Later victorian novelists

"Later victorian novelists"

Content

Introduction…………………………………………………………………3

1.George Eliot……………………………………………………………….9
2.George Meredith…………………………………………………………14
3.Thomas Hardy……………………………………………………………18
4.Robert Louis Stevenson…………………………………………………..19
Conclusion………………………………………………………….………21
Glossary ……………………………………………………………………22
Bibliography ………………………………………………………….…….23

Introduction
The novel in the later Victorian period took a new trend, and the novels written during this period may be called ‘modern’ novels. George Eliot was the first to write novels in the modern style. Other important novelists of the period were Meredith and Hardy. The year 1859 saw the publication not only of George Eliot’s Adam Bede but also of Meredith’s The Ordeal of Richard Feveral. Though they are vastly different from each other, they stand in sharp
contrast to the works of established novelists that appeared the same year—as Dickens’s A Tale of Two Cities and Thackeray’s Virginians.
The novelists of the early Victorian period—Dickens, Thackeray, Trollope and others—had followed the tradition of English novel established by Defoe, Richardson and Fielding. Their conception of themselves was modest, and their conscious aim nothing much more elevated than Wilkie Collins’s “make them laugh, make them cry, make them wait.” Set against this innocent notion of the novelist’s function, the new novelists of England as well of other countries of Europe, began to have high ambitions of making the novel as serious as poetry. The Russian novelists—Turgenev, Tolstoy and Dostoevsky and the French novelists like Flaubert, all began to look upon the novel as a medium of conveying profound thoughts. Flaubert especially arrogated to himself the rights and privileges of the poet, and he talked about his talent and medium as seriously as poets do theirs. He stated his ambition as a novelist thus: “To desire to give verse rhythm to prose, yet to leave it prose and very much prose, and to write about ordinary life as histories and epics are written, yet without falsifying the subject. It is perhaps an absurd idea. But it may also be a great experiment and very original”. These words of Flaubert show that the European novelists in the middle of the nineteenth century were making the same claims about their vocation as the Romantic poets in England did in the beginning of the century. The seriousness of these European novelists was both moral and aesthetic, and it came to English fiction with George Eliot and Meredith. Both of them were intellectuals and philosophers and had associates among such class of people. On the other hand, their predecessors, Dickens and Thackeray, had association with journalists, artists and actors, and they themselves belonged to their group. George Eliot lived in a much larger world of ideas. These ideas conditioned her views of fiction, determined the shape of her novels and the imagery of her prose. Meredith who was partly educated in Germany and was influenced by French writers, developed a highly critical view of England and its literature. Thus specially equipped, these two novelists—George Eliot and Meredith—gave a new trend to the English novel, and made it ‘modern’. They were followed by Hardy who extended the scope of the novel still further.
George Eliot (1819-1880)
The real name of George Eliot was Mary Ann Evans. For a long time her writings was exclusively critical and philosophic in character, and it was when she was thirty-eight that her first work of fiction Scenes of Clerical Life (1857) appeared. It was followed by Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1863), and Middlemarch (1871-72).In George Eliot the novel took its modern form. Every story derives its unity from its plot. The different episodes are all related to one another and subordinated to the main story. The chief appeal to the emotions of the reader is made by the inevitable catastrophe towards which the whole action moves. This unity of plot construction was lacking in the English novel before George Eliot appeared on the scene. This was a singular contribution of hers to the development of the English novel. Another important feature of George Eliot’s novels is that they reflect more clearly than any other Victorian novels the movement of contemporary thought. They specially appeal to the mind which is troubled by religious and ethical difficulties. The mood of much of her work is like that of Matthew Arnold’s poems. She shares also with him his melancholy and depressing mood.
In her novels George Eliot takes upon herself the role of a preacher and moraliser. Though profoundly religious at heart, she was greatly affected by the scientific spirit of the age; and finding no religious creed or political system satisfactory, she fell back upon duty as the supreme law of life. In all her novels she
shows in individuals the play of universal moral forces, and establishes the moral law as the basis of human society. The principle of law which was in the air during the Victorian era and which deeply influenced Tennyson, is with George Eliot like fate. It is to her as inevitable and automatic as gravitation and it overwhelms personal freedom and inclination.
All the novels of George Eliot are examples of psychological realism. She represents in them, like Browning in his poetry, the inner struggle of a soul, and reveals the motives, impulses and hereditary influences which govern human action. But unlike Browning who generally stops short when he tells a story, and either lets the reader draw his own conclusion or gives his in a few striking lines, George Eliot is not content
until she has minutely explained the motives of her characters and the moral lessons to be learned from them. Moreover, the characters in her novels, unlike in the novels of Dickens, develop gradually as we came to know them. They go from weakness to strength, or from strength to weakness, according to the works that they do and the thoughts that they cherish. For instance, in Romola we find that Tito degenerates steadily because he follows selfish impulses, while Romola grows into beauty and strength with every act of self-renunciation.
George Meredith (1829-1909)
Another great figure not only in fiction, but in the general field of literature during the later Victorian period, was Meredith who, though a poet at heart expressed himself in the medium of the novel, which was becoming more and more popular. The work of Meredith as a novelist stands apart from fiction of the century. He did not follow any established tradition, nor did he found a school. In fact he was more of a poet and philosopher than a novelist. He confined himself principally to the upper classes of society, and his attitude to life is that of the thinker and poet. In his novels, he cared little for incident or plot on their account, but used them principally to illustrate the activity of the ‘Comic Spirit’. Comedy he conceives of as a Muse watching the actions of men and women, detecting and pointing out their inconsistencies with a view to their moral improvement. She never laughs loud, she only smiles at most; and the smile is of the intellect, for she is the handmaid of philosophy. Meredith loves to trace the calamities which befall those who provoke Nature by obstinately running counter to her laws. A certain balance and sanity, a fine health of body and soul are, in his view, the means prescribed by Nature for the happiness of man.