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Mary Anne (Mary Ann, Marian) Evans (22 November 1819 – 22 December 1880), better known by her pen name George Eliot, was an English novelist, journalist and translator, and one of the leading writers of the Victorian era. She is the author of seven novels, including The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), and Daniel Deronda (1876), most of them set in provincial England and well known for their realism and psychological insight.
She used a male pen name, she said, to ensure her works were 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. 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.[1]
Mary Anne Evans was the third child of Robert Evans (1773–1849) and Christiana Evans (née Pearson), the daughter of a local farmer, (1788–1836). When born, Mary Anne, sometimes shortened to Marian,[2] had two teenage siblings, a half-brother, Robert (1802–64), and sister, Fanny (1805–82), from her father's previous marriage to Harriet Poynton (?1780–1809). Robert Evans, of Welsh ancestry, was the manager of the Arbury Hall Estate for the Newdigate family in Warwickshire, and Mary Anne was born on the estate at South Farm. In early 1820 the family moved to a house named Griff, between Nuneaton and Bedworth. Her full siblings were Christiana, known as Chrissey (1814–59), Isaac (1816–1890), and twin brothers who survived a few days in March 1821.
The young Evans was obviously intelligent and a voracious reader. Because of Evans' lack of physical beauty and thus slim chance of marriage, and because of her intelligence, her father invested in an education not often afforded females.[3] 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. In the religious atmosphere of the Miss Franklin's school, Evans was exposed to a quiet, disciplined belief opposed to evangelicalism.[4]
After age sixteen, Eliot had little formal education.[5] Thanks to her father's important 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".[6] 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 important early influence in her life was religion. She was brought up within a narrow low church Anglican family, but at that time the Midlands was an area with a growing number of religious dissenters.
Move to Coventry
In 1836 her mother died and Evans (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 building schools and other philanthropic causes. Evans, who had been struggling with religious doubts for some time, became intimate friends with the progressive, free-thinking Brays, whose home was a haven for people who held and debated radical views. The people whom the young woman met at the Brays' house included Robert Owen, Herbert Spencer, Harriet Martineau and Ralph Waldo Emerson. Through this society, Evans was introduced to more liberal theologies, and writers such as David Strauss and Ludwig Feuerbach, who cast doubt on the literal veracity of Biblical stories. In fact, her first major literary work was translating into English Strauss' Life of Jesus (1846), which she completed after it had been begun by another member of the Rosehill circle. A road in Coventry, George Eliot Road, has been named after her in Foleshill.
When Evans lost her religious faith, her father threatened to throw her out, although that did not happen. Instead, she respectably attended church for years and continued to keep house for him until his death in 1849, when she was 30. Five days after her father's funeral, she travelled to Switzerland with the Brays. She decided to stay in Geneva alone, living first on the lake at Plongeon (near the present United Nations buildings) and then at the Rue de Chanoines (now the Rue de la Pelisserie) with François and Juliet d’Albert Durade on the second floor ("one feels in a downy nest high up in a good old tree"). Her stay is recorded by a plaque on the building. She read avidly and took long walks amongst a natural environment that inspired her greatly. François painted a portrait of her.[7]
Move to London and editorship of the Westminster Review
On her return to England the following year (1850), she moved to London with the intent of becoming a writer and calling herself Marian Evans. She stayed at the house of John Chapman, the radical publisher whom she had met at Rosehill and who had printed her translation. Chapman had recently bought the campaigning, left-wing journal The Westminster Review, and Evans became its assistant editor in 1851. Although Chapman was the named editor, it was Evans who did much of the work in running the journal, contributing many essays and reviews, from the January, 1852 number until the dissolution of her arrangement with Chapman in the first half of 1854.[8]
Women writers were not uncommon at the time, but Evans's role at the head of a literary enterprise was. The mere sight of an unmarried young woman mixing with the predominantly male society of London at that time was unusual, even scandalous to some. Although clearly strong-minded, she was frequently sensitive, depressed, and crippled by self-doubt. She was considered to have an ill-favoured appearance,[9] and she formed a number of embarrassing, unreciprocated emotional attachments, including that to her employer, the married Chapman, and Herbert Spencer.
Relationship with George Lewes
The philosopher and critic George Henry Lewes met Evans in 1851, and by 1854 they had decided to live together. Lewes was married to Agnes Jervis, but they had agreed to have an open marriage, and in addition to the three children they had together, Agnes had also had several children by other men. Since Lewes was named on the birth certificate as the father of one of these children despite knowing this to be false, and was therefore considered complicit in adultery, he was not able to divorce Agnes. In July 1854 Lewes and Evans travelled to Weimar and Berlin together for the purpose of research. Before going to Germany, Evans continued her interest in 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 life-time.[10]
The trip to Germany also served as a honeymoon as Evans and Lewes now considered themselves married, with Evans 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 affairs, though more discreetly than Lewes and Evans. What was scandalous was the Leweses' open admission of the relationship.
