George Eliot S Early Novels

This study shows how George Eliot, a leader in the nineteenth-century intellectual world of Darwin and the Industrial Revolution, wrestled in her early novels with the esthetic problems of reconciling her art and her philosophy. Attempting in her fiction to reproduce the real, temporal world she lived in, George Eliot also tried to reassure herself and her readers that their godless modern world still operated according to higher moral laws of justice and perfectibility. U. C. Knoepflmacher examines here for the first time in sequence George Eliot's development of increasingly sophisticated forms of fiction in her efforts to reconcile the two conflicting orientations in her thought. We see this popular novelist as she progressed artistically from the flawed "Amos Barton" in 1857 up to the balance she achieved in Silas Marner in 1861. And we discover her in the context of her literary antecedents and surrounding in a way that brings many new affiliations to light, particularly the connection of her novels to the writings of Milton, the Romantic poets, and her contemporaries Arnold and Carlyle. Professor Knoepflmacher thoroughly discusses each work in George Eliot's first stage, brining new attention to minor works like "The Lifted Veil" and Scenes of Clerical Life and fresh insights to such well known works as Adam Bede, The Mill on the Floss, and Silas Marner. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1968.

This study shows how George Eliot, a leader in the nineteenth-century intellectual world of Darwin and the Industrial Revolution, wrestled in her early novels with the esthetic problems of reconciling her art and her philosophy. Attempting in her fiction to reproduce the real, temporal world she lived in, George Eliot also tried to reassure herself and her readers that their godless modern world still operated according to higher moral laws of justice and perfectibility. U. C. Knoepflmacher examines here for the first time in sequence George Eliot's development of increasingly sophisticated forms of fiction in her efforts to reconcile the two conflicting orientations in her thought. We see this popular novelist as she progressed artistically from the flawed "Amos Barton" in 1857 up to the balance she achieved in Silas Marner in 1861. And we discover her in the context of her literary antecedents and surrounding in a way that brings many new affiliations to light, particularly the connection of her novels to the writings of Milton, the Romantic poets, and her contemporaries Arnold and Carlyle. Professor Knoepflmacher thoroughly discusses each work in George Eliot's first stage, brining new attention to minor works like "The Lifted Veil" and Scenes of Clerical Life and fresh insights to such well known works as Adam Bede, The Mill on the Floss, and Silas Marner. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1968.

The great Victorian novelist's complete surviving journals - first publication of new George Eliot text.

Rebecca Mead was a young woman in a coastal town of England when she first read George Eliot's Middlemarch. After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs and then marriage and family, Rebecca Mead reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not. In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads the reader into the life that her favorite book made for her, as well as the many lives the novel has led since it was written. Employing a structure that perfectly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's novel and brings them into the world. Offering both a fascinating reading of Eliot's biography and an uncanny portrait of the ways in which Mead's life echoes that of the author herself, My Life in Middlemarch is a book for who wonders about the power of literature to shape our lives.

In this volume we look at the works of the Victorian Authoress and Poet George Eliot. Mary Anne Evans was born in 1819. Her Father did not consider her a great beauty and thought her chances of marriage were slim. He therefore invested in her education and by the time she was 16 she had boarded at several schools acquiring a good education. With the death of her mother in 1835 she returned home to keep house for her father and siblings. By 1850 she had moved to London to work at the Westminster Review where she published many articles and essays. The following year Mary Anne or Marian, as she liked to be called, had met George Henry Lewes, and in 1854 they moved in together; a somewhat scandalous situation as he was already married albeit with complications. Her view on literature had taken some time to coalescence but with the publication of parts of Scenes From A clerical life in 1858 she knew she wanted to be a novelist and as her 1856 titled essay "Silly Novels by Lady Novelists" stated not a 'silly woman's one at that. Under the pseudonym of George Eliot that we know so well Adam Bede followed in 1859 followed by the other great novels of English literature Mill On The Floss, Silas Marner and Middlemarch. Success of course meant that her real name came out but it seemed not to affect how the public devoured her novels. Here, we look with a keen eye at her poetry. Although slim in number she is able to take a situation, scene or thought and bring us into its world with undeniable care.