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With the materials in my hands I have endeavored to form an autobiography (if the term may be permitted) of George Eliot. The life has been allowed to write itself in extracts from her letters and journals. Free from the obtrusion of any mind but her own, this method serves, I think, better than any other open to me, to show the development of her intellect and character.

In dealing with the correspondence I have been influenced by the desire to make known the woman, as well as the author, through the presentation of her daily life.

On the intellectual side there remains little to be learned by those who already know George Eliot's books. In the twenty volumes which she wrote and published in her lifetime will be found her best and ripest thoughts. The letters now published throw light on another side of her nature—not less important, but hitherto unknown to the public—the side of the affections.

The intimate life was the core of the root from which sprung the fairest flowers of her inspiration. Fame came to her late in life, and, when it presented itself, was so weighted with the sense of responsibility that it was in truth a rose with many thorns, for George Eliot had the temperament that shrinks from the position of a public character. The belief in the wide, and I may add in the beneficent, effect of her writing was no doubt the highest happiness, the reward of the artist which she greatly cherished: but the joys of the hearthside, the delight in the love of her friends, were the supreme pleasures in her life.

By arranging all the letters and journals so as to form one connected whole, keeping the order of their dates, and with the least possible interruption of comment, I have endeavored to combine a narrative of day-to-day life, with the play of light and shade which only letters, written in various moods, can give, and without which no portrait can be a good likeness. I do not know that the particular method in which I have treated the letters has ever been adopted before. Each letter has been pruned of everything that seemed to me irrelevant to my purpose—of everything that I thought my wife would have wished to be omitted. Every sentence that remains adds, in my judgment, something (however small it may be) to the means of forming a conclusion about her character. I ought perhaps to say a word of apology for what may appear to be undue detail of travelling experiences; but I hope that to many readers these will be interesting, as reflected through George Eliot's mind. The remarks on works of art are only meant to be records of impressions. She would have deprecated for herself the attitude of an art critic.

Excepting a slight introductory sketch of the girlhood, up to the time when letters became available, and a few words here and there to elucidate the correspondence, I have confined myself to the work of selection and arrangement.

I have refrained almost entirely from quoting remembered sayings by George Eliot, because it is difficult to be certain of complete accuracy, and everything depends upon accuracy. Recollections of conversation are seldom to be implicitly trusted in the absence of notes made at the time. The value of spoken words depends, too, so much upon the tone, and on the circumstances which gave rise to their utterance, that they often mislead as much as they enlighten, when, in the process of repetition, they have taken color from another mind. "All interpretations depend upon the interpreter," and I have judged it best to let George Eliot be her own interpreter, as far as possible.

I owe thanks to Mr. Isaac Evans, the brother of my wife, for much of the information in regard to her child-life; and the whole book is a long record of debts due to other friends for letters. It is not, therefore, necessary for me to recapitulate the list of names in this place. My thanks to all are heartfelt. But there is a very special acknowledgment due to Miss Sara Hennell, to Mrs. Bray, and to the late Mr. Charles Bray of Coventry, not only for the letters which they placed at my disposal, but also for much information given to me in the most friendly spirit. The very important part of the life from 1842 to 1854 could not possibly have been written without their contribution.

To Mr. Charles Lewes, also, I am indebted for some valuable letters and extracts from the journals of his father, besides the letters addressed to himself. He also obtained for me an important letter written by George Eliot to Mr. R. H. Hutton; and throughout the preparation of the book I have had the advantage of his sympathetic interest, and his concurrence in the publication of all the materials.

Special thanks are likewise due to Messrs. Wm. Blackwood & Sons for having placed at my disposal George Eliot's long correspondence with the firm. The letters (especially those addressed to her friend the late Mr. John Blackwood) throw a light, that could not otherwise have been obtained, on the most interesting part of her literary career.

To the legal representatives of the late Charles Dickens, of the late Lord Lytton, and of Mrs. Carlyle; to Mr. J. A. Froude, and to Mr. Archer Gurney, I owe thanks for leave to print letters written by them.

For all the defects that there may be in the plan of these volumes I alone am responsible. The lines were determined and the work was substantially put into shape before I submitted the manuscript to any one. While passing the winter in the south of France I had the good fortune at Cannes to find, in Lord Acton, not only an enthusiastic admirer of George Eliot, but also a friend always most kindly ready to assist me with valuable counsel and with cordial, generous sympathy. He was the first reader of the manuscript, and whatever accuracy may have been arrived at, particularly in the names of foreign books, foreign persons, and foreign places, is in great part due to his friendly, careful help. But of course he has no responsibility whatever for any of my sins of omission or commission.

By the kind permission of Sir Frederic Burton, I have been enabled to reproduce as a frontispiece M. Rajon's etching of the beautiful drawing, executed in 1864, now in the National Portrait Gallery, South Kensington.

The view of the old house at Rosehill is from a drawing by Mrs. Bray. It is connected with some of George Eliot's happiest experiences, and with the period of her most rapid intellectual development.

For permission to use the sketch of the drawing-room at the Priory I am indebted to the Messrs. Harpers, of New York.

In conclusion, it is in no conventional spirit, but from my heart, that I bespeak the indulgence of readers for my share of this work. Of its shortcomings no one can be so convinced as I am myself.

J. W. C.

Camden Hill, December, 1884.