First publication
While continuing to contribute pieces to the Westminster Review, Evans had 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[11] (1856). The essay criticised the trivial and ridiculous plots of contemporary fiction by women. In other essays she praised the realism of novels written in Europe at the time, and an emphasis placed on realistic storytelling would become clear throughout her subsequent fiction. She also adopted a new nom-de-plume, the one for which she would become best known: George Eliot. This masculine name was chosen partly in order to distance herself from the lady writers of silly novels, but it also quietly hid the tricky subject of her marital status.[citation needed]
In 1858 (when she was 39) Amos Barton, the first of the Scenes of Clerical Life, was published in Blackwood's Magazine and, along with the other Scenes, was well received. Her first complete novel, published in 1859, was Adam Bede and was an instant success, but it prompted an 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 markedly, 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 apparently did not affect her popularity as a novelist. Eliot's relationship with Lewes afforded her the encouragement and stability she so badly 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, who was an avid reader of George Eliot's novels.[citation needed]
After the popularity of Adam Bede, she continued to write popular novels for the next fifteen years. Within a year of completing Adam Bede, she finished The Mill on the Floss, inscribing 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, whereafter she and Lewes moved to Witley, Surrey; but 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 with John Walter Cross, an American banker whose mother had recently died.
Marriage to John Cross and death
On 16 May 1880 George Eliot courted controversy once more by marrying a man twenty years younger than herself, and again changing her name, this time to Mary Anne Cross. The legal marriage at least pleased her brother Isaac, who sent his congratulations after breaking off relations with his sister when she had begun to live with Lewes. John Cross was a rather unstable character, and apparently jumped or fell from their hotel balcony into the Grand Canal in Venice during their honeymoon. Cross survived and they returned to England. The couple 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 the past few years, led to her death on 22 December 1880 at the age of 61.[12]
Eliot was not buried in Westminster Abbey because of her denial of the Christian faith and her "irregular" though monogamous life with Lewes. She was interred in Highgate Cemetery (East), Highgate, London in the area reserved for religious dissenters or agnostics, next to George Henry Lewes; Karl Marx's memorial is nearby. In 1980, on the centenary of her death, a memorial stone was established for her in the Poets’ Corner.
Several key buildings in her birthplace of Nuneaton are named after her or titles of her novels. For example George Eliot Hospital, George Eliot Community School and Middlemarch Junior School.
Plot summary
The novel details the lives of Tom and Maggie Tulliver, a brother and sister growing up on the River Floss near the village of St. Ogg's in England, probably in the 1820s after the Napoleonic Wars but before the Reform Act of 1832. Both the river and the village are fictional.
The novel spans a period of 10 to 15 years, from Tom’s and Maggie’s childhood up until their deaths in a flood on the Floss. The book is fictional autobiography in part, reflecting the disgrace that George Eliot (Mary Ann Evans) herself had while in a lengthy relationship with a married man, George Henry Lewes.
Maggie Tulliver holds the central role in the book. Her relationship with her older brother Tom, and her romantic relationships with Philip Wakem, a hunchbacked, sensitive, and intellectual friend, and with Stephen Guest, a vivacious young socialite in St. Ogg's and assumed fiancé of Maggie’s cousin Lucy Deane, constitute the most significant narrative threads.
Tom and Maggie have a close yet complex bond, which continues throughout the novel. Their relationship is coloured by Maggie's desire to recapture the unconditional love her father provides before his death. Tom’s pragmatic and reserved nature clashes with Maggie’s idealism and fervor for intellectual gains and experience. Various family crises, including bankruptcy, Mr. Tulliver’s rancorous relationship with Philip Wakem’s father, which results in the loss of the mill, and Mr. Tulliver’s untimely death, serve both to intensify Tom’s and Maggie’s differences and to highlight their love for each other. To help his father repay his debts, Tom leaves his desultory schooling to enter a life of business. He eventually finds a measure of success, restoring the family’s former estate. Meanwhile Maggie languishes in the impoverished Tulliver home, her intellectual aptitude wasted in her socially isolated state. She passes through a period of intense spirituality, during which she renounces the world, spurred by Thomas à Kempis’s The Imitation of Christ.
This renunciation is tested by a renewed friendship with Philip Wakem, with whom she had developed an affinity while he was a fellow pupil with Tom. Against the wishes of Tom and her father, who both despise the Wakems, Maggie secretly meets with Philip, and together they go for long walks through the woods. The relationship they forge is founded partially in Maggie’s heartfelt pity for broken and neglected human beings, as well as an outlet for her intellectual romantic desires. Philip’s and Maggie’s attraction is, in any case, inconsequential because of the family antipathy. Philip manages to coax a pledge of love from Maggie. When Tom discovers the relationship between the two, however, he forces his sister to renounce Philip, and with him her hopes of experiencing the broader, more cultured world he represents.
