presentation paper no 6 : Marriage issue in Middlemarch

Marriage issue in_middlemarch. from pinagondaliya

Assignment paper no 5 : Character of Victor Frankenstein

Assignment 

Name  : Pina Gondaliya 

Enrollment no : 2069108420200012

Paper no . 5 Romantic Literature 

Roll on  18 

Submitted : Department of English 

Mary Shelley 

Mary Shelley was widely known as a novelist. She was daughter of William Godwin and Mary Wollstonecraft, she met the young poet Percy Bysshe Shelley. In 1812 and eloped with him to France in July 1814. The couple were married in 1816, after Shelley's first wife had committed suicide. After her husband's death in 1822, she returned to England and devoted herself to publicizing Shelley's writings and to educating their only surviving child, Percy Florence shelley. 

Mary Shelley's best-known book is Frankenstein; or, The Modern Prometheus, a text that is part Gothic novel and part philosophical novel; it is also often considered an early example of science fiction. It narrates the dreadful consequences that arise after a scientist has artificially created a human being. 

Two main Characters of the Novel 

1 Victor Frankenstein 

He is the main character, a man driven by ambition and scientific curiosity. His quest for absolute knowledge and power will eventually end in his own ruin. 

2. Monster 

The work of Frankenstein's hands, the creature is his double, his persecutor, and his victim. The lives of him and his creator are inextricably entwined. 

Let's discuss the character of Victor Frankenstein. 

Victor Frankenstein 

Victor Frankenstein's life story is at the heart of Frankenstein. A young Swiss boy, he grows up in Geneva reading the works of the ancient and outdated alchemists, a background that serves him ill when he attends university at Ingolstadt. There he learns about modern science and, within a few years, masters all that his professors have to teach him. He becomes fascinated with the "secret of life," discovers it, and brings a hideous monster to life. The monster proceeds to kill Victor's youngest brother, best friend, and wife, he also indirectly causes the death of two innocents, including Victor's father. Thigh torn by remorse, shame, and guilt, Victor refuses to admit to anyone the horror of what he has created, even as he sees the ramifications of his creative act spiraling out of control. 

Victor changes over the course of the novel from an innocent youth fascinated by the prospects of science into a disillusioned, guilt-ridden man determined to destroy the fruits of his arrogant scientific endeavour. Whether as a result of his desire to attain the godlike power of creating new life or his avoidance of the public arenas in which science is usually conducted. Victor is doomed by a lack of humanness. He cuts himself off from the world and eventually commits himself entirely to an animalistic obsession with revenging himself upon the monster. 

Victor relates his story to Robert Walton and then dies. With its multiple narrators and, hence, multiple perspectives, the novel leaves the reader with contrasting interpretations of Victor : classic mad scientist transgressing all boundaries without concern, or brave adventure into unknown scientific lands. Not to be held responsible for the consequences of his exploration. 

Victor's ambition :

" For when I would account to myself for the birth of that passion, which afterwards ruled my destiny, I find it arise, like a mountain river, from ignoble and almost forgotten sources; but swelling as it proceeded, it became the first torrent which, in its course, has swept away all my hopes and joys."

Victor speaks this quote as he reflects on his obsessive fascination with artificially creating life. The poetic style reveals Victor's education and eloquence, but the quote also reveals his fundamental lack of self-awareness and moral responsibility. He describes his ambition as an external force beyond his control by comparing it to raging river sweeping away everything in its path. His ambition might have been a powerful desire, but it was still an internal feeling that he could have tried to control rather than allowing it to direct his actions without considering consequences. 

"So much has been done, exclaimed the soul of Victor, more, far more, will I achieve : treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation. "

This quotation shows how profound Victor's ambitions are. As he learns about the progress that contemporary science has made, his first reaction is to fantasize about how much further he could go. This reaction shows his lack of humility and his arrogance. Rather than pausing to consider how impressive the discoveries of others have been, Victor immediately focuses on outgoing them. His drive to surpass the accomplishments of others may be part of why he fixates on the bold and reckless goal of artificially creating life. 

