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Middlemarch de George Eliot

Middlemarch

Autor George Eliot
Notă:  4.00 · 2 note 
en Limba Engleză Hardback – 15 oct 1991

Ca și The Mill on the Floss, această lucrare explorează tensiunea dintre aspirațiile individuale și rigorile unei comunități provinciale, dar dintr-o perspectivă mult mai matură și panoramică, abandonând nostalgia în favoarea unei analize sociale chirurgicale. Observăm în Middlemarch nu doar un roman, ci un efort enciclopedic de a cartografia „istoria omului” prin prisma unor vieți aparent mărunte. Premisa este așezată sub semnul Sfintei Tereza: ce se întâmplă cu sufletele arzătoare care nu găsesc un canal epic pentru idealismul lor? Dorothea Brooke devine astfel simbolul unei grandori spirituale neadaptate la „micimea oportunităților” dintr-un oraș de provincie englezesc. În contextul operei sale, dacă Silas Marner sau Adam Bede păstrează un ton mai degrabă pastoral, Middlemarch reprezintă apogeul realismului psihologic al lui George Eliot. Structura cărții, subintitulată „A Study of Provincial Life”, este una de o complexitate remarcabilă, împletind destinele Dorotheei și ale medicului Lydgate cu o precizie care justifică faimoasa apreciere a Virginiei Woolf: este un roman pentru oameni maturi. Ritmul lecturii este dictat de o proză densă, meditativă, unde acțiunea exterioară este subordonată mișcărilor interioare ale conștiinței. Ediția de față, publicată de OUP OXFORD, îmbogățește experiența prin includerea unor anexe valoroase: eseuri ale autoarei despre moralitate și literatură, precum și recenzii de epocă, oferind cititorului coordonatele intelectuale necesare pentru a înțelege profunzimea acestui „monument” al literaturii victoriene.

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Specificații

ISBN-13: 9780679405672
ISBN-10: 0679405674
Pagini: 936
Dimensiuni: 135 x 212 x 43 mm
Greutate: 0.82 kg
Editura: Knopf Doubleday Publishing Group

De ce să citești această carte

Recomandăm Middlemarch cititorului care caută o experiență de lectură profundă, capabilă să oglindească complexitatea relațiilor umane și a compromisurilor sociale. Câștigați acces la o analiză psihologică fără egal în literatura secolului al XIX-lea și la un context critic de excepție oferit de Oxford World's Classics. Este o lectură esențială pentru a înțelege evoluția romanului modern și luptele interioare ale individului împotriva convențiilor.

Despre autor

George Eliot, pseudonimul literar al lui Mary Anne Evans (1819–1880), a fost una dintre cele mai influente voci ale epocii victoriene. Într-o perioadă în care literatura feminină era adesea redusă la romane de moravuri ușoare, ea a adoptat un nume masculin pentru a se asigura că scrierile sale sunt tratate cu seriozitate intelectuală. Erudiția sa vastă, influențată de cultura germană și de studiile filozofice, se reflectă în realismul psihologic dens și în compasiunea față de eșecurile umane. Prin operele sale, George Eliot a transformat romanul într-un instrument de analiză socială și etică, rămânând până astăzi un reper al literaturii universale.

Notă biografică

Mary Ann Evans was born on November 22, 1819, at Chilvers Coton, Warwickshire, England, the last child of an estate agent. During her girlhood, she went through a phase of evangelical piety, but her strong interest in philosophy and her friendship with religious freethinkers led to a break with orthodox religion. When one of these friends married in 1843, Mary Ann took over from his wife the task of translating D.F. Strauss’s The Life of Jesus Critically Examined (1846), a work that had deep effect on English rationalism. After her father’s death she settled in London and from 1851 to 1854 she served as a writer and editor of the Westminster Review, the organ of the Radical party. In London she met she met George Henry Lewes, a journalist and advanced thinker. Lewes was separated from his wife, who had had two sons by another man, but had been unable to obtain a divorce. In a step daring for Victorian times, Mary Ann Evans began living openly with Lewes in 1854, in a union they both considered as sacred as a legal marriage and one that lasted until his death in 1878.

With Lewes’s encouragement, Mary Ann Evans wrote her first fictional work, “The Sad Fortunes of the Reverend Amos Barton,” for Blackwood’s Magazine in 1857; it was followed by two more stories published under the pseudonym George Elliot–“George” because it was Lewes’s name and “Eliot” because, she said, it was good mouth-filling, easily pronounced word.” At the age of thirty-nine she used her memories of Warwickshire to write her first long novel, Adam Bede (1859), a book that established her as the foremost woman novelist in her day. Then came The Mill on the Floss (1860), Silas Marner (1861), and Romola (1863). Her masterpiece and one of the greatest English novels, Middlemarch, was published in 1871-72. Her last work was Daniel Deronda (1876). After Lewes’s death George Eliot married John Walter Cross. He was forty; she was sixty-one. Before her death on December 22, 1880, she had been recognized by her contemporaries as the greatest living writer of English fiction.


From the Paperback edition.