Several more years pass, during which Mr. Tulliver dies. Lucy Deane invites Maggie to come and stay with her and experience the life of cultured leisure that Lucy enjoys. This includes long hours conversing and playing music with Lucy's suitor, Stephen Guest, a prominent St. Ogg’s resident. Stephen and Maggie, against their rational judgments, become attracted to each other. The complication is further compounded by Philip Wakem’s friendship with Lucy and Stephen; he and Maggie are reintroduced, and Philip’s love for her is rekindled, while Maggie, no longer isolated, enjoys the clandestine attentions of Stephen Guest, putting her past professions for Philip in question. In the event, Stephen and Maggie, though they try to forswear each other, allow themselves to elope, almost by accident – Lucy conspires to throw Philip and Maggie together on a short rowing trip down the Floss, but when Stephen unwittingly takes a sick Philip’s place, and Maggie and Stephen find themselves floating down the river, negligent of the distance they have covered, he proposes they board a passing boat to the next substantial city, Mudport, and get married. Maggie struggles between her love for Stephen and her duties to Philip and Lucy, contracted as it were in her past, when she was poor and isolated, and dependent on either of them for what good her life contained. Upon arrival in Mudport she rejects Stephen and makes her way back to St. Ogg's, where she lives for a brief period as an outcast, Stephen having fled to Holland. Although she immediately goes to Tom for forgiveness and shelter, he roughly sends her away, telling her that she will never again be welcome under his roof. Both Lucy and Philip forgive her, she in a moving reunion, he in an eloquent letter.
Maggie’s brief exile ends when the river floods. The flood is considered by some to be a deus ex machina. Those who do not support this view cite the frequent references to flood as a foreshadowing which makes this natural occurrence less contrived. Having struggled through the waters in a boat to find Tom at the old mill, she sets out with him to rescue Lucy Deane and her family. In a brief tender moment, the brother and sister are reconciled from all past differences. When the boat of Maggie and Tom capsizes, the two drown in an embrace, thus giving the book its Biblical epigraph, “In their death they were not divided.”
Analysis of Major Characters
Maggie Tulliver
Maggie Tulliver is the protagonist of The Mill on the Floss. When the novel begins, Maggie is a clever and impetuous child. Eliot presents Maggie as more imaginative and interesting than the rest of her family and, sympathetically, in need of love. Yet Maggie's passionate preoccupations also cause pain for others, as when she forgets to feed Tom's rabbits, which leads to their death. Maggie will remember her childhood fondly and with longing, yet these years are depicted as painful ones. Maggie's mother and aunts continually express disapproval with Maggie's rash behavior, uncanny intelligence, and unnaturally dark skin, hair, and eyes. Yet it is only Tom's opinion for which Maggie cares, and his inability to show her unconditional love, along with his embarrassment at her impetuosity, often plunges Maggie into the utter despair particular to immaturity.
The most important event of Maggie's young life is her encounter with a book of Thomas a Kempis's writings, which recommend abandoning one's cares for oneself and focusing instead on unearthly values and the suffering of others. Maggie encounters the book during the difficult year of her adolescence and her family's bankruptcy. Looking for a "key" with which to understand her unhappy lot, Maggie seizes upon Kempis's writings and begins leading a life of deprivation and penance. Yet even in this lifestyle, Maggie paradoxically practices her humility with natural passion and pride. It is not until she re- establishes a friendship with Philip Wakem, however, that Maggie can be persuaded to respect her own need for intellectual and sensuous experience and to see the folly of self-denial. Maggie's relationship with Philip shows both her deep compassion, as well as the self-centered gratification that comes with having someone who fully appreciates her compassion. As Maggie continues to meet Philip Wakem secretly, against her father's wishes, her internal struggle seems to shift. Maggie feels the conflict of the full intellectual life that Philip offers her and her "duty" to her father. It is Tom who reminds her of this "duty," and Maggie's wish to be approved of by Tom remains strong.
The final books of The Mill on the Floss feature Maggie at the age of nineteen. She seems older than her years and is described as newly sensuous—she is tall with full lips, a full torso and arms, and a "crown" of jet black hair. Maggie's unworldliness and lack of social pretension make her seem even more charming to St. Ogg's, as her worn clothing seems to compliment her beauty. Maggie has been often unhappy in her young adulthood. Having given up her early asceticism, she longs for a richness of life that is unavailable to her. When she meets Stephen Guest, Lucy Deane's handsome suitor, and enters into the society world of St. Ogg's, Maggie feels this wont for sensuousness fulfilled for the first time. Stephen plays into Maggie's romantic expectations of life and gratifies her pride. Maggie and Stephen's attraction seems to exist more in physical gestures than in witty discussion, and it seems to intoxicate them both. When faced with a decision between a life of passionate love with Stephen and her "duty" to her family and position, Maggie chooses the latter. Maggie has too much feeling for the memories of the past (and nostalgia for a time when Tom loved her) to relinquish them by running away.
Tom Tulliver
As a child, Tom Tulliver enjoys the outdoors. He is more suited to practical knowledge than bookish education and sometimes prefers to settle disputes with physical intimidation, as does his father. Tom is quite close to Maggie as a child—he responds almost instinctively to her affection, and they are likened to two animals. Tom has a strong, self-righteous sense of "fairness" and "justice" which often figures into his decisions and relationships more than tenderness. As Tom grows older he exhibits the Dodson coolness of mind more than the Tulliver passionate rashness, though he is capable of studied cruelty, as when he upbraids Philip Wakem with reference to Philip's deformity . Repelled by his father's provincial, small-minded ways and the mess these ways caused the family, Tom joins the ranks of capitalist entrepreneurs who are swiftly rising in the world. Tom holds strict notions about gender—his biggest problem with Maggie is that she will not let him take care of her and make her decisions for her. Tom's character seems capable of love and kindness—he buys a puppy for Lucy Deane, and he often ends up reconciling with Maggie—but the difficult circumstances of his young life have led him into a bitter single- mindedness reminiscent of his father.
