George Eliot strana 2 z 4

She had believed that my wild poet's passion for her would make me her slave; and that, being her slave, I should execute her will in all things.' The Lifted Veil was first published in Blackwood's Magazine in 1859. A dark fantasy woven from contemporary scientific interest in the physiology of the brain, mesmerism, phrenology and experiments in revification it is Eliot's anatomy of her own moral philsophy - the ideal of imaginative sympathy or the ability to see into others' minds and emotions. Narrated by an egoccentric, morbid young clairvoyant man whose fascination for Bertha Grant lies partly in her obliquity, the story also explores fiction's ability to offer insight into the self, as well as being a remarkable portrait of a misdeveloped artist whose visionary powers merely blight his life. The Lifted Veil is now one of the most widely read and critically discussed of Eliot's works. Published as a companion piece to The Lifted Veil, Brother Jacob is by contrast Eliot's literary homage to Thackeray, a satirical modern fable that draws telling parallels between eating and reading. Yet both stories reveal Eliot's deep engagement with the question of whether there are 'necessary truths' independent of our perception of them and the boundaries of art and the self. Helen Small's introduction casts new light on works which fully deserve to be read alongside Eliot's novels.

Writing at the very moment when the foundations of Western thought were being challenged and undermined, George Eliot fashions in Middlemarch (1871-2) the quintessential Victorian novel, a concept of life and society free from the dogma of the past yet able to confront the scepticism that was taking over the age. In a panoramic sweep of English life during thr years leading up to the First Reform Bill of 1832, Eliot explores nearly every subject of concern to modern life: art, religion, science, politics, self, society, human relationships. Among her characters are some of the most remarkable portraits in English literature: Dorothea Brooke, the heroine, idealistic but naive; Rosamond Vincy, beautiful and egoistic: Edward Casaubon, the dry-as-dust scholar: Tertius Lydgate, the brilliant but morally-flawed physician: the passionate artist Will Ladislaw: and Fred Vincey and Mary Garth, childhood sweethearts whose charming courtship is one of the many humorous elements in the novel's rich comic vein. Felicia Bonaparte has provided a new Introduction for this updated edition, the text of which is taken from David Carroll's Clarendon Middlemarch (1986), the first critical edition.

It came to me first of all, quite suddenly, as a sort of legendary tale, suggested by my recollection of having once, in early childhood, seen a linen-weaver with a bag on his back; but, as my mind dwelt on the subject, I became inclined to a more realistic treatment. Falsely accused, cut off from his past, Silas the weaver is reduced to a spider-like existence, endlessly weaving his web and hoarding his gold. Meanwhile, Godfrey Cass, son of the squire, contracts a secret marriage. While the village celebrates Christmas and New Year, two apparently inexplicable events occur: Silas loses his gold and finds a child on his hearth. The imaginative control George Eliot displays as her narrative gradually reveals causes and connections has rarely been surpassed. Silas Marner (1861) is the shortest and most immediately accessible of Eliot's novels. She takes the materials of legend and fairy tale and provides them with a historically precise setting, drawing on some of the most advanced ideas of her day in order to represent states of mind and belief at the limits of rational perception. This edition, which is based on the carefully corrected text George Eliot prepared a few months after the first edition, is accompanied by an introduction which illuminates the intellectual context of what has often been presented as a nostalgic, sentimental tale.

Only in her final novel, in 1876, did George Eliot turn to contemporary English and European life as material for the expression of her own idealism. Daniel Deronda is a psychologically incisive investigation, probing the egoism of a spoiled girl and her increasing awareness of conscience through suffering. Gwendolen comes to regard Daniel as her moral and spiritual mentor, but chance, the revelation of his Jewish birth, and his practical and sympathetic identification with his race draw him away from her. The text is that of Graham Handley's Clarendon edition, which is based on the novel's first published form. emergent nationalism and the bitter internal struggle.

In Adam Bede (1859) George Eliot took the well-worn tale of a lovely dairy-maid seduced by a careless squire, and out of it created a wonderfully innovative and sympathetic portrait of the lives of ordinary Midlands working people - their labours and loves, their beliefs, their talk. Hugely popular in its own time, Adam Bede is one of the greatest examples of humane and liberal Victorian social concern, a pioneering classic of radical social realism. It is also important for the way it meditates on the need for such fiction and the methods of writing it. As the Introduction declares: 'The distinction of Adam Bede is to tell a story, and also to tell about telling a story. This is a novel about obscure lives, and also about how to be a novel about obscure lives.' This edition reprints the original broadsheet reports of the murder case that was a starting point for the book, and the notes illuminate Eliot's many literary and religious references.

'But it's bad - it's bad,' Mr Tulliver added - 'a woman's no business wi' being so clever; it'll turn to trouble, I doubt.' Rebellious and affectionate, Maggie Tulliver is always in trouble. Recalling her own experiences as a girl, George Eliot describes Maggie's turbulent childhood with a sympathetic engagement that makes the early chapters of The Mill on the Floss among the most immediately attractive she ever wrote. As Maggie Tulliver approaches adulthood, her spirited temperament brings her into conflict with her family, her community, and her much-loved brother Tom. Still more painfully, she finds her own nature divided between the claims of moral responsibility and her passionate hunger for self-fulfilment. George Eliot's searching exploration of Maggie's complex dilemma has made this one of the most enduringly popular of her works. This edition offers the definitive Clarendon text with a new introduction that gives an account of the book's place in Eliot's life and the intellectual context of the time, as well as providing close textual analysis.

