Skip to main content

November 6, 1856

 George Eliot (November 22 ,1819 to December 22, 1880), is the pen name of Mary Ann Evans. This Victorian intellectual translated Spinoza, (De Deo in 1844.) Her lover George Henry Lewes was perhaps the first to introduce Baruch Spinoza to English readers. The good fortune of these two intellectuals having found each other, and their happiness together, is a testament to the power of the intellect in addition to the other factors in relationships. And it was a brilliant person who wrote the fiction we excerpt below. 

Scenes of Clerical Life, was submitted to its publisher, John Blackwood's Edinburgh Magazine on November 6, 1856. A vignette:

The little old lady took her son's arm with placid pleasure. She could barely reach it so as to rest upon it, but he inclined a little towards her, and accommodated his heavy long-limbed steps to her feeble pace. The cat chose to sun herself too, and walked close beside them, with tail erect, rubbing her sleek sides against their legs,—too well fed to be excited by the twittering birds. The garden was of the grassy, shady kind, often seen attached to old houses in provincial towns; the apple-trees had had time to spread their branches very wide, the shrubs and hardy perennial plants had grown into a luxuriance that required constant trimming to prevent them from intruding on the space for walking. ...


Those of course are the words of George Eliot.

Comments

Popular posts from this blog

August 23, 1941

Onora Sylvia O'Neill (August 23, 1941) is a British thinker. She studied at Oxford and received a doctorate from Harvard. After a noted career, in 1992, she  accepted the post of  Principal of  N ewnham College, Cambridge, and since 2006 she has been Emeritus Professor of Philosophy at Cambridge. Her 1997 paper, "Environmental Values, Anthroporphism, and Speciesism" contains a timely  argument  in which Dr. O'Neill, (she prefers that title to the "Baroness" to which her elevation to the peerage allows) points out inadequacies in the use of the term speciesism to argue against according humans more ethical rights than aspects of the non human world.  A viewpoint that puts " a person torturing a cat is on a par with a cat torturing a bird," is not one she finds supportable. The link is to a downloadable version of this paper.  We have  this picture  of Onora O'Neill, in 2002, at Newnham College: We meet in the Principal's lodge at Ne

August 25, 1990

Watch enough old movies (pandemic anyone) and you can fill in this scene--- businessmen, sex, court corridors. This is the backdrop to a scene from Morley Callaghan's novel, The Man With the Coat , (1955), from which we quote: As a businessman, Singerman might say he couldn’t afford to be associated with an old fighter who was an outcast from a place where the best people went. “I won’t be an outcast,” Mike said so loudly that his own voice in the darkness startled him and he sat up in bed. Then he heard a cat in the lane behind the building. The window was open a few inches. The weeds that bothered his hay fever grew in the lane. Again he heard the cat dragging at the lid of the garbage pail. The lid clattered and rolled and he jumped up, slammed the window shut, then he clenched his big fists with the broken knuckles and stood in a trance for a long time. A more directly biographical account is Morley Callaghan's story of accompanying a lady friend to the coliseum one night,

August 22, 1806

Jean Honoré Fragonard (April 4 1732 to August 22, 1 806) the famous French painter, whose art illustrated the lives of a gilded class, included cats occasionally in his scenes. We have some biographical context from the  National Gallery of Art : 'Fragonard was one of the most prolific of the eighteenth-century painters and draftsmen. Born ... in Grasse in southern France, he moved with his family at an early age to Paris. He first took a position as a clerk, but having demonstrated an interest in art, he worked in the studio of the still life and genre painter Jean Siméon Chardin (French, 1699 - 1779). After spending a short time with Chardin, from whom he probably learned merely the bare rudiments of his craft, he entered the studio of François Boucher ....1703 - 1770). Under Boucher’s tutelage Fragonard’s talent developed rapidly, and he was soon painting decorative pictures and pastoral subjects very close to his master’s style....Although Fragonard apparently never took cour