Silas Marner by Eliot, George Silas Marner: The Weaver of Raveloe. Eliot, George Edinburgh & London: William Blackwood and Sons, 1861. First edition. Carter's binding "A", which is the preferred and much more elaborate. With Blackwood and Carlyle ads at the rear (which only appear in some copies). Octavo, original orange cloth. In near fine condition with minor wear. "The finest of [Eliot's] studies of humble rural life" (Stanford Companion, 211). "Overwhelming are the glorious qualities which make [Eliot] a supreme novelist in an age of great novelists: her penetrating sympathy, her deep knowledge of humanity, her descriptive power, her lambent humor, the reflection of her extraordinary mind" (Kunitz and Haycraft). Silas Marner ELIOT, George Edinburgh: William Blackwood and Sons, 1861. First Edition, In the Original Cloth Binding ELIOT, George. Silas Marner: The Weaver of Raveloe. Edinburgh: William Blackwood and Sons, 1861. First edition.

Octavo (7 3/4 x 4 13/16 inches; 197 x 122 mm.). [6], 364 pp. plus 16 pp. publisher's advertisements, [4,unnumbered ads for the third edition of "Autobiography of Dr Alexander Carlyle"] pp. Original cinnamon diagonal ripple-grain cloth (Carter A, no priority established) with covers decoratively paneled in blind and spine decoratively stamped and lettered in gilt. Top edge rough-trimmed, fore and bottom edges trimmed. Original cream-colored endpapers. Booksellers ticket "Gilbert Brothers, Gracechurch St, London" on front paste-down. Neat ink presentation dated 1861 on front free-endpaper. Minimal rubbing to corners and spine extremities. Rear inner hinge just starting, some light foxing. An excellent copy. Chemised in a quarter red morocco slip-case. The advertisements are in placing "b" (eight plus two leaves, at rear, with the advertisements for the third edition of Autobiography of Dr Alexander Carlyle following the publisher's catalogue), and the "New Works" list is in the earlier form, with pp.

[1] and [2] listing three and four titles respectively (p. [1]: John Petherick's Egypt, Soudan, and Central Africa, Sir Archibald Alison's Lives of Lord Castlereagh and Sir Charles Stewart ("In the press"), and the Count de Montalbert's The Monks of the West; p. [2]: George Finlay's History of the Greek Revolution ("In the press"), Rev. J. Cave-Browne's The Punjab and Delhi in 1857, David Page's The Past and Present Life of the Globe ("In the press"), and Henry Stephens' The Book of Farm Buildings ("In the press"). Baker & Ross A6.1.a. Carter, Binding Variants, pp. 111-112. Parrish, p. 15. Sadleir 819. Wolff 2063. Mary Ann Evans (1819-1880), known by her pen name George Eliot, was an English novelist, journalist, translator and one of the leading writers of the Victorian era.

She is the author of seven novels, including Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871-72), and Daniel Deronda (1876), most of them set in provincial England and known for their realism and psychological insight. She used a male pen name, she said, to ensure her works would be taken seriously. Female authors were published under their own names during Eliot's life, but she wanted to escape the stereotype of women only writing lighthearted romances. She also wished to have her fiction judged separately from her already extensive and widely known work as an editor and critic. An additional factor in her use of a pen name may have been a desire to shield her private life from public scrutiny and to prevent scandals attending her relationship with the married George Henry Lewes, with whom she lived for over 20 years. Silas Marner: The Weaver of Raveloe is the third novel by George Eliot, published in 1861.

An outwardly simple tale of a linen weaver, it is notable for its strong realism and its sophisticated treatment of a variety of issues ranging from religion to industrialisation to community. Silas Marner: The Weaver of Raveloe Eliot, George Edinburgh: William Blackwood and Sons, 1861. Hardcover in acceptable condition. No jacket. First edition. Roger Senhouse's copy. Senhouse's notes pencilled on BEP. Boards and spine are marked and discoloured. Gilt text on spine is partially obscured. Minor paper residue on front board. Leading corners, edges and spine are worn, bumped and torn. Five centimetre tear and smaller tears on spine sides. Spine ends and leading corners are nicked. Page block and pages are tanned, marked and rought cut. Ink on front pastedown and FEP. Light creases and marginalia in pencil and crayon on a few pages. Splits on pastedown hinges and between some pages. Text remains clear. HCW. hardcover. Acceptable/No Dust Jacket. Used.

Silas Marner: The Weaver of Raveloe ELIOT, George (pseud Mary Ann Evans) Edinburgh & London: William Blackwood, 1861. First Edition. Well-preserved first edition of what is arguably Eliot's most complex novel, long the bane of middle-school readers to whom it has been thoughtlessly prescribed as a moral tonic. This copy with an interesting contemporary ownership inscription dated in the month of publication. Octavo (20cm); publisher's terra-cotta cloth, decoratively blind-stamped and lettered in gilt on spine; cream yellow endpapers; 3 preliminary leaves (including half-title, but lacking the two-page advertising leaf for Carlyle's Autobiography); 364pp + 16pp publisher's ads. Early ownership signature ("J. Wharton Duff, Aston House, April 6, 1861") on tipped-in leaf between front endpaper and half-title. Slight wear to spine ends and corners; gilt a trifle dull; clean repair to rear hinge; still a tight, attractive, Very Good copy.

SILAS MARNER: THE WEAVER OF RAVELOE GEORGE ELIOT William Blackwood & Sons, Edinburgh and London, 1861. First Edition. Hardcover (Full Leather). Fine Condition. Illustrator: Rockwell Kent. George Eliot's famous and her favorite work. Finely bound in chocolate brown morocco by Bumpus of London. In excellent condition. When it was bound by this binder, they did not include the advertisements with the book. Leather on turn-ins have offset stained the free end papers so those blank pages look like they have borders. Has previous owner bookplate of the noted collectors, John Whiting Friel and Helen Otillie Friel. Rockwell Kent (1882-1971) designed this bookplate for the Friels in 1953. This bookplate has been featured in AIGA's 50 Books/50 Covers of 2002 (2003, Tom Boss, publisher) and the original rests in American Institute of Graphic Artists archives. This is the first UK edition. Size: 7 3/4" x 5". 364 pages.

