Aged 30 by the Swiss artist Alexandre Louis François d'Albert Durade (1804–86)
|Born||Mary Ann Evans
22 November 1819
Nuneaton, Warwickshire, England
|Died||22 December 1880
Chelsea, Middlesex, England
|Resting place||Highgate Cemetery (East), Highgate, London|
|Pen name||George Eliot|
|Notable work(s)||The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), Daniel Deronda (1876)|
|Spouse(s)||John Cross (1880; her death)|
|Partner(s)||George Henry Lewes (1854–78) (his death)|
|Relative(s)||Robert Evans and Christiana Pearson (parents); Christiana, Isaac, Robert, and Fanny (siblings)|
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. 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
- 1 Life
- 2 Literary assessment
- 3 Works
- 4 Notes
- 5 Further reading
- 6 External links
Mary Ann Evans was the third child of Robert Evans (1773–1849) and Christiana Evans (née Pearson, 1788–1836), the daughter of a local farmer. Mary Ann's 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 father's previous marriage to Harriet Poynton (?1780–1809). Robert Evans, of Welsh ancestry, was the manager of the Arbury Hall Estate for the Newdigate family in Warwickshire, and Mary Anne was born on the estate at South Farm. In early 1820 the family moved to a house named Griff, between Nuneaton and Bedworth.
The young Evans was obviously intelligent and a voracious reader. Because she was not considered physically beautiful, and 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 Latham's school in Attleborough, from ages nine to thirteen at Mrs. Wallington's school in Nuneaton, and from ages thirteen to sixteen at Miss Franklin's school in Coventry. At Mrs. Wallington's school, she was taught by the evangelical Maria Lewis—to whom her earliest surviving letters are addressed. In the religious atmosphere of the Miss Franklin's school, Evans was exposed to a quiet, disciplined belief opposed to evangelicalism.6
After age sixteen, Eliot had little formal education.7 Thanks to her father's 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 Eliot's 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 church Anglican family, but at that time the Midlands was an area with a growing number of religious dissenters.
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 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 veracity of Biblical stories. In fact, her first major literary work was translating into English Strauss's Life of Jesus (1846), which she completed after it had been begun by another member of the Rosehill circle.
When Evans began to question her religious faith, her father threatened to throw her out of the house, but that did not happen. Instead, she respectably attended church for years and continued to keep house for him until his death in 1849, when she was 30. Five days after her father's funeral, she travelled to Switzerland with the Brays. She decided to stay in Geneva alone, living first on the lake at Plongeon (near the present United Nations buildings) and then at the Rue de Chanoines (now the Rue de la Pelisserie) with François and Juliet d'Albert Durade on the second floor ("one feels in a downy nest high up in a good old tree"). Her stay is recorded by a plaque on the building. She read avidly and took long walks amongst a natural environment that inspired her greatly. François painted a portrait of her.9
On her return to England the following year (1850), she moved to London with the intent of becoming a writer and calling herself Marian Evans. She stayed at the house of John Chapman, the radical publisher whom she had met at Rosehill (near Coventry) and who had printed her translation. Chapman had recently bought the campaigning, left-wing journal The Westminster Review, and Evans became its assistant editor in 1851. Although Chapman was the named editor, it was Evans who did most of the work in running the journal, contributing many essays and reviews, from the January 1852 number until the dissolution of her arrangement with Chapman in the first half of 1854.10
Women writers were not uncommon at the time, but Evans's role at the head of a literary enterprise was. She was considered to have an ill-favoured appearance,11 and she formed a number of embarrassing, unreciprocated emotional attachments, including that to her employer, the married Chapman, and Herbert Spencer.
