Victorian Britain
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
George Eliot (1819-1880)
GEORGE ELIOT (1819-1880) Chronology 1819 Mary Anne Evans born at at Arbury Farm in Warwickshire. Her father, Robert Evans, was an overseer at the Arbury Hall estate, and Eliot kept house for him after her mother died in 1836. Her father remarried and Mary Ann had a good relationship with her two stepbrothers, particularly with Isaac, who played marbles with her and took her fishing. 1824-35 At the age of five she was sent to a local boarding school while Isaac was sent to school in Coventry. She became sternly Christian after her strict religious schooling. 1836 Her mother died and her elder sister married the following year so Mary Ann became her father´s housekeeper and companion. She continue to learn languages and in her own words: "used to go about like an owl, to the great disgust of my brother". 1841 Her father moved to Coventry hoping her daughter would meet a potential husband there. Their next- door neighbour, Mrs Abijah Pears, was the sister of Charles Bray, an enthusiastic social reformer and freethinker. Eliot made friends with the members of the Bray family, and began reading such works as An Enquiry into the Origins of Christianity. Mary Ann soon informed her father that she had lost her faith in Church doctrine. She soon gave up her Evangelicism in favor of a non-sectarian spirituality based on a sense of common humanity. She refused to attend church with her father and began work on a translation from German of Life of Jesus, a rationalist reexamination of some Bible sections. -
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. -
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. -
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. -
George Eliot on Stage and Screen
George Eliot on Stage and Screen MARGARET HARRIS* Certain Victorian novelists have a significant 'afterlife' in stage and screen adaptations of their work: the Brontes in numerous film versions of Charlotte's Jane Eyre and of Emily's Wuthering Heights, Dickens in Lionel Bart's musical Oliver!, or the Royal Shakespeare Company's Nicholas Nickleby-and so on.l Let me give a more detailed example. My interest in adaptations of Victorian novels dates from seeing Roman Polanski's film Tess of 1979. I learned in the course of work for a piece on this adaptation of Thomas Hardy's novel Tess of the D'Urbervilles of 1891 that there had been a number of stage adaptations, including one by Hardy himself which had a successful professional production in London in 1925, as well as amateur 'out of town' productions. In Hardy's lifetime (he died in 1928), there was an opera, produced at Covent Garden in 1909; and two film versions, in 1913 and 1924; together with others since.2 Here is an index to or benchmark of the variety and frequency of adaptations of another Victorian novelist than George Eliot. It is striking that George Eliot hardly has an 'afterlife' in such mediations. The question, 'why is this so?', is perplexing to say the least, and one for which I have no satisfactory answer. The classic problem for film adaptations of novels is how to deal with narrative standpoint, focalisation, and authorial commentary, and a reflex answer might hypothesise that George Eliot's narrators pose too great a challenge. -
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. -
Mill on the Floss CONTENTS
George Eliot’s mill on thefloss adapted by Helen Edmundson Shared Experience have won At the heart of our work is the power and an international reputation for excitement of the performer’s physical presence their innovative productions. and the unique collaboration between actor and The company’s distinctive audience - a shared experience. We are committed to creating theatre which goes style of performance and beyond our everyday lives, giving form to the committed ensemble playing hidden world of emotion and imagination. We have inspired audiences see the rehearsal process as a genuinely open around the world and brought forum for asking questions and taking risks that widespread critical acclaim. redefine the possibilities of performance. “Theatre doesn’t come much more exciting than this”(DAILY TELEGRAPH) Directed by For Shared Experience NANCY MECKLER and POLLY TEALE Joint Artistic Directors Nancy Meckler Polly Teale Associate Director REBECCA GATWARD Education & Youth Theatre Director Sue Nash Designer BUNNY CHRISTIE Acting Education Director Kate Saxon Acting Youth Theatre Director Eve Stebbing Music PETER SALEM Producer Rachel Tackley Lighting CHRIS DAVEY Marketing Manager Ian Whitaker Company Movement LIZ RANKEN Administrator Jane Claire Finance Manager Bryan Lloyd “A company intent on exploring the boundaries of performance”(FINANCIAL TIMES) Shared Experience Theatre Education Pack complied by Gillian King The Soho Laundry, 9 Dufour’s Place Designed by Dragonfly Design London W1V 1FE Rehearsal photos by Jonathan Dockar-Drysdale -
