The Essays of George Eliot: Top Novelist Focus
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Since the death of George Eliot much public curiosity has been excited by the repeated allusions to, and quotations from, her contributions to periodical literature, and a leading newspaper gives expression to a general wish when it says that “this series of striking essays ought to be collected and reprinted, both because of substantive worth and because of the light they throw on the author’s literary canons and predilections.” In fact, the articles which were published anonymously in The Westminster Review have been so pointedly designated by the editor, and the biographical sketch in the “Famous Women” series is so emphatic in its praise of them, and so copious in its extracts from one and the least important one of them, that the publication of all the Review and magazine articles of the renowned novelist, without abridgment or alteration, would seem but an act of fair play to her fame, while at the same time a compliance with a reasonable public demand.
Nor are these first steps in her wonderful intellectual progress any the less, but are all the more noteworthy, for being first steps. “To ignore this stage,” says the author of the valuable little volume to which we have just referred—“to ignore this stage in George Eliot’s mental development would be to lose one of the connecting links in her history.” Furthermore,“nothing in her fictions excels the style of these papers.” Here is all her“epigrammatic felicity,” and an irony not surpassed by Heine himself, while her paper on the poet Young is one of her wittiest bits of critical analysis.
Her translation of Status’s “Life of Jesus” was published in 1840, and her translation of Feuerbach’s “Essence of Christianity” in 1854. Her translation of Spinoza’s “Ethics” was finished the same year, but remains unpublished. She was associate editor of The Westminster Reviewfrom 1851 to 1853. She was about twenty-seven years of age when her first translation appeared, thirty-three when the first of these magazine articles appeared, thirty-eight at the publication of her first story, and fifty-nine when she finished “Theophrastus Such.” Two years after she died, at the age of sixty-one. So that George Eliot’s literary life covered a period of about thirty-two years.
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Mary Ann Evans (22 November 1819 – 22 December 1880; alternatively "Mary Anne" or "Marian"), known by her pen name George Eliot, was an English novelist, journalist, translator and one of the leading writers of the Victorian era. She is the author of seven novels, including Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), and Daniel Deronda (1876), most of them set in provincial England and known for their realism and psychological insight.
She used a male pen name, she said, to ensure her works would be taken seriously. Female authors were published under their own names during Eliot's life, but she wanted to escape the stereotype of women only writing lighthearted romances. She also wished to have her fiction judged separately from her already extensive and widely known work as an editor and critic. An additional factor in her use of a pen name may have been a desire to shield her private life from public scrutiny and to prevent scandals attending her relationship with the married George Henry Lewes, with whom she lived for over 20 years.
Her 1872 work Middlemarch has been described by Martin Amis and Julian Barnes as the greatest novel in the English language.
Throughout her career, Eliot wrote with a politically astute pen. From Adam Bede to The Mill on the Floss and Silas Marner, Eliot presented the cases of social outsiders and small-town persecution. Felix Holt, the Radical and The Legend of Jubal were overtly political, and political crisis is at the heart of Middlemarch, in which she presents the stories of a number of denizens of a small English town on the eve of the Reform Bill of 1832; the novel is notable for its deep psychological insight and sophisticated character portraits. The roots of her realist philosophy can be found in her review of John Ruskin's Modern Painters in Westminster Review in 1856.
Readers in the Victorian era particularly praised her books for their depictions of rural society, for which she drew on her own early experiences, and she shared with Wordsworth the belief that there was much interest and importance in the mundane details of ordinary country lives. Eliot did not, however, confine herself to her bucolic roots. Romola, a historical novel set in late 15th century Florence and touching on the lives of several real persons such as the priest Girolamo Savonarola, displays her wider reading and interests. In The Spanish Gypsy, Eliot made a foray into verse, creating a work whose initial popularity has not endured.
Working as a translator, Eliot was exposed to German texts of religious, social, and moral philosophy such as Friedrich Strauss’s Life of Jesus, Feuerbach’s Essence of Christianity, and Spinoza’s Ethics. Elements from these works show up in her fiction, much of which is written with her trademark sense of agnostic humanism. She had taken particular notice of Feuerbach’s conception of Christianity, positing that the faith’s understanding of the nature of the divine rested ultimately in the nature of humanity projected onto a divine figure. An example of this understanding appears in her novel Romola, in which Eliot’s protagonist has been said to display a “surprisingly modern readiness to interpret religious language in humanist or secular ethical terms.” Though Eliot herself was not religious, she held some respect toward religious tradition and its ability to allow society to maintain a sense of social order and morality. Eliot was knowledgeable in regards to religion, while simultaneously remaining critical of it.
The religious elements in her fiction also owe much to her upbringing, with the experiences of Maggie Tulliver from The Mill on the Floss sharing many similarities with the young Mary Ann Evans's own development. When Silas Marner is persuaded that his alienation from the church means also his alienation from society, the author's life is again mirrored with her refusal to attend church. She was at her most autobiographical in Looking Backwards, part of her final printed work Impressions of Theophrastus Such. By the time of Daniel Deronda, Eliot's sales were falling off, and she faded from public view to some degree. This was not helped by the biography written by her husband after her death, which portrayed a wonderful, almost saintly, woman totally at odds with the scandalous life people knew she had led. In the 20th century she was championed by a new breed of critics, most notably by Virginia Woolf, who called Middlemarch "one of the few English novels written for grown-up people". Twentieth-century literary critic Harold Bloom placed Eliot among the greatest Western writers of all time. The various film and television adaptations of Eliot's books have re-introduced her to the wider reading public.