The philosopher and critic George Henry Lewes (1817–78) met Evans in 1851, and by 1854 they had decided to live together. Lewes was married to Agnes Jervis. They had agreed to have an open marriage, and in addition to the three children they had together, Agnes also had four children by Thornton Leigh Hunt.12 Since Lewes was named on the birth certificates as the father of these children despite knowing this to be false, and was therefore considered complicit in adultery, he was not able to divorce Agnes. In July 1854, Lewes and Evans travelled to Weimar and Berlin together for the purpose of research. Before going to Germany, Evans continued her interest in theological work with a translation of Feuerbach's Essence of Christianity, and while abroad she wrote essays and worked on her translation of Baruch Spinoza's Ethics, which she completed in 1856, but which was not published in her lifetime.13
The trip to Germany also served as a honeymoon as Evans and Lewes now considered themselves married, with Evans calling herself Marian 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 affairs, though more discreetly than Lewes and Evans. What was scandalous was their open admission of the relationship.
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"14 (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 new nom-de-plume, the one for which she would become best known: George Eliot.
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 Blackwood's Magazine and, along with the other Scenes, 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 parson or perhaps the wife of a parson. With the release of the incredibly popular Adam Bede, speculation increased markedly, 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 Eliot's private life surprised and shocked many of her admiring readers, but this apparently did not affect her popularity as a novelist. Eliot's 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 Eliot's novels and was so impressed with Adam Bede that she commissioned the artist Edward Henry Corbould to paint scenes from the book.15
After the success of Adam Bede, she continued to write popular novels for the next fifteen years. Within a year of completing Adam Bede, she finished The Mill on the Floss, inscribing 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, whereafter she and Lewes moved to Witley, Surrey; but by this time Lewes's health was failing and he died two years later on 30 November 1878. Eliot spent the next two years editing Lewes's final work, Life and Mind, for publication, and she found solace with John Walter Cross, a Scottish commission agent16 whose mother had recently died.
On 16 May 1880 Eliot courted controversy once more by marrying a man twenty years younger than herself, 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 his sister when she had begun to live with Lewes, but now sent congratulations. While the couple were honeymooning in Venice, John Cross, in a fit of depression, jumped from their hotel balcony into the Grand Canal. Cross survived and the newly-weds returned to England. The couple 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 the previous few years, led to her death on 22 December 1880 at the age of 61.17
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 interred in Highgate Cemetery (East), Highgate, London in the area reserved for religious dissenters or agnostics, next to George Henry Lewes; Karl Marx's memorial is nearby. 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, such as The George Eliot School (previously George Eliot Community School) and Middlemarch Junior School. In 1948, Nuneaton Emergency Hospital was named George Eliot Hospital in Eliot's honour.18 George Eliot Road, in Foleshill, Coventry was named in her honour. Nuneaton motor cycle manufacturer John Birch named his motor cycles after her.
A statue of Eliot is in Newdegate Street, Nuneaton, and Nuneaton Museum & Art Gallery has a display of material related to her.
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.
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 Anne 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".19 Twentieth-century literary critic Harold Bloom placed Eliot among the greatest Western writers of all time.20 The various film and television adaptations of Eliot's books have re-introduced her to the wider reading public.
- 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
- The Spanish Gypsy (a dramatic poem), 1868
- Agatha, 1869
- Brother and Sister, 1869
- Armgart, 1871
- Stradivarius, 1873
- The Legend of Jubal, 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
- I Grant You Ample Leave
- Digital facsimile of manuscript "Quarry for Middlemarch", MS Lowell 13, Houghton Library, Harvard University
- Translation of "The Life of Jesus Critically Examined" Volume 2 by David Strauss, 1846
- Translation of "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 Gilfil's Love Story
- Janet's Repentance
- The Lifted Veil, 1859
- Brother Jacob, 1864
- "The Influence of Rationalism", 1865
- Impressions of Theophrastus Such, 1879
- Review of John Ruskin's Modern Painters in Westminster Review April 1856.
- Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. pp. 237–38.
- Long, Camilla. Martin Amis and the sex war, The Times, 24 January 2010, p. 4: "They've [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..."
- Guppy, Shusha. "Interviews: Julian Barnes, The Art of Fiction No. 165". The Paris Review (Winter 2000). Retrieved 26 May 2012.