Text body is clean, and free from previous owner annotation, underlining and highlighting. Binding is tight, covers and spine fully intact. No foxing in this copy. Previous owner's book-plate laid in. Top edge gilt in good condition. Embossed, decorative leather covers and spine. Spine has five raised bands. Publication date in gilt along spine bottom. Illustrator: Rockwell Kent. Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: Antiquarian & Rare; Fine Leather Binding; Main Picture: Spine and Covers. Picture 2: Front Cover. Picture 3: Back Cover. Picture 4: Title Page. Picture 5: Close up of Rockwell bookplate. Picture 6: Inside front cover. Pictures of this item not already displayed here available upon request. Inventory No: 003454. . Silas Marner: The Weaver of Raveloe Eliot, George London: William Blackwood and Sons, 1861. First edition. Hardcover. Very good condition. Finely bound by F.

Bedford in late 19th-century polished tan speckled calf, dark red morocco title label, spine with 5 raised bands and the published date 1861 at the base. Covers with triple gilt rules, gilt inner dentelles, dark marbled endpapers, top edges gilt. 8vo, 364pp, Advertisements 16pp, Advertisement for "Autobiography of Dr. Alexander Carlyle", bearing January 1861 reviews [5] pp. Bound with half title and publisher's advertisements, marbled end papers. Small chip from the lower edge of spine, o/w very good condition. First edition. Sadleir 819. Silas Marner - The British Library All Romantics and Victorians works Silas Marner George Eliot ’s (1819-1880) short novel of 1861, in which the protagonist is obliged to leave his small religious community after being falsely accused of theft. He settles in Raveloe, where he works diligently as a weaver for 15 years and manages to accumulate and hoard a substantial amount of gold.

The reclusive miser is distraught when his gold is stolen, but feels compensated when he finds an abandoned golden-haired toddler called Eppie. Marner looks after her lovingly, and she becomes far more precious than his lost gold. Eliot intended that her book should ‘set in a strong light the remedial influences of pure, natural human relations’. Creator: Watch Silas Marner The Weaver of Raveloe (1985) Online Free - PrimeWire | 1Channel Playlist Silas Marner The Weaver of Raveloe Links Streaming films is becoming more risky every day. We strongly urge our users to use a VPN to make themselves anonymous while streaming films and TV shows online. Using a VPN ensures that your ISP, the government and the NSA canât spy on you or block any streams. They will not be able to see ANY of your online activity. Protect Your Privacy with a Free VPN Silas Marner Chapter 1 Summary Silas Marner Chapter 1 Summary NEXT Meet Silas Marner. He's a linen-weaver who lives in the village of Raveloe, and people don't like him. Well, they don't really trust him.

Weaving requires a lot of skill, and peasants are suspicious of people who have any particular "cleverness" (1.1.1). They figure he's got other powers than weaving—like the kind of powers that can cure sickness and maybe even make people sick. Raveloe is a two-horse, one-stoplight, no-good-movie-theater town. It's far away from everything, it's got no nightlife, and its residents have no ambition. Silas has been the village outcast there for fifteen years. He doesn't flirt with the girls, he doesn't farm, and he doesn't have friends. He's totally the guy making puppets while all the other dudes are playing football. Jem Rodney even saw him in a fit one day, leaning on a fence like a dead guy. But he weaves fine cloth, so the villagers tolerate him. For fifteen years he lives with them, unchanged. Or so it seems. Here's a little backstory: Before Silas came to Raveloe, he was way involved with a Dissenting church in a place called Lantern-Yard, a section of a manufacturing city up north.

Brief digression: In the 19th century, most people were Anglicans, part of the state-sponsored Protestant Church of England. People who didn't belong to the church, mostly Baptists or Methodists, were called Dissenters. Dissenters went to "chapel" while Anglicans went to "Church," and they were often workers and manufacturers. Anyway, Silas is a Dissenter. He and the church are one big happy family, until he falls into a trance during a prayer-meeting. The church members are pretty cool about it, even though Silas refuses to pretend that he's had a spiritual vision. Silas also has a good friend in the church, William Dane. The two talk a lot, mostly regular dude stuff like whether or not they've been granted eternal salvation. Even Silas's fiancée, Sarah, can't get between them. After Silas's trance, William starts acting funny, almost like he's jealous of the attention Silas gets. Now we get to the climax of this backstory: one night, Silas sits by the deathbed of one of the church members. The next day, the church elders accuse him of stealing money. He denies it, of course, but what's this?

William found the bag of money in Silas's dresser, and Silas's knife in the man's drawer. Of course he did. Silas suddenly remembers something: "the knife wasn't in my pocket" (1.1.11-12), he tells the accusers. William had borrowed the knife. Do you see where this is going? No trial by jury here: Silas is subject to special church laws, and so he has to play a game of chance to determine his guilt or innocence. He draws the short straw, which means he's guilty. Silas is exiled. Before he leaves, he accuses William of taking the money and rejects God: "there is no just God that governs the earth righteously, but a God of lies" (1.1.15). Guess what happens next? Sarah and William marry. Ooh, burn.

An introduction to Silas Marner: fairytale, realism and labour - The British Library An introduction to Silas Marner: fairytale, realism and labour Theme: The novel 1832 - 1880 Professor John Mullan explores how George Eliot draws on fairytale elements in her self-described ‘realistic treatment’ of a pre-industrial weaver and his work. The opening sentence of George Eliot’s Silas Marner brilliantly combines the novel’s apparently conflicting aspects: its realism and its air of a fairy tale. It took its first readers back some 60 years to a pre-industrial era when ‘there might be seen in districts far away among the lanes, or deep in the bosom of the hills, certain pallid undersized men, who, by the side of the brawny country-folk, looked like the remnants of a disinherited race’ (ch. 1). These are the hand-loom weavers, and the novel both sees how they might have been shaped by their labour, and imagines them as mythical creatures out of a folk tale.

