The Mill on the Floss

The Mill on the Floss

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Overview

From the author of Middlemarch comes the timeless novel about one of Victorian literature's most engaging characters: Maggie Tulliver.

As Maggie Tulliver approaches maturity, she enters into conflict with family and community over her desire for self-fulfillment. Eliot's rendering of Maggie's life and dilemma has been hailed as a precise, evocative picture of English rural life and the struggle between loyalty and love, making this work as relevant today as it was in the 19th century.

This novel is part of Brilliance Audio's extensive Classic Collection, bringing you timeless masterpieces that you and your family are sure to love.

Product Details

ISBN-13: 9781491573198
Publisher: Brilliance Audio
Publication date: 02/10/2015
Edition description: Unabridged
Product dimensions: 5.25(w) x 6.75(h) x 0.67(d)

About the Author

George Eliot is the pseudonym of Mary Anne Evans (1819–1880). Her most famous novel, Middlemarch, was published serially in 1871. Marina Lewycka is the author of A Short History of Tractors in the Ukraine and Strawberry Fields.

Read an Excerpt

Chapter 1
Outside Dorlcote Mill

A wide plain, where the broadening Floss hurries on between its green banks to the sea, and the loving tide, rushing to meet it, checks its passage with an impetuous embrace. On this mighty tide the black ships—laden with the fresh-scented fir-planks, with rounded sacks of oil-bearing seed, or with the dark glitter of coal—are borne along to the town of St. Ogg’s, which shows its aged, fluted red roofs and the broad gables of its wharves between the low wooded hill and the river brink, tinging the water with a soft purple hue under the transient glance of this February sun. Far away on each hand stretch the rich pastures, and the patches of dark earth, made ready for the seed of broad-leaved green crops, or touched already with the tint of the tender-bladed autumn-sown corn. There is a remnant still of the last year’s golden clusters of beehive ricks rising at intervals beyond the hedgerows; and everywhere the hedgerows are studded with trees: the distant ships seem to be lifting their masts and stretching their red-brown sails close among the branches of the spreading ash. Just by the red-roofed town the tributary Ripple flows with a lively current into the Floss. How lovely the little river is, with its dark, changing wavelets! It seems to me like a living companion while I wander along the bank and listen to its low placid voice, as to the voice of one who is deaf and loving. I remember those large dipping willows. I remember the stone bridge.

And this is Dorlcote Mill. I must stand a minute or two here on the bridge and look at it, though the clouds are threatening, and it is far on in the afternoon. Even inthis leafless time of departing February it is pleasant to look at—perhaps the chill damp season adds a charm to the trimly-kept, comfortable dwelling-house, as old as the elms and chestnuts that shelter it from the northern blast. The stream is brimful now, and lies high in this little withy plantation, and half drowns the grassy fringe of the croft in front of the house. As I look at the full stream, the vivid grass, the delicate bright-green powder softening the outline of the great trunks and branches that gleam from under the bare purple boughs, I am in love with moistness, and envy the white ducks that are dipping their heads far into the water here among the withes, unmindful of the awkward appearance they make in the drier world above.

The rush of the water, and the booming of the mill, bring a dreamy deafness, which seems to heighten the peacefulness of the scene. They are like a great curtain of sound, shutting one out from the world beyond. And now there is the thunder of the huge covered waggon coming home with sacks of grain. That honest waggoner is thinking of his dinner, getting sadly dry in the oven at this late hour; but he will not touch it till he has fed his horses,—the strong, submissive, meek-eyed beasts, who, I fancy, are looking mild reproach at him from between their blinkers, that he should crack his whip at them in that awful manner as if they needed that hint! See how they stretch their shoulders up the slope towards the bridge, with all the more energy because they are so near home. Look at their grand shaggy feet that seem to grasp the firm earth, at the patient strength of their necks, bowed under the heavy collar, at the mighty muscles of their struggling haunches! I should like well to hear them neigh over their hardly-earned feed of corn, and see them, with their moist necks freed from the harness, dipping their eager nostrils into the muddy pond. Now they are on the bridge, and down they go again at a swifter pace, and the arch of the covered waggon disappears at the turning behind the trees.

Now I can turn my eyes towards the mill again, and watch the unresting wheel sending out its diamond jets of water. That little girl is watching it too: she has been standing on just the same spot at the edge of the water ever since I paused on the bridge. And that queer white cur with the brown ear seems to be leaping and barking in ineffectual remonstrance with the wheel; perhaps he is jealous, because his playfellow in the beaver bonnet is so rapt in its movement. It is time the little playfellow went in, I think; and there is a very bright fire to tempt her: the red light shines out under the deepening grey of the sky. It is time, too, for me to leave off resting my arms on the cold stone of this bridge. . . .