- 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.dead link
- Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. pp. 24–25
- Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. p. 31
- Karl, Frederick R. George Eliot: Voice of a Century. Norton, 1995. p. 52
- Christopher Stray Classics Transformed, p. 81
- Hardy BN. George Elliot: A Critic's Biography. Continuum. London 2006 pp42-45.
- Ashton, Rosemary. George Eliot: A Life. London: Penguin, 1997. 88ff. p110.
- 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 n'en 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. Henry James, in a letter to his father, published in Edel, Leon (ed.) Henry James: Selected Letters (1990)
- Henry, Nancy (2008). The Cambridge Introduction to George Eliot. Cambridge: Cambridge. p. 6.
- Hughes, Kathryn, George Eliot: The Last Victorian, p. 168.
- "Silly Novels by Lady Novelists" text from The Westminster Review Vol. 66 old series, Vol. 10 new series (October 1856): 442–61.
- Rosemary Ashton, "Evans, Marian [George Eliot] (1819–1880)", (Later Works) Oxford Dictionary of National Biography, Oxford University Press, 2008
- 1881 census
- "George Eliot". BBC History. 15 October 2009. Retrieved 30 December 2009.
- Nuneaton Emergency Hospital at the National Archives
- Woolf, Virginia. "George Eliot." The Common Reader. New York: Harcourt, Brace, and World, 1925. pp. 166–76.
- Bloom, Harold. 1994. The Western Canon: The Books and School of the Ages. p. 226. New York: Harcourt Brace.
- Henry, Nancy, The Life of George Eliot: A Critical Biography, Wiley-Blackwell, 2012
- Haight, Gordon S., George Eliot: A Biography, Oxford, Oxford University Press, 1968, ISBN 0-19-811666-7.
- 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..
- Beer, Gillian, Darwin's Plots: Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction, London, Routledge & Kegan Paul, 1983, ISBN 0-521-78392-5.
- Beer, Gillian, George Eliot, Prentice Hall / Harvester Wheatsheaf, 1986, ISBN 0-7108-0511-X.
- Chapman, Raymond, The Sense of the Past in Victorian Literature, London, CroomHelm, 1986, ISBN 0-7099-3441-6.
- 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.
- Edel, Leon (ed.) Henry James: Selected Letters, Belknap Press (1990) ISBN 0-674-38794-5
- Pinney, Thomas, ed., Essays of George Eliot, London, Routledge & Kegan Paul, 1963, ISBN 0-231-02619-6.
- Rignall, John, ed., 'Oxford Reader's Companion to George Eliot', Oxford University Press, 2000, ISBN 0-19-860099-2
- Rignall, John, ed., 'George Eliot and Europe', Scolar Press, 1997, ISBN 1-85928-334-9
- 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. Martin's Press, 1998, ISBN 0-312-17651-1.
- Uglow, Jenny, George Eliot, London, Virago Press, 1988, ISBN 0-86068-400-8.
- Willey, Basil, Nineteenth-Century Studies: Coleridge to Matthew Arnold, London, Chatto & Windus, 1964, ISBN 0-14-021709-6.
- Williams, Raymond, The Country and the City, London, Chatto & Windus, 1973, ISBN 0-19-519810-7.
- Alley, Henry, "The Quest for Anonymity: The Novels of George Eliot", University of Delaware Press, 1997.
- Ashton, Rosemary, George Eliot, Oxford, Oxford University Press, 1983.
- Beaty, Jerome, Middlemarch from Notebook to Novel: A Study of George Eliot's 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.
- Dentith, Simon, George Eliot, Brighton, Harvester, 1986.
- 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.
- Kettle, Arnold. An Introduction to the English Novel, vol. I, London, Hutchinson, 1951.
- 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.
|Wikisource has original works written by or about:
|Wikiquote has a collection of quotations related to: George Eliot|
|Wikimedia Commons has media related to George Eliot.|
- Works by George Eliot on Open Library at the Internet Archive
- 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
- Hyper-Concordance to the Works of George Eliot, Nagoya University
- Works by George Eliot at Project Gutenberg
- 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 listed at the 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 Eliot's real name as inspiration for character Lily Evans's name.