The Mill on the Floss (Penguin Classics)

The Mill on the Floss (Penguin Classics)

by George Eliot, A. S. Byatt

Narrated by Anne-Marie Duff

Unabridged — 20 hours, 27 minutes

The Mill on the Floss (Penguin Classics)

The Mill on the Floss (Penguin Classics)

by George Eliot, A. S. Byatt

Narrated by Anne-Marie Duff

Unabridged — 20 hours, 27 minutes

Audiobook (Digital)

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Overview

Brought to you by Penguin.

This Penguin Classic is performed by Anne-Marie Duff, star of the BBC's The Salisbury Poisonings and Shameless. This definitive recording features an introduction by A.S Byatt, writer, critic and author of Possession.

Brought up at Dorlcote Mill, Maggie Tulliver worships her brother Tom and is desperate to win the approval of her parents, but her passionate, wayward nature and her fierce intelligence bring her into constant conflict with her family. As she reaches adulthood, the clash between their expectations and her desires is painfully played out as she finds herself torn between her relationships with three very different men: her proud and stubborn brother, a close friend who is also the son of her family's worst enemy, and a charismatic but dangerous suitor. With its poignant portrayal of sibling relationships, The Mill on the Floss is considered George Eliot's most autobiographical novel; it is also one of her most powerful and moving.

(P) Penguin Audio 2020


Editorial Reviews

From the Publisher

"As one comes back to [Eliot's] books after years of absence they pour out, even against our expectations, the same store of energy and heat, so that we want more than anything to idle in the warmth."
—Virginia Woolf

Jacob Korg University of Washington

"This edition is a splendid presentation of George Eliot's most autobiographical novel. The long and generous introduction dispels some of the myths about the author's life, traces subtle relations between the novel and the moral complexities Eliot faced in Victorian society, places the novel in the context of her life's work, and offers valuable analyses of the novel's style and structure. Footnotes throughout the text helpfully explain dialect words, obsolete expressions and literary allusions. Excerpts from George Eliot's critical writings, added as appendices, give insight into some of the ideas about fiction, religion, and the place of women in society that entered into the writing of The Mill on the Floss."

Mary Wilson Carpenter Queen's University

"This edition of George Eliot's most passionate novel about a woman's life is accompanied by a selection of contemporary materials that demonstrate the surprisingly radical context of the author's views at this point in her career. Oliver Lovesey has selected brief, eminently readable portions from Eliot's own translations, essays, and reviews that will educate the reader in the 'real' George Eliot—a woman of amazing education herself, and of profoundly original thought that transcended the conventions of her time. The edition also includes the full text of the author's poem, 'Brother and Sister,' a parallel narrative of Eliot's childhood that is crucial to the reader's understanding of the novel, as well as other very useful selections from historical documents and contemporary reviews of the novel."

Product Details

BN ID: 2940177539461
Publisher: Random House UK
Publication date: 09/03/2020
Edition description: Unabridged

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

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