The Works of GEORGE ELIOT!
8-volumes.
Not complete.
Each title is complete by itself, but the whole set would have been 24 volumes.
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Bound by the prestigious Riviere Bindery, in the 1800s, And signed by them.
Printed during the Victorian Era, late 1800s.
No date was printed on the title pages.
Bound in genuine leather bindings.
The spines have raised hubs.
The top edge are gilded.
Bound by the prestigious Riviere Bindery, in the 1800s.
CONDITION: In remarkable condition. The leather is still supple. All hinges are strong and sound. Some general shelf abrasions. Each title is complete by itself, from a larger collection that could be had individually. These 8 selected volume were apparently collected and bound by Riviere in the 1800s.
The advertisement says that there were 24 volumes that could be had separately. Each title is complete unto itself. The set is not complete. The whole set cost 6 Pounds Sterling in the 1800s. This was an expensive set. This is a gorgeous antiquarian set of George Eliot.
This is a gorgeous set, and displays beautifully!
8 volumes of George Eliot bound by the prestigious Riviere Bindery in the 1800s. Each title is complete by itself. The half title page states this to be the Cabinet Edition and that each volume may be had by itself. The whole set would have been 25, but apparently only these 8 were purchased, or the rest were lost to time. Only these 8 volumes.
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1828
George EliotFrom Wikipedia, the free encyclopediaFor other people with the same name, see George Elliot (disambiguation)."Mary Ann Evans" redirects here. For the wife of Benjamin Disraeli, see Mary Anne Disraeli.George EliotAged 30 by the Swiss artist Alexandre Louis François dAlbert Durade (1804–86)BornMary Anne Evans
22 November 1819
Nuneaton, Warwickshire, EnglandDied22 December 1880 (aged 61)
Chelsea, Middlesex, EnglandResting placeHighgate Cemetery (East), Highgate, LondonPen nameGeorge EliotOccupationNovelistPeriodVictorianNotable worksThe Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), Daniel Deronda (1876)SpouseJohn Cross (1880; her death)PartnerGeorge Henry Lewes (1854–78) (his death)RelativesRobert Evans and Christiana Pearson (parents); Christiana, Isaac, Robert, and Fanny (siblings)
Mary Anne Evans (22 November 1819 – 22 December 1880; alternatively "Mary Ann" or "Marian"), known by her pen name George Eliot, was an English novelist, poet, 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 which are set in provincial England and known for their realism and psychological insight.
She used a male pen name, she said, to ensure that her works would be taken seriously. Female authors were published under their own names during Eliots life, but she wanted to escape the stereotype of women writing only 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.[1]
Eliots Middlemarch has been described by Martin Amis[2] and Julian Barnes[3] as the greatest novel in the English language.
Contents [hide]
1Life
1.1Early life and education
1.2Move to Coventry
1.3Move to London and editorship of the Westminster Review
1.4Relationship with George Lewes
1.5First publication
1.6Marriage to John Cross and death
2Literary assessment
3Works
3.1Novels
3.2Poetry
3.3Other
4Notes
5Further reading
5.1Context and background
5.2Critical studies
6External links
Life[edit]Early life and education[edit]
Mary Ann Evans was born in Nuneaton, Warwickshire, England. She was the second child of Robert Evans (1773–1849) and Christiana Evans (née Pearson, 1788–1836), the daughter of a local mill-owner. Mary Anns name was sometimes shortened to Marian.[4] Her full siblings were Christiana, known as Chrissey (1814–59), Isaac (1816–1890), and twin brothers who survived a few days in March 1821. She also had a half-brother, Robert (1802–64), and half-sister, Fanny (1805–82), from her fathers previous marriage to Harriet Poynton (?1780–1809). Robert Evans, of Welsh ancestry, was the manager of the Arbury Hall Estate for the Newdigate familyin Warwickshire, and Mary Ann was born on the estate at South Farm. In early 1820 the family moved to a house named Griff House, between Nuneaton and Bedworth.