Ah, my arms are really benumbed. I have been pressing my elbows on the arms of my chair, and dreaming that I was standing on the bridge in front of Dorlcote Mill, as it looked one February afternoon many years ago. Before I dozed off, I was going to tell you what Mr. and Mrs. Tulliver were talking about, as they sat by the bright fire in the left-hand parlour, on that very afternoon I have been dreaming of.

chapter ii Mr. Tulliver, of Dorlcote Mill, Declares His Resolution About Tom

“What I want, you know,” said Mr. Tulliver—“what I want is to give Tom a good eddication; an eddication as’ll be a bread to him. That was what I was thinking of when I gave notice for him to leave the academy at Ladyday. I mean to put him to a downright good school at Midsummer. The two years at th’ academy ’ud ha’ done well enough, if I’d meant to make a miller and farmer of him, for he’s had a fine sight more schoolin’ nor I ever got: all the learnin’ my father ever paid for was a bit o’ birch at one end and the alphabet at th’ other. But I should like Tom to be a bit of a scholard, so as he might be up to the tricks o’ these fellows as talk fine and write with a flourish. It ’ud be a help to me wi’ these lawsuits, and arbitrations, and things. I wouldn’t make a downright lawyer o’ the lad—I should be sorry for him to be a raskill—but a sort o’ engineer, or a surveyor, or an auctioneer and vallyer, like Riley, or one o’ them smartish businesses as are all profits and no outlay, only for a big watch-chain and a high stool. They’re pretty nigh all one, and they’re not far off being even wi’ the law, I believe; for Riley looks Lawyer Wakem i the face as hard as one cat looks another. He’s none frightened at him.”

Mr. Tulliver was speaking to his wife, a blond comely woman in a fan-shaped cap (I am afraid to think how long it is since fan-shaped caps were worn—they must be so near coming in again. At that time, when Mrs. Tulliver was nearly forty, they were new at St. Ogg’s, and considered sweet things).

“Well, Mr. Tulliver, you know best: I’ve no objections. But hadn’t I better kill a couple o’ fowl and have th’ aunts and uncles to dinner next week, so as you may hear what sister Glegg and sister Pullet have got to say about it? There’s a couple o’ fowl wants killing!”

“You may kill every fowl i’ the yard, if you like, Bessy; but I shall ask neither aunt nor uncle what I’m to do wi’ my own lad,” said Mr. Tulliver, defiantly.

“Dear heart!” said Mrs. Tulliver, shocked at this sanguinary rhetoric, “how can you talk so, Mr. Tulliver? But it’s your way to speak disrespectful o’ my family; and sister Glegg throws all the blame upo’ me, though I’m sure I’m as innocent as the babe unborn. For nobody’s ever heard me say as it wasn’t lucky for my children to have aunts and uncles as can live independent. Howiver, if Tom’s to go to a new school, I should like him to go where I can wash him and mend him; else he might as well have calico as linen, for they’d be one as yallow as th’ other before they’d been washed half-a-dozen times. And then, when the box is goin backards and forrards, I could send the lad a cake, or a pork-pie, or an apple; for he can do with an extry bit, bless him, whether they stint him at the meals or no. My children can eat as much victuals as most, thank God.”

“Well, well, we won’t send him out o’ reach o’ the carrier’s cart, if other things fit in,” said Mr. Tulliver. “But you mustn’t put a spoke i the wheel about the washin’, if we can’t get a school near enough. That’s the fault I have to find wi’ you, Bessy; if you see a stick i’ the road, you’re allays thinkin’ you can’t step over it. You’d want me not to hire a good waggoner, ’cause he’d got a mole on his face.”


From the Hardcover edition.