Manuscript of Silas Marner by George Eliot Silas Marner is a work of realism which incorporates many fairytale aspects. This is clear in its opening sentence, shown here in the manuscript of the novel. Free from known copyright restrictions Fairy tale Eliot was explicit about the mythical aspect of her novel. She told John Blackwood, her publisher, that ‘It came to me first of all, quite suddenly, as a sort of legendary tale, suggested by my recollection of having once, in early childhood, seen a linen weaver with a bag on his back; but as my mind dwelt on the subject, I became inclined to a more realistic treatment.’ [1] She still gave her narrative some of the properties of a fairy story: the drawing of lots to decide a man’s fate, the miser with his bags of gold, the foundling child. After being unjustly cast out by his religious community in the town where he plies his trade, Silas Marner arrives at Raveloe as a mysterious outsider, and for the first half of the novel remains so. While the villagers pay him to weave linen for them, he becomes a figure of superstition, feared by the local children.

He lives in solitude just outside the village, accumulating gold for his labours, growing ‘withered and yellow’ by the narrowness of his occupation (ch. 2). When Silas enters the local inn, The Rainbow, to announce that his precious gold has been stolen from its hiding place in the floor of his cottage, the local men are drinking and talking about the abandoned stables at the Warren, which are supposed to be haunted. They are primed to see something supernatural; the pale thin figure of Silas, ‘with his strange unearthly eyes’, seems much like ‘an apparition’ (ch. 7). The miser has turned himself into a spectre in the eyes of the villagers. He will be humanised again by his love for Eppie, the tiny child who crawls into his cottage when her opium-addicted mother dies in the snow outside, and the movement of this narrative follows the satisfying pattern of a fairy tale. When Silas, made short-sighted by his years of labour, first sees the child by his fire, it is by the colour of her hair: ‘it seemed as if there were gold on the floor in front of the hearth. Gold! – his own gold’ (ch.

12). In fact ‘the marvel’ is a sleeping child. There is a natural explanation for everything in the novel, and Eliot has been very careful to make its events probable, but she wants us to see how things can appear marvellous too. The shortness of the novel allows her to use the structure of a fable, and the characters themselves see events in these terms. Silas ‘could only have said that the child was come instead of the gold – that the child had turned into the gold’ (ch. 14). Even Godfrey Cass, rejected by his natural daughter when he comes to reclaim her, sees that he is part of such a narrative and tells his wife so. ‘I wanted to pass for childless once, Nancy – I shall pass for childless now against my wish’ (ch. 20). The villagers themselves turn the events of the novel into a modern folk tale. At the novel’s conclusion they ruminate on ‘Silas Marner’s strange history’ and agree that ‘he had brought a blessing on himself by acting like a father to a lone motherless child’ (Conclusion).

Labour Yet the novel’s subtitle, ‘The Weaver of Raveloe’, draws attention to the influence of labour as well as Silas’s legendary status. Eliot was often interested in the work undertaken by the principal figures in her novels, and unusual amongst Victorian novelists in making many of these skilled labourers: Adam Bede is a carpenter, Felix Holt a watchmaker. Labour has formed many of the characters. In the scene in which Godfrey and Nancy visit Silas to offer to adopt Eppie, Eliot feels for the smallest sign of this influence. As Nancy assures her that she will want for nothing as the daughter of the squire and his wife, she grasps Marner’s hand firmly, noticing what we notice: ‘it was a weaver’s hand, with a palm and finger-tips that were sensitive to such pressure’. The detail, both psychologically and physiologically exact, is characteristic of Eliot. In the early parts of the novel, Godfrey Cass and his feckless younger brother Dunstan are unusual in apparently having no work to do. Their idleness condemns them to vice and folly. In pre-Victorian English fiction there was no obvious stigma attached to being without employment.

A ‘gentleman’ was usually, indeed, someone who did not have to work for a living. By contrast, few Victorian novels are without instances of the ennobling influence of work. One of the bestsellers of Eliot’s age, Samuel Smiles’s Self-Help is a celebration of ‘industry’ as a personal virtue and of ‘energetic’ labourers of every class. For Smiles, indolence is the ultimate vice. Godfrey and Dunstan’s father has an estate to run, and almost everyone else in the village is defined by their occupation. Even Godfrey’s bride to be, the lovely Nancy, a farmer’s daughter, makes cheese and butter with her own hands. Yet, as in Adam Bede , the placing of the novel more than half a century back in time allows the novelist to free work from the taint of mechanisation or factory organisation. Near the end of the novel, Silas takes Eppie back to the town where he had once lived and finds, in place of Lantern Yard, ‘a large factory, from which men and women were streaming for their mid-day meal’ (ch. 21).

This is the coming world, where labour is no longer individualistic and men and women are but particles in a stream. The Manufacturing Population of England In The Manufacturing Population of England, Peter Gaskell describes the effect that industrialisation had on manufacturers. His description of the pre-industrial weaver, working in his own home rather than in a factory, and deeply connected to his friends, family and neighbours, recalls the character of Silas Marner once he has adopted Eppie and found a place in Raveloe society. How does Eliot contrast the social classes in her novel Silas Marner? | Lang-8: For learning foreign languages How does Eliot contrast the social classes in her novel Silas Marner? How does Eliot contrast the social classes in her novel Silas Marner? Apr 4, 2015 01:32 How does Eliot contrast the social classes in her novel Silas Marner? Silas Marner: the Weaver of Raveloe is the title of the third novel by George Eliot. It was published by the very first time in 1861 and it is considered by critics as one of the best written works.

It novel seems a simple story of a linen weaver but in its great realism he represents his attitude in religion. In this work, the author deals with topics like realism, religion, social classes... The novel set in the first years of 19th century. Eliot have no a particular way of writing about social classes. It reminds me to other authors that have talked about this famous topic. There was an epoch in which the distinction amongst social classes was huge, so it was needed to talk about it. What Eliot did in order to create an image of this social problem was comparing between rich and poor people and what happen to them in the same situation. For instance, if Silas, a simple linen weaver, is suspicious of stole money, everybody would blame him. But if it happens to rich people things are quite different. How does Eliot contrast the social classes in her novel Silas Marner? How does Eliot Contrast Social Classes in her Novel, Silas Marner? Capitalize all important words in English titles. 1 people think this correction is good. Silas Marner: the Weaver of Raveloe is the title of the third novel by George Eliot.