The young Evans was obviously intelligent, a voracious reader. Because she was not considered physically beautiful, Evans was thus not thought to have much chance of marriage, and because of her intelligence, her father invested in an education not often afforded women.[5] From ages five to nine, she boarded with her sister Chrissey at Miss Lathams school in Attleborough, from ages nine to thirteen at Mrs. Wallingtons school in Nuneaton, and from ages thirteen to sixteen at Miss Franklins school in Coventry. At Mrs. Wallingtons school, she was taught by the evangelical Maria Lewis — to whom her earliest surviving letters are addressed. In the religious atmosphere of the Miss Franklins school, Evans was exposed to a quiet, disciplined belief opposed to evangelicalism.[6]
After age sixteen, Evans had little formal education.[7] Thanks to her fathers important role on the estate, she was allowed access to the library of Arbury Hall, which greatly aided her self-education and breadth of learning. Her classical education left its mark; Christopher Stray has observed that "George Eliots novels draw heavily on Greek literature (only one of her books can be printed correctly without the use of a Greek typeface), and her themes are often influenced by Greek tragedy".[8] Her frequent visits to the estate also allowed her to contrast the wealth in which the local landowner lived with the lives of the often much poorer people on the estate, and different lives lived in parallel would reappear in many of her works. The other important early influence in her life was religion. She was brought up within a low churchAnglican family, but at that time the Midlands was an area with a growing number of religious dissenters.
Move to Coventry[edit]
In 1836 her mother died and Evans (then 16) returned home to act as housekeeper, but she continued correspondence with her tutor Maria Lewis. When she was 21, her brother Isaac married and took over the family home, so Evans and her father moved to Foleshill near Coventry. The closeness to Coventry society brought new influences, most notably those of Charles and Cara Bray. Charles Bray had become rich as a ribbon manufacturer and had used his wealth in the building of schools and in other philanthropic causes. Evans, who had been struggling with religious doubts for some time, became intimate friends with the progressive, free-thinking Brays, whose "Rosehill" home was a haven for people who held and debated radical views. The people whom the young woman met at the Brays house included Robert Owen, Herbert Spencer, Harriet Martineau, and Ralph Waldo Emerson. Through this society Evans was introduced to more liberal theologies and to writers such as David Strauss and Ludwig Feuerbach, who cast doubt on the literal truth of Biblical stories. In fact, her first major literary work was an English translation of Strausss The Life of Jesus (1846), which she completed after it had been left incomplete by another member of the "Rosehill Circle"; later she translated Feuerbach's The Essence of Christianity (1854). As a product of their friendship, Bray published some of Evanss earliest writing, such as reviews, in his newspaper the Coventry Herald and Observer.[9]
When Evans began to question her religious faith, her father threatened to throw her out of the house, but his threat was not carried out. Instead, she respectfully attended church and continued to keep house for him until his death in 1849, when she was 30. Five days after her fathers funeral, she travelled to Switzerland with the Brays. She decided to stay on in Geneva alone, living first on the lake at Plongeon (near the present-day United Nations buildings) and then on the second floor of a house owned by her friends François and Juliet dAlbert Durade on the rue de Chanoines (now the rue de la Pelisserie). She commented happily that, "one feels in a downy nest high up in a good old tree". Her stay is commemorated by a plaque on the building. While residing there, she read avidly and took long walks in the beautiful Swiss countryside, which was a great inspiration to her. François Durade painted her portrait there as well.[10]
Move to London and editorship of the Westminster Review[edit]
On her return to England the following year (1850), she moved to London with the intent of becoming a writer, and she began referring to herself as Marian Evans. She stayed at the house of John Chapman, the radical publisher whom she had met earlier at Rosehill and who had published her Strauss translation. Chapman had recently purchased the campaigning, left-wing journal The Westminster Review, and Evans became its assistant editor in 1851. Although Chapman was officially the editor, it was Evans who did most of the work of producing the journal, contributing many essays and reviews beginning with the January 1852 issue and continuing until the end of her employment at the Review in the first half of 1854.[11]
Women writers were common at the time, but Evanss role as the female editor of a literary magazine was quite unusual. She was not considered to be a beautiful or even an attractive woman. According to Henry James:
She had a low forehead, a dull grey eye, a vast pendulous nose, a huge mouth full of uneven teeth and a chin and jawbone qui nen finissent pas... Now in this vast ugliness resides a most powerful beauty which, in a very few minutes, steals forth and charms the mind, so that you end, as I ended, in falling in love with her. Yes, behold me in love with this great horse-faced bluestocking.[12]
During this period, she formed a number of embarrassing, unreciprocated emotional attachments, including one with Chapman (who was married but lived with both his wife and his mistress), and another with Herbert Spencer.
