Edited with an introduction and notes by Rosemary Ashton.
'We believe in her as in a woman we might providentially meet some fine day when we should find ourselves doubting of the immortality of the soul'
wrote Henry James of Dorothea Brooke, who shares with the young doctor Tertius Lydgate not only a central role in Middlemarch but also a fervent conviction that life should be heroic.
By the time the novel appeared to tremendous popular and critical acclaim in 1871–2, George Eliot was recognised as England's finest living novelist. It was her ambition to create a world and portray a whole community – tradespeople, middle classes, country gentry – in the rising provincial Town of Middlemarch, circa 1830. Vast and crowded, rich in narrative irony and suspense, Middlemarch is richer still in character, in its sense of how individual destinies are shaped by and shape the community, and in the great art that enlarges the reader's sympathy and imagination. It is truly, as Virginia Woolf famously remarked, 'one of the few English novels written for grown-up people.'
Mary Ann Evans, known by her pen name George Eliot, was an English novelist, poet, journalist, translator, and one of the leading writers of the Victorian era. She wrote seven novels: Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1862–1863), Felix Holt, the Radical (1866), Middlemarch (1871–1872) and Daniel Deronda (1876). Like Charles Dickens and Thomas Hardy, she emerged from provincial England; most of her works are set there. Her works are known for their realism, psychological insight, sense of place and detailed depiction of the countryside. Middlemarch was described by the novelist Virginia Woolf as "one of the few English novels written for grown-up people" and by Martin Amis and Julian Barnes as the greatest novel in the English language.