Extras

WHO that cares much to know the history of man, and how the mysterious mixture behaves under the varying experiments of Time, has not dwelt, at least briefly, on the life of Saint Theresa,' has not smiled with some gentleness at the thought of the little girl walking forth one morning hand - in - hand with her still smaller brother, to go and seek martyrdom in the country of the Moors? Out they toddled from rugged Avila, wide - eyed and helpless - looking as two fawns, but with human hearts, already beating to a national idea; until domestic reality met them in the shape of uncles, and turned them back from their great resolve. That child - pilgrimage was a fit beginning. Theresa's passionate, ideal nature demanded an epic life: what were many - volumed romances of chivalry and the social conquests of a brilliant girl to her. Her flame quickly burned up that light fuel; and, fed from within, soared after some illimitable satisfaction, some object which would never justify weariness, which would reconcile self - despair with the rapturous consciousness of life beyond self. She found her epos in the reform of a religious order.
That Spanish woman who lived three hundred years ago was certainly not the last of her kind. Many Theresas have been born who found for themselves no epic life wherein there was a constant unfolding of far - resonant action; perhaps only a life of mistakes, the offspring of a certain spiritual grandeur ill - matched with the meanness of opportunity; perhaps a tragic failure which found no sacred poet and sank unwept into oblivion. With dim lights and tangled circumstance they tried to shape their thought and deed in noble agreement; but after all, to common eyes their struggles seemed mere inconsistency and formlessness; for these later - born Theresas were helped by no coherent social faith and order which could perform the function of knowledge for the ardently willing soul. Their ardour alternated between a vague ideal and the common yearning of womanhood; so that the one was disapproved as extravagance, and the other condemned as a lapse.
Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favourite love - stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart -beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centering in some long recognisable deed.


From the Trade Paperback edition.

Recenzii

"No Victorian novel approaches Middlemarch in its width of reference, its intellectual power, or the imperturbable spaciousness of its narrative."
--V. S. Pritchett


From the Trade Paperback edition.

Descriere scurtă

One of the most accomplished and prominent novels of the Victorian era, Middlemarch is an unsurpassed portrait of nineteenth-century English provincial life. Dorothea Brooke is a young woman of fervent ideals who yearns to effect social change yet faces resistance from the society she inhabits. In this epic in a small landscape, Eliot's large cast of precisely delineated characters and the rich tapestry of their stories result in a wise, compassionate, and astute vision of human nature. As Virginia Woolf declared, George Eliot "was one of the first English novelists to discover that men and women think as well as feel, and the discovery was of great artistic moment."

Introduction by E. S. Shaffer

(Book Jacket Status: Not Jacketed)
 

Descriere

With sure and subtle touch, Eliot paints a luminous and spacious landscape of life in a provincial town, interweaving her themes with a proliferation of characters: an innocent idealist; a self-defeated young doctor; a naive young woman; and a cold man, who "lives too much with the dead".

Textul de pe ultima copertă

In a panoramic sweep of the years leading up to the First Reform Bill of 1832, George 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; Rosamund 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 Vincy and Mary Garth, childhood sweethearts whose charming courtship is one of the many humorous elements in the novel's comic vein.

Cuprins

Acknowledgements
Introduction
George Eliot: A Brief Chronology
A Note on the Text
Middlemarch: A Study of Provincial Life
Appendix A: George Eliot’s Essays, Reviews, and Criticism
  1. “Woman in France: Madame de Sablé,” Westminster Review (October 1854)
  2. “The Morality of Wilhelm Meister,” The Leader (21 July 1855)
  3. From “Margaret Fuller and Mary Wollstonecraft,” The Leader (13 October 1855)
  4. From Review of John Ruskin’s Modern Painters (1856), Westminster Review (April 1856)
  5. From “The Natural History of German Life,” Westminster Review (July 1856)
  6. “Silly Novels by Lady Novelists,” Westminster Review (October 1856)
Appendix B: Contemporary Reviews of Middlemarch
  1. From Edward Dowden, “George Eliot,” Contemporary Review (August 1872)
  2. From Richard Holt Hutton, review of Middlemarch, Spectator (7 December 1872)
  3. From Edith Simcox, “Middlemarch,” Academy (1 January 1873)
  4. From [Henry James], unsigned review, Galaxy (March 1873)
  5. [William Hurrell Mallock], unsigned review of Impressions of Theophrastus Such (1879), Edinburgh Review (October 1879)
  6. Margaret Oliphant, Chapter XI, “Of the Younger Novelists,” The Victorian Age of English Literature (1882)
  7. From Sir John Emerich Edward Dalberg, first Baron Acton, “George Eliot’s Life,” Nineteenth Century (March 1885)
  8. Virginia Woolf, “George Eliot,” Times Literary Supplement (20 November 1919)
Appendix C: Historical Documents: Medical Reform, Religious Freedom, and the Advent of the Railroads
  1. From “The Apothecaries Act” (1815)
  2. From “The Roman Catholic Relief Act” (1829)
  3. From “An Act to amend the representation of the people in England and Wales” (1832)
  4. From “An Act for regulating Schools of Anatomy” (1832)
  5. Liverpool and Manchester Railroad Company Prospectus (1824)
  6. From [Commentary on the projected Liverpool and Manchester Railway], Quarterly Review (March 1825)
  7. From “An Act to consolidate and amend the Acts relating to the Property of Married Women” (1882)
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