Biography of George Meredith
George Meredith, OM was an English novelist and poet of the Victorian era.
Meredith was born in Portsmouth, England, a son and grandson of naval outfitters. His mother died when he was five. At the age of 14 he was sent to a Moravian School in Neuwied, Germany, where he remained for two years. He read law and was articled as a solicitor, but abandoned that profession for journalism and poetry. He collaborated with Edward Gryffydh Peacock, son of Thomas Love Peacock in publishing a privately circulated literary magazine, the Monthly Observer. He married Edward Peacock's widowed sister Mary Ellen Nicolls in 1849 when he was twenty-one years old and she was twenty-eight.
He collected his early writings, first published in periodicals, into Poems, published to some acclaim in 1851. His wife ran off with the English Pre-Raphaelite painter Henry Wallis [1830–1916] in 1858; she died three years later. The collection of "sonnets" entitled Modern Love (1862) came of this experience as did The Ordeal of Richard Feverel, his first "major novel".
He married Marie Vulliamy in 1864 and settled in Surrey. He continued writing novels and poetry, often inspired by nature. His writing was characterised by a fascination with imagery and indirect references. He had a keen understanding of comedy and his Essay on Comedy (1877) is still quoted in most discussions of the history of comic theory. In The Egoist, published in 1879, he applies some of his theories of comedy in one of his most enduring novels. Some of his writings, including The Egoist, also highlight the subjugation of women during the Victorian period. During most of his career, he had difficulty achieving popular success. His first truly successful novel was Diana of the Crossways published in 1885.
Meredith supplemented his often uncertain writer's income with a job as a publisher's reader. His advice to Chapman and Hall made him influential in the world of letters. His friends in the literary world included, at different times, William and Dante Gabriel Rossetti, Algernon Charles Swinburne, Leslie Stephen, Robert Louis Stevenson, George Gissing and J. M. Barrie. His contemporary Sir Arthur Conan Doyle paid him homage in the short-story The Boscombe Valley Mystery, when Sherlock Holmes says to Dr. Watson during the discussion of the case, "And now let us talk about George Meredith, if you please, and we shall leave all minor matters until to-morrow." Oscar Wilde, in his dialogue The Decay of Lying, implies that Meredith, along with Balzac, is his favourite novelist, saying "Ah, Meredith! Who can define him? His style is chaos illumined by flashes of lightning".
In 1868 he was introduced to Thomas Hardy by Frederick Chapman of Chapman & Hall the publishers. Hardy had submitted his first novel, The Poor Man and the Lady. Meredith advised Hardy not to publish his book as it would be attacked by reviewers and destroy his hopes of becoming a novelist. Meredith felt the book was too bitter a satire on the rich and counselled Hardy to put it aside and write another 'with a purely artistic purpose' and more of a plot. Meredith spoke from experience; his first big novel, The Ordeal of Richard Feverel, was judged so shocking that Mudie's circulating library had cancelled an order of 300 copies. Hardy continued to try and publish the novel: however it remained unpublished, though he clearly took Meredith's advice seriously. Before his death, Meredith was honoured from many quarters: he succeeded Lord Tennyson as president of the Society of Authors; in 1905 he was appointed to the Order of Merit by King Edward VII.
In 1909, he died at his home in Box Hill, Surrey.
George Meredith's Works:
Essay on Comedy (1877)
The Shaving of Shagpat (1856)
The Ordeal of Richard Feverel (1859)
Evan Harrington (1861)
Emilia in England (1864), republished as Sandra Belloni in 1887
Rhoda Fleming (1865)
The Adventures of Harry Richmond (1871)
Beauchamp's Career (1875)
The House on the Beach (1877)
The Case of General Ople and Lady Camper (1877)
The Tale of Chloe (1879)
The Egoist (1879)
The Tragic Comedians (1880)
Diana of the Crossways (1885)
One of our Conquerors (1891)
Lord Ormont and his Aminta (1894)
The Amazing Marriage (1895)
Celt and Saxon (1910)
Modern Love (1862)
Poems and Lyrics of the Joy of Earth (1883)
The Woods of Westermain (1883)
A Faith on Trial (1885)
Ballads and Poems of Tragic Life (1887)
A Reading of Earth (1888)
The Empty Purse (1892)
Odes in Contribution to the Song of French History(1898)
A Reading of Life (1901)
Last Poems (1909)
Lucifer in Starlight
The Lark Ascending (the inspiration for Vaughan Williams' instrumental work The Lark Ascending)
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George Meredith Poems
Modern Love I: By This He Knew She Wept
By this he knew she wept with waking eyes: That, at his hand's light quiver by her head, The strange low sobs that shook their common bed Were called into her with a sharp surprise,
The Lark Ascending
He rises and begins to round, He drops the silver chain of sound Of many links without a break, In chirrup, whistle, slur and shake,
Lucifer In Starlight
On a starred night Prince Lucifer uprose. Tired of his dark dominion swung the fiend Above the rolling ball in cloud part screened, Where sinners hugged their spectre of repose.
Modern Love L: Thus Piteously Love
Thus piteously Love closed what he begat: The union of this ever-diverse pair! These two were rapid falcons in a snare, Condemned to do the flitting of the bat.
Modern Love Xxvi: Love Ere He Bleeds
Love ere he bleeds, an eagle in high skies, Has earth beneath his wings: from reddened eve He views the rosy dawn. In vain they weave The fatal web below while far he flies.
Modern Love V: A Message From Her
A message from her set his brain aflame. A world of household matters filled her mind, Wherein he saw hypocrisy designed: She treated him as something that is tame,
Love In The Valley
Under yonder beech-tree single on the green-sward, Couched with her arms behind her golden head, Knees and tresses folded to slip and ripple idly, Lies my young love sleeping in the shade.
MARK where the pressing wind shoots javelin-like, Its skeleton shadow on the broad-back'd wave! Here is a fitting spot to dig Love's grave; Here where the ponderous breakers plunge and strike,
Dirge In Woods
A wind sways the pines, And below Not a breath of wild air; Still as the mosses that glow
Modern Love Iii: This Was The Woman
This was the woman; what now of the man? But pass him. If he comes beneath a heel, He shall be crushed until he cannot feel, Or, being callous, haply till he can.
Modern Love Xii: Not Solely That The Fut...
Not solely that the Future she destroys, And the fair life which in the distance lies For all men, beckoning out from dim rich skies: Nor that the passing hour's supporting joys
Long with us, now she leaves us; she has rest Beneath our sacred sod: A woman vowed to Good, whom all attest,
Modern Love Ii: It Ended, And The Morrow
It ended, and the morrow brought the task. Her eyes were guilty gates, that let him in By shutting all too zealous for their sin: Each sucked a secret, and each wore a mask.
Modern Love Iv: All Other Joys Of Life
All other joys of life he strove to warm, And magnify, and catch them to his lip: But they had suffered shipwreck with the ship, And gazed upon him sallow from the storm.
MARK where the pressing wind shoots javelin-like,
Its skeleton shadow on the broad-back'd wave!
Here is a fitting spot to dig Love's grave;
Here where the ponderous breakers plunge and strike,
And dart their hissing tongues high up the sand:
In hearing of the ocean, and in sight
Of those ribb'd wind-streaks running into white.
If I the death of Love had deeply plann'd,
I never could have made it half so sure,