back to it now, we might have expected for it. As the editor had warned the
author, the Scenes had secured for her a reputation with the higher order
of readers and with men of letters, but had not established her popularity
with the public in general. The reviewers, too, were somewhat divided. Many
of them recognized the merits of the work, but more committed the blunder
of endeavoring to fix the position of the book by contrasting the author
with the popular novelists of the time, and by endeavoring to determine
from which of them she had drawn her inspiration. In 1859 a review of _Adam
Bede_ from the pen of one of the oldest and ablest of our contributors was
published in this magazine, and on its appearance George Eliot wrote the
editor, 'I should like you to convey my gratitude to your reviewer. I see
well he is a man whose experience and study enabled him to relish parts of
my book which I should despair of seeing recognized by critics in London
back drawing-rooms. He has gratified me keenly by laying his fingers on
passages which I wrote either from strong feeling or from intimate
knowledge, but which I had prepared myself to find passed over by
reviewers.' Soon after, _The Times_ followed with an appreciative notice of
the book which sounded its real merits, and did justice to the author's
originality of genius; and by the month of April the book was steadily
running through a second edition. Readers were beginning to realize that
the _Scenes of Clerical Life_ was not a mere chance success, but the work
of a writer capable of greater and better things."
It was Mrs. Lewes's desire not to be known to the public in her own
personality, hence her adoption of a _nom de plume_. She shrank from the
consequences of a literary fame, had none of George Sand's love of
notoriety or desire to impress herself upon the world. It was her hope that
George Eliot and Mrs. Lewes would lead distinct lives so far as either was
known outside her own household; that the two should not be joined together
even in the minds of her most intimate friends. When her friend, the editor
of the _Westminster Review_, detected the authorship of _Adam Bede_, and
wrote to her in its praise, congratulating her on the success she had
attained, Lewes wrote to him denying positively that Mrs. Lewes was the
author. Charles Dickens also saw through the disguise, and wrote to the
publisher declaring his opinion that _Adam Bede_ was written by a woman.
When this was denied, he still persisted in his conviction, detecting the
womanly insight into character, her failure adequately to portray men,
while of women "she seemed to know their very hearts."
The vividness with which scenes and persons about her childhood home were
depicted, speedily led to the breaking of this disguise. One of her
school-fellows, as soon as she had read _Adam Bede_, said, "George Eliot
is Marian Evans;" but others were only confident that the author must be
some Nuncaton resident, and began to look about them for the author. Some
portions of the _Scenes of Clerical Life_ had already been discovered to
have a very strong local coloring, and now there was much curiosity as to
the personality of the writer. A dilapidated gentleman of the neighborhood,
who had run through with a fortune at Cambridge, was selected for the
honor. While the _Scenes_ were being published, an Isle of Man newspaper
attributed the authorship to this man, whose name was Liggins, but he at
once repudiated it. On the appearance of _Adam Bede_ this claim was again
put forward, and a local clergyman became the medium of its announcement
to the public. The London _Times_ printed the following letter in its issue
of April 15, 1859: "Sir,--The author of _Scenes of Clerical Life_ and _Adam
Bede_ is Mr. Joseph Liggins, of Nuncaton, Warwickshire. You may easily
satisfy yourself of my correctness by inquiring of any one in that
neighborhood. Mr. Liggins himself and the characters whom he paints are
as familiar there as the twin spires of Coventry.--Yours obediently,
H. ANDERS, Rector of Kirkby."
The next day the following was printed by the same paper:--
Sir,--The Rev. H. Anders has with questionable delicacy and
unquestionable inaccuracy assured the world through your columns that
the author of _Scenes of Clerical Life_ and _Adam Bede_ is Mr. Joseph
Liggins, of Nuncaton. I beg distinctly to deny that statement. I
declare on my honor that that gentleman never saw a line of those works
until they were printed, nor had he any knowledge of them whatever.