Mr. Tulliver
Like the other main characters of The Mill on the Floss, Mr. Tulliver is the victim of both his own character and the circumstances of his life. His personal pride and rashness causes his bankruptcy; yet there is a sense, especially in his illnesses, that Tulliver is also sheerly overwhelmed by the changing world around him. Tulliver is somewhat more intelligent than his wife—a point of pride and planning for him—yet he is still "puzzled" by the expanding economic world, as well as the complexities of language. The lifestyle to which Mr. Tulliver belongs—static, local, rural social networks and slow saving of money—is quickly giving way to a new class of venture capitalists, like Mr. Deane. Part of the tragedy of Tulliver's downfall is the tragedy of the loss of his way of life. Mr. Tulliver is one of the few models of unconditional love in the novel— his affection for Maggie and his sister, Mrs. Moss, are some of the few narrative bright spots of the first chapters. Yet Tulliver can also be stubborn and obsessively narrow-minded, and it is this that kills him when he cannot overcome his hatred of Wakem.
Philip Wakem
Philip Wakem is perhaps the most intelligent and perceptive character of The Mill on the Floss. He first appears as a relief to Maggie's young life—he is one of the few people to have an accurate sense of, and appreciation for, her intelligence, and Philip remains the only character who fully appreciates this side of Maggie. Philip himself is well read, cultured, and an accomplished sketcher. Philip's deformity—a hunched back he has had since birth—has made him somewhat melancholy and bitter. Like Maggie, he suffers from a lack of love in his life. His attraction to Maggie is, in part, a response to her seemingly bottomless capacity for love. Philip's gentleness, small stature, and sensitivity of feelings cause people to describe him as "womanly," and he is implicitly not considered as a passionate attachment for Maggie. It is Philip who urges Maggie to give up her unnatural self-denial. He recognizes her need for tranquility but assures her that this is not the way to reach it. Through the remainder of the novel, Philip seems to implicitly offer Maggie the tranquility that she seeks—we imagine that Maggie's life with Philip would be calm, happy, and intellectually fulfilling.
Symbols
The Floss
The Floss is a somewhat difficult symbol to track, as it also exists for realistic effect in the workings of the novel. On the symbolic level, the Floss is related most often to Maggie, and the river, with its depth and potential to flood, symbolizes Maggie's deeply running and unpredictable emotions. The river's path, nonexistent on maps, is also used to symbolize the unforseeable path of Maggie's destiny.
St. Ogg
St. Ogg, the legendary patron saint of the town, was a Floss ferryman. One night a woman with a child asked to be taken across the river, but the winds were high and no other boaters would take her. Only Ogg felt pity for her in her need and took her. When they reached the other side, her rags turned into robes, and she revealed herself to be the Blessed Virgin. The Virgin pronounced Ogg's boat safe to all who rode in it, and she sat always in the prow. The parable of Ogg rewards the human feeling of pity or sympathy. Maggie has a dream during her night on the boat with Stephen, wherein Tom and Lucy row past them, and Tom is St. Ogg, while Lucy is the Virgin. The dream makes explicit Maggie's fear of having neglected to sympathize with those whom she hurts during her night with Stephen (and also, perhaps, her fear that they will not sympathize with her in the future). But it is Maggie, finally, who stands for St. Ogg, as she rows down river thinking only of Tom's safety during the flood in a feat of "almost miraculous, divinely-protected effort."
Maggie's eyes
Eliot depicts Maggie's eyes as her most striking feature. All men (including Philip, Bob Jakin, and Stephen) notice her eyes first and become entranced. Maggie's eyes are a symbol of the power of emotion she contains—the depth of feeling and hunger for love that make her a tragic character. This unique force of character seems to give her power over others, for better or for worse. In Book First, Maggie is associated with Medusa, the monster who turns men to stone by looking at them. Maggie's eyes compel people, and different characters' reactions to them often reflect the character's relationship with Maggie. Thus, Philip, who will become Maggie's teacher, in a sense, and first love, notices that her eyes "were full of unsatisfied intelligence, and unsatisfied, beseeching affection." Bob Jakin, who views Maggie as superior to him and a figure of whom to be in awe, reports that Maggie has "such uncommon eyes, they looked somehow as they made him feel nohow." Finally, Stephen, who will exploit the inner struggle that Maggie has felt for the entire novel, notices that Maggie's eyes are "full of delicious opposites."
The Last Conflict
In the second week of September, Maggie was again sitting in her
lonely room, battling with the old shadowy enemies that were forever
slain and rising again. It was past midnight, and the rain was beating
heavily against the window, driven with fitful force by the rushing,
loud-moaning wind. For the day after Lucy's visit there had been a
sudden change in the weather; the heat and drought had given way to
cold variable winds, and heavy falls of rain at intervals; and she had
been forbidden to risk the contemplated journey until the weather
should become more settled. In the counties higher up the Floss the
rains had been continuous, and the completion of the harvest had been
arrested. And now, for the last two days, the rains on this lower
course of the river had been incessant, so that the old men had shaken
their heads and talked of sixty years ago, when the same sort of
weather, happening about the equinox, brought on the great floods,
which swept the bridge away, and reduced the town to great misery. But
the younger generation, who had seen several small floods, thought
lightly of these sombre recollections and forebodings; and Bob Jakin,
naturally prone to take a hopeful view of his own luck, laughed at his
mother when she regretted their having taken a house by the riverside,
observing that but for that they would have had no boats, which were
the most lucky of possessions in case of a flood that obliged them to
go to a distance for food.
