair: a New Kind of Hero in the Victorian Novel Relatore Ch.ma Prof.ssa Enrica Villari Correlatore Ch.mo Prof.re Flavio Gregori Laureando Enrico Sterbizzi Matricola 865901 Anno Accademico 2017 / 2018 Contents Introduction p. 1 Chapter I: The Book, the Author and the Period p. 5 1.1 The Victorian Novel. p. 5 1.2 Hard Times and the Quest for “Realism”. p. 12 1.3 A Novel of Many Lives. p. 15 1.4 Style and Characters. p. 18 1.5 A Novel without a Hero. p. 24 Chapter II: Vanity Fair, its Critics and the Debate about its Protagonists p. 27 2.1 Thackeray’s Philosophy in Vanity Fair . p. 27 2.2 Anthony Trollope: Real Heroes and Heroines. p. 29 2.3 A. E. Dyson: Deflated Heroes and Heroines. p. 34 2.4 Geoffrey Tillotson, Donald Hawes: Collection of Essays. p. 40 2.5 Arthur Pollard: Thackeray’s Moral as an Author. p. 45 2.6 Catherine Peters and Thackeray’s Notion of a Hero. p. 50 Chapter III: Different Types of Heroes and Heroines p. 56 3.1 Rebecca: Real Heroine? p. 56 3.2 Amelia: Weak Heroine? p. 62 3.3 Dobbin: Ancient Hero in the 19 th Century. p. 66 3.4 Rawdon: Modern Hero. p. 68 3.5 George: True Citizen of Vanity Fair . p. 69 3.6 Thackeray’s Notion of a Hero. p. 70 Conclusions p. 81 Bibliography p.
    [Show full text]
  • Thackeray, George Eliot & Dickens
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1versity Microfilms International A Beil & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800.'521-0600 Order Number 9218651 The gentle hero in the Victorian novel: Thackeray, George Eliot and Dickens Postma, Pamela Loveless, Ph.D. The University of North Carolina at Greensboro, 1991 U·M·I 300 N.
    [Show full text]
  • ABSTRACT George Sand and Her Heroines: Boundary-Breaking
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
    [Show full text]
  • SILAS MARNER by George Eliot
    SILAS MARNER by George Eliot THE AUTHOR Mary Anne Evans (1819-1880) was born in Warwickshire, England, the youngest daughter of an estate agent (after whom Caleb Garth in her classic Middlemarch seems to have been modeled). She was raised as an Evangelical Protestant, but in her early twenties she turned away from the faith of her parents and rejected organized religion, becoming a freethinker. She even translated David Friedrich Strauss’ radical Life of Jesus and Ludwig Feuerbach’s The Essence of Christianity into English, and thus had an impact on the growth of theological liberalism in England. After spending several years writing for a radical political journal, she began living with married writer George Henry Lewes, creating a scandal in English society. She continued to live with him until his death in 1878. It was with Lewes’ encouragement that she began to write works of fiction under the pseudonym of George Eliot. Her first full-length novel, Adam Bede, published in 1859, was widely acclaimed, as were its successors, The Mill on the Floss and Silas Marner. After trying her hand at historical and political novels, she returned to the environment she knew best with her classic Middlemarch, published in serial form in 1871-2. In 1880, she married John Walter Cross, who was twenty years her junior. She died two months later. George Eliot is best remembered as a writer who possessed peerless insight into human character. She understood and communicated with great skill the motives and intents of the heart, and demonstrated herself to be a shrewd observer of the English class system and its fine distinctions.