Allow me to ask whether the act of publishing a book deprives a man of
all claim to the courtesies usual among gentlemen? If not, the attempt
to pry into what is obviously meant to be withheld--my name--and to
publish the rumors which such prying may give rise to, seems to me
quite indefensible, still more so to state these rumors as ascertained
facts. I am, sir. Yours, &c., GEORGE ELIOT.
Liggins found his ardent supporters, and he explained the letter
repudiating the authorship of the _Scenes of Clerical Life_ as being
written to further his own interests. He obtained money on the plea that he
was being deprived of his rights, by showing portions of a manuscript which
he had copied from the printed book. Neighboring clergymen zealously
espoused his cause, and a warm controversy raged for a little time
concerning his claim. Very curiously, it became a question of high and low
church, his own fellow-believers defending Liggins with zeal, while the
other party easily detected his imposition. Finally, Blackwood published a
letter in _The Times_ denying his claims, accompanied by one from George
Eliot expressing entire satisfaction with her publisher. A consequence of
this discussion was, that the real name of the author was soon known to the
public.
The curiosity excited about the authorship of _Adam Bede_, the Liggins
controversy, and the fresh, original character of the book itself, soon
drew attention to its merits. It was referred to in a Parliamentary debate,
and it became the general topic of literary conversation. Its success was
soon assured, and it was not long before it was recognized that a new
novelist of the first order had appeared.
It is as amusing as interesting now to look back upon the reception given
to _Adam Bede_ by the critics. It is not every critic who can detect a
great writer in his first unheralded book, and some very stupid blunders
were made in regard to this one. It was reviewed in _The Spectator_ for
February 12, 1859, in this unappreciative manner: "George Eliot's
three-volume novel of _Adam Bede_ is a story of humble life, where
religious conscientiousness is the main characteristic of the hero and
heroine, as well as of some of the other persons. Its literary feature
partakes, we fear, too much of that Northern trait which, by minutely
describing things and delineating individuals as matters of substantive
importance in themselves, rather than as subordinate to general interest,
has a tendency to induce a feeling of sluggishness in the reader."
Not all the critics were so blundering as this one, however, and in the
middle of April, _The Times_ said there was no mistake about the character
of _Adam Bede_, that it was a first-rate novel, and that its author would
take rank at once among the masters of the craft. In April, also,
_Blackwood's Magazine_ gave the book a hearty welcome. The natural, genuine
descriptions of village life were commended, and the boot was praised for
its "hearty, manly sympathy with weakness, not inconsistent with hatred of
vice." Throughout this notice the author is spoken of as "Mr. Eliot." The
critic of the _Westminster Review_, in an appreciative and favorable
notice, expressed a doubt if the author could be a man. He cited Hetty as
proof that only a woman could have written the book, and said this
character could "only be delineated as it is by an author combining the
intense feelings and sympathies of a woman with the conceptive power of
artistic genius." The woman theory was pronounced to be beset with serious
difficulties, however, and the notice concluded with these words: "But
while pronouncing no decisive opinion on this point, we may remark that the
union of the best qualities of the masculine and feminine intellect is as
rare as it is admirable; that it is a distinguishing characteristic of the
most gifted artists and poets, and that to ascribe it to the author of
_Adam Bede_ is to accord the highest praise we can bestow."
With the writing of _Adam Bede_, George Eliot accepted her career as a
novelist, and henceforth her life was devoted to literary creation. Even
before _Adam Bede_ was completed, her attention was directed to Savonarola
as the subject for a novel. Though this subject was in her mind, yet it was
not made use of until later. As soon as _Adam Bede_ was completed, she at
once began another novel of English life, and drawn even more fully than
its predecessors from her own experience. Of this new work a greater
portion of the manuscript was in the hands of the publishers with the
beginning of 1860. She called it _Sister Maggie_, from the name of the
leading character. This title did not please the publisher, and on the 6th
of January, Blackwood wrote to her suggesting that it be called _The Mill
on the Floss_. This title was accepted by George Eliot, and the new work
appeared in three volumes at the beginning of April, 1860.
