Recent Criticism of Eliot's Middlemarch

The criticism authored by Jerome Beaty titled "History by Indirection: The Era of Reform in Middlemarch" (593) goes beyond any contemporary criticism previously provided. It takes a step back to really examine the historical implications of the novel. He is interested in the way Eliot scatters history through the novel through representation and delicate mentions. She never lumps together historical information but non the less provides accurate pictures of the times, something all critics seem to agree is done masterfully. Lee R. Edwards in his piece "Women, Energy, and Middlemarch" (623) again looks at historical implications but does so through contemplation of Eliot's personal motives. The critic details their personal transcendence of understanding of the novel at first, as the tale of a heroine, but then coming to realize its true nature. It is claimed that the novel is neither comic nor tragic, just how Eliot wanted it. A line is definitely drawn in this criticism between Eliot and her work, as she works to mock and criticize the society of the time through her characters. From her own history we understand that Dorothea and Celia are nothing like her in lifestyle selections and Edwards cites her characterizations as intentional calls out. T.R. Wright takes a separate step in the criticism of the novel by examining Eliot's intentions with faith in "Middlemarch as a Religious Novel, or Life without God" (640). God in a sense is blank in the novel, because he really does make no appearance. Wright names numerous other critics who have tried to answer the question of why and he himself offers the answer. He believes that Eliot's lack of god is made up for in other areas.

I most enjoyed Beaty's conversation on historical context in the novel. Many critics in the present and in the time of Eliot, unanimously praise her ability for an accurate portrayal of human nature. She creates a web of society that accurately reflects the expectations, responsibilities, and burdens of 1829 - 1832, the dates in which Middlemarch is set. Beaty creates an argument for how the novel is not only accurate of society but also politically and globally "Few readers notice how many details from the political history of a period forty years prior to the time of composition are present" (593). They are skillfully weaved into the novel, strengthening Eliot's already amazing picture of English life. Beaty goes on to elaborate on the death of King George IV that was during the action of the novel. The characters never directly pause to not the world larger than them but there is evidence of its impacts "The major political events are forecast and have effects with no surrounding air of "momentous occasion"; they assume their natural place in the lives and actions of the characters..." (595). Had the King's death overshadowed the death of a character it would in a sense remove from the emphasis on Middlemarch characters, as they never seem to act or look outside their own world much. However, to keep the plot true, the effects of his death in the news and postings are shown. I had no idea that so much history was weaved into the novel as I read it, and like any great piece of literature, I would like to reread it with more historical knowledge.

Contemporary Reviews of Eliot's Middlemarch

Summary - 
The Contemporary Reviews featured in the Norton Critical Edition were written as reviews to the novel upon its first release. The Saturday Review titled "Middlemarch" (573) praises Eliot for a beautiful use of characterization. It then goes on to look carefully at the characters of Dorothea, Celia, and Causabon while noting flaws in Eliot's portrayals and what those flaws amount to. Sidney Colvin also wrote a review titled "Middlemarch" (575) in which pure excitement and adoration for the novel by the reviewer is shown. Words like "extraordinary" and "ripe" are used in its description  The descriptors as well as portrayal of human nature are claimed to be impeccable in taste and use. Both of these reviews respect the novel but Colvin definitely shows more enthusiasm for it than the Saturday Review who is cautious in its praise and heavy in its critique. Henry James in his essay "George Eliot's Middlemarch" (578) jumps into the conversation being more harsh than the others. He calls it a "treasure house of details, but is an indifferent whole" (578). He then goes on to describe how there is a let down in the plot of the overall text. The reviews each do a good job of respecting the novel while noting how their preferences effect their reading of the novel.

I agree most with Henry James in his agreement that Middlemarch is a great novel in its creativity, depiction, and use of literature. In his words, it is "vast, swarming, deep-colored, crowded with episodes, with vivid images, with lurking master-strokes, with brilliant passages of expression" (578). The novel does beautifully depict the world of Middlemarch and its inhabitants. However, I also side with James in his argument that there are moments of let down in the plot and unfolding of the novel. James states "Dorothea was altogether too superb a heroine to be wasted" (579). He notices how her sudden marriage and inability to truly transcend into a great heroine is a letdown. She is began with a beautiful characterization but ultimately is semi abandoned in the novel. James notes how Eliot's novel "with its abundant and massive ingredients Middlemarch ought somehow to have depicted a weightier drama" (579). It seems like each character is created beautifully without any sort of massive climax. Several characters pass away throughout the novel without any sort of large impact for the survivors and so much time is spent on a broad view, unlike Mary Barton, that the drama seems to never really speed up.

Summary, Analysis: Background to George Elliot / Middlemarch

Summary-

Mary Anne Evans wrote under the pen name George Elliot for much of her career in literature. For this blog I chose to look at several letters written by Ms. Evans to friends as well as pieces published in magazines, newspapers, and collections as well. The first one we see is titled "Letter to Sara Sophia Hennell" (519). The footnote informs us that Ms. Hennell was Evans most constant correspondent throughout her lift. It is written in a most casual tone which hints at their comfortable relationship. In this letter she lectures on the value of human expression and speech. She calls for "those who can write, let them do it as boldly as they like" (519). Again in her piece "From The Natural History of German Life"(520), Evans calls out the value of art for self expression and the betterment of the world. She claims the value of all different workers and people for the different perceptions they bring with them. This piece largely ties in with Middlemarch and her own biography. The letter "Journal, Richmond, 30 November 1858" (522) highlights the amount of biography and real world experiences in Evan's works. She highlights her debates of how much actuality to use in her works. She does base them somewhat off of her real experiences but mostly she was an active member of the society that she was seeking to critique giving it credibility. It is undeniable that Evans was a controversial and interesting woman which lends more though as to what of her personal experiences are included in her literature. She again stresses the paramount importance of sympathies for the artist in her "Letter to Charles Bray" (526). In her letter she calls into focus that if the reader is not able to feel the intent of the art, they are missing the most important elements of human experience. 

Analysis-
Evans wrote under the pen name of Elliot for several reasons. One, most likely is due to her controversial relationship with Lewes but another most likely due to her sex. As a woman, her political works would be due to greater scrutiny if published under her female name. In her essay published in The Wesminster Review "From The Natural History of German Life" she calls for an examination of the principles applied to the understanding of art. Like the characters in Middlemarch who fall prey to a bias society and the environment of Evans herself, she questions the morality of how art is interpreted. She calls into question the observations of "The landholder, the clergyman, the millowner, the mining-agent" (521) and how their views are stifled by the culture. The characters of her novel are largely middle to upper class individuals, definitely not strictly the bourgeois. She defends the validity of the lower class perception in art and society. She claims that "Art is the nearest thing to life;..." (520) claims that there is real value in understanding "the people."It seems that she makes the claim for humans dependence on conditions for development. That for true understanding, one must examine all classes and their experiences. A mode explored broadly in her novel, maybe explaining why there is such a broad cast of characters utilized in its plot. She notes this throughout her letters and works, she deeply believes in the value of sympathies from the reader to the novel for without it, the artistic value is diminished and missed by the reader.


Elliot, George. Middlemarch. 2nd ed. New York, London: W.W. Norton &, 2000. Print.