Dr. Vasi and Victor Frankenstein 

Dr. Vasi was one of the characters in the Indian hindi cinema 'Robot'. Vaseegaran creates a sophisticated Android Robot. When Victor creates human beings. Monster and Chitti are both scientific experiments. Both feel emotion. Both became violent. But at the end of the movie Vaseegara controlled his scientific creature. But in the novel Frankenstein Monster was rejected by his creator. Victor does not accept his creation because of his ugly look. When Monster becomes violent victore doesn't control his creation. So compared to Dr vasi Victor is not a good scientist. Because he doesn't accept his creation. If we created anything we would be able to accept it in any situation. 

Victor is a modern scientist unleashed upon an unsuspecting Society. Not fully aware of the consequences of his creating a new race of humans, he spends his entire life trying to destroy the same creation. Victor is also the unbridled ego who must satisfy his urge to know all and use that learning to create a new race of man. His excesses ultimately destroy him. Victor represents the id, the part of the psyche that is governed by the instinctive impulses of sex or aggression. 

Citation

Frankenstein,www.google.com/search?q=frankenstein+sparknotes&oq=Frankenstein+sparkno&aqs=chrome.1.69i57j35i39j0l2j69i60.11937j0j7&client=ms-android-oppo&sourceid=chrome-mobile&ie=UTF-8.


Kuiper, Kathleen. “Mary Wollstonecraft Shelley.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 19 Feb. 2020, www.britannica.com/biography/Mary-Wollstonecraft-Shelley. 

Assignment paper no : 7. Rasa Theory

Assignment 

Name :  Pina Gondaliya 

Enrollment No : 

Paper No : 7, Literary Criticism and Theory 

Topic :  Rasa Theory 

Email ID :  pinagondaliya09@gmail.com 

Classification of Literary Theories 

It is possible to classify literary theories on the basis of what aspect of literary composition is central to them. Accordingly, we have theory of :

1. Language, namely, alamkara (principle of figurativeness) and Vakrokti (principle of deviation) 
2. Style and compositional value, namely, guna/dosa (excellence, faults). Riti (mode of expression) and Acuity(propriety).
3. Verbal symbolism, namely, dhavni 
4. Aesthetic experience namely, rasa 
5. Narrative, namely, mahakavya, as inferable from Bhoja's Sringara Prakasa and categories of panini's grammar. 
6. Discourse analysis ,namely, yuktis. For example Kautilya's thirty -two units of composition in Arthasastra. It is an analysis of the thought structure of a composition, constitution of a text in terms of nature of proportions. Indian theorists do not explicitly discuss this. But one can consolidate ideas available in different sources. 
7. Comprehensive analysis as constructed in kavyamimamsa. Rajasekhara has proposed a composite model based on the insights of different theories. 

• Major schools, thinkers and text :

School	Thinkers	Texts
Rasa	Bharata  Dhanika-Dhananjaya	Natyasastra Dasarupaka
Alamkara	Bhamaha Dandin  Udbhata  Rudrata	Kavyalankara Kavyadarsa Kavyalamkarasarasamgraha Kavyalankara
Riti	Vamana	Kavyalamkarasutra
Dhavni	Anandavardhana  Abhinavagupta Mahima Bhatta	Dhvanyaloka Abhinavabharati Vyakti Viveka
Vakrokti	Kuntaka	Vakrokti Jivita
Guna-Dosa	Dandin  Bhamaha	Kavyadarsa Kavyalankara
Aucitya	Ksemendra	Aucitya Caracara

Rasa Theory 

Rasa, is an ancient concept of aesthetics discussed in the text, the Natyasastra, which dates to approximately the 4th or 5th century. "Sastra" in Hindu philosophy refers to the first text or treatise written on any subject ; the person generally credited for the Natyasastra is the  legendary Bharata Muni. Many philosophers have contributed ideas to the theories in aesthetics including Dandin, Bhatta Lollata, Sanuka, and Bhatta Nayaka. The ideas of all these philosophers have been passed down through the writing of the philosopher Abhinavagupta. 

The rasa theory originates with Bharata in Natyasastra. It claims that the object or meaning that is sought to be conveyed in literary compositions is in the nature of an emotional effect of diverse human experience on man's mind and heart. It is possible, Bharata demonstrates, to enumerate the whole range of emotions, or states of being born of experience, and to analyse the structure of those emotions in terms of cause, physical correlate and their effect on man's being. The theory thus becomes in effect a theory of literary experience which is strongly rooted in the empirical human reality. 