Silas Marner: the Weaver of Raveloe is the title of George Eliot's third novel. It novel seems a simple story of a linen weaver but in its great realism he represents his attitude in religion. The novel seems like a simple story about a linen weaver, but, because of the novel's spectacular realism, Eliot manifests her views on religion in the work. George Eliot is actually a woman named Mary Anne Evans. It was her pseudonym. In this work, the author deals with topics like realism, religion, social classes... In this work, the author deals with topics such as realism, religion, and social classes. 1 people think this correction is good. The novel set in the first years of 19th century. The novel is set in the first years of 19th century. 1 people think this correction is good. Eliot have no a particular way of writing about social classes. This sentence is perfect! No correction needed! It reminds me to other authors that have talked about this famous topic. The novel reminds me of the way in which other authors that have talked about this topic. There was an epoch in which the distinction amongst social classes was huge, so it was needed to talk about it.

There was a time in which the distinction amongst social classes was enormous, so it had to be discussed. "Huge" is not academic enough for this context. 1 people think this correction is good. What Eliot did in order to create an image of this social problem was comparing between rich and poor people and what happen to them in the same situation. What Eliot did in order to create a representation of this social problem was to compare rich and poor people and what happens to them in the same situation. 1 people think this correction is good. For instance, if Silas, a simple linen weaver, is suspicious of stole money, everybody would blame him. For instance, if Silas, a simple linen weaver, is accused of stealing money, everybody would blame him. 1 people think this correction is good. But if it happens to rich people things are quite different. However, if that were to happen to a rich people, things would be quite different. Never start a sentence with "But" for academic writing. Use "if clauses" for the second part as you would in Spanish.

(Si se le ocurriera a un rico, las cosas serían muy diferentes.) Silas Marner: the Weaver of Raveloe is the title of the third novel by George Eliot. This sentence is perfect! No correction needed! It was published by the very first time in 1861 and it is considered by critics as one of the best written works. It was published for the very first time in 1861 and it is considered by critics as one of her best written works. There is nothing wrong with "written" but it seems redundant here as all Eliot's works were written. It novel seems a simple story of a linen weaver but in its great realism he represents his attitude in religion. It novel seems to be a simple story about a linen weaver but, with great realism, Eliot represents her attitude to religion. Eliot have no a particular way of writing about social classes. Eliot has a particular way of writing about social classes. It reminds me to other authors that have talked about this famous topic. It reminds me of other authors that have talked about this famous topic. But if it happens to rich people things are quite different.

However, if that were to happens to a rich person, things would be quite different. SparkNotes: Silas Marner: Themes, Motifs & Symbols Themes, Motifs & Symbols Part I, Chapters 1–2 Themes Themes are the fundamental and often universal ideas explored in a literary work. The Individual Versus the Community Silas Marner is in one sense the story of the title character, but it is also very much about the community of Raveloe in which he lives. Much of the novel’s dramatic force is generated by the tension between Silas and the society of Raveloe. Silas, who goes from being a member of a tight-knit community to utterly alone and then back again, is a perfect vehicle for Eliot to explore the relationship between the individual and the surrounding community. In the early nineteenth century, a person’s village or town was all-important, providing the sole source of material and emotional support. The notion of interconnectedness and support within a village runs through the novel, in such examples as the parish’s charitable allowance for the crippled, the donation of leftovers from the Squire’s feasts to the village’s poor, and the villagers who drop by Silas’s cottage after he is robbed.

The community also provides its members with a structured sense of identity. We see this sense of identity play out in Raveloe’s public gatherings. At both the Rainbow and the Squire’s dance, interaction is ritualized through a shared understanding of each person’s social class and place in the community. As an outsider, living apart from this social structure, Silas initially lacks any sense of this identity. Not able to understand Silas in the context of their community, the villagers see him as strange, regarding him with a mixture of fear and curiosity. Silas is compared to an apparition both when he shows up at the Rainbow and the Red House. To be outside the community is to be something unnatural, even otherworldly. Though it takes fifteen years, the influence of the community of Raveloe does eventually seep into Silas’s life. It does so via Godfrey’s problems, which find their way into Silas’s cottage first in the form of Dunsey, then again in Eppie. Eliot suggests that the interconnectedness of community is not something one necessarily enters into voluntarily, nor something one can even avoid.

In terms of social standing, Silas and Godfrey are quite far from each other: whereas Silas is a distrusted outsider, Godfrey is the village’s golden boy, the heir of its most prominent family. By braiding together the fates of these two characters and showing how the rest of the village becomes implicated as well, Eliot portrays the bonds of community at their most inescapable and pervasive. Character as Destiny The plot of Silas Marner seems mechanistic at times, as Eliot takes care to give each character his or her just deserts. Dunsey dies, the Squire’s lands are divided Godfrey wins Nancy but ends up childless, and Silas lives happily ever after with Eppie as the most admired man in Raveloe. The tidiness of the novel’s resolution may or may not be entirely believable, but it is a central part of Eliot’s goal to present the universe as morally ordered. Fate, in the sense of a higher power rewarding and punishing each character’s actions, is a central theme of the novel. For Eliot, who we are determines not only what we do, but also what is done to us.

Nearly any character in the novel could serve as an example of this moral order, but perhaps the best illustration is Godfrey. Godfrey usually means well, but is unwilling to make sacrifices for what he knows to be right. At one point Godfrey finds himself actually hoping that Molly will die, as his constant hemming and hawing have backed him into so tight a corner that his thoughts have become truly horrible and cruel. However, throughout the novel Eliot maintains that Godfrey is not a bad person—he has simply been compromised by his inaction. Fittingly, Godfrey ends up with a similarly compromised destiny: in his marriage to Nancy he gets what he wants, only to eventually reach the dissatisfied conclusion that it is not what he wanted after all. Godfrey ends up in this ironic situation not simply because he is deserving, but because compromised thoughts and actions cannot, in the moral universe of Eliot’s novel, have anything but compromised results. The Interdependence of Faith and Community In one sense Silas Marner can be seen simply as the story of Silas’s loss and regaining of his faith. But one could just as easily describe the novel as the story of Silas’s rejection and subsequent embrace of his community.