    [Show full text]
  • Howard J. Garber Letter Collection This Collection Was the Gift of Howard J
    Howard J. Garber Letter Collection This collection was the gift of Howard J. Garber to Case Western Reserve University from 1979 to 1993. Dr. Howard Garber, who donated the materials in the Howard J. Garber Manuscript Collection, is a former Clevelander and alumnus of Case Western Reserve University. Between 1979 and 1993, Dr. Garber donated over 2,000 autograph letters, documents and books to the Department of Special Collections. Dr. Garber's interest in history, particularly British royalty led to his affinity for collecting manuscripts. The collection focuses primarily on political, historical and literary figures in Great Britain and includes signatures of all the Prime Ministers and First Lords of the Treasury. Many interesting items can be found in the collection, including letters from Elizabeth Barrett Browning and Robert Browning Thomas Hardy, Queen Victoria, Prince Albert, King George III, and Virginia Woolf. Descriptions of the Garber Collection books containing autographs and tipped-in letters can be found in the online catalog. Box 1 [oversize location noted in description] Abbott, Charles (1762-1832) English Jurist. • ALS, 1 p., n.d., n.p., to ? A'Beckett, Gilbert A. (1811-1856) Comic Writer. • ALS, 3p., April 7, 1848, Mount Temple, to Morris Barnett. Abercrombie, Lascelles. (1881-1938) Poet and Literary Critic. • A.L.S., 1 p., March 5, n.y., Sheffield, to M----? & Hughes. Aberdeen, George Hamilton Gordon (1784-1860) British Prime Minister. • ALS, 1 p., June 8, 1827, n.p., to Augustous John Fischer. • ANS, 1 p., August 9, 1839, n.p., to Mr. Wright. • ALS, 1 p., January 10, 1853, London, to Cosmos Innes.
    [Show full text]
  • GEORGE ELIOT's VERSIONS of the PASTORAL by MARY J . HARKER B. A., Queen's University, 1967 a THESIS SUBMITTED in PARTIAL FULFILL
    GEORGE ELIOT'S VERSIONS OF THE PASTORAL by MARY J. HARKER B. A., Queen's University, 1967 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May, 1971 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree tha permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada Date May, 1971 ABSTRACT In an attempt to explain the discrepancy between the intellectual and imaginative elements in George Eliot's art, her version of the pastoral in Adam Bede, The Mill on the Floss, and Silas Marner is examined. Based on the Warwickshire countryside of her childhood and on the Wordsworthian notion of childhood, her pastoral is the en• vironmental correlative to the spiritual development of a character according to Ludwig Feuerbach's "Religion of Humanity." The pastoral is used to portray man's initial happy state* that is informed by his own egoism and limited viewpoint. The pastoral is also used to portray a kind of second Eden that is inherited by those men who have achieved a wider vision in the "Religion of Humanity." At the same time, the pastoral has certain unconscious associations for George Eliot which produce an imaginative pattern that is different from the one she consciously intends.
    [Show full text]
  • Géraldine Crahay a Thesis Submitted in Fulfilments of the Requirements For
    ‘ON AURAIT PENSÉ QUE LA NATURE S’ÉTAIT TROMPÉE EN LEUR DONNANT LEURS SEXES’: MASCULINE MALAISE, GENDER INDETERMINACY AND SEXUAL AMBIGUITY IN JULY MONARCHY NARRATIVES Géraldine Crahay A thesis submitted in fulfilments of the requirements for the degree of Doctor in Philosophy in French Studies Bangor University, School of Modern Languages and Cultures June 2015 i TABLE OF CONTENTS Abstract .................................................................................................................................... vii Acknowledgements ................................................................................................................... ix Declaration and Consent ........................................................................................................... xi Introduction: Masculine Ambiguities during the July Monarchy (1830‒48) ............................ 