Bharata, the first announcer of the theory ,gives the most comprehensive analysis of its sources, nature and its Categories. Subsequently, the theory found major commentators in Dhanika Dhananjaya who re-examined Bharata's typology of drama and added to it a typology of Uparupakas, subplays, plays within plays, and one - act plays. It is Abhinavagupta, however, who enriched the theory by elucidating its philosophic foundations and by analysing in depth the aesthetic dimension of the theory in terms of the nature, cognition and effect of literary experience. 

The Rasa theory has been accepted as the core literary theory by all major politicians both before and after Abhinavagupta. In particular, the discussion and analysis by Viswanatha and Pt. Jagannatha have contributed towards a more subtle understanding of this theory. 

Nine Rasa :

Rasa is Sanskrit and has many translations in English, the main ones being : essence, juice, nectar, taste, or sap. Rasa is in everything, or I should say.. everything has Rasa. Though some things have a higher vibrational essence, others lower, some even dead. Rasa is the invisible substance that gives life meaning. Rasa is also described as the state of ecstasy in the union with divine. 

In Tantra these 9 Rasas are the essence of all of our emotions; 

1 Love / Sringara

It is the ultimate Rasa. The king or queen emotion that heals anything. It frees the ego and connects us to devotion. When you appreciate beauty it connects you to the source of love. It is the creative play between Shiva and Shakti, sun and moon, yin and yang. The purpose of the universe is to experience this divine love. 

This love exists in everything. It is within each one of us and radiates out to the cosmos. 

2. Joj/Hasya 

This Rasa connects you to your humor, laughter, happiness and contentment. It is the extension of what you feel within love. 

3. Wonder / Adhuta 

Curiosity, Mystery, Awe. When you become fascinated with the idea of life. It is your playfulness and innocence. You enter into complete appreciation and become an explorer or adventure. It is magic! 

]4. Courage / Vira 

Bravery, Confidence, Pride. When you call upon your the warrior that lives inside you. It is strong and vibrant. 

5. Peace / Shanta 

Deep calmness and relaxation. When you become still and quiet. In peace you become so full that you are empty. You will not find peace anywhere but within. 

6. Sadness / Karuna

When you can experience sadness and connect it back to the cosmos, you then experience compassion. Compassion is what connects us all. Through compassion we can relate deeply to each other. When one's sadness is truly experienced around a situation it can give a sense of completion. Grieving is a key aspect in healing. 

7. Anger/Raudra

In anger we go into the fire. One moment of anger can destroy lifetimes of good merit. Respect anger. When anger isn't honored it can bring up irritation, violence, hatred. Feel the anger. Let it move through you. Breathe into the fire. 

8. Fear/ Bhayanaka

Doubt, Worry, Insecurity. When we live our lives in fear, we shut down completely. 

9. Disgust / Vibhasta

Self pity, Loathing, self hatred. Only through a loving emotion can you heal and appease disgust 

But bhakti rasa is the one which is revered most as all first 6 rasas can be attained through bhakti rasa. How to test the nectar of bhakti rasa the following method has been advocated. Bhakti is a Sanskrit term that signifies an attitude of devotion to a personal God that is similar to a number of human-human relationships such as a beloved - lover, friend-friend, parent-child, and master-servant. Bhakti rasa was added later on. 

Citation 

Hrodrigues. “Rasa Theory .” Mahavidya, 26 Dec. 2017, www.mahavidya.ca/2017/12/26/4110/.

Rocio. “9----Rasas as 9-- Emotions in Human Beings .” Speakingtree.in, Speaking Tree, 25 Mar. 2013, www.speakingtree.in/blog/9rasas-as-9-emotions-in-human-beings.

Assignment paper no : 8. British Cultural Materialism

Assignment 

Name:  Pina Gondaliya 

Enrollment No:2069108420200012

Paper No : 8, Cultural Studies 

Topic:  British Cultural Materialism 

Email ID: pinagondaliya09@gmail.com 

Roll No: 18

What is Cultural Studies? 

Cultural studies is now a movement or a network. It has its own degrees in several colleges and universities and its own journals and meetings. It exercises a large influence on academic disciplines, especially on English studies, sociology, media and communication studies, linguistics and history. As Patrick Brantlinger has pointed out, 

cultural studies is not "a tightly coherent, unified movement with a fixed agenda," but a "loosely coherent group of tendencies, issues, and questions"

Arising from the social turmoil of the 1960s,  cultural studies is composed of elements of Marxism, post-structuralism and postmodernism, feminism, gender studies, anthropology, sociology, race and ethnic studies, film theory, urban studies, public policy, popular culture studies, and postcolonial studies : those fields that concentrate on social and cultural forces that either create community or cause division and alienation. 