In the novel, these notions of faith and community are closely linked. They are both human necessities, and they both feed off of each other. The community of Lantern Yard is united by religious faith, and Raveloe is likewise introduced as a place in which people share the same set of superstitious beliefs. In the typical English village, the church functioned as the predominant social organization. Thus, when Silas loses his faith, he is isolated from any sort of larger community. The connection between faith and community lies in Eliot’s close association of faith in a higher authority with faith in one’s fellow man. Silas’s regained faith differs from his former Lantern Yard faith in significant ways. His former faith was based first and foremost on the idea of God. When he is unjustly charged with murder, he does nothing to defend himself, trusting in a just God to clear his name. The faith Silas regains through Eppie is different in that it is not even explicitly Christian. Silas does not mention God in the same way he did in Lantern Yard, but bases his faith on the strength of his and Eppie’s commitment to each other. In his words, “since . . . I’ve come to love her . . .

I’ve had light enough to trusten by; and now she says she’ll never leave me, I think I shall trusten till I die.” Silas’s new faith is a religion that one might imagine Eliot herself espousing after her own break with formalized Christianity. It is a more personal faith than that of Lantern Yard, in which people zealously and superstitiously ascribe supernatural causes to events with straightforward causes, such as Silas’s fits. In a sense, Silas’s new belief is the opposite of his earlier, simplistic world view in that it preserves the place of mystery and ambiguity. Rather than functioning merely as a supernatural scapegoat, Silas’s faith comforts him in the face of the things that do not make sense to him. Additionally, as Dolly points out, Silas’s is a faith based on helping others and trusting others to do the same. Both Dolly’s and especially Silas’s faith consists of a belief in the goodness of other people as much as an idea of the divine. Such a faith is thus inextricably linked to the bonds of community. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.

The Natural World Throughout the novel, Eliot draws on the natural world for many images and metaphors. Silas in particular is often compared to plants or animals, and these images are used to trace his progression from isolated loner to well-loved father figure. As he sits alone weaving near the start of the novel, Silas is likened to a spider, solitary and slightly ominous. Just after he is robbed, Silas is compared to an ant that finds its usual path blocked—an image of limitation and confusion, but also of searching for a solution. Later, as Silas begins to reach out to the rest of the village, his soul is likened to a plant, not yet budding but with its sap beginning to circulate. Finally, as he raises Eppie, Silas is described as “unfolding” and “trembling into full consciousness,” imagery evoking both the metamorphosis of an insect and the blooming of a flower. This nature imagery also emphasizes the preindustrial setting of the novel, reminding us of a time in England when the natural world was a bigger part of daily life than it was after the Industrial Revolution.

Domesticity For the most part, the events of Silas Marner take place in two homes, Silas’s cottage and the Cass household. The novel’s two key events are intrusions into Silas’s domestic space, first by Dunsey and then by Eppie. Eliot uses the home as a marker of the state of its owner. When Silas is isolated and without faith, his cottage is bleak and closed off from the outside world. As Silas opens himself up to the community, we see that his door is more frequently open and he has a steady stream of visitors. Finally, as Silas and Eppie become a family, the cottage is brightened and filled with new life, both figuratively and in the form of literal improvements and refurbishments to the house and yard. Likewise, the Cass household moves from slovenly and “wifeless” under the Squire to clean and inviting under Nancy. Class Raveloe, like most of nineteenth-century English society, is organized along strict lines of social class. This social hierarchy is encoded in many ways: the forms characters use to address one another, their habits, even where they sit at social events.

While the Casses are not nobility, as landowners they sit atop Raveloe’s social pecking order, while Silas, an outsider, is at its base. Nonetheless, Silas proves himself to be the better man than his social superiors. Similarly, in Eppie’s view, the simple life of the working class is preferable to that of the landed class. Eliot is skilled in showing how class influences the thinking of her characters, from Dunsey’s idea of Silas as simply a source of easy money to Godfrey and Nancy’s idea that, as higher-class landowners, their claim to Eppie is stronger than Silas’s. Symbols Watch Silas Marner: The Weaver of Raveloe (1985) online. Free streaming 92 min Plot In 19th-century England, a misanthropic weaver named Silas Marner hoards his gold. But his life changes when his gold is stolen, and then a baby girl wanders into his life. He raises little Eppie, but her real father is not far away. ...

search for Silas Marner: The Weaver of Raveloe on IMDb Streaming resources for this Giles Foster Drama Movie Silas Marner (1985) - Overview - MSN Movies 1985. Director: Giles Foster. Distributor: BBC Warner. Starring: Ben Kingsley, ... Silas Marner: The Weaver of Raveloe showtimes & tickets. Search by location, title, or genre: How to edit favorite theaters. Movie data provided by: Movies. In Theaters. Coming ... Amazon.com: Silas Marner: The Weaver of Raveloe: Ben Kingsley ... Amazon.com: Silas Marner: The Weaver of Raveloe: Ben Kingsley, Jenny Agutter, Patrick Ryecart, Freddie Jones, Jonathan Coy, Patsy Kensit, Elizabeth Hoyle, Melinda Whiting, Angela Pleasence, Rosemary Martin, Robert Putt, Jim Broadbent, Nat Crosby, Giles Foster, Robin Sales, Louis Marks, George ... Silas Marner (TV Movie 1985) - IMDb Silas Marner (1985) "Silas Marner: The Weaver of Raveloe" (original title) TV Movie ...

