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Book Title: طاحونة على نهر فلوصي|
The author of the book: George Eliot
Format files: PDF
The size of the: 36.82 MB
ISBN 13: No data
Edition: مكتبة الأسرة
Date of issue: 2002
ISBN: No data
Read full description of the books:Upon completion of the The Mill on the Floss, I realized that I had just finished something monumental—a staggeringly amazing literary achievement. This novel, written by ‘George Eliot’ (Mary Anne, or Marian Evans), and first published by Blackwood and Sons in 1860, could have just as easily been titled, “Pride and Prejudice” had not that title been put to use already. Some twenty-four hours after finishing this book, I am coming to the conclusion that Eliot may, in fact, represent the absolute pinnacle of writing in the Victorian Age. This is not, in any way, shape, or form, a “Silly novel by a Lady Novelist” (see Eliot’s essay “Silly Novels by Lady Novelists,” Westminster Review, October 1856). This novel is not of the “mind-and-millinery,” “rank-and-beauty,” or of the “enigmatic” species. This is a novel in the finest tradition of Realism, and I can’t help but think that it must have served as some form of inspiration for the later naturalism of Thomas Hardy.
This book should really be required reading for parents and brothers and sisters. The story of the young Maggie Tulliver, and her relationship with her older brother Tom and her parents is compelling, and is one that we can all relate to on so many levels. It warns us that actions, things said, or beliefs instilled upon the young can have profound implications for years to come.
I suppose in some respects that The Mill on the Floss can also be considered to be the bildungsroman of Maggie Tulliver as Eliot clearly focuses on the psychological and moral growth of Maggie, her main protagonist, from when she was a little girl until she has become a young-adult. It is the ability (or inability) of Maggie to adapt to changes in her own life, and the lives of those she loves around her, that provides the main premise of the narrative. In the spirit of full disclosure, I began to fall in love with Maggie early on in the novel, and loved her more with each page that I turned.
In my opinion, Maggie Tulliver is one of the most engaging and endearing heroines that a reader will encounter in Victorian fiction. Eliot’s raven-haired and dark-eyed beautiful creation manages to combine the goodness, sensitivity, and natural curiosity of Elizabeth Gaskell’s ‘Molly Gibson;’ the spirit and independence of Charles Dickens’s ‘Bella Wilfur;’ and the wit and humor of Jane Austen’s ‘Elizabeth Bennet.’ Maggie Tulliver has a heart the size of the sun, nearly as bright, and burns just as hotly. She wants to please everyone, all of the time; and it is this propensity to love and be loved that leads to her troubles. Mostly though, Maggie desires more than anything to please her older brother Tom; and, in return, to be unconditionally loved by him.
We see an example of Maggie’s spiritual and emotional maturation in her heart-felt and frank discussion with Stephen Guest, a young man who has fallen head-over-heels in love with her, even though he is essentially ‘promised’ to Maggie’s cousin, Lucy Deane--
“She was silent for a few moments, with her eyes fixed on the ground; then she drew a deep breath, and said, looking up at him with solemn sadness—
“O it is difficult—life is very difficult! It seems right to me sometimes that we should follow our strongest feeling—but then, such feelings continually come across the ties that all our former life has made for us—the ties that have made others dependent on us—and would have cut them in two. If life were quite easy and simple, as it might have been in paradise, and we could always see that one being first towards whom… I mean, if life did not make duties for us before love comes, love would be a sign that two people ought to belong to each other. But I see—I feel it is not so now: there are things we must renounce in life; some of us must resign love. Many things are difficult and dark to me; but I see one thing quite clearly—that I must not, cannot, seek my own happiness by sacrificing others. Love is natural; but surely pity and faithfulness and memory are natural too. And they would live in me still, and punish me if I did not obey them. I should be haunted by the suffering I had caused. Our love would be poisoned. Don’t urge me; help me—help me, because I love you.”
--These are the words of a young woman that has finally found herself, and has reconciled the passionate and intellectual sides of her spirit. Arguably one of the most eloquent and beautiful passages I’ve read in some time.
Finally, like Dickens does with the Thames River in his magnum opus, Our Mutual Friend, Eliot weaves the theme of The Floss, the river that binds together the peoples and the landscape of Maggie’s world, through the novel with her use of metaphor and allusion, and pastoral description. The novel starts with The Floss, and through the course of the book it is always there, relentlessly flowing to the sea. In some respects, The Floss represents the things we say, feelings we have, or actions we take that get away from us; sometimes ‘flowing’ past us, becoming irretrievable and lost forever. Ultimately, it is this connection with The Floss that Eliot masterfully uses to bring her readers to the close of this magnificent novel culminating in the great climax that finally defeats pride and prejudice and brings Maggie the redemption she longs for.
Read information about the authorIn 1819, novelist George Eliot (nee Mary Ann Evans), was born at a farmstead in Nuneaton, Warwickshire, England, where her father was estate manager. Mary Ann, the youngest child and a favorite of her father's, received a good education for a young woman of her day. Influenced by a favorite governess, she became a religious evangelical as an adolescent. Her first published work was a religious poem. Through a family friend, she was exposed to Charles Hennell's An Inquiry into the Origins of Christianity. Unable to believe, she conscientiously gave up religion and stopped attending church. Her father shunned her, sending the broken-hearted young dependent to live with a sister until she promised to reexamine her feelings. Her intellectual views did not, however, change. She translated David Strauss' Das Leben Jesu, a monumental task, without signing her name to the 1846 work. After her father's death in 1849, Mary Ann traveled, then accepted an unpaid position with The Westminster Review. Despite a heavy workload, she translated Ludwig Feuerbach's The Essence of Christianity, the only book ever published under her real name. That year, the shy, respectable writer scandalized British society by sending notices to friends announcing she had entered a free "union" with George Henry Lewes, editor of The Leader, who was unable to divorce his first wife. They lived harmoniously together for the next 24 years, but suffered social ostracism and financial hardship. She became salaried and began writing essays and reviews for The Westminster Review. Renaming herself "Marian" in private life and adopting the nom de plume "George Eliot," she began her impressive fiction career, including: Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1863), and Middlemarch (1871). Themes included her humanist vision and strong heroines. Her poem, "O May I Join the Choir Invisible" expressed her views about non supernatural immortality: "O may I join the choir invisible/ Of those immortal dead who live again/ In minds made better by their presence. . ." D. 1880.
Her 1872 work Middlemarch has been described by Martin Amis and Julian Barnes as the greatest novel in the English language.
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