Copyright 2001 by George Eliot

Table of Contents

Acknowledgments
Introduction
George Eliot: A Brief Chronology
A Note on the Text
The Mill on the Floss
Appendix A: George Eliot's Translations, Essays, Reviews, and Poems
1. From George Eliot’s translation of Ludwig Feuerbach's The Essence of Christianity (1854)
2. [George Eliot], "Margaret Fuller and Mary Wollstonecraft," Leader (13 October 1855)
3. From [George Eliot], review of Thomas Keightley's Life, Opinions, and Writings of John Milton, The Westminster Review (October 1855)
4. [George Eliot], "The Antigone and Its Moral," Leader (29 March 1856)
5. From [George Eliot], "Silly Novels by Lady Novelists," The Westminster Review (October 1856)
6. From George Eliot, "Notes on 'The Spanish Gypsy' and Tragedy in General" (1868)
7. George Eliot, "Brother and Sister," The Legend of Jubal and Other Poems (1874)
Appendix B: Contemporary Reviews of The Mill on the Floss
1. Spectator (7 April 1860)
2. [E.S. Dallas], The Times (19 May 1860)
3. [Dinah Mulock], Macmillan's Magazine (April 1861)
4. From Henry James, The Atlantic Monthly (October 1866)
Appendix C: Historical Documents: Mythic and Religious Contexts; Medicine and Education
1. From Mrs. Anna Jameson, "St. Christopher," Sacred and Legendary Art, vol. 2 (1848)
2. From Daniel Defoe, "Of the Tools the Devil Works with," The History of the Devil (1727)
3. From Thomas à Kempis, The Imitation of Christ (1737)
4. From Auguste Comte, The Catechism of Positivism (1858)
5. From Samuel Hare, Cases and Observations Illustrative of the Beneficial Results (1857)
6. From [William Ballantyne Hodgson], "'Classical' Instruction: Its Use and Abuse," The Westminster Review (October 1853)
Select Bibliography

Reading Group Guide

1. In the first scene in the novel, Maggie is set in opposition to her surroundings, her family, and the notion of what it means to be a Victorian woman. Examine the last four pages of the Chapter II of Book First. How is this juxtaposition highlighted, and through what means? What role does the narrator’s voice play in this introduction to our heroine?

Mrs. Tulliver is portrayed as a stagnant and passive woman. Examine her unraveling in Book Third, Chapter II, as her material possessions are taken away from her. What does this say about her identity and its relationship to the material things in her life? How does this relate back to the ideals about women presented in the beginning of the novel?

The contrast between fantasy and reality is a theme that permeates the entire novel. Examine the passage in Book Fourth, Chapter I which contrasts the ruins of castles along the Rhine with the “angular skeletons of villages on the Rhone.” How is reality portrayed here and in contrast, what is its relationship with fantasy? Is one an escape from the other or are they mere opposites? What does this passage suggest about the human need for fantasy? Is fantasy an escape or is it portrayed as oppressive?

How does this contrast between reality and fantasy or nostalgia relate to Maggie? In Chapter III of the same section above, Maggie laments the lack of fantasy and nostalgia in her own life and her desire for the “secret of life” (the paragraph that begins with “Maggie’s sense of loneliness…”) What answers does this passage offer to this question? Does Maggie accept them?

Compare Maggie and herdialogues with Philip to the Maggie during her romance with Stephen. How does the change in her mirror the turn of events in the novel? How and why do the two men affect her in such different ways? Is it merely their own personalities affecting Maggie, or is it something more internal in Maggie that the two men merely bring out in her?

Examine Maggie’s relationship with Lucy. The contrast between the two women are clear from the beginning of the novel. How does this contrast shift throughout the novel? How does Maggie’s opinion of Lucy change? How does the world that Maggie inhibits differ from Lucy’s world?

Representations of “home” vary from chapter to chapter throughout the book. Compare and contrast the multiple allusions to “home” and “nurture” and how they affect the various characters. For example, consider the passage at the end of Chapter III in Book Fifth, where “desire” is juxtaposed with “home” What does “home” represent for Maggie and how does her attitude toward it shift throughout the novel? (Consider the passage towards the end of the novel where Maggie exclaims “I wish I could make myself a world outside it, as men do.”)

Examine Maggie’s relationship with Tom. What does their conversations throughout Book Fifth suggest about gender? How does her relationship with Tom affect Maggie and her outlook?

Consider the ending of the novel. Why do you suppose the last chapter is titled “Final Rescue” even though the novel ends with Maggie and Tom’s tragic death? What does this suggest about the novel’s purpose? Looking back, how does this ending justify or explain Maggie’s journey throughout the novel?