1 Introduction ..................................................................................................................................... 1 Theoretical Framework: Masculinities Studies and the ‘Crisis’ of Masculinity ............................. 4 Literature Overview: Masculinity in the Nineteenth Century ......................................................... 9 Differences between Masculinité and Virilité ............................................................................... 13 Masculinity during the July Monarchy ......................................................................................... 16 A Model of Masculinity:
    [Show full text]
  • Silas Marner / by George Eliot ; Edited with Notes and an Introduction By
    ,-aAaJUW^<»' ^^..^ ELIOT S \X^-'- r^ «, s ..:> •J^!^ VlT/^ - -v..^;.^-/- . ii?\ ?i^ %ir ' ^ :> ^^- GEORGE ELIOT'S SILAS MAENEB IHacmillan's ^^ocltrt Slmerican antr EwqUs]} Classics A Series of English Texts, edited for use in Elementary and Secondary Schools, with Critical Introductions, Notes, etc. i6mo Cloth 25 cents each Addison's Sir Roger de Coverley. Dickens' A Christmas Carol, and The Andersen's Fairy Tales. Cricket on the Hearth. Arabian Nights' Entertainments. Dickens' A Tale of Two Cities. Arnold's Sohrab and Rustum. Dryden's Palamon and Arcite. Au: ten's Pride and Prejudice. Early American Orations, 1760-1824. Bacon's Essays. Edwards' (Jonathan) Sermons. Bible (IViemorable Passages from). Eliot's Silas Marner. Blackmore's Lorna Doone. Emerson's Essays. Browning's Shorter Poems. Emerson's Early Poems. Bi^owning, Mrs., Poems (Selected). Emerson's Representative Men. Bryant's Thanatopsis, etc. Epoch-making Papers in U. S. History. Bulwer's Last Days of Pompeii. Franklin's Autobiography. Bunyan's The Pilgrim's Progress. Gaskell's Cranford. Burke's Speech on Conciliation. Goldsm.ith's The Deserted 'Village, She Burns' Poems (Selections from). Stoops to Conquer, and The Good- Byron's Childe Haro'.d's Pilgrimage. natured Man. Byron's Shorter Poems. Goldsmith's The Vicar of 'Wakefield. Carlyle's Essay on Burns. Grimm's Fairy Tales. Carlylg's Heroes and Hero 'Worship. Hawthorne's Grandfather's Chair. Carroll's Alice's Adventures in 'Wonder- Hawthorne's Mosses from an Old Manse. land (Illustrated). Hawthorne's Tangiewood Tales. Chaucer's Prologue and Knight's Tale. Hawthorne's The House of the Seven Church's The S:ory of the Iliad.
    [Show full text]
  • École Normale Supérieure De Lyon Département D'études
    École Normale Supérieure de Lyon Département d'Études anglophones Mémoire de Master 1 Céline Autin Oscar Browning and the making of popular history: education, identity and Empire in Britain, 1878 – 1912 Sous la direction de Monsieur le Professeur Neil Davie 2015-2016 Acknowledgements I wish to thank several persons for helping me in my research: the Archivist of King’s College Library, Dr. Patricia McGuire, and the Assistant Archivist, Mr Peter Monteith, for their guidance and kind pieces of advice, as well as permission to quote from the papers of Oscar Browning; the Library staff in the Rare Books reading room of the Cambridge University Library for their support and inspiring presence. I would like to mention the organizers of the Modern Cultural History Seminars, Dr. Lawrence Klein and Dr. Peter Mandler, as well as the conveners of the interdisciplinary symposium “Books in the Making”, Dr. Kasia Body and David Winters, with the support of the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), for their enlightening research programmes. I am also deeply grateful to Piotrek Czosnyka, whose work on the cultural and social history of toy soldiers has been decisive in the way I thought of the fashioning of childhood, and with whom I had thrilling exchanges. Grateful acknowledgement is also extended to Dr. Neil Davie for his watchful supervision and crucial suggestions. In their different ways, these persons helped to refine my ideas and brought me to a keener understanding of my subject. They also powerfully embody the academic culture of interdisciplinarity and lively intellectual exchange in which I have a lasting belief.
