Middlemarch
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This panoramic work--considered the finest novel in English by many critics--offers a complex look at English provincial life at a crucial historical moment, and, at the same time, dramatizes and explores some of the most potent myths of Victorian literature.
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This panoramic work--considered the finest novel in English by many critics--offers a complex look at English provincial life at a crucial historical moment, and, at the same time, dramatizes and explores some of the most potent myths of Victorian literature.
Taking place in the years leading up to the First Reform Bill of 1832, Middlemarch 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 näive; 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.
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.
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Summary
Add a SummaryDorothea Brooke marries a much older man and must come to terms with her life.
Quotes
Add a QuoteFor the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.
For in the multitude of middle-aged men who go about their vocations in a daily course determined for them much in the same way as the tie of their cravats, there is always a good number who once meant to shape their own deeds and alter the world a little. The story of their coming to be shapen after the average and fit to be packed by the gross is hardly ever told even in their consciousness; for perhaps their ardour in generous unpaid toil cooled as imperceptibly as the ardour of other youthful loves, till one day their earlier self walked like a ghost in its old home and made the new furniture ghastly.
She herself was accustomed to think that entire freedom from the necessity of behaving agreeably was included in the Almighty’s intentions about families.
It is a little too trying to human flesh to be conscious of expressing one’s self better than others and never to have it noticed.
The effect of her being on those around her was incalculably diffusive: for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.
People glorify all sorts of bravery except the bravery they might show on behalf of their nearest neighbours.
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Add a CommentAnother classic title which was important
A lot happened while I walked leisurely and longly through the pastures of Middlemarch. I wrote this inside the front cover of my copy: "This book was in my suitcase while I experienced zero gravity above Las Vegas. It traveled in my backpack to the bottom of the Grand Canyon. I turned 30 somewhere halfway through it. Then Rolf and I got two cats together. I was almost finished reading it when Ryan died." Middlemarch was such an appropriate book to read while that much life was happening. Virginia Woolf described it as “one of the few English novels written for grown-up people” and this is absolutely a novel for and about adulthood. Eliot’s choice words drill so far down into the core of being a human adult that her passages are timeless.
A very well written and entertaining read!
I feel a bit silly writing a review about Middlemarch - let's just say I am very happy that I took the time finally to read it. Loved the tongue-in-cheek sense of humour, I could practically hear George Eliot chuckling away as she was writing it. Reminded me of a 19th century Jerry Seinfeld, poking fun at all sorts of universal truths. Her characters and the understanding of human relationships were completely real.
"Middlemarch" is deservedly considered a classic, and an exemplar of the art of the novel. Eliot takes on an immense amount thematically, does much of it justice and somehow manages to balance broad issues with in-depth, affecting and authentic portrayals of a captivating array of characters. While the central and some peripheral characters serve to further Eliot's interest in social, political, gender, scientific and religious issues, all figures throughout the novel are etched as believable human beings, not just as one-dimensional symbols serving some more general purpose. There are no black-and-white heroes/heroines or villains, but all are presented as well-rounded individuals with strengths, weaknesses and foibles. The chapter describing how incendiary gossip about two prominent figures spreads through the community and evolves into fact is a tour de force of plot momentum - acerbic, brilliant and exhilarating to read. In other words, Eliot's mastery of theme and character do not at all mean that she gives plot short shrift. While the ending sews up the fates of the main characters, there are surprises and debatable resolutions right to the very end. This book satisfies on so many levels, and sends the reader off with much about which to ponder.