Giles Foster. Writers: George Eliot (novel), ... Title: Silas Marner (TV Movie 1985) 7.3 /10. Want to share IMDb's ... Silas Marner, The Weaver of Raveloe DVD | Television | Films ... Silas Marner, The Weaver of Raveloe DVD. Giles Foster, 1985. £6.49. RRP: £15.99 You save £9.50 (59%) Add to Wishlist: Availability Should ... The BBC adaptation of George Eliot's famous novel, in which the weaver Silas Marner, ... Watch Silas Marner - The Weaver Of Raveloe Online Free [Full ... Watch Silas Marner - The Weaver Of Raveloe Online Free. Certificate: | Released: 1985 | Duration: 1 hr 30 mins | Director: Giles Foster | Studio: 2 Entertain Video | Genres: Drama - Television. Silas Marner - The Weaver of Raveloe by Bbc Warner, Giles ... ... The Weaver of Raveloe Director: Giles Foster; Cast: Ben Kingsley, Jenny Agutter ...

Originally taped in 1985 for the BBC, Silas Marner was first shown in the US on March 15, ... Silas Marner: The Weaver of Raveloe 1. Brother Deacon [4:54] 2. Guilty [5:47] 3. Dead Man [5:28] 4. SILAS MARNER : THE WEAVER OF RAVELOE - Full Movie 1985 PRODUCERS Silas Marner: The Weaver of Raveloe. Produced by Louis Marks. SCREENPLAY Silas Marner: The Weaver of Raveloe. Screenplay written by Peerbux Ahmad, Giles Foster and Louis Marks.

Silas Marner: The Weaver of Raveloe (1985) - Overview - TCM.com Overview of Silas Marner: The Weaver of Raveloe, 1985, directed by Giles Foster, with Ben Kingsley, Jenny Agutter, Patrick Ryecart, at Turner Classic Movies Silas Marner (1985, Giles Foster) Silas Marner (1985), AKA Silas Marner: The Weaver of Raveloe information, ranked #2230 by Films101, directed by Giles Foster, starring Ben Kingsley, Jenny Agutter, Patrick Ryecart, Freddie Jones, Jonathan Coy Silas Marner: The Weaver of Raveloe [DVD] [1985 ...

Silas Marner: The Weaver of Raveloe [DVD] [1985] Click to enlarge: Brand: Silas Marner: Director: Giles Foster: AudienceRating: Parental Guidance: Manufacturer: 2entertain: ReleaseDate: 2010-02-01: RRP: £15.99 Buy New: £4.72 as of 2014-08-30 15:27:43 You Save: £11.27 (70%) Silas Marner: The Weaver of Raveloe [DVD] [1985]: Amazon.co ... Silas Marner: The Weaver of Raveloe [DVD] [1985] Ben Kingsley (Actor), Jenny Agutter (Actor), Giles Foster (Director) | Rated: Parental Guidance | Format: DVD 4.6 out of 5 stars See all reviews (68 customer reviews) : : : : : › ... Silas Marner: The Weaver of Raveloe [DVD] [1985] ... Silas Marner: The Weaver Of Raveloe (1985) on Movie Collector ...

Silas Marner: The Weaver Of Raveloe (1985) from Giles Foster with Jenny Agutter as Nancy Lammeter. Catalog your Collection. Movies; Books; Games; Comics; Music; Movie Collector Connect; ... Giles Foster: Writer: George Eliot, Peerbux Ahmad: Producer: Louis Marks: Plot Silas Marner - The Weaver of Raveloe by Bbc Warner, Giles ... FREE SHIPPING on orders of $25 or more. Silas Marner - The Weaver of Raveloe by Bbc Warner, Giles Foster, Ben Kingsley. Skip to Main Content; Sign in. ... The Weaver of Raveloe Director: Giles Foster; Cast: Ben Kingsley ... Originally taped in 1985 for the BBC, Silas Marner was first shown in ... Silas Marner (1985) (TV) Silas Marner (TV) More at IMDbPro » Silas Marner: The Weaver of Raveloe (original title) Photos (See all 9 ... novel "Silas Marner" Giles Foster : screenplay: Louis Marks : screenplay: ...

Discuss this movie with other users on IMDb message board for Silas Marner (1985) Recent Posts ... VideoETA - Silas Marner: The Weaver of Raveloe (1985) DVD and ... Silas Marner: The Weaver of Raveloe (1985). Directed by Giles Foster. Lonely weaver robbed of gold, blessed by foundling. Silas Marner: The Weaver of Raveloe (TV) (1985) - FilmAffinity Original title Silas Marner: The Weaver of Raveloe (TV) Year 1985 Running Time 92 min. Country United Kingdom Director Giles Foster Screenwriter Peerbux Ahmad, Giles Foster, Louis Marks (Novel: George Eliot) Silas Marner: The Weaver Of Raveloe (1985) (Tv) Movie Review ... Movie reviews for Silas Marner The Weaver Of Raveloe. MRQE Metric: ... Silas Marner: The Weaver of Raveloe (1985) (TV) Watch Trailer. Cast: Ben Kingsley, Patrick Ryecart, Jenny Agutter, Rosemary Martin, Patsy Kensit. Director: Giles Foster.

Rating: NR. Silas Marner: The Weaver of Raveloe - goHastings Ben Kingsley ... Customer Service; Shop All Books; Weekly Offers; Clearance; Favorites; New Arrivals Silas Marner: The Weaver Of Raveloe (1985) : Film | Find out ... ... crew and more for Silas Marner: The Weaver Of Raveloe : ... The Weaver Of Raveloe is a Film programme that first aired in 1985 and has been classified a PG certificate ... Giles Foster. Based on the classic novel by George Eliot and starring a great cast of respected British actors, 'Silas ... Silas Marner: The Weaver of Raveloe : Target Silas Marner: The Weaver of Raveloe ... misty vales, and the fixed gaze of entranced eyes set a somber mood at the opening of this 1985 made-for-TV adaptation of -Silas Marner, ... Ben Kingsley wears the threadbare mantle of Marner, a linen weaver exiled by church members in Lantern Yard after ...