• Five Types of Cultural Studies  

1. British Cultural Materialism 
2. New Historicism 
3. American Multiculturalism 

• African American writers 
• Latina/o Writers 
• American Indian literatures 

4. Postmodernism and popular culture 
5. Postcolonial Studies 

• Cultural Materialism 

Cultural materialism as a literary critical practice—this article will not address its anthropological namesake—is a Marxist-inspired and mostly British approach to in particular Shakespeare and early modern English literature that emerged and became prominent in the 1980s. Its emphasis on the historical and material conditions of the production and reception of texts has remained influential, even if its political commitment and interventionist purposes have largely been abandoned and increasingly ignored. While certain of its formulations would seem to echo Michel Foucault, Louis Althusser, or other thinkers of the period, the main influence is the British literary and cultural critic Raymond Williams, and his re-theorization, following Antonio Gramsci’s notion of cultural hegemony, of the orthodox Marxist binary of base and superstructure. For Williams, who coined the term “cultural materialism,” culture is neither a mere reflection of that base nor wholly independent of it. This does not rule out intentional human practice, but rejects the idealist position in seeing that practice as inseparable from specific historical conditions. Still, with culture not wholly determined by an economic base, it plays its own role in the construction and/or reproduction of the social totality, and inevitably becomes the site of ideological struggle. Next to the dominant, hegemonic cultural formation we will thus find declining, residual formations and nascent, emergent ones. Cultural materialism focused on the ideological forces at work in Shakespeare, in Shakespeare studies, and in contemporary re-stagings and representations—in for instance secondary education and advertising—of Shakespeare and/or his work. Rejecting humanist beliefs in transcendent, ahistorical, truth and in an essential human nature, cultural materialists insisted on historicization and argued that Shakespeare—and the study of literature in general—had been hijacked by a conservative humanist ideology that presented itself as timeless and “natural” and perhaps unwittingly colluded with a profoundly unjust and rapacious social order. One of cultural materialism’s main interests was social stratification and the way in which the dominant social order sought to legitimize itself—for instance through the construction of socially marginalized groups as “other,” a practice that led to an early interest in issues of gender and race, and would substantially contribute to the rise of queer studies. Inspired by its belief that ideological hegemony is never absolute and that all ideology at some point contradicts itself, cultural materialism reads texts for signs of subversion and political dissidence, arriving at often provocative interpretations whose ulterior purpose was to serve as interventions in current political debate  

• British Cultural Materialism :

Cultural studies is referred to as "cultural materialism" in Britain, and it has a long tradition. In the later nineteenth century Matthew Arnold sought to redefine the "givens" of British culture. Edward Burnett Taylor's pioneering anthropological study Primitive Culture argued that "Culture or civilization, taken in its widest ethnographic sense, is a complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society".

Claude Levi-Strauss's influence moved British thinkers to assign "culture" to primitive peoples, and then, with the work of British scholars like Raymond Williams, to attribute culture to the working class as well as the elite. As William memorably states: "There are no masses; there are only ways of seeing people as masses".

To appreciate the importance of this revision of "culture" we must situate it within the controlling myth of social political reality of the British Empire upon which the sun never set, and ideology left over from the previous century. In modern Britain two trajectories for "culture" developed: one led back to the past and the feudal hierarchies that ordered community in the past; here, culture acted in its sacred function as preserver of the past. The other trajectory led toward a future, socialist utopia that would annul the distinction between labor and leisure classes and make transformation of status, not fixity, the norm. This cultural materialism furnished a leftist orientation "critical of the aestheticism, formalism, anti historicism, and apoliticism common among the dominant postwar methods of academic literary criticism"; such was the description in the Johns Hopkins Guide to Literary Theory and Criticism. 

Cultural materialism began in earnest in the 1950s with the work of F. R. Leavis, heavily influenced by Matthew Arnold's analysis of bourgeois culture. Leavis sought to use the education system to distribute literary knowledge and appreciation more widely; Leavisites promoted the "great tradition" of Shakespeare and Milton to improve the moral sensibilities of a wider range of readers than just the elite. 