Relationship with George Lewes[edit]Portrait of George Eliot by Samuel Laurence, c. 1860
The philosopher and critic George Henry Lewes (1817–78) met Evans in 1851, and by 1854 they had decided to live together. Lewes was already married to Agnes Jervis. They had an open marriage, in addition to the three children they had together. Agnes also had four children by Thornton Leigh Hunt.[13] Because Lewes allowed himself to be falsely named as the father on the birth certificates of Jerviss illegitimate children, he was considered to be complicit in adultery, and therefore he was not legally able to divorce her. In July 1854, Lewes and Evans travelled to Weimar and Berlin together for the purpose of research. Before going to Germany, Evans continued her theological work with a translation of Feuerbachs Essence of Christianity, and while abroad she wrote essays and worked on her translation of Baruch Spinozas Ethics, which she completed in 1856, but which was not published in her lifetime.[14]
The trip to Germany also served as a honeymoon for Evans and Lewes, and they now considered themselves married, with Evans calling herself Mary Ann Evans Lewes, and referring to Lewes as her husband. It was not unusual for men and women in Victorian society to have affairs; Charles Bray, John Chapman, Friedrich Engels, and Wilkie Collins all had extra-marital relationships, though they were much more discreet than Lewes and Evans were. It was this lack of discretion and their public admission of the relationship which created accusations of polygamy and earned them the moral disapproval of English society.
First publication[edit]Photograph (albumen print) of George Eliot, c. 1865
While continuing to contribute pieces to the Westminster Review, Evans resolved to become a novelist, and she set out a manifesto for herself in one of her last essays for the Review, "Silly Novels by Lady Novelists"[15] (1856). The essay criticised the trivial and ridiculous plots of contemporary fiction by women. In other essays, she praised the realism of novels that were being written in Europe at the time, and it became clear in her subsequent fiction that she placed an emphasis on realistic storytelling. She also adopted a nom-de-plume, the one for which she would become known: George Eliot. This pen-name was said by some to be an homage to George Lewes. In addition to adopting his first name, the last name, Eliot, could possibly have been a code for "to L—I owe it".[16]
In 1857, when she was 37, "The Sad Fortunes of the Reverend Amos Barton", the first of the Scenes of Clerical Life, was published in Blackwoods Magazine and, along with the other Scenes, it was well received (it was published in book form early in 1858). Her first complete novel, published in 1859, was Adam Bede; it was an instant success, but it prompted intense interest in who this new author might be. Scenes of Clerical Life was widely believed to have been written by a country parsonor perhaps the wife of a parson. With the release of the incredibly popular Adam Bede, speculation increased, and there was even a pretender to the authorship, one Joseph Liggins. In the end, the real George Eliot stepped forward: Marian Evans Lewes admitted she was the author. The revelations about Eliots private life surprised and shocked many of her admiring readers, but this did not affect her popularity as a novelist. Eliots relationship with Lewes afforded her the encouragement and stability she so badly needed to write fiction, and to ease her self-doubt, but it would be some time before they were accepted into polite society. Acceptance was finally confirmed in 1877 when they were introduced to Princess Louise, the daughter of Queen Victoria. The queen herself was an avid reader of all of George Eliots novels and was so impressed with Adam Bede that she commissioned the artist Edward Henry Corbould to paint scenes from the book.[17]
Blue plaque, Holly Lodge, 31 Wimbledon Park Road, London
After the success of Adam Bede, Eliot continued to write popular novels for the next fifteen years. Within a year of completing Adam Bede, she finished The Mill on the Floss, dedicating the manuscript: "To my beloved husband, George Henry Lewes, I give this MS. of my third book, written in the sixth year of our life together, at Holly Lodge, South Field, Wandsworth, and finished 21 March 1860."
Her last novel was Daniel Deronda, published in 1876, after which she and Lewes moved to Witley, Surrey. By this time Lewess health was failing, and he died two years later, on 30 November 1878. Eliot spent the next two years editing Lewess final work, Life and Mind, for publication, and she found solace and companionship with John Walter Cross, a Scottish commission agent[18] whose mother had recently died.