Those are web search results for "Silas Marner: The Weaver of Raveloe 1985" and may change in time. We are not affiliate with any of these websites. If some of the links harm copyright laws please see our DMCA and Copyright page. Amazon details Silas Marner, a member of a strict religious community, is wrongly accused of theft and has no choice but to move to a faraway village. For 15 years he lives alone, hoarding the money he makes from his weaving and gaining a reputation as a recluse, a miser, and perhaps even a witch. Marner's life changes dramatically one Christmas season, when his gold is stolen and a mysterious woman dies in the woods outside his cottage. She leaves behind a child that Marner, to the surprise of the other villagers, takes into his home to raise as his daughter. The arrival of the infant, whom he names Eppie after his mother, transforms Marner. His bitterness evaporates; he no longer cares about his lost money; and he commits himself completely to his adopted child, who grows up into a loving and beautiful daughter.

But Marner's happiness may be threatened, because Eppie is really the daughter of the local squire, who was secretly married to the woman whose body Marner discovered. Remarried, but childless, the squire decides he wants to claim Eppie as his own. Ben Kingsley gives a subtle and moving performance as the simple weaver, and a strong cast gives him ample support in this 1985 BBC adaptation of George Eliot's novel. Silas Marner is not particularly complex--it's certainly a more modest undertaking than Eliot's most famous novel, Middlemarch--but this sentimental Victorian tale, filled with historical detail, potential tragedy, heartless villains, and the redeeming power of childhood, makes for a very satisfying film. --Simon Leake Silas Marner: A Study of Transition. Literature Criticism Home » Literature Study Guides » Silas Marner: A Study of Transition Silas Marner: A Study of Transition Silas Marner: The Weaver of Raveloe was first published by George Eliot in 1861.

For most critics, it stands apart from her other novels in the perceived thinness of its characterizations, the arbitrariness of its plot (which often partakes of the miraculous), and the simplicity of its conclusions. Many have called it her «moral fable.» However, it is precisely because of the bare, allegorical nature of the novel that the relationships of plot, character , and symbolism can most easily be discerned. For the story is by no means a fantasy, but a compact and serious work, wherein the issues of class, industrialization, and religion are realistically addressed in the context of the author's time through a series of contradictory parallels. Through both the structure and content of the novel, Eliot' refutes the common belief of the latter 19th century (held most strenuously by many of the upper classes) that membership in the upper classes indicated moral superiority, makes the implicit argument that industrialization dehumanizes and alienates workers, and suggests a «religion of humanity» founded on community as a substitute for the failure of organized religion. The novel's main body of action takes place at the turn of the 19th century in the English rural community of Raveloe.

However, the story goes back briefly to the 1780's to fill in the reasons Silas Marner moves to the provincial, isolated community, located in the English Midlands, from an industrial town in the north. Thus, the novel is set during what Marx identified as the time of transition from a feudal system of industry, with artisan guilds, to a manufacturing system (Elster's Karl Marx Reader, pg. 226). One learns Silas is a weaver and has been since a young man. A weaver at this time is an independent artisan who either works for himself and carries his spinning wheel and supplies on his back, if traveling from town to town, or who works in conjunction with other weavers, if settled in a stable community, and works often as a combination of the two. While living in this industrial town, he was also a highly thought of member of a little Dissenting church, (the word Dissent is used to describe the many fundamentalist, Protestant groups that sprung up in the18th and 19th centuries that opposed, for various reasons, the state-sanctioned Anglican Church of England).

Silas was engaged to be married to a female member of the church and thought his future happiness assured. However, due to the betrayal of a fellow parishioner, who blamed him for a theft he did not commit, Silas was expelled from the congregation and he finds out later that his former fiancee married the man who had betrayed him. Bereft and disillusioned, Silas comes to Raveloe and settles, though for fifteen years he has as little as possible to do with the community. His lonely exclusion from any community contributes to an obsession with money, and as the years progress, he amasses a horde that is his only pleasure. However, at the commencement of the story, he is robbed by a son of Squire Cass, the town's leading land owner (though Silas doesn't know the identity of the robber), and Silas' despair precipitates him into seeking help from the villagers. This begins a slow reintegration into society for Silas that is accelerated by his finding an apparently abandoned infant girl at his door a few weeks later.

The readers know, however, that the child is the unacknowledged daughter of another of the Squire's sons, who keeps his marriage a secret because the child's mother is of a lower class and is an opium addict. When Silas decides to keep the child, Godfrey Cass, the child's real father, recognizes her as his own, but does not acknowledge her because the mother's unexpected death then frees him to marry a prominent young woman of his own class. The story then jumps to around 1815, when the girl, Eppie, is grown and about to marry. Godfrey Cass has married the girl of his choice but their marriage is childless. In the meantime, Godfrey's brother, who stole Silas' money, and who has been missing since the theft, is found dead at the bottom of a local swamp when it is drained and Silas' money is recovered. Finally, in an attempt to rectify his «moral misjudgements,» Godfrey Cass goes to Silas and Eppie and admits he is Eppie's father and offers her his home and affection, as well as the advantages of his class.

Eppie, however, rejects him in favor of the father who raised her and the novel ends with Eppie's marriage to a local boy of the working class. The most prominent structural feature of the novel is its dual story line. Silas' story, his loss of humanity and faith and his gradual recovery, is kept entirely separate from the relating of Godfrey Cass' story, i. e. his secret marriage, second marriage, etc., until the climax of the novel when Eppie must choose between the father who reared her and her biological father. Not only do the dual story lines structurally mirror class divisions, but Eppie's choice between Silas Marner and Godfrey Cass at the conclusion symbolizes a moral choice between the values purveyed by each. Another formal device to stir sympathy for the peasantry is the fact that the gentry are not even introduced until well into the story, leading the reader to identify with Silas and those of his own class first. In addition, the working class/peasantry, the title character of Marner being the most prominent, are portrayed in a favorable light, whereas the landed gentry are unanimously cast unsympathetically.

