By Nancy Henry

During this cutting edge research Nancy Henry introduces new evidence that position George Eliot's lifestyles and paintings in the contexts of mid-nineteenth-century British colonialism and imperialism. She examines Eliot's roles as an investor in colonial shares, a dad or mum to emigrant sons, and a reader of colonial literature. She highlights the significance of those contexts to our knowing of Eliot's fiction and her place inside Victorian tradition. The booklet additionally reexamines the assumptions of postcolonial feedback approximately Victorian fiction and its relation to empire.

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Novels were also written by Englishmen who had served in India, such as Colonel Meadows Taylor, author of Confessions of a Thug () and four other Indian romances. W. D. Arnold’s Oakfield; or, Fellowship in the East () was based on his experiences in India, as Henry Kingsley’s Geoffrey Hamlyn () was based on his five years in Australia. But authors such as Eliot, Trollope, Dickens, and Thackeray had a more oblique relationship to the empire. They resisted extending to Imperial knowledge  the colonies their representations of English life, yet the colonies are present in their fiction.

Tom Tulliver’s sole imaginative moment in the novel is his hypermasculine performance with the sword. He prepares to frighten his sister with small gestures toward making his “round pink cheeks” look formidable – blackening his eyebrows and winding a red handkerchief around his head to give it “the air of a turban” (). Maggie misconstrues the costume, thinking Tom has made himself “like Bluebeard at the show” – an image threatening specifically to women. Tom corrects her by proclaiming “I’m the Duke of Wellington!

Wordsworth was wont to employ! We are at home among these wild animals. In a way no previous exhibition has ever attempted, we are made spectators of something more than a few specimens of a savage tribe – we Imperial knowledge  begin to understand their life.  This exhibition, treated as a theatrical performance, is not only enjoyed, but taken seriously by “Vivian” as original and unique of its kind. ” The Zulus are “being what they represent” – a surprising observation from Lewes/Vivian, the self-conscious philosopher and theatre critic.

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