The Mill on the Floss: Top Novelist Focus
About this ebook
Book I Boy and Girl
Chapter I Outside Dorlcote Mill
Chapter II Mr. Tulliver, of Dorlcote Mill, Declares His Resolution about Tom
Chapter III Mr. Riley Gives His Advice Concerning a School for Tom
Chapter IV Tom Is Expected
Chapter V Tom Comes Home
Chapter VI The Aunts and Uncles Are Coming
Chapter VII Enter the Aunts and Uncles
Chapter VIII Mr. Tulliver Shows His Weaker Side
Chapter IX To Garum Firs
Chapter X Maggie Behaves Worse Than She Expected
Chapter XI Maggie Tries to Run away from Her Shadow
Chapter XII Mr. and Mrs. Glegg at Home
Chapter XIII Mr. Tulliver Further Entangles the Skein of Life
Book II School-Time
Chapter I Tom's "First Half"
Chapter II The Christmas Holidays
Chapter III The New Schoolfellow
Chapter IV "The Young Idea"
Chapter V Maggie's Second Visit
Chapter VI A Love-Scene
Chapter VII The Golden Gates Are Passed
Book III The Downfall
Chapter I What Had Happened at Home
Chapter II Mrs. Tulliver's Teraphim, or Household Gods
Chapter III The Family Council
Chapter IV A Vanishing Gleam
Chapter V Tom Applies His Knife to the Oyster
Chapter VI Tending to Refute the Popular Prejudice against the Present of a Pocket-Knife
Chapter VII How a Hen Takes to Stratagem
Chapter IX An Item Added to the Family Register
Book IV The Valley of Humiliation
Chapter I A Variation of Protestantism Unknown to Bossuet
Chapter II The Torn Nest Is Pierced by the Thorns
Chapter III A Voice from the Past
Book V Wheat and Tares
Chapter I In the Red Deeps
Chapter II Aunt Glegg Learns the Breadth of Bob's Thumb
Chapter III The Wavering Balance
Chapter IV Another Love-Scene
Chapter V The Cloven Tree
Chapter VI The Hard-Won Triumph
Chapter VII A Day of Reckoning
Book VI The Great Temptation
Chapter I A Duet in Paradise
Chapter II First Impressions
Chapter III Confidential Moments
Chapter IV Brother and Sister
Chapter V Showing That Tom Had Opened the Oyster
Chapter VI Illustrating the Laws of Attraction
Chapter VII Philip Re-enters
Chapter VIII Wakem in a New Light
Chapter IX Charity in Full-Dress
Chapter X The Spell Seems Broken
Chapter XI In the Lane
Chapter XII A Family Party
Chapter XIII Borne Along by the Tide
Chapter XIV Waking
Book VII The Final Rescue
Chapter I The Return to the Mill
Chapter II St. Ogg's Passes Judgment
Chapter III Showing That Old Acquaintances Are Capable of Surprising Us
Chapter IV Maggie and Lucy
Chapter V The Last Conflict
Conclusion
Ratings and reviews
About the author
Mary Ann Evans (22 November 1819 – 22 December 1880; alternatively "Mary Anne" or "Marian"), known by her pen name George Eliot, was an English novelist, journalist, translator and one of the leading writers of the Victorian era. She is the author of seven novels, including Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), and Daniel Deronda (1876), most of them set in provincial England and known for their realism and psychological insight.
She used a male pen name, she said, to ensure her works would be 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. She also wished to have her fiction judged separately from her already extensive and widely known work as an editor and critic. 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.
Her 1872 work Middlemarch has been described by Martin Amis and Julian Barnes as the greatest novel in the English language.
Throughout her career, Eliot wrote with a politically astute pen. From Adam Bede to The Mill on the Floss and Silas Marner, Eliot presented the cases of social outsiders and small-town persecution. Felix Holt, the Radical and The Legend of Jubal were overtly political, and political crisis is at the heart of Middlemarch, in which she presents the stories of a number of denizens of a small English town on the eve of the Reform Bill of 1832; the novel is notable for its deep psychological insight and sophisticated character portraits. The roots of her realist philosophy can be found in her review of John Ruskin's Modern Painters in Westminster Review in 1856.
Readers in the Victorian era particularly praised her books for their depictions of rural society, for which she drew on her own early experiences, and she shared with Wordsworth the belief that there was much interest and importance in the mundane details of ordinary country lives. Eliot did not, however, confine herself to her bucolic roots. Romola, a historical novel set in late 15th century Florence and touching on the lives of several real persons such as the priest Girolamo Savonarola, displays her wider reading and interests. In The Spanish Gypsy, Eliot made a foray into verse, creating a work whose initial popularity has not endured.
Working as a translator, Eliot was exposed to German texts of religious, social, and moral philosophy such as Friedrich Strauss’s Life of Jesus, Feuerbach’s Essence of Christianity, and Spinoza’s Ethics. Elements from these works show up in her fiction, much of which is written with her trademark sense of agnostic humanism. She had taken particular notice of Feuerbach’s conception of Christianity, positing that the faith’s understanding of the nature of the divine rested ultimately in the nature of humanity projected onto a divine figure. An example of this understanding appears in her novel Romola, in which Eliot’s protagonist has been said to display a “surprisingly modern readiness to interpret religious language in humanist or secular ethical terms.” Though Eliot herself was not religious, she held some respect toward religious tradition and its ability to allow society to maintain a sense of social order and morality. Eliot was knowledgeable in regards to religion, while simultaneously remaining critical of it.
The religious elements in her fiction also owe much to her upbringing, with the experiences of Maggie Tulliver from The Mill on the Floss sharing many similarities with the young Mary Ann Evans's own development. When Silas Marner is persuaded that his alienation from the church means also his alienation from society, the author's life is again mirrored with her refusal to attend church. She was at her most autobiographical in Looking Backwards, part of her final printed work Impressions of Theophrastus Such. By the time of Daniel Deronda, Eliot's sales were falling off, and she faded from public view to some degree. This was not helped by the biography written by her husband after her death, which portrayed a wonderful, almost saintly, woman totally at odds with the scandalous life people knew she had led. In the 20th century she was championed by a new breed of critics, most notably by Virginia Woolf, who called Middlemarch "one of the few English novels written for grown-up people". Twentieth-century literary critic Harold Bloom placed Eliot among the greatest Western writers of all time. The various film and television adaptations of Eliot's books have re-introduced her to the wider reading public.