Marriage to John Cross and death[edit]Eliots grave in Highgate Cemetery
On 16 May 1880 Eliot courted controversy once more by marrying John Cross, a man twenty years her junior, and again changing her name, this time to Mary Anne Cross. The legal marriage at least pleased her brother Isaac, who had broken off relations with her when she had begun to live with Lewes, but now sent congratulations. While the couple was honeymooning in Venice, Cross, in a fit of depression, jumped from the hotel balcony into the Grand Canal. He survived, and the newlyweds returned to England. They moved to a new house in Chelsea, but Eliot fell ill with a throat infection. This, coupled with the kidney disease she had been afflicted with for several years, led to her death on 22 December 1880 at the age of 61.[19]
Eliot was not buried in Westminster Abbey because of her denial of the Christian faith and her "irregular" though monogamous life with Lewes. She was buried in Highgate Cemetery (East), Highgate, London, in the area reserved for religious dissenters and agnostics, beside the love of her life, George Henry Lewes. In 1980, on the centenary of her death, a memorial stone was established for her in the Poets Corner.
Several buildings in her birthplace of Nuneaton are named after her or titles of her novels. These include The George Eliot School (previously George Eliot Community School) and Middlemarch Junior School. In 1948, Nuneaton Emergency Hospital was renamed George Eliot Hospital in her honour.[20] George Eliot Road, in Foleshill, Coventry, was also named in her honour.
A statue of Eliot is in Newdegate Street, Nuneaton, and Nuneaton Museum & Art Gallery has a display of artifacts related to her.
Literary assessment[edit]Portrait by Frederick William Burton, 1864
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 Ruskins 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.”[21] 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 Evanss own development. When Silas Marner is persuaded that his alienation from the church means also his alienation from society, the authors 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, Eliots 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".[22] In 1994, literary critic Harold Bloom placed Eliot among the most important Western writers of all time.[23] In a 2007 authors poll by TIME, Middlemarch was voted the tenth greatest literary work ever written.[24] In 2015, writers from outside the UK voted it first among all British novels "by a landslide".[25] The various film and television adaptations of Eliots books have re-introduced her to the wider reading public.
Works[edit]Novels[edit]
• Adam Bede, 1859
• The Mill on the Floss, 1860
• Silas Marner, 1861
• Romola, 1863
• Felix Holt, the Radical, 1866
• Middlemarch, 1871–72
• Daniel Deronda, 1876
Poetry[edit]
• Agatha, 1869
• Brother and Sister, 1869
• Armgart, 1871
• Stradivarius, 1873
• The Legend of Jubal, 1874
• I Grant You Ample Leave, 1874
• Arion, 1874
• A Minor Prophet, 1874
• A College Breakfast Party, 1879
• The Death of Moses, 1879
• From a London Drawing Room
• Count That Day Lost
Other[edit]
• Digital facsimile of manuscript "Quarry for Middlemarch", MS Lowell 13, Houghton Library, Harvard University
• Translation of Das Leben Jesu, kritisch bearbeitet (The Life of Jesus, Critically Examined) Volume 2 by David Strauss, 1846
• Translation of Das Wesen des Christentums (The Essence of Christianity) by Ludwig Feuerbach, 1854
• "Three Months in Weimar", 1855
• "Silly Novels by Lady Novelists", 1856
• "The Natural History of German Life", 1856
• Scenes of Clerical Life, 1857
• The Sad Fortunes of the Rev. Amos Barton
• Mr Gilfils Love Story
• Janets Repentance
• The Lifted Veil, 1859
• Brother Jacob, 1864
• "The Influence of Rationalism", 1865
• Impressions of Theophrastus Such, 1879
• Review of John Ruskins Modern Painters in Westminster Review April 1856.
Notes[edit]
Jump up ^ Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. pp. 237–38.
Jump up ^ Long, Camilla. Martin Amis and the sex war, The Times, 24 January 2010, p. 4: "Theyve [women] produced the greatest writer in the English language ever, George Eliot, and arguably the third greatest, Jane Austen, and certainly the greatest novel, Middlemarch..."
Jump up ^ Guppy, Shusha. "Interviews: Julian Barnes, The Art of Fiction No. 165". The Paris Review (Winter 2000). Retrieved 26 May 2012.
Jump up ^ University of Virginia According to a University of Virginia research forum published here, her baptismal records record the spelling as Mary-Anne, and she uses this spelling in her earliest letters. Around 1857, she began to use Mary Ann. In 1859, she was using Marian, but she reverted to Mary Ann in 1880. Archived23 August 2009 at the Wayback Machine.