But the careless and the fearful were alike sleeping in their beds
now. There was hope that the rain would abate by the morrow;
threatenings of a worse kind, from sudden thaws after falls of snow,
had often passed off, in the experience of the younger ones; and at
the very worst, the banks would be sure to break lower down the river
when the tide came in with violence, and so the waters would be
carried off, without causing more than temporary inconvenience, and
losses that would be felt only by the poorer sort, whom charity would
relieve.
All were in their beds now, for it was past midnight; all except some
solitary watchers such as Maggie. She was seated in her little parlor
toward the river, with one candle, that left everything dim in the
room except a letter which lay before her on the table. That letter,
which had come to her to-day, was one of the causes that had kept her
up far on into the night, unconscious how the hours were going,
careless of seeking rest, with no image of rest coming across her
mind, except of that far, far off rest from which there would be no
more waking for her into this struggling earthly life.
Two days before Maggie received that letter, she had been to the
Rectory for the last time. The heavy rain would have prevented her
from going since; but there was another reason. Dr. Kenn, at first
enlightened only by a few hints as to the new turn which gossip and
slander had taken in relation to Maggie, had recently been made more
fully aware of it by an earnest remonstrance from one of his male
parishioners against the indiscretion of persisting in the attempt to
overcome the prevalent feeling in the parish by a course of
resistance. Dr. Kenn, having a conscience void of offence in the
matter, was still inclined to persevere,--was still averse to give way
before a public sentiment that was odious and contemptible; but he was
finally wrought upon by the consideration of the peculiar
responsibility attached to his office, of avoiding the appearance of
evil,--an "appearance" that is always dependent on the average quality
of surrounding minds. Where these minds are low and gross, the area of
that "appearance" is proportionately widened. Perhaps he was in danger
of acting from obstinacy; perhaps it was his duty to succumb.
Conscientious people are apt to see their duty in that which is the
most painful course; and to recede was always painful to Dr. Kenn. He
made up his mind that he must advise Maggie to go away from St. Ogg's
for a time; and he performed that difficult task with as much delicacy
as he could, only stating in vague terms that he found his attempt to
countenance her stay was a source of discord between himself and his
parishioners, that was likely to obstruct his usefulness as a
clergyman. He begged her to allow him to write to a clerical friend of
his, who might possibly take her into his own family as governess;
and, if not, would probably know of some other available position for
a young woman in whose welfare Dr. Kenn felt a strong interest.
Poor Maggie listened with a trembling lip; she could say nothing but a
faint "Thank you, I shall be grateful"; and she walked back to her
lodgings, through the driving rain, with a new sense of desolation.
She must be a lonely wanderer; she must go out among fresh faces, that
would look at her wonderingly, because the days did not seem joyful to
her; she must begin a new life, in which she would have to rouse
herself to receive new impressions; and she was so unspeakably,
sickeningly weary! There was no home, no help for the erring; even
those who pitied were constrained to hardness. But ought she to
complain? Ought she to shrink in this way from the long penance of
life, which was all the possibility she had of lightening the load to
some other sufferers, and so changing that passionate error into a new
force of unselfish human love? All the next day she sat in her lonely
room, with a window darkened by the cloud and the driving rain,
thinking of that future, and wrestling for patience; for what repose
could poor Maggie ever win except by wrestling?
And on the third day--this day of which she had just sat out the
close--the letter had come which was lying on the table before her.
The letter was from Stephen. He was come back from Holland; he was at
Mudport again, unknown to any of his friends, and had written to her
from that place, enclosing the letter to a person whom he trusted in
St. Ogg's. From beginning to end it was a passionate cry of reproach;
an appeal against her useless sacrifice of him, of herself, against
that perverted notion of right which led her to crush all his hopes,
for the sake of a mere idea, and not any substantial good,--_his_
hopes, whom she loved, and who loved her with that single overpowering
passion, that worship, which a man never gives to a woman more than
once in his life.
"They have written to me that you are to marry Kenn. As if I should
believe that! Perhaps they have told you some such fables about me.
Perhaps they tell you I've been 'travelling.' My body has been dragged
about somewhere; but _I_ have never travelled from the hideous place
where you left me; where I started up from the stupor of helpless rage
to find you gone.
"Maggie! whose pain can have been like mine? Whose injury is like
mine? Who besides me has met that long look of love that has burnt
itself into my soul, so that no other image can come there? Maggie,
call me back to you! Call me back to life and goodness! I am banished
from both now. I have no motives; I am indifferent to everything. Two
months have only deepened the certainty that I can never care for life
without you. Write me one word; say 'Come!' In two days I should be
with you. Maggie, have you forgotten what it was to be together,--to
be within reach of a look, to be within hearing of each other's
voice?"