Love and family duty form the central threads of this classic, tragic tale.

In a hole under the floorboards Silas Marner the linen-weaver keeps his gold. Every day he works hard at his weaving, and every night he takes the gold out and holds the bright coins lovingly, feeling them and counting them again and again. The villagers are afraid of him and he has no family, no friends. Only the gold is his friend, his delight, his reason for living. But what if a thief should come in the night and take his gold away? What will Silas do then? What could possibly comfort him for the loss of his only friend?

It came to me first of all, quite suddenly, as a sort of legendary tale, suggested by my recollection of having once, in early childhood, seen a linen-weaver with a bag on his back; but, as my mind dwelt on the subject, I became inclined to a more realistic treatment. Falsely accused, cut off from his past, Silas the weaver is reduced to a spider-like existence, endlessly weaving his web and hoarding his gold. Meanwhile, Godfrey Cass, son of the squire, contracts a secret marriage. While the village celebrates Christmas and New Year, two apparently inexplicable events occur: Silas loses his gold and finds a child on his hearth. The imaginative control George Eliot displays as her narrative gradually reveals causes and connections has rarely been surpassed. Silas Marner (1861) is the shortest and most immediately accessible of Eliot's novels. She takes the materials of legend and fairy tale and provides them with a historically precise setting, drawing on some of the most advanced ideas of her day in order to represent states of mind and belief at the limits of rational perception.This edition, which is based on the carefully corrected text George Eliot prepared a few months after the first edition, is accompanied by an introduction which illuminates the intellectual context of what has often been presented as a nostalgic, sentimental tale.

George Eliot's first full-length novel, Adam Bede paints a powerful portrait of rural life, seduction, faith, and redemption. First published in 1859, this innovative novel carried its readers back sixty years to a time of impending change for England and the wider world. Eliot's penetrating portrayal of the interaction of ordinary people brought a new social realism to the novel, in which humor and tragedy co-exist, and fellow-feeling is the mainstay of human relationships. This is the first edition based on Eliot's final revision of the novel in 1861, using the definitive Clarendon text. It includes Eliot's journal entry on the real-life origins of the story and broadsheet accounts of Mary Voce, whose execution provided the germ of the novel. Carol Martin's superb Introduction sheds light on the novel's historical context and some of the main issues it explores: the role of work, class, and relations between the sexes, and Eliot's belief that the artist's duty is "the faithful representing of commonplace things." The book includes comprehensive notes that identify literary and historical allusions.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

In a hole under the floorboards Silas Marner the linen-weaver keeps his gold. Every day he works hard at his weaving, and every night he takes the gold out and holds the bright coins lovingly, feeling them and counting them again and again. The villagers are afraid of him and he has no family, no friends. Only the gold is his friend, his delight, his reason for living. But what if a thief should come in the night and take his gold away? What will Silas do then? What could possibly comfort him for the loss of his only friend?

Part of the "Collector's Library" series, this book's Afterword is by the well-known author, writer and journalist, Ned Halley. It features a brief biography of the author and a reading list.Upozornenie: Vzhľadom na častejšie obmeny vydaní tejto knih y v zahraničí, kus, ktorý vám zašleme, nemusí mať rovnakú obálku ako je zobrazená tu. Zobrazená obálka môže byť iba ilustračná. Obsah knihy aj cena budú však identické, bez ohľadu na obálku.

In this story the author recreates her own childhood through the story of the gifted Maggie Tulliver and her spoilt, selfish brother. Though tragic in its outcome, this comic novel combines vivid images of family life with a portrait of the heroine.

In a landmark essay, Virginia Woolf rescued George Eliot from almost four decades of indifference and scorn when she wrote of the ´searching power and reflective richness´ of Eliot´s fiction. Novels such as Middlemarch and The Mill on the Floss reflect El

`She had believed that my wild poet's passion for her would make me her slave; and that, being her slave, I should execute her will in all things.' The Lifted Veil was first published in Blackwood's Magazine in 1859. A dark fantasy woven from contemporary

What can I do?...I must get up in the morning and do what everyone else does. It is all like a dance set beforehand. I seem to see all that can be - and I am tired and sick of it. And the world is all confusion to me'. George Eliot's last, most controversial novel opens as the spoiled Gwendolen Harleth, poised at a roulette table about to throw away a small fortune, captivates Daniel Deronda. As their lives become intertwined, they are also transformed by suffering, misfortune, revelations and Daniel's fascination with the Jewish singer Mirah. "Daniel Deronda" shocked Victorian readers with its portrayal of the Jewish experience in British society, and remains a moving and epic portrayal of human passions. This is the Penguin English Library - 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.