I began the second volume in the second week of my stay at Munich, about the middle of April. While we were at Munich George expressed his fear that Adam's part was too passive throughout the drama, and that it was important for him to be brought into more direct collision with Arthur. This doubt haunted me, and out of it grew the scene in the wood between Arthur and Adam; the fight came to me as a necessity one night at the Munich opera, when I was listening to "William Tell." Work was slow and interrupted at Munich, and when we left I had only written to the beginning of the dance on the Birthday Feast; but at Dresden I wrote uninterruptedly and with great enjoyment in the long, quiet mornings, and there I nearly finished the second volume—all, I think, but the last chapter, which I wrote here in the old room at Richmond in the first week of September, and then sent the MS. off to Blackwood. The opening of the third volume—Hetty's journey—was, I think, written more rapidly than the rest of the book, and was left without the slightest alteration of the first draught. Throughout the book I have altered little; and the only cases I think in which George suggested more than a verbal alteration, when I read the MS. aloud to him, were the first scene at the Farm, and the scene in the wood between Arthur and Adam, both of which he recommended me to "space out" a little, which I did.
When, on October 29, I had written to the end of the love-scene at the Farm between Adam and Dinah, I sent the MS. to Blackwood, since the remainder of the third volume could not affect the judgment passed on what had gone before. He wrote back in warm admiration, and offered me, on the part of the firm, £800 for four years' copyright. I accepted the offer. The last words of the third volume were written and despatched on their way to Edinburgh, November the 16th, and now on the last day of the same month I have written this slight history of my book. I love it very much, and am deeply thankful to have written it, whatever the public may say to it—a result which is still in darkness, for I have at present had only four sheets of the proof. The book would have been published at Christmas, or rather early in December, but that Bulwer's "What will he do with it?" was to be published by Blackwood at that time, and it was thought that this novel might interfere with mine.
The manuscript of "Adam Bede" bears the following inscription: "To my dear husband, George Henry Lewes, I give the MS. of a work which would never have been written but for the happiness which his love has conferred on my life."
Letter to John Blackwood, 25th Nov. 1858.
I shall be much obliged if you will accept for me Tauchnitz's offer of £30 for the English reprint of "Clerical Scenes." And will you also be so good as to desire that Tauchnitz may register the book in Germany, as I understand that is the only security against its being translated without our knowledge; and I shudder at the idea of my books being turned into hideous German by an incompetent translator.
I return the proofs by to-day's post. The dialect must be toned down all through in correcting the proofs, for I found it impossible to keep it subdued enough in writing. I am aware that the spelling which represents a dialect perfectly well to those who know it by the ear, is likely to be unintelligible to others. I hope the sheets will come rapidly and regularly now, for I dislike lingering, hesitating processes.
Your praise of my ending was very warming and cheering to me in the foggy weather. I'm sure, if I have written well, your pleasant letters have had something to do with it. Can anything be done in America for "Adam Bede?" I suppose not—as my name is not known there.
Journal, 1858.
Nov. 25.—We had a visit from Mr. Bray, who told us much that interested us about Mr. Richard Congreve, and also his own affairs.
Letter to Mrs. Bray, 26th Nov. 1858.