Jump up ^ Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. pp. 24–25
Jump up ^ Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. p. 31
Jump up ^ Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. p. 52
Jump up ^ Christopher Stray Classics Transformed, p. 81
Jump up ^ McCormick, Kathleen (Summer 1986). "George Eliots Earliest Prose: The Coventry "Herald" and the Coventry Fiction". Victorian Periodicals Review. 19 (2): 57–62. JSTOR 20082202.
Jump up ^ Hardy BN. George Elliot: A Critics Biography. Continuum. London 2006 pp42-45.
Jump up ^ Ashton, Rosemary. George Eliot: A Life. London: Penguin, 1997. 88ff. p110.
Jump up ^ Henry James, in a letter to his father, published in Edel, Leon (ed.) Henry James: Selected Letters (1990)
Jump up ^ Henry, Nancy (2008). The Cambridge Introduction to George Eliot. Cambridge: Cambridge. p. 6.
Jump up ^ Hughes, Kathryn, George Eliot: The Last Victorian, p. 168.
Jump up ^ "Silly Novels by Lady Novelists" text from The Westminster Review Vol. 66 old series, Vol. 10 new series (October 1856): 442–61.
Jump up ^ Mead, Rebecca, My Life in Middlemarch. New York: Crown Publishers, 2014, p. 178
Jump up ^ Rosemary Ashton, "Evans, Marian [George Eliot] (1819–1880)", (Later Works) Oxford Dictionary of National Biography, Oxford University Press, 2008
Jump up ^ 1881 census
Jump up ^ "George Eliot". BBC History. 15 October 2009. Retrieved 30 December 2009.
Jump up ^ Nuneaton Emergency Hospital at the National Archives
Jump up ^ Bidney, Martin (2002). "Philosophy and the Victorian Literary Aesthetic". In Baker, William; Womack, Kenneth. A Companion to the Victorian Novel. Westport: Greenwood Press. pp. 100–101.
Jump up ^ Woolf, Virginia. "George Eliot." The Common Reader. New York: Harcourt, Brace, and World, 1925. pp. 166–76.
Jump up ^ Bloom, Harold. 1994. The Western Canon: The Books and School of the Ages. p. 226. New York: Harcourt Brace.
Jump up ^ Grossman, Lev (15 January 2007). "The 10 Greatest Books of All Time". TIME. Retrieved 9 February 2017.
Jump up ^ Flood, Alison (8 December 2015). "The best British novel of all time: have international critics found it?". The Guardian. Retrieved 9 February 2017.
Further reading[edit]Nuneaton Museum and Art Gallery, in Riversley Park, home of collection on writer George EliotThis "further reading" section may contain inappropriate and/or excessive suggestions. Please ensure that only a reasonable number of balanced, topical, reliable, and notable further reading suggestions are given. Consider utilising appropriate texts as inline sources or creating a separate bibliography article. (July 2014)
• Henry, Nancy, The Life of George Eliot: A Critical Biography, Wiley-Blackwell, 2012
• Haight, Gordon S., ed., George Eliot: Letters, New Haven, Connecticut, Yale University Press, 1954, ISBN 0-300-01088-5.
• Uglow, Jennifer, George Eliot, London, Virago, 1987, ISBN 0-394-75359-3.
• Jenkins, Lucien, Collected Poems of George Eliot, London, Skoob Books Publishing, 1989, ISBN 1-871438-35-7
• Wahba, Magdi (1981). Centenary Essays on George Eliot. Cairo, Egypt: Cairo Studies in English..
Context and background[edit]
• Beer, Gillian, Darwins Plots: Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction, London, Routledge & Kegan Paul, 1983, ISBN 0-521-78392-5.
• Cosslett, Tess, The Scientific Movement and Victorian Literature, Brighton, Harvester, 1982, ISBN 0-312-70298-1.
• Gilbert, Sandra M., and Gubar, Susan, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, New Haven, Connecticut, Yale University Press, 1979, ISBN 0-300-08458-7.
• Hughes, Kathryn, George Eliot: The Last Victorian, New York, Farrar Straus Giroux, 1998, ISBN 0-374-16138-0.
• Pinney, Thomas, ed., Essays of George Eliot, London, Routledge & Kegan Paul, 1963, ISBN 0-231-02619-6.