In July, 1859, there appeared in _Blackwood's Magazine_ a short story from
George Eliot bearing the title of "The Lifted Veil." This was followed by
another, in 1864, called "Brother Jacob." Both were printed anonymously and
are the only short stories she wrote after the _Clerical Scenes_. They
attracted attention, but were not reprinted until 1880, when they appeared
in the volume with _Silas Marner_, in Blackwood's "cabinet edition" of her
works. In March, 1861, _Silas Marner, the Weaver of Raveloe_, her only
one-volume novel, was given to the public by Blackwood.
Having carefully studied the life and surroundings of Savonarola, she now
took up this subject, and embodied it in her _Romola_. This novel appeared
in the _Cornhill Magazine_ from July, 1862, to July, 1863. It has been
reported that it was offered to Blackwood for publication, who rejected it
because it was not likely to be popular with the public. The probable
reason of its publication in the _Cornhill Magazine_ was that a large sum
was paid for its first appearance in that periodical. In a letter written
July 5, 1862, Lewes gave the true explanation. "My main object in
persuading her to consent to serial publication was not the unheard-of
magnificence of the offer, but the advantage to such a work of being read
slowly and deliberately, instead of being galloped through in three
volumes. I think it quite unique, and so will the public when it gets over
the first feeling of surprise and disappointment at the book not being
English and like its predecessor." The success it met with while under way
in the pages of the magazine may be seen from a letter written by Lewes on
December 18. "Marian lives entirely in the fifteenth century, and is much
cheered every now and then by hearing indirectly how her book is
appreciated by the higher class of minds, and some of the highest, though
it is not, and cannot be, popular. In Florence we hear they are wild with
delight and surprise at such a work being executed by a foreigner, as if an
Italian had ever done anything of the kind." _Romola_ was illustrated in
the _Cornhill Magazine_, and on its completion was reprinted by Smith,
Elder & Co., the publishers of that periodical.
The success of _Romola_ was such as to lead George Eliot to begin on
another historical subject, though she was probably induced to do this much
more by its fitness to her purposes than by the public reception of the
novel. This time she gave her work a poetical and dramatic form. _The
Spanish Gypsy_ was written in the winter of 1864-5, but was laid aside for
more thorough study of the subject and for careful revision. She had
previously, in 1863, written a short story in verse, founded on the pages
of Bocaccio, entitled "How Lisa Loved the King." Probably other poems had
also been written, but poetry had not occupied much of her attention. As a
school-girl, and even after she had gone to London, she had written verses.
Among these earlier attempts, it may not be unsafe to conjecture, may have
been the undated poems which she has published in connection with _The
Legend of Jubal_. These are "Self and Life," "Sweet Evenings come and go,
Love," and "The Death of Moses."
After laying aside _The Spanish Gypsy_ she began on another novel of
English life, and _Felix Holt: the Radical_ was printed in three volumes by
Blackwood, in June, 1866. Shortly after, she printed in _Blackwood's
Magazine_--an "Address to workmen, by Felix Holt," in which she gave some
wholesome and admirable advice to the operative classes who had been
enfranchised by the Reform Bill. In the same magazine, "How Lisa Loved the
King" was printed in May, 1869. This was the last of her contributions to
its pages. Its publisher gave her many encouragements in her literary
career, and was devoted to her interests. After his death she gave
expression to her appreciation of his valuable aid in reaching the public,
through a letter addressed to his successor.
I feel that his death was an irreparable loss to my mental life for
nowhere else is it possible that I can find the same long-tried
genuineness of sympathy and unmixed impartial gladness in anything I
might happen to do well. To have had a publisher who was in the fullest
sense of the word a gentleman, and at the same time a man of excellent
moral judgment, has been an invaluable stimulus and comfort to me. Your
uncle had retained that fruit of experience which makes a man of the
world, as opposed to the narrow man of literature. He judged well of
writing, because he had learned to judge well of men and things, not
merely through quickness of observation and insight, but with the
illumination of a heart in the right place--a thorough integrity and
rare tenderness of feeling.
