Delphi Complete Works of George Eliot (Illustrated) (926 page)

“
Adam Bede
was published in the last week of January, 1859. The author was desirous on this occasion to test her strength by appealing directly to the public; and the editor, though quite prepared to accept
Adam Bede
for the magazine, willingly gratified her. Sending George Eliot an early copy, before
Adam Bede
had reached the public, he says, ‘Whatever the subscription may be, I am confident of success — great success. The book is so novel and so true, that the whole story remains in my mind like a succession of incidents in the lives of people I know.
Adam Bede
can certainly never come under the class of popular agreeable stories; but those who love power, real humor, and true natural description, will stand by the sturdy carpenter and the living groups you have painted in and about Hayslope.’

“
Adam Bede
did not immediately command that signal success which, looking 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.”