• Rignall, John, ed., Oxford Readers Companion to George Eliot, Oxford University Press, 2000, ISBN 0-19-860099-2
• Shuttleworth, Sally, George Eliot and Nineteenth-Century Science: The Make-Believe of a Beginning, Cambridge, Cambridge University Press, 1984, ISBN 0-521-25786-7.
• Thompson, Andrew, 1998, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento, New York, St. Martins Press, 1998, ISBN 0-312-17651-1.
• Uglow, Jenny, George Eliot, London, Virago Press, 1988, ISBN 0-86068-400-8.
• Williams, Raymond, The Country and the City, London, Chatto & Windus, 1973, ISBN 0-19-519810-7.
Critical studies[edit]
• Alley, Henry, "The Quest for Anonymity: The Novels of George Eliot", University of Delaware Press, 1997.
• Beaty, Jerome, Middlemarch from Notebook to Novel: A Study of George Eliots Creative Method, Champaign, Illinois, University of Illinois, 1960.
• Carroll, Alicia, Dark Smiles: Race and Desire in George Eliot, Ohio University Press, 2003.
• Carroll, David, ed., George Eliot: The Critical Heritage, London, Routledge & Kegan Paul, 1971.
• Daiches, David, George Eliot: Middlemarch, London, Edward Arnold, 1963.
• Garrett, Peter K., The Victorian Multiplot Novel: Studies in Dialogical Form, New Haven, Connecticut, Yale University Press, 1980.
• Graver, Suzanne, George Eliot and Community: A Study in Social Theory and Fictional Form, Berkeley, California, University of California Press, 1984.
• Harvey, W. J, The Art of George Eliot, London, Chatto & Windus, 1961.
• Leavis, F R The Great Tradition, London, Chatto & Windus, 1948.
• Neale, Catherine, Middlemarch: Penguin Critical Studies,London, Penguin, 1989.
• Sette, Miriam, George Eliot: il corpo della passione. Aspetti della corporeità nella narrativa dell'ultima fase, Pescara, Campus, 2004.
• Swinden, Patrick, eel., George Eliot: Middlemarch, London, Macmillan, 1972.
• Trainini, Marco, Vendetta, tienimi compagnia. Due vendicatori in «Middlemarch» di George Eliot e «Anna Karenina» di Lev Tolstoj, Milano, Arcipelago Edizioni, 2012, ISBN 8876954759.
External links[edit]Library resources about
George Eliot
Online books
Resources in your library
Resources in other libraries
By George Eliot
Online books
Resources in your library
Resources in other libraries
Wikimedia Commons has media related to George Eliot.Wikisource has original works written by or about:
George EliotWikiquote has quotations related to: George Eliot
• The George Eliot Fellowship
• Works by George Eliot at Project Gutenberg
• Works by George Eliot (Mary Anne Evans) at Faded Page (Canada)
• Works by or about George Eliot at Internet Archive
• Works by George Eliot at LibriVox (public domain audiobooks)
• Works by George Eliot at Open Library
• George Eliot at the British Library
• Poetry Foundation profile and poems
• Full biography: "Evans, Marian [George Eliot] (1819–1880)", Oxford Dictionary of National Biography, Oxford University Press, 2008
• George Eliot at The Victorian Web
• Literary Encyclopedia biography
• Petri Liukkonen. "George Eliot". Books and Writers (kirjasto.sci.fi). Archived from the original on 4 July 2013.
• Hyper-Concordance to the Works of George Eliot, Nagoya University
• The Life of George Eliot by John Morley at Project Gutenberg
• Athenaeum review of The Mill on the Floss by Geraldine Jewsbury, (7 April 1860)
• "Archival material relating to George Eliot". UK National Archives.
• George Eliot Collection at the Harry Ransom Center at the University of Texas at Austin
• Portraits of George Eliot (Mary Ann Cross, née Evans) at the National Portrait Gallery, London
• Images of letter fragments and personal belongings
• JK Rowling Interview with Daniel Radcliffe cites George Eliots real name as inspiration for character Lily Evanss name.
• Archival material at Leeds University Library
• [hide]vteWorks by George Eliot
• Scenes of Clerical Life (1858)The Lifted Veil (1859)Adam Bede (1859)The Mill on the Floss (1860)Silas Marner (1861)Romola (1862–63)Felix Holt, the Radical (1866)Middlemarch(1871–72)Daniel Deronda (1876)Impressions of Theophrastus Such (1879)
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