After a visit to Spain in the summer of 1867, _The Spanish Gypsy_ was
re-written and published by Blackwood, in June, 1868. During several years,
at this period of her life, her pen was busy with poetical subjects. "A
Minor Prophet" was written in 1865, "Two Lovers" in 1866, and "Oh may I
join the Choir Invisible" in 1867. "Agatha" was written in 1868, and was
published in the _Atlantic Monthly_ for August, 1869. _The Legend of Jubal_
was written in 1869 and was printed in _Macmillan's Magazine_ for May,
1870. In 1869 were also written the series of sonnets entitled "Brother and
Sister." "Armgart" was written in 1870, and appeared in _Macmillan's
Magazine_ in July, 1871. "Arion" and "Stradivarius" were written in 1873.
"A College Breakfast Party" was written in April, 1874, and was printed in
_Macmillan's Magazine_ for July, 1878. _The Legend of Jubal and other
Poems_ was published by Blackwood in 1874, and contained all the poems just
named, except the last. A new edition was published in 1879 as _The Legend
of Jubal and other Poems, Old and New_. The "new" poems in this edition are
"The College Breakfast Party," "Self and Life," "Sweet Evenings come and
go, Love," and "The Death of Moses."
To the longer of these poetical studies succeeded another novel of English
Life. _Middlemarch: a Study of Provincial Life_ was printed in twelve
monthly parts by Blackwood, beginning in December, 1871. Five years later,
_Daniel Deronda_ was printed in eight monthly parts by the same publisher,
beginning with February, 1876. This method of publication was probably
adopted for the same reason assigned by Lewes for the serial appearance of
_Romola_. Both novels attracted much attention, and were eagerly devoured
and discussed as the successive numbers appeared, the first because of its
remarkable character as a study of English life, the other because of its
peculiar ideas, and its defence of the Jewish race. Her last book,
_Impressions of Theophrastus Such_, a series of essays on moral and
literary subjects, written the year before, was published by Blackwood in
June, 1879. Its reception by the public was somewhat unfavorable, and it
added nothing of immediate enlargement to her reputation.
Of miscellaneous writing George Eliot did but very little. While Mr. Lewes
was the editor of _The Leader_ newspaper, from 1849 to 1854, she was an
occasional contributor of anonymous articles to its columns. When he
founded _The Fortnightly Review_ she contributed to its first number,
published in May, 1865, an article on "The Influence of Rationalism," in
which she reviewed Lecky's _Rationalism in Europe_. These occasional
efforts of her pen, together with the two short stories and the poems
already mentioned, constituted all her work outside her series of great
novels. She concentrated her efforts as few authors have done; and having
found, albeit slowly and reluctantly, what she could best accomplish, she
seldom strayed aside. When her pen had found its proper place it was not
often idle; and though she did not write rapidly, yet she continued
steadily at her work and accomplished much. Within twenty years she wrote
eight great works of fiction, including _The Spanish Gypsy_; works that are
destined to an immortality of fame. From almost entire obscurity her name
appeared, with the publication of the _Scenes of Clerical Life_, to attract
attention among a few most appreciative readers, and it was destined then
to rise suddenly to the highest place of literary reputation with the
publication of _Adam Bede_. Her genius blazed clearly out upon the world in
the fulness of its powers, and each new work added to her fame, and
revealed some new capacity in the delineation of character. Her literary
career shows throughout the steady triumph of genius and of persistent
labor.
V.
PERSONAL CHARACTERISTICS.
The home of Mrs. Lewes during the later years of her life was in one of the
London suburbs, near Regent's Park, in what is known as St. John's Wood, at
number 21, North Bank Street. This locality was not too far from the city
for the enjoyment and the use of its advantages, while it was out of the
noise and the smoke. The houses stand far apart, are surrounded with trees
and lawns, while all is quiet and beautiful. The square, unpretentious
house in which the Leweses lived was surrounded by a fine garden and green
turf, while flowers were abundant. A high wall shut it out from the street.
Within, all was refinement and good taste; there were flowers in the
windows, the furniture was plain and substantial, while quiet simplicity
reigned supreme. The house had two stories and a basement. On the first
floor were two drawing-rooms, a small reception room, a dining-room and Mr.