    [Show full text]
  • Le Portrait De George Sand
    OUTIL D’EXPLOITATION Portrait de George Sand par Auguste Charpentier, 1838 (Copie, original conservé au Musée de la Vie romantique à Paris) Cette huile sur toile, conçue en 1838 par Auguste Charpentier, a été réalisée à Nohant en 1838. A cette époque, la vie de George Sand connaît plusieurs changements. La séparation avec Casimir Dudevant est prononcée depuis 1836 et la jeune femme retrouve sa liberté ainsi que le domaine familial. Sa grande carrière littéraire est lancée depuis quelques années, avec Indiana, un véritable succès, et Lélia, qui fait scandale. Le XIXe siècle offre aux artistes une imagerie abondante grâce à la diversité des moyens de production (peinture, sculpture, gravure, dessin) mais aussi aux progrès de la photographie. George Sand saisit rapidement l’intérêt promotionnel du portrait et veille attentivement à son image et sa diffusion. Auguste Charpentier (1813-1880) est peu connu lorsqu’il se rend à Nohant pour peindre George Sand et ses enfants. La célébrité de son modèle rejaillit vite sur l’artiste qui acquiert par la suite une certaine renommée sous le Second Empire en réalisant le portrait de nombreuses personnalités. Dès son arrivée à Nohant, le peintre fait part à sa tante de ses impressions : « C’est la plus admirable tête que l’on puisse voir, et je ne suis pas encore revenu de ma première impression. Je commence son portrait demain seulement, et j’ai voulu avant passer une journée pour étudier son admirable personne. Essayer de vous la dépeindre serait impossible, je vais rassembler tous mes moyens pour tâcher de la réussir et alors, d’après son portrait, vous pourrez en avoir une petite idée… C’est depuis ces 2 soirées que j’ai pu admirer cette femme si belle et si remarquable à qui on ne donnerait pas plus de 28 ans… ».
    [Show full text]
  • Politics and Pastoral in Silas Marner
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2014 Politics and Pastoral in Silas Marner Barbara Hardy Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Hardy, Barbara, "Politics and Pastoral in Silas Marner" (2014). The George Eliot Review. 659. https://digitalcommons.unl.edu/ger/659 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. POLITICS AND PASTORAL IN SILAS MARNER By Barbara Hardy When eighteen-year-old sumameless Eppie stands by Silas Mamer and against Godfrey Cass she joins a line of subversive children in Victorianfiction. Charlotte Bronte's Jane Eyre speaks out against her aunt; Dickens's Oliver Twist asks for more gruel; his Paul Dombey asks the capitalist father,'What is money after all?' One child rebels against adult power; one against institutional power; one against the cash nexus. The children are all economic dependants but there is no emphasis on class. Oliver behaves like a little gentleman; Paul is a little gentleman; Jane tells Brocklehurst she would not like to be poor, and goes to a charitable school for children of gentlefolk. Eppie's father is gentry, her mother a barmaid, but she is the only one of these four rebels who is working-class by upbringing, who chooses the working class, and who rejects the upper class.
    [Show full text]
  • Japanese Branch Report
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2016 Japanese Branch Report Eri Satoh Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Satoh, Eri, "Japanese Branch Report" (2016). The George Eliot Review. 381. https://digitalcommons.unl.edu/ger/381 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. JAPANESE BRANCH REPORT By Eri Satoh On Saturday 28 November 2015 , the Nineteenth Annual Convention of The George Eliot Fellowship of Japan was held at Obirin University. The morning session started with an opening address by Maiko Otake (Oborin University). Two papers were presented in the morning session. The first was chaired by Hiroshi Ikezono (Yamaguchi University) and the second by Michiko Kurisu (Daito Bunka University). The first paper by Shinsuke Hori (Nihon University) was entitled 'Romola (1863): The Description of Nature and Social and Private Spaces in five "Recollections"'. He analyzed how Eliot acquired her writing techniques in the early novels as she developed her recognition of nature described in five 'Recollections'. He pointed out that in 'Recollections' she gradually comes to describe landscape in detail and use such detailed description to project her subjectivity. He concluded that this way of writing, for example, likening life to the stream of a river, can be seen in novels like Romola as well as Adam Bede and The Mill on the Floss.
    [Show full text]