Adam.
The character of Adam and one or two incidents connected with him were suggested by my father’s early life; but Adam is not my father any more than Dinah is my aunt. Indeed, there is not a single portrait in Adam Bede—only the suggestions of experience wrought up into new combinations. When I began to write it, the only elements I had determined on, besides the character of Dinah, were the character of Adam, his relation to Arthur Donnithorne, and the mutual relation to Hetty—i. e., to the girl who commits child-murder—the scene in the prison being, of course, the climax toward which I worked. Everything else grew out of the characters and their mutual relations. Dinah’s ultimate relation to Adam was suggested by George, when I had read to him the first part of the first volume: he was so delighted with the presentation of Dinah, and so convinced that the reader’s interest would centre in her, that he wanted her to be the principal figure at the last. I accepted the idea at once, and from the end of the third chapter worked with it constantly in view.
Marian Evans [Lewes]: in ‘George Eliot’s Life.’
‘The Mill on the Floss’ not strictly autobiographical.
Labor of writing ‘Romola.’
Her sense of possession.
Dorothea and Rosamond.
We must be careful not to found too much on suggestions of character in George Eliot’s books; and this must particularly be borne in mind in the ‘Mill on the Floss.’ No doubt the early part of Maggie’s portraiture is the best autobiographical representation we can have of George Eliot’s own feelings in her childhood, and many of the incidents in the book are based on real experiences of family life, but so mixed with fictitious elements and situations that it would be absolutely misleading to trust to it as a true history. The writing of ‘Romola’ ploughed into her more than any of her other books. She told me she could put her finger on it as marking a well-defined transition in her life. In her own words, “I began it a young woman—I finished it an old woman.” She told me that, in all that she considered her best writing, there was a “not herself,” which took possession of her, and that she felt her own personality to be merely the instrument through which this spirit, as it were, was acting. Particularly she dwelt on this in regard to the scene in ‘Middlemarch’ between Dorothea and Rosamond, saying that, although she always knew they had, sooner or later, to come together, she kept the idea resolutely out of her mind until Dorothea was in Rosamond’s drawing-room. Then, abandoning herself to the inspiration of the moment, she wrote the whole scene exactly as it stands, without alteration or erasure, in an intense state of excitement and agitation, feeling herself entirely possessed by the feelings of the two women. Of all the characters she had attempted she found Rosamond’s the most difficult to sustain. With this sense of “possession” it is easy to imagine what the cost to the author must have been of writing books, each of which has its tragedy.
J. W. Cross: ‘George Eliot’s Life.’