Lewes's study. These rooms were decorated by Owen Jones, their artist
friend. The second floor contained the study of George Eliot, which was a
plain room, not large. Its two front windows looked into the garden, and
there were book-cases around the walls, and a neat writing-desk. All things
about the house indicated simple tastes, moderate needs, and a plain method
of life.
Mrs. Lewes usually went into her study at eight o'clock in the morning, and
remained there at work until one. If the weather was fine, she rode out in
the afternoon, or she walked in Regent's Park with Mr. Lewes. In case the
weather did not permit her going out, she returned again to her study in
the afternoon. The affairs of her household were so arranged that she could
give herself uninterruptedly to her work. The kitchen was in the basement,
a housekeeper had entire charge of the management of the house, and Mrs.
Lewes was carefully guarded from all outside interruptions. She very seldom
went into society, and she received but few visitors, except on Sunday
afternoons. Her letters were written by Mr. Lewes, with the exception of
those to personal friends or an occasional outside correspondent; and all
the details of the publication of her books and the management of her
business affairs were in his hands. The immediate success of her novels
made them profitable to the publisher, and she was paid comparatively large
sums for them.
Her evenings were spent by Mrs. Lewes at home, in reading and singing,
unless she went to the theatre, as she often did. She walked much, often
visiting the zoological gardens, and she had a great liking for all kinds
of small animals. She greatly enjoyed travelling. Music was her passion,
and art her delight. She preferred the realistic painters, and she never
tired of the collections she often visited in London.
The health of Mrs. Lewes was never good. She was a constant sufferer, was
nervous, excitable and low-spirited. Only by the utmost care and husbanding
of her powers was she enabled to accomplish her work. In a note to one of
her correspondents she has given some hint of the almost chronic languor
and bodily weakness from which she suffered.
The weather, our ailments, and various other causes, have made us put
off our flight from one week to another, but now we are really
fluttering our wings and making a dust about us. I wish we had seen you
oftener. I was placidly looking forward to your staying in England
another year or more, and gave way to my general languor about seeing
friends in these last months, which have been too full of small bodily
miseries for me to feel that I had much space to give to pleasanter
occupation.
Only those who knew her long and well can fitly describe such a woman as
Mrs. Lewes. Personal intimacy gives a color to the words used, and a
meaning to the delicate shades of expression, that can be had in no other
way. One of her friends has described her as being of "the middle height,
the head large, the brow ample, the lower face massive; the eyes gray,
lighting up from time to time with a sympathetic glow; the countenance
sensitive, spiritual, with 'mind and music breathing' from it; the general
demeanor composed and gracious; her utterance fluent and finished, but
somewhat measured; her voice clear and melodious, moving evenly, as it were
in a monotone, though now and then rising, with a sort of quiet eagerness,
into a higher note." The same writer speaks of the close-fitting flow of
her robe, and the luxuriant mass of light-brown hair hanging low on both
sides of her head, as marked characteristics of her costume. Her features
were very plain and large, too large for anything like beauty, but strongly
impressive by their very massiveness. More than one of her friends has
spoken of her resemblance to Savonarola, perhaps suggested by her
description of that monk-prophet in _Romola_. Mr. Kegan Paul finds that she
also resembled Dante and Cardinal Newman, and that these four were of the
same spiritual family, with a curious interdependence of likeness. All
these persons have "the same straight wall of brow; the droop of the
powerful nose; mobile lips, touched with strong passion kept resolutely
under control; a square jaw, which would make the face stern were it not
counteracted by the sweet smile of lips and eye." Her friends say that no
portrait does her justice, that her massive we features could not be
portrayed. "The mere shape of the head," says Kegan Paul, "would be the
despair of any painter. It was so grand and massive that it would scarcely
be possible to represent it without giving the idea of disproportion to the
frame, of which no one ever thought for a moment when they saw her,
although it was a surprise, when she stood up, to see that, after all, she
was but a little fragile woman who bore this weight of brow and brain."