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Mill on the Floss 3.7 out of 5 based on 0 ratings. 43 reviews.
Guest More than 1 year ago
The story though sad and gloomy is addictive at the same time. I could not keep my eyes off the pages through a larger part of the story. I read with much intrest the passages used to describe subtle emotions. Undoubtedly, George Eliot has complete mastery to communicate feelings with as much ease as leisure talk. The similies are superb, and when combined with the feeling of finding some part of the novel corresponding with your own views, makes one wonder with amazement over the fact that the novel written so long ago could hold true even today.
Guest More than 1 year ago
Geoge Eliot's rhetoric prowess is beyond ones speculation. The scenic depiction of the medival England adds elegance to this peice of marvel. The changing instinctions of a girl to woman is portrayed very elegantly and reveals the subtle difference in the attitudes which diffrentiates a woman from girl. Maggie is such a philanthrophic heart which a man strives to have as his beloved. The Tom Boyish 'Tom' is portrayed eqaully well. The noble 'Philip Wakem' exhibits those qualities which portrays a perfect gentleman. It is quite hard to beleive this peice of literature as a fiction. No wonder George Eliot is one of the greatest writers this world has ever seen... No wonder artists are born and not made...
Guest More than 1 year ago
George Eliot has a way of making life appear magical and despairing at the same time. Maggie Tulliver suffers tremendous trials and greivances yet everyone can't help fall in love with her. She leads a pitiable, confused life , yet she is filled with such passion for it(life) that she never once gives up despite all of the burdens she is forced to carry. Overall- a glorious story of the conflicts between love and loyalty, passion and responsibiltiy, luxury and reputation. It's one of those books that you know needs to be shared but you can't help wanting to keep it's sparkle all to yourself. (At least thats the way I feel) The only tragedy for me was that it ended; it was really long but I just wanted it to go on and on forever. Call me sentimental, but wouldn't this make a great movie? Really! When you're done reading the book, E-amil me and help me write a script...
Guest More than 1 year ago
'wild and natural'maggie always trying to be right but falls in some crises and the last of all her misfortunes is most drastic.its tragedy and irony.it shows that what fate does to a man is not in his power to change.but its a lovely story with tinges of bitterness here and there and the end is extremely tragic,one can't anticipate in the gloom of hopelessness any ray of hope,but it came certainly and removed all the earthly sorrows and miseries at last.in my thinking the end should be like this and i compare thier death to the end of all misfortunes.
Guest More than 1 year ago
This is the very sad story of a young woman, Maggie Tulliver,who lives in a small English village. She must choose between her family and the man she loves. She is very unhappy because she does not know what to do.
SaraPrindiville on LibraryThing More than 1 year ago
Very descriptive and verbose, but overall a good story. Similar to Hardy or Fielding in writing style. Distinct sense of time and unusual in its setting for the time period. Pastoral, but upper middle class- almost reminds me of the British TV show "Keeping up Appearances"- oddly enough.
amyfaerie on LibraryThing More than 1 year ago
One of my favorite classic novels.
Johnny1978 on LibraryThing More than 1 year ago
The Mill on the Floss details the isolation and evntaul death of Maggie Tulliver - a courageous, intelligent and likeable heroine too good for the narrow society she's condemned by, and certainly too good for her censorious, half-witted brother.
autumnc on LibraryThing More than 1 year ago
If you can find an introduction or timeline with "George Eliot"s life prior to reading this story, it will be all the more poignat. I am pretty sure she is writing her own story- the social context is totally amazing, and makes it all the more meaningful. Major themes surrounding the plight of women in the late 1800s, but also incredibly humourous. "This is a puzzling world, if you drive your wagons in a hurry you may light on an awkward corner!"
quoddy on LibraryThing More than 1 year ago
My personal favourite of all Eliot's works. It seems to me to be one of the very few books of it's time which showed that there is true passion in sibling love. It has the sweetest taste of tragedy I have ever had.
booksbooks11 on LibraryThing More than 1 year ago
What a pleasure this book was. Oh Maggie you're such an annoying but endearing thing why didn't you just marry the gorgeous Stephen, you had to let your silly morals get in the way and don't we love you for it in the end. I was captivated to see how it could ever end and would my longing for Maggie and Stephen to be together be satiated or not, you'll have to read it to find out.
stephxsu on LibraryThing More than 1 year ago
Spirited Maggie Tulliver grows up on a struggling mill by the riverside town of St. Ogg¿s and struggles with her relationships with her family, her older brother Tom, a beloved friend who happens to be the son of her father¿s enemy, and a charismatic but unattainable suitor. This is the first George Eliot book I¿ve read and it won¿t be my last, for I am blown away by Eliot¿s remarkably, almost painfully, accurate insights into human nature and the social condition. Maggie is like a modern heroine caught between tensions of the old and new, a girl who doesn¿t fit the mold of the ideal young woman and yet craves acceptance and praise from the men in her life. The writing is bold and flowing, the characters flawed yet endearing.There are many other more scholarly things I could say about this book (for we had an excellent discussion about it in class), but I would¿ve loved it had I picked it up on my own. It¿s got all the cleverness and emotional resonance of an Austen novel, and the intricacies of the Victorian realist genre. I have to admit I was thrown and angry at the way Eliot ended this novel, but until that point I was fully invested in the characters¿ outcomes, and I can now simply chuckle at all the different ways I can academically interpret that infuriating ending. A must-read for Victorian lit!
