I found Adam Bede both richly enjoyable and occasionally tedious. My affection was won by the story, which is absorbing and at times compelling, the characters (who are marvellously human) and the scenes and settings, which present an attractive, detailed portrayal of everyday English country life c.1800, visually inspired by the ‘German masters’ whose paintings Eliot so admired. The tedium was caused by the interpolation of sermonizing monologues perpetrated by the characters and (more rarely) the author.
Beneath its pastorally beautiful surface, the first half of the novel chronicles the unfolding of a dreadful, inescapable doom. The second half is about consequences. The author builds pace and tension, culminating in an emotive, gripping sequence that ends at the scaffold. The chapter following, ‘Another Meeting in the Wood’, brings a natural finis to the novel – it even contains a brilliant closing line – but Eliot carries on for several more chapters in order to deliver the obligatory happy ending. I admit I merely skimmed these: their direction was predictable and I’m not keen on all that girly wedding stuff anyway. More worryingly, Eliot makes her principals, in these chapters, act subtly out of character in order to bend events toward the desired ending. I understand the need, in those times, to make everything and everyone come out well at the end of the story; but I think the author damages her characters by doing so. The ending she creates also contains a minor, incidental element that reminded this reader, at least, that she herself lived as part of a menage à trois for most of her adult life.
One thing I greatly appreciated was how the social and economic relations of the countryside are manifested in the book, which is essentially about dealings between landlords and tenants and their mutual responsibilities toward each other. This was, of course, something Eliot concerned herself with in other novels too – Middlemarch is the classic example. Indeed, she got me interested enough in the subject to google it out of curiosity. I was surprised at how onerous and costly some of the landlords’ duties were, such as keeping the public roads and boundaries in order and dealing with criminals. The English model seems to have been very little like the toxic, grimly exploitative relationships portrayed in re-Revolutionary French or Russian novels and histories. The social contract portrayed in Adam Bede is far less immiserating for the peasantry and the working classes, and demands a good deal more of the gentry.
I was surprised that religious politics doesn’t play a bigger role in the novel than it does – its second scene, after all, is a Methodist revival meeting. Two of the principal characters are Methodist lay preachers while a third is an Established clergyman; all are persons of exemplary character despite their doctrinal disagreements. Maybe Eliot intended to make more of all this, but found herself carried in a different direction as the work developed. It was certainly a subject that interested her.
Hard to give a clear verdict on this book. I loved it, for all its occasional longeurs, and it is clearly the work of a very great author:, crafted with great care and sensitivity, dense with multiple subjects and themes. But it also has great flaws, which I have outlined above, and is unfortunately prone, as I say, to moralise.