Squire Cass is shown to be typical of his class in his «extravagant habits and bad husbandry» (pg. 71), and his only comment on public affairs is that he hopes the war with France (the Napoleonic Wars) continues because he is making money due to the resultant high prices (pg. 121), indicating his concern with profits rather than with his fighting countrymen. One of his sons, Dunstan, is characterized as having a «...taste for swopping and betting» (pg. 72), as well as being unusually cruel. Of course, Dunstan is the son who steals Silas' money for gambling purposes, and though Godfrey is said to be the most upright of the Squire's sons, he is tellingly summed-up in the statement, «His natural irresolution and moral cowardice were exaggerated by a position in which dreaded consequences seemed to press equally on all sides...» (pg. 77). The picture that emerges of this leading family of the community is one of laziness, waste, and moral bankruptcy. It is also significant that the author does not allow these characters to go unpunished.

Dunstan drowns in the swamp immediately following his theft, and Godfrey pays the price of childlessness in his marriage for refusing to acknowledge Eppie as his daughter. In contrast, the portrayal of the working class is extremely sympathetic. Silas is portrayed as a quiet, unassuming man with a «loving nature» (pg. 61), and the other prominent villagers, like Dolly Winthrop and Mr. Macey, are highlighted by the charity and fellowship they extend to Silas and Eppie, and to others of the community in need. Because Silas chooses to adopt Eppie, when her own father, Godfrey, does not, Silas is rewarded by love and community support, and the recovery of his gold. Eppie's final choice to stay with Silas and marry someone of her own class is the final, ironical statement of the greater morality of the working class and is a simultaneous rejection of the bourgeous passion to rise socially.

In her treatment of class in this novel, George Eliot decisively refutes the assumption that morality is related in any way to class, whether in the form of the common and long-held belief that «noble» blood meant noble character or expressed in the attempts of some to use Darwin's recently published theories in a social context to justify class distinctions. This novel makes clear that the only distinctions between classes are economic and there is no moral justification for such divisions. The second set of parallel but opposing worlds dealt with in the novel is that between the growing industrial urban centers of the early 19th century and the relatively untouched rural, agrarian communities. Though Silas is»self-employed,» professional weaving was a product of the growing, mass industrialization of textiles as opposed to former, local production. As Marx contends, (Elster, pg. 37), the very professionalizing of an activity, the commodification of what had formerly been a craft, creates alienation. To the people of Raveloe, professional weaving was an alien way of working, producing «pallid, undersized men who, by the side of the brawny country-folk, looked like the remnants of a disinherited race» (pg. 51).

The novel shows an understanding of how mechanization imposes on the worker in that Silas is described as working in his loom, not on it, which eventually turns him into a component of the machine, «so that he had the same sort of impression as a handle or crooked tube, which has no meaning standing apart» (pg. 69). The years of weaving have given his body a «bent treadmill attitude» and have ruined his eyesight. His appearance of physical deformity generates suspicion in the people of Raveloe who recognize the difference between mechanical aids and mechanized industry. The rhythms of their machinery are more natural, «the cheerful trotting of the winnowing machine and the simple rhythm of the flail,» (pg. 52), and do not impose on the worker. The machinery is their servant. This comparison clearly highlights the dehumanization of machine toil. Silas no longer looks «human» because of the kind of work he does.

The final opposition posed in the novel, which ties in with the theme of Marner's loss and recovery of a sense of human community, is that between a narrow, religious sect of town-dwelling Dissenters, and the pagan, superstitious, but more honest religion of neighborliness in Raveloe. Though Raveloe's citizens belong to the Anglican Church, they do not practice any type of dogmatic Christianity. In fact, they are shown to be ignorant of the meaning of common Church rituals and rely on old-fashioned common-sense and a community spirit to guide them in their moral decisions. Yet this basic «religion of humanity» proves to be more beneficial than the pettiness of the urban sect's dogmatic strictures. The fact that the sect wrongly convict Silas of a theft shows they are not guided by compassion, understanding, or forgiveness. The process of dehumanization begun through his alienating form of work is completed when Silas is cast out from this narrow community. In contrast, the secular neighborliness shown by the people of Raveloe is proven a truer spirituality in the end.

Through Eppie, Silas is reconnected to the community because of the townspeople's committment to help him raise her «rightly.» The standard of the countryside is closely founded on a communal mentality peculiar to a rural way of life where cooperation, rather than competition, is fostered. Mutual helpfulness is necessary for survival and because of freedom from doctrine, these spontaneous expressions of community are exactly the type of atmosphere that is able to restore Silas to human society. In this juxtaposition, Eliot demonstrates the ineffectuality of organized religion in contrast to simple, human sympathy which transcends all religions. Silas Marner focuses on 19th century England as a time of transition: political power moved from a dominant landowner class to a dominant bourgeous class, agrarian economies were replaced by urban industrialization, and Christianity became increasingly diluted and secular. All of these transitions were largely complete by the end of the century, yet many like George Eliot recognized that much was being lost.

The fact that Silas must leave the city and the growing fanaticism of religious frenzy and physically return to a rural, older way of life to maintain his humanity indicates that the pace of transition, and the modes of transition, were extremely harmful for many. However, the fact that Silas is permanently deformed foretells that industrialization would be an increasingly deforming fact of life. The novel is realistic in the Marxist sense in that it not only demonstrates the alienating effects of industrialization and urban life along with the fanatical religious groups they spawn, and points out the immorality of the petty bourgeous landowning class while asserting the value of rural, communal life that need not be religious to be virtuous, but it deals with these issues together because they did, in fact, historically work in conjunction. The formal aspects of a dual story line and juxtaposed settings serve the content by bringing these tensions into even sharper relief. Thus, the novel both highlights the major cultural transitions and contradictions of its own time and prophetically pinpoints the forces of class, capitalist industry, and Protestantism as the forces that would change the face and nature of future society.

These forces dominate the cultural landscape much more intensely in the late 20th century and the effects are commensurately alienating and dehumanizing as Eliot first portrayed almost a century and a half ago. But one difference between her time and ours is that there are few if any meaningful remnants of an older way of life to return or escape to. Instead, we are forced to move forward and perhaps reimagine and recreate a society in which respect for nature and community are highly valued once again. Please do not pass this sample essay as your own, otherwise you will be accused of plagiarism. Our writers can write any custom essay for you!

Question: 'The Weaver Of Raveloe' is the subtitle of which famous 19th century novel?
Answer: 'SILAS MARNER'