Ironically the threat to their project was mass culture. Raymond William applaudend the richness of canonical texts such as Leavis promoted, but also found they could seem to erase certain communal forms of life. Inspired by Karl Marx, British theorists were also influenced by Gyorgy Lukacs,  Theodor Adorno, Louis Althusser, Max Horkheimer, Mikhail Bakhtin, and Antonio Gramsci. They were especially interested in problems of cultural hegemony and in the many systems of domination related to literature. From Gramsci, an Italian Marxist, for example, they got the concept of cultural "hegemony", referring to relations of domination not always visible as such. Williams noted that hegemony was "a sense of reality for most people beyond which it is very difficult for most members of society to move ". But the people are not always Victims of hegemony; they sometimes possess the power to change it. 

Althusser insisted that ideology was ultimately in control of the people, that "the main function of ideology is to reproduce the Society's existing relations of production, and that function is even carried out in literary texts." Ideology must maintain this state of affairs if the state and capitalism can continue to reproduce themselves without fear of revolution. Althusser saw popular literature as merely "carrying the baggage of a culture's ideology," whereas "high" literature retained more autonomy and hence had more power. Walter Benjamin attacked fascism by questioning the value of what he called the "aura" of culture. Benjamin helps explain the frightening cultural context for a film such as Leni Riefenstahl's Triumph of the Will. Lukacs developed what he called a "Reflection Theory," in which he stressed literature's reflection, conscious or unconscious, of the social reality surroundings it not just a flood of realistic detail but a reflection of the essence of a society. Fiction formed without a sense of such reflection can never fully show the meaning of a given society. 

Cultural materialists also turned to the more humanistic and even spiritual insights of the great student of Rabelais and Dostoevsky, Russian Formalism Bakhtin, especially his amplification of the dialogic form of meaning within narrative and class struggle, at once conflictual and communal materialists in recognizing how seemingly "disinterested" thought is shaped by power structures such as patriarchy. 

Citation :


Bertend, Hans. “Cultural Materialism .” Cultural Materialism - Literary and Critical Theory - Oxford Bibliographies, 26 Feb. 2020, www.oxfordbibliographies.com/view/document/obo-9780190221911/obo-9780190221911-0091.xml.

Johnson, Richard. "What is Cultural Studies Anyway?" Social Text, no. 16, 1986, pp.38-80. JSTOR, www.jstor.org/stable/466285. Accessed 5 Mar. 2020.

Pramod K. Narayan, An Introduction of Cultural Studies . Viva Books Private Limited (April 20, 2011), April 20, 2011.

Assignment paper No 6 : Victorian Novelist

Name  : Gondaliya pina k

Sem : 2

Paper No : Victorian Literature

Topic : Major novelist of Victorian era 

Enrollment No :

Email ID : pinagondaliya09@gmail.com 


Victorian Novelist : Charles Dickens and George Eliot

Victorian period

The Victorian period (1850-1900) is the Modern period of progress and unrest. The Victorian era was a long struggle of the Anglo-Saxon for personal liberty is definitely settled, and democracy became the established order of the day. Victorian age an age of democracy, it is an age of popular education, religious tolerance, growing brotherhood, and of profound social unrest. Victorian age is remarkable rapid progress in all arts, sciences and in mechanical inventions. 

• Literary characteristics of the Victorian era. 

1. An Age of Prose 
2. Moral Purpose 
3. Idealism 

• Novelist of Victorian era 

The Victorian age was known as the richest age of English literature. During the vacation era there was a rise in various writing in terms of prose, fiction, novel and poetry. The Victorian era was the age of English novels. In the Victorian period the novel made wide progress. Novel reading was a chief occupation of Victorian public. A many brilliant novelist showed that it was possible to adapt the novel to almost all purposes of literature whatsoever. It was the ideal form to describe contemporary life and to entertain the middle class. Victorian novels tend to be idealized portraits of difficult lives in which hard work, perseverance, love and luck win out in the end.Charles Dickens wrote about poverty and social issues in his writing. 