SFM13 on LibraryThing More than 1 year ago
Maggie's story is tragic, and the ending left me in tears. She was a character that acted impulsively, and drew my sympathies. Her brother Tom may have been annoying and sometimes cruel, but he was her connection to her past ... who she was, and with her in the end. The end...no longer divided, Maggie and Tom will be forever immortalized by unconditional love, despite their dysfunction.
LadyHax on LibraryThing More than 1 year ago
When I first attempted to read this novel many, many years ago for an undergraduate class on British women writers of the nineteenth century, I got 126 pages into it (the bookmark was still there) and then abandoned it, fudging my way through the seminar. I maligned this book somewhat, declaring it to be dull, nowhere near as interesting as Middlemarch (assisted as I had been in reading that text by pleasant images of Rufus Sewell). In retrospect, I actually think I was too young for this book. This is not to say that the book is terribly adult but that I was not mature enough to appreciate the nuances.Perhaps what struck me most in this second, successful read is that Eliot appears to be using irony - bordering on sarcasm - quite heavily at times. Needless to say, I found this wonderful. Tom's obvious character flaws, for example, are portrayed as virtues, and Maggie's virtues as vices. I must admit, however, that Maggie Tulliver disappoints me somewhat. I do not necessarily feel it was entirely her lack of opportunity that leads to her misfortune but her adolescent ascetic phase. Furthermore, the unattractiveness of Stephen Guest as a character and her (to me) inexplicable attraction to him cemented this disappointment. All I could think was, "He better be gorgeous, sweetheart."The novel also captures something of the changing times. I recognised the fears and ambitions of the community of St Ogg's something very much like what we think and feel now in the face of globalisation, and that I had seen also in the finale to A.S. Byatt's Potter quartet. It confirms for me that globalisation is not modern, although its technology may be.
emmakendon on LibraryThing More than 1 year ago
Ooh, what an abrupt ending! I hadn't read any George Eliot, to my shame, and found this on my bookshelf. I'm so glad I picked it up, I thoroughly enjoyed all her observations and explanations of character and actions - a really mature, inspiring piece of writing. And I laughed so often. I think my favourite passage is her take on destiny: "'Character' - says Novalis, in on eof his questionable aphorisms - 'character is destiny.' But not the whole of our destiny. Hamlet, Prince of Denmark, was speculative and irresolute, and we have a great tragedy in consequence. But if his father had lived to good old age, and his uncle had died an early death, we can conceive Hamlet's having married Ophelia and got through life with a reputation of sanity notwithstanding many soliloquies, and some moody sarcasms towards the fair dughter of Polonius, to say nothing of the frankest incivility to his father-in law."Eliot is a really generous writer. Tom is pretty reviled by some of the readers who have written reviews here, but I think that's unfair. Maggie's love can be pretty incomprehensible, towards Tom and more so towards Stephen Guest, who isn't drawn particularly clearly but doesn't seem to merit the devotion of either Maggie or Lucy. But Tom is drawn in great detail, and Bob's affection for him, Uncle Deane's respect for him and the aunts' frustration with hm together with his own pride and moodiness all make sense. How delightful that awful Aunt Glegg comes good at the end as well with regards to Maggie. And Philip's last letter to Maggie is a beautiful piece of sincerety, deep love and a tremendously powerful understanding of a strength of reasoning, introspection and thoughfulness that saves him (and everyone else) from his suicide.
lizpatanders on LibraryThing More than 1 year ago
Some people really dislike the prose of George Eliot, but I disagree. This was the first novel of hers which I read and I thoroughly enjoyed. The plot is entertaining and she has great character development. I also remember going to my professor and saying that I wanted to write about nature, religion and something else (probably romance) in this novel, and then realizing that there was no way that a roughly six page essay could encompass all of those topics. I really enjoyed watching how these characters relationships with others affected their emotional journeys throughout the book. A great read.
hemlokgang on LibraryThing More than 1 year ago
If you love period literature, moral struggle, and enchanting heroines, you will love this novel by George Eliot. The main characters in this book are loveable, human, heartrending, and ridiculously funny. Eliot wrote this story of what she considered common folks and the struggles they live with day in and out. She describes the small town social hierarchy, the pride, and the honor of the people in this community, through the experiences of Maggie, a dark haired beauty who is both intelligent and moral. Her life is filled with strife, oppression, and also with two men who love her beyond all else. She loves her older brother, Tom, since childhood and lives her life trying to obtain his approval despite multiple roadblocks. You have to read the book to see how it all turns out! Themes in this book: Love, honor, pride, moral struggle, loyalty, family ties. Wonderful novel....I laughed, I held my breath, and I got teary.....great blend to find in one novel!
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