When Maggie first read this letter she felt as if her real temptation
had only just begun. At the entrance of the chill dark cavern, we turn
with unworn courage from the warm light; but how, when we have trodden
far in the damp darkness, and have begun to be faint and weary; how,
if there is a sudden opening above us, and we are invited back again
to the life-nourishing day? The leap of natural longing from under the
pressure of pain is so strong, that all less immediate motives are
likely to be forgotten--till the pain has been escaped from.
For hours Maggie felt as if her struggle had been in vain. For hours
every other thought that she strove to summon was thrust aside by the
image of Stephen waiting for the single word that would bring him to
her. She did not _read_ the letter: she heard him uttering it, and the
voice shook her with its old strange power. All the day before she had
been filled with the vision of a lonely future through which she must
carry the burthen of regret, upheld only by clinging faith. And here,
close within her reach, urging itself upon her even as a claim, was
another future, in which hard endurance and effort were to be
exchanged for easy, delicious leaning on another's loving strength!
And yet that promise of joy in the place of sadness did not make the
dire force of the temptation to Maggie.
It was Stephen's tone of misery, it was the doubt in the justice of
her own resolve, that made the balance tremble, and made her once
start from her seat to reach the pen and paper, and write "Come!"
But close upon that decisive act, her mind recoiled; and the sense of
contradiction with her past self in her moments of strength and
clearness came upon her like a pang of conscious degradation. No, she
must wait; she must pray; the light that had forsaken her would come
again; she should feel again what she had felt when she had fled away,
under an inspiration strong enough to conquer agony,--to conquer love;
she should feel again what she had felt when Lucy stood by her, when
Philip's letter had stirred all the fibres that bound her to the
calmer past.
She sat quite still, far on into the night, with no impulse to change
her attitude, without active force enough even for the mental act of
prayer; only waiting for the light that would surely come again. It
came with the memories that no passion could long quench; the long
past came back to her, and with it the fountains of self-renouncing
pity and affection, of faithfulness and resolve. The words that were
marked by the quiet hand in the little old book that she had long ago
learned by heart, rushed even to her lips, and found a vent for
themselves in a low murmur that was quite lost in the loud driving of
the rain against the window and the loud moan and roar of the wind. "I
have received the Cross, I have received it from Thy hand; I will bear
it, and bear it till death, as Thou hast laid it upon me."
But soon other words rose that could find no utterance but in a
sob,--"Forgive me, Stephen! It will pass away. You will come back to
her."
She took up the letter, held it to the candle, and let it burn slowly
on the hearth. To-morrow she would write to him the last word of
parting.
"I will bear it, and bear it till death. But how long it will be
before death comes! I am so young, so healthy. How shall I have
patience and strength? Am I to struggle and fall and repent again? Has
life other trials as hard for me still?"
With that cry of self-despair, Maggie fell on her knees against the
table, and buried her sorrow-stricken face. Her soul went out to the
Unseen Pity that would be with her to the end. Surely there was
something being taught her by this experience of great need; and she
must be learning a secret of human tenderness and long-suffering, that
the less erring could hardly know? "O God, if my life is to be long,
let me live to bless and comfort----"
At that moment Maggie felt a startling sensation of sudden cold about
her knees and feet; it was water flowing under her. She started up;
the stream was flowing under the door that led into the passage. She
was not bewildered for an instant; she knew it was the flood!
The tumult of emotion she had been enduring for the last twelve hours
seemed to have left a great calm in her; without screaming, she
hurried with the candle upstairs to Bob Jakin's bedroom. The door was
ajar; she went in and shook him by the shoulder.
"Bob, the flood is come! it is in the house; let us see if we can make
the boats safe."
She lighted his candle, while the poor wife, snatching up her baby,
burst into screams; and then she hurried down again to see if the
waters were rising fast. There was a step down into the room at the
door leading from the staircase; she saw that the water was already on
a level with the step. While she was looking, something came with a
tremendous crash against the window, and sent the leaded panes and the
old wooden framework inward in shivers, the water pouring in after it.
"It is the boat!" cried Maggie. "Bob, come down to get the boats!"
And without a moment's shudder of fear, she plunged through the water,
which was rising fast to her knees, and by the glimmering light of the
candle she had left on the stairs, she mounted on to the window-sill,
and crept into the boat, which was left with the prow lodging and
protruding through the window. Bob was not long after her, hurrying
without shoes or stockings, but with the lanthorn in his hand.
"Why, they're both here,--both the boats," said Bob, as he got into
the one where Maggie was. "It's wonderful this fastening isn't broke
too, as well as the mooring."
In the excitement of getting into the other boat, unfastening it, and
mastering an oar, Bob was not struck with the danger Maggie incurred.
We are not apt to fear for the fearless, when we are companions in
their danger, and Bob's mind was absorbed in possible expedients for
the safety of the helpless indoors. The fact that Maggie had been up,
had waked him, and had taken the lead in activity, gave Bob a vague
impression of her as one who would help to protect, not need to be
protected. She too had got possession of an oar, and had pushed off,
so as to release the boat from the overhanging window-frame.
"The water's rising so fast," said Bob, "I doubt it'll be in at the
chambers before long,--th' house is so low. I've more mind to get
Prissy and the child and the mother into the boat, if I could, and
trusten to the water,--for th' old house is none so safe. And if I let
go the boat--but _you_," he exclaimed, suddenly lifting the light of
his lanthorn on Maggie, as she stood in the rain with the oar in her
hand and her black hair streaming.