The Role of George Henry Lewes in George Eliot's Career
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 2017 The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration Beverley Rilett University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, Reading and Language Commons, and the Women's Studies Commons Rilett, Beverley, "The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration" (2017). Faculty Publications -- Department of English. 186. http://digitalcommons.unl.edu/englishfacpubs/186 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 Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in George Eliot—George Henry Lewes Studies, Vol. 69, No. 1, (2017), pp. 2-34. doi:10.5325/georelioghlstud.69.1.0002 Copyright © 2017 The Pennsylvania State University, University Park, PA. Used by permission. digitalcommons.unl.edudigitalcommons.unl.edu The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration Beverley Park Rilett University of Nebraska–Lincoln Abstract This article examines the “protection” and “encouragement” George Henry Lewes provided to Eliot throughout her fiction-writing career. According to biographers, Lewes showed his selfless devotion to Eliot by encouraging her to begin and continue writing fiction; by foster- ing the mystery of her authorship; by managing her finances; by negotiating her publishing con- tracts; by managing her schedule; by hosting a salon to promote her books; and by staying close by her side for twenty-four years until death parted them. -
THE MILL on the FLOSS by George Eliot
THE MILL ON THE FLOSS 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. -
In Janet Dempster's Footsteps: Reminiscence
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2016 In Janet Dempster's Footsteps: Reminiscence David Harper 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 Harper, David, "In Janet Dempster's Footsteps: Reminiscence" (2016). The George Eliot Review. 382. https://digitalcommons.unl.edu/ger/382 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. IN JANET DEMPSTER'S FOOTSTEPS: A REMINISCENCE By David Harper The road from Trent Valley Station down towards the town centre curves gently past the row of horse-chestnuts in Bond Gate with their white candles. To the young boy arriving to take up residence in Nuneaton it promised something new, always interesting, always just out of reach. From my earliest years I was a keen reader and felt the privilege of our local author's being one of the unquestioned greats; but it was George Eliot's north Warwickshire that initially attracted me, with The Mill on the Floss and Si/as Marner my favourites. This was reinforced by cycling the lanes for miles around, admiring the cottages and farmhouses, absorbing the atmosphere of the churches and, though much less consciously than she expressed it in a letter, 'being made happier by seeing well-cultivated land'. -
The Mill on the Floss As Moral Fable? G
SYDNEY STUDIES The Mill on the Floss as Moral Fable? G. A. WILKES For if you think so highly of Middlemarch, then, to be consistent, you must be more qualified in your praise of the early things than persisting convention recognizes. Isn't there, in fact, a certain devaluing to be done? F. R. Leavis, The Great Tradition Allowing that the strong autobiographical element in The Mill on the Floss is inseparable from "the vividness, the penetration, and the irresistible truth of the best of the book", Dr Leavis argues that it is responsible also for "disastrous weaknesses in George Eliot's handling of her themes",1 Following his habit of regarding any novel as somehow a test of the self-control of the writer behind it, he finds here an occasion of "that kind of direct presence of the author which has to be stigmatized as weakness" (p. 44), and an identification of George Eliot with Maggie Tulliver through which the author's intelligence is overwhelmed by her feelings. "When George Eliot touches on these given intensities of Maggie's inner life the vibration comes directly and simply from the novelist, precluding the presence of a maturer intelligence than Maggie's own" (p. 54). The greatest admirer of The Mill on the Floss would concede its unevenness, as George Eliot herself did. Even in Middlemarch the St Theresa passages will coexist with the fine irony of the scene of Dorothea and Celia dividing the jewels. But is the pre sentation of Maggie Tulliver really so out of control? Dr Leavis cites a typical passage in which Maggie "represents an immaturity that George Eliot never leaves safely behind her" (p.