The Life and Works of George Eliot, Vol. 17


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Excerpt from The Life and Works of George Eliot, Vol. 17: Poems It must not be supposed that this is by any means a matter of mere fluency, correctness, or ease of numbers. Macaulay wrote verses far su perior in these particulars to many of Mr. Henry Taylor's and many of Wordsworth's. Yet verse was, unequivocally, Macaulay's left-hand; and after adolescence, few people can read his verse for poetry. If I were not unwilling to rouse the prejudice of (i fear!) most of my readers, I should here add Edgar Poe; and, indeed, I really cannot Spare him as an illustration. He must have some queer hybrid place, all to himself (which it would take an essay to define) but though he may be said to have felt verse his right-hand medium of expression, some few of us hesitate to call him a poet. Not to complicate this matter, let us come at once to the point. What is it that in excellent verse differentiates 1 that which is poetry and that which is not? Not mere fluency, but unconscious fluency; in a word, simplicity. Whatever art may do for the poet, he must be a simple musician to begin with. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Life and Works of George Eliot, Vol. 5


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Excerpt from The Life and Works of George Eliot, Vol. 5: Scenes of Clerical Life, And, Jane's Repentance Immense improvement! Says the well-regu lated mind, which unintermittingly re J oices in the New Police, the Tithe Commutation Act, the penny-post, and all guarantees of human advancement, and has no moments when con servative-reforming intellect takes a nap, while imagination does a little Toryism by the sly, revelling in regret that dear, old, brown, crum bling, picturesque inefficiency is everywhere giving place to spick-and-span, new-painted, new-varnished efficiency, which will yield endless diagrams, plans, elevations, and sections, but, alas! No picture. Mine, I_ fear, is not a well regulated mind. It has an occasional tenderness for old abuses it lingers with a certain fondness over the days of nasal clerks and top -booted parsons, and has a sigh for the departed shades of vulgar errors. So it is not surprising that I recall with a fond sadness Shepperton Church as it was in the old days, with its outer coat of rough stucco, its red-tiled roof, its heterogeneous windows patched with desultory bits of painted glass, and its little flight of steps with their wooden rail running up the outer wall, and lead ing to the schoolchildren's gallery. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Works of George Eliot; Volume 17


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




The Works of George Eliot Volume 17


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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.




The Writings of George Eliot ..., Volume 17


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.







Life of George Eliot


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George Eliot


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This richly enjoyable biography of the great Victorian novelist reminds us how truly revolutionary was George Eliot... [Ashton] provides luminously sane readings of the marvellous novels.' A.N. Wilson, Evening Standard 'Excellent... Ashton cites Eliot's achievement in a literary landscape which moves from Scott and George Sand to Dickens, Tennyson and Browning... a fluent, vivid book... it makes one thrill again to the breadth of Eliot's genius and the passionate, vulnerable nature that accompanied her wide-ranging mind.' Jenny Uglow, Independent on Sunday 'An extremely impressive work... the George Eliot who emerges from Professor Ashton's book is a remarkable woman of exceptional integrity whose life expresses the spirit of the Victorian age, even as it goes against the very grain of it.' Susie Boyt, Sunday Express




My Life in Middlemarch


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A New Yorker writer revisits the seminal book of her youth--Middlemarch--and fashions a singular, involving story of how a passionate attachment to a great work of literature can shape our lives and help us to read our own histories. Rebecca Mead was a young woman in an English coastal town when she first read George Eliot's Middlemarch, regarded by many as the greatest English novel. After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and 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 us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself, My Life in Middlemarch is for every ardent lover of literature who cares about why we read books, and how they read us.




George Eliot's Life, Complete


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Chapter I. In the foregoing introductory sketch I have endeavored to present the influences to which George Eliot was subjected in her youth, and the environment in which she grew up; I am now able to begin the fulfilment of the promise on the titlepage, that the life will be related in her own letters; or, rather, in extracts from her own letters, for no single letter is printed entire from the beginning to the end. I have not succeeded in obtaining any between 6th January, 1836, and 18th August, 1838; but from the latter date the correspondence becomes regular, and I have arranged it as a continuous narrative, with the names of the persons to whom the letters are addressed in the margin. The slight thread of narrative or explanation which I have written to elucidate the letters, where necessary, will hereafter occupy an inside margin, so that the reader will see at a glance what is narrative and what is correspondence, and will be troubled as little as possible with marks of quotation or changes of type. The following opening letter of the series to Miss Lewis describes a first visit to London with her brother: [Sidenote: Letter to Miss Lewis, 18th Aug. 1838.] Let me tell you, though, that I was not at all delighted with the stir of the great Babel, and the less so, probably, owing to the circumstances attending my visit thither.