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The Mill on the Floss (Illustrated and Annotated)
The Mill on the Floss (Illustrated and Annotated)
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This edition of "The Mill on the Floss" is illustrated and annotated in the form of copious footnotes which clarify for the reader: 1) locations and settings for the novel, 2) character relationships, 3) explain obscure and foreign words, 4) indicates vital questions for important episodes throughout the book.
***
Few or none, I should suppose, of her most passionate and intelligent admirers would refuse to accept The Mill on the Floss as on the whole at once the highest and purest and fullest example of her magnificent and matchless powers. The first two-thirds of the book suffice to compose, perhaps, the very noblest of tragic as well as of humorous prose idyls in the language.
--J. W. Cross
***
A note from The Living Age, Volume 148:
...The present well-known title was suggested by the editor. Writing on the 6th January, 1860, he says: "We have all been considering th» various titles proposed, and this morning it suddenly came across me that 'The Mill on the Floss' would be an appropriate title, and in some respects more appropriate and curiosity-exciting than any of those suggested. It has, too, a sort of poetical sound." The title was at once adopted, and the work appeared in the end of April. From the publication of "The Mill on the Floss" George Eliot's assured position in fiction may be dated. If "Adam Bede" revealed masterly insight into character and human nature, coupled with inimitable gifts of description, "The Mill on the Floss" showed other powers equally great. The original title proves that Maggie Tulliver was intended to be the central figure in the novel; and though she lacks the strength of such creations as Dinah Morris or Romola, or even Dorothea in "Middlemarch," she takes as deep a hold upon the imagination as any other character that George Eliot has conceived. It would not be well that the autobiographic interest which must be held to attach to the development of Maggie should in any way overpower our appreciation of her as an ideal, for we know of few pictures of English girlhood more elevating and lovable. It was only natural that the mental disclosures in "The Mill on the Floss " should recall as a parallel Goethe's "Confessions of a Beautiful Soul;" but it would not be going beyond the bounds of justice to apply that collective title to the whole of George Eliot's literary remains.
***
Few or none, I should suppose, of her most passionate and intelligent admirers would refuse to accept The Mill on the Floss as on the whole at once the highest and purest and fullest example of her magnificent and matchless powers. The first two-thirds of the book suffice to compose, perhaps, the very noblest of tragic as well as of humorous prose idyls in the language.
--J. W. Cross
***
A note from The Living Age, Volume 148:
...The present well-known title was suggested by the editor. Writing on the 6th January, 1860, he says: "We have all been considering th» various titles proposed, and this morning it suddenly came across me that 'The Mill on the Floss' would be an appropriate title, and in some respects more appropriate and curiosity-exciting than any of those suggested. It has, too, a sort of poetical sound." The title was at once adopted, and the work appeared in the end of April. From the publication of "The Mill on the Floss" George Eliot's assured position in fiction may be dated. If "Adam Bede" revealed masterly insight into character and human nature, coupled with inimitable gifts of description, "The Mill on the Floss" showed other powers equally great. The original title proves that Maggie Tulliver was intended to be the central figure in the novel; and though she lacks the strength of such creations as Dinah Morris or Romola, or even Dorothea in "Middlemarch," she takes as deep a hold upon the imagination as any other character that George Eliot has conceived. It would not be well that the autobiographic interest which must be held to attach to the development of Maggie should in any way overpower our appreciation of her as an ideal, for we know of few pictures of English girlhood more elevating and lovable. It was only natural that the mental disclosures in "The Mill on the Floss " should recall as a parallel Goethe's "Confessions of a Beautiful Soul;" but it would not be going beyond the bounds of justice to apply that collective title to the whole of George Eliot's literary remains.
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