Maggie had no time to answer, for a new tidal current swept along the
line of the houses, and drove both the boats out on to the wide water,
with a force that carried them far past the meeting current of the
river.
In the first moments Maggie felt nothing, thought of nothing, but that
she had suddenly passed away from that life which she had been
dreading; it was the transition of death, without its agony,--and she
was alone in the darkness with God.
The whole thing had been so rapid, so dreamlike, that the threads of
ordinary association were broken; she sank down on the seat clutching
the oar mechanically, and for a long while had no distinct conception
of her position. The first thing that waked her to fuller
consciousness was the cessation of the rain, and a perception that the
darkness was divided by the faintest light, which parted the
overhanging gloom from the immeasurable watery level below. She was
driven out upon the flood,--that awful visitation of God which her
father used to talk of; which had made the nightmare of her childish
dreams. And with that thought there rushed in the vision of the old
home, and Tom, and her mother,--they had all listened together.
"O God, where am I? Which is the way home?" she cried out, in the dim
loneliness.
What was happening to them at the Mill? The flood had once nearly
destroyed it. They might be in danger, in distress,--her mother and
her brother, alone there, beyond reach of help! Her whole soul was
strained now on that thought; and she saw the long-loved faces looking
for help into the darkness, and finding none.
She was floating in smooth water now,--perhaps far on the overflooded
fields. There was no sense of present danger to check the outgoing of
her mind to the old home; and she strained her eyes against the
curtain of gloom that she might seize the first sight of her
whereabout,--that she might catch some faint suggestion of the spot
toward which all her anxieties tended.
Oh, how welcome, the widening of that dismal watery level, the gradual
uplifting of the cloudy firmament, the slowly defining blackness of
objects above the glassy dark! Yes, she must be out on the fields;
those were the tops of hedgerow trees. Which way did the river lie?
Looking behind her, she saw the lines of black trees; looking before
her, there were none; then the river lay before her. She seized an oar
and began to paddle the boat forward with the energy of wakening hope;
the dawning seemed to advance more swiftly, now she was in action; and
she could soon see the poor dumb beasts crowding piteously on a mound
where they had taken refuge. Onward she paddled and rowed by turns in
the growing twilight; her wet clothes clung round her, and her
streaming hair was dashed about by the wind, but she was hardly
conscious of any bodily sensations,--except a sensation of strength,
inspired by mighty emotion. Along with the sense of danger and
possible rescue for those long-remembered beings at the old home,
there was an undefined sense of reconcilement with her brother; what
quarrel, what harshness, what unbelief in each other can subsist in
the presence of a great calamity, when all the artificial vesture of
our life is gone, and we are all one with each other in primitive
mortal needs? Vaguely Maggie felt this, in the strong resurgent love
toward her brother that swept away all the later impressions of hard,
cruel offence and misunderstanding, and left only the deep,
underlying, unshakable memories of early union.
But now there was a large dark mass in the distance, and near to her
Maggie could discern the current of the river. The dark mass must
be--yes, it was--St. Ogg's. Ah, now she knew which way to look for the
first glimpse of the well-known trees--the gray willows, the now
yellowing chestnuts--and above them the old roof! But there was no
color, no shape yet; all was faint and dim. More and more strongly the
energies seemed to come and put themselves forth, as if her life were
a stored-up force that was being spent in this hour, unneeded for any
future.
She must get her boat into the current of the Floss, else she would
never be able to pass the Ripple and approach the house; this was the
thought that occurred to her, as she imagined with more and more
vividness the state of things round the old home. But then she might
be carried very far down, and be unable to guide her boat out of the
current again. For the first time distinct ideas of danger began to
press upon her; but there was no choice of courses, no room for
hesitation, and she floated into the current. Swiftly she went now
without effort; more and more clearly in the lessening distance and
the growing light she began to discern the objects that she knew must
be the well-known trees and roofs; nay, she was not far off a rushing,
muddy current that must be the strangely altered Ripple.
Great God! there were floating masses in it, that might dash against
her boat as she passed, and cause her to perish too soon. What were
those masses?
For the first time Maggie's heart began to beat in an agony of dread.
She sat helpless, dimly conscious that she was being floated along,
more intensely conscious of the anticipated clash. But the horror was
transient; it passed away before the oncoming warehouses of St. Ogg's.
She had passed the mouth of the Ripple, then; _now_, she must use all
her skill and power to manage the boat and get it if possible out of
the current. She could see now that the bridge was broken down; she
could see the masts of a stranded vessel far out over the watery
field. But no boats were to be seen moving on the river,--such as had
been laid hands on were employed in the flooded streets.
With new resolution, Maggie seized her oar, and stood up again to
paddle; but the now ebbing tide added to the swiftness of the river,
and she was carried along beyond the bridge. She could hear shouts
from the windows overlooking the river, as if the people there were
calling to her. It was not till she had passed on nearly to Tofton
that she could get the boat clear of the current. Then with one
yearning look toward her uncle Deane's house that lay farther down the
river, she took to both her oars and rowed with all her might across
the watery fields, back toward the Mill. Color was beginning to awake
now, and as she approached the Dorlcote fields, she could discern the
tints of the trees, could see the old Scotch firs far to the right,
and the home chestnuts,--oh, how deep they lay in the water,--deeper
than the trees on this side the hill! And the roof of the Mill--where
was it? Those heavy fragments hurrying down the Ripple,--what had they
meant? But it was not the house,--the house stood firm; drowned up to
the first story, but still firm,--or was it broken in at the end
toward the Mill?
