Nov 222015
 

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Today is the birthday (1819) of Mary Ann Evans commonly known by her pen name, George Eliot. She 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. 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.

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As much as anything else I want to take note of her life as one seemingly perpetually peppered with sexism, especially because of her looks. 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 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.” Hmmmm . . . “horse-faced bluestocking” eh? I don’t think Victorian men were treated in quite the same way (though I am ready to be proven wrong).

Eliot was born near Nuneaton in Warwickshire, a few miles north of Coventry. She was the second child of Robert Evans (1773–1849) and Christiana Evans (née Pearson, 1788–1836), the daughter of a local mill-owner. Her given name, Mary Ann, was sometimes shortened to Marian. Her father was the manager of the Arbury Hall Estate for the Newdigate family in Warwickshire, and Eliot was born on the estate at South Farm. In early 1820 the family moved to a house named Griff, between Nuneaton and Bedworth.

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 in those days. 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.

After age sixteen, Eliot had little formal education. Thanks to her father’s 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”. 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 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.

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In 1836 her mother died and Eliot (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. Eliot, 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. At the Brays’ house she met, among others, Robert Owen, Herbert Spencer, Harriet Martineau, and Ralph Waldo Emerson. Through this society Eliot 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 Strauss’s The Life of Jesus (1846), which she completed after it had been left incomplete by another member of the “Rosehill Circle”. As a product of their friendship, Bray published some of Eliot’s earliest writing, such as reviews, in his newspaper the Coventry Herald and Observer.

When Eliot 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 father’s funeral, she traveled 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 d’Albert 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”.

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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 Eliot became its assistant editor in 1851. Although Chapman was officially the editor, it was Eliot 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. Women writers were common at the time, but Evans’s role as the female editor of a literary magazine was quite unusual.

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The philosopher and critic George Henry Lewes (1817–78) met Eliot in 1851, and by 1854 they had decided to live together. Lewes was already married to Agnes Jervis. They had an open marriage, and in addition to the three children they had together, Agnes also had four children by Thornton Leigh Hunt. Because Lewes allowed himself to be falsely named as the father on the birth certificates of Jervis’s 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 Eliot travelled to Weimar and Berlin together for the purpose of research. Before going to Germany, Evans continued her 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.

The trip to Germany also served as a honeymoon as they now considered themselves married, with Eliot 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 extra-marital relationships, though they were much more discreet than Lewes and Eliot 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 .

While continuing to contribute pieces to the Westminster Review, Eliot 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” (1856). The essay criticized 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.

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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, 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 parson or 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 Eliot’s private life surprised and shocked many of her admiring readers, but this did not affect her popularity as a novelist. Eliot’s relationship with Lewes afforded her the encouragement and stability she 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.

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 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 and companionship with John Walter Cross, a Scottish commission agent whose mother had recently died.

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.

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I was a frequent visitor to Nuneaton when I lived for a while in Royal Leamington Spa. There were a number of traditional Warwickshire dishes to be had them, as I am sure there still are with the renaissance of regional cooking in Britain. Pork pies were once a celebrated specialty of the region, and from what I can tell, still are although I have not visited in decades. This pie is from Chadwick’s of Nuneaton:

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Here’s Mrs Beeton’s recipe.

PORK PIES (Warwickshire Recipe).

  1. INGREDIENTS.—For the crust, 5 lbs. of lard to 14 lbs. of flour, milk, and water. For filling the pies, to every 3 lbs. of meat allow 1 oz. of salt, 2-1/4 oz. of pepper, a small quantity of cayenne, 1 pint of water.

Mode.—Rub into the flour a portion of the lard; the remainder put with sufficient milk and water to mix the crust, and boil this gently for 1/4 hour. Pour it boiling on the flour, and knead and beat it till perfectly smooth. Now raise the crust in either a round or oval form, cut up the pork into pieces the size of a nut, season it in the above proportion, and press it compactly into the pie, in alternate layers of fat and lean, and pour in a small quantity of water; lay on the lid, cut the edges smoothly round, and pinch them together. Bake in a brick oven, which should be slow, as the meat is very solid. Very frequently, the inexperienced cook finds much difficulty in raising the crust. She should bear in mind that it must not be allowed to get cold, or it will fall immediately: to prevent this, the operation should be performed as near the fire as possible. As considerable dexterity and expertness are necessary to raise the crust with the hand only, a glass bottle or small jar may be placed in the middle of the paste, and the crust moulded on this; but be particular that it is kept warm the whole time.

Sufficient.—The proportions for 1 pie are 1 lb. of flour and 3 lbs. of meat.

Seasonable from September to March.

 

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