Victorian Novelist
Charles Dickens	1812 - 1870
George Eliot	1819 - 1880
Thomas Hardy	1840 -  1928
William Makepeach Thackerav	1811 -  1163

Charles Dickens 

Charles Dickens was one of the best representatives of his age as a novelist. His representation of the essential human conditions is outstanding. His realism, prose Style, characterization and social criticism in his novels are works of social commentary. He was a fierce critic of poverty with social stratification.

Charles Dickens, in full Charles Huffam Dickens, English novelist, generally considered the greatest of the Victorian era. He enjoyed wide popularity, his works appealing to the simple and sophisticated. Charles Dickens,  a poor, obscure, and suffering child, was helping to support a shiftless family by pasting labels on blacking bottles, sleeping under a counter like a homeless cat, and once a week timidly approaching the big prison where his father was confined for debt. In 1836 his Pickwick was published, and his life was changed as if a magician had waved his wand over him. While the two great poets were slowly struggling for recognition, Dickens with plenty of money and too much fame, was the acknowledged literary hero of England, the idol of immense audiences which gathered to applaud him wherever he appeared. 

• Works of Charles Dickens 

Charles Dickens wrote lots of works during the vacation era. He wrote many short stories and novels. 

• Novels of Charles Dickens 

Novels of Charles Dickens

The Pickwick Paper 1836  Oliver Twist  Nicholas Nickleby 1838 The Old curiosity shop 1840  Barnaby Rudge 1841 Martin chuzzlewit 1843 Dombey and son 1846 David Copperfield 1849 Bleak house 1852  Hard Times  1854  Little Dorrit 1855 A tale of two cities  1859  Great expectations  1860  Our mutual friend  1864  The mystery of Edwin Drood 1870

• George

George Eliot is widely known as a Victorian novelist. Eliot was her pet name her full name Mary Anne evans. George Eliot was born Mary Ann Evans in Warwickshire in 1819. Before she died in 1880, she had become one of the most notable women of the century and one of its leading novelists. Eliot's early life in warwickshire was crucial to her life as a writer: her surroundings provided her with material and inspiration for her later work and instilled a sense of the importance of  memory to the individual's development. In 1828, she became a fervent Evangelical, but when Eliot and her father moved to Coventry in 1841, she encountered the free-thinking Bray family, who initiated in Eliot an intellectual inquiry into the tenets of evangelicalism, which led her to disavow her earlier faith. In this new intellectual context, Eliot began her translation of Strauss's Das Leben Jesu. 

Eliot was a prolific essayist, reviewer, poet, and letter writer, but it is for her full -length fiction that she is best known. Her long fiction includes Scenes of Clerical Life, Adam Bed, The Mill on the Floss, Silas Marner, Romola, Felix Holt, Middlemarch, and Daniel Deronda. In her fiction Elio developed the primary tenets of Victorian realism, and she insisted on the fundamental moral importance of the text. 

George Eliot was perhaps unique among the major novelists up to her time in formulating a coherent set of ideas about life and art before she started to write her first novel. Eliot was known as an important figure in the intellectual life of London during the fifties, as the sub editor of the Westminster Review, the most important organ of liberal thought in England at that time. Eliot was also a prolific writer of articles for magazines and a reviewer of belles-lettres for the Westminster for three years, 1855-57. 

• Conclusion :

Critics have long insisted on the radical difference between the works of George Eliot and Dickens, and George Eliot mounted a strong attack on Dickens's writing in order to promote George Eliot's kind of fiction writing, there are important similarities between the two writers that are fundamental to the condition of writing novels in the Victorian era. Both write long multiple fiction; both imagine individual lives as bound up in complex social webs; both achieve their "realism" by the way of extravagant, fairy-tale like manipulation of plot. Despite a critical tradition that tended to oppose them, admiration for one does not exclude admiration for the other. 

Citation :


Levine, George. "The Dickensian George Eliot." Dickens Studies Annual, vol. 50, no. 1,2019,pp. 48-65. JSTOR, www.jstor.org/stable/10.5325/dickstudannu.50.1.0048. Accessed 5 Mar. 2020.


Long. “English Literature by William J. Long.” Project Gutenberg, 1 Jan. 2004, www.gutenberg.org/ebooks/10609.

Marshall, Gail. “George Eliot -Victorian Literature .” George Eliot - Victorian Literature - Oxford Bibliographies, 2 Mar. 2011, www.oxfordbibliographies.com/view/document/obo-9780199799558/obo-9780199799558-0026.xml.

Thank you