With panting joy that she was there at last,--joy that overcame all
distress,--Maggie neared the front of the house. At first she heard no
sound; she saw no object moving. Her boat was on a level with the
upstairs window. She called out in a loud, piercing voice,--
"Tom, where are you? Mother, where are you? Here is Maggie!"
Soon, from the window of the attic in the central gable, she heard
Tom's voice,--
"Who is it? Have you brought a boat?"
"It is I, Tom,--Maggie. Where is mother?"
"She is not here; she went to Garum the day before yesterday. I'll
come down to the lower window."
"Alone, Maggie?" said Tom, in a voice of deep astonishment, as he
opened the middle window, on a level with the boat.
"Yes, Tom; God has taken care of me, to bring me to you. Get in
quickly. Is there no one else?"
"No," said Tom, stepping into the boat; "I fear the man is drowned; he
was carried down the Ripple, I think, when part of the Mill fell with
the crash of trees and stones against it; I've shouted again and
again, and there has been no answer. Give me the oars, Maggie."
It was not till Tom had pushed off and they were on the wide
water,--he face to face with Maggie,--that the full meaning of what
had happened rushed upon his mind. It came with so overpowering a
force,--it was such a new revelation to his spirit, of the depths in
life that had lain beyond his vision, which he had fancied so keen and
clear,--that he was unable to ask a question. They sat mutely gazing
at each other,--Maggie with eyes of intense life looking out from a
weary, beaten face; Tom pale, with a certain awe and humiliation.
Thought was busy though the lips were silent; and though he could ask
no question, he guessed a story of almost miraculous, divinely
protected effort. But at last a mist gathered over the blue-gray eyes,
and the lips found a word they could utter,--the old childish
"Magsie!"
Maggie could make no answer but a long, deep sob of that mysterious,
wondrous happiness that is one with pain.
As soon as she could speak, she said, "We will go to Lucy, Tom; we'll
go and see if she is safe, and then we can help the rest."
Tom rowed with untired vigor, and with a different speed from poor
Maggie's. The boat was soon in the current of the river again, and
soon they would be at Tofton.
"Park House stands high up out of the flood," said Maggie. "Perhaps
they have got Lucy there."
Nothing else was said; a new danger was being carried toward them by
the river. Some wooden machinery had just given way on one of the
wharves, and huge fragments were being floated along. The sun was
rising now, and the wide area of watery desolation was spread out in
dreadful clearness around them; in dreadful clearness floated onward
the hurrying, threatening masses. A large company in a boat that was
working its way along under the Tofton houses observed their danger,
and shouted, "Get out of the current!"
But that could not be done at once; and Tom, looking before him, saw
death rushing on them. Huge fragments, clinging together in fatal
fellowship, made one wide mass across the stream.
"It is coming, Maggie!" Tom said, in a deep, hoarse voice, loosing the
oars, and clasping her.
The next instant the boat was no longer seen upon the water, and the
huge mass was hurrying on in hideous triumph.
But soon the keel of the boat reappeared, a black speck on the golden
water.
The boat reappeared, but brother and sister had gone down in an
embrace never to be parted; living through again in one supreme moment
the days when they had clasped their little hands in love, and roamed
the daisied fields together.
Conclusion.
Nature repairs her ravages,--repairs them with her sunshine, and with
human labor. The desolation wrought by that flood had left little
visible trace on the face of the earth, five years after. The fifth
autumn was rich in golden cornstacks, rising in thick clusters among
the distant hedgerows; the wharves and warehouses on the Floss were
busy again, with echoes of eager voices, with hopeful lading and
unlading.
And every man and woman mentioned in this history was still living,
except those whose end we know.
Nature repairs her ravages, but not all. The uptorn trees are not
rooted again; the parted hills are left scarred; if there is a new
growth, the trees are not the same as the old, and the hills
underneath their green vesture bear the marks of the past rending. To
the eyes that have dwelt on the past, there is no thorough repair.
Dorlcote Mill was rebuilt. And Dorlcote churchyard--where the brick
grave that held a father whom we know, was found with the stone laid
prostrate upon it after the flood--had recovered all its grassy order
and decent quiet.
Near that brick grave there was a tomb erected, very soon after the
flood, for two bodies that were found in close embrace; and it was
visited at different moments by two men who both felt that their
keenest joy and keenest sorrow were forever buried there.
One of them visited the tomb again with a sweet face beside him; but
that was years after.
The other was always solitary. His great companionship was among the
trees of the Red Deeps, where the buried joy seemed still to hover,
like a revisiting spirit.
The tomb bore the names of Tom and Maggie Tulliver, and below the
names it was written,--
"In their death they were not divided."
breadth of education affinity
coax solace
avid parson
rekindle hunchback
impetuosity vivacious
penance
veracity
voracious
unreciprocated
adultery
nom de plume
to be afflicted with the gout
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