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Reverend Amos Barton - curate of the parish of Shepperton following the death of Mr Gilfil (see below). His theology is complex; his emphasis on the authority of the Church appears to be derived from Tractarianism, while other features of his belief seem more Evangelical.[19] Either way, he is unpopular with his parishioners, being more concerned with their spiritual lives than with their practical needs. Physically, he is of nondescript appearance: "a narrow face of no particular complexion - even the smallpox that has attacked it seems to have been of a mongrel, indefinite kind - with features of no particular shape, and an eye of no particular expression... surmounted by a slope of baldness gently rising from brow to crown."[27]

Mrs Amelia "Milly" Barton - Amos' wife. Long-suffering, loving and patient, she represents all the virtues that Barton lacks himself. A "large, fair gentle Madonna",[28] she works hard with mending and housework in order to sustain the family on their limited income.

Countess Caroline Czerlaski - a glamorous neighbour of somewhat dubious reputation. She is "a little vain, a little ambitious, a little selfish, a little shallow, and frivolous, a little given to white lies".[29] She lives with a man who is popularly thought to be her lover, but is in fact her half-brother. Following this man's marriage (to Alice her maid) she asks the Bartons to be allowed to stay for a few weeks. This becomes months and the parishioners suspect that she is Mr Barton's mistress. She appears not to be concerned either by the damage she is inflicting on Barton's reputation, or about the increased strain she is putting on the household finances and, by extension, Milly.

Nanny - the children's nurse, fiercely protective of Milly.

Amos and Milly's children: Patty, Richard ("Dickey"), Sophy, Fred, Chubby and Walter. With the exception of the eldest two, they are not distinctively characterised.

"Mr Gilfil's Love Story" [edit]

Maynard Gilfil - formerly the ward of Sir Christopher Cheverel, and subsequently curate of Shepperton, he is at the time the story takes place chaplain at Cheverel Manor. He is a tall, strong young man, devoted to Tina. "His healthy open face and robust limbs were after a an excellent pattern for everyday wear". (By the time he appears at the beginning of "The Sad Fortunes of the Reverend Amos Barton" he has become "an excellent old gentleman, who smoked very long pipes and preached very short sermons".)[30]

Caterina "Tina" Sarti - a young girl of Italian parentage, but brought up in England by the childless Sir Christopher and Lady Cheverel. Her mother and siblings died in an epidemic; her father copied music for a living until his death. Having had a commission from Lady Cheverel, he entrusted his daughter to her. She is a passionate creature, feeling joy and grief intensely. In appearance, she is small and dark, and Sir Christopher often calls her his "black-eyed monkey".

Captain Anthony Wybrow - nephew and heir of Sir Christopher, who has gone to considerable trouble and expense to ensure that the estate will pass to Wybrow, rather than his mother, Sir Christopher's sister. He is an extremely good-looking young man, compared by Eliot to Antinous, but selfish and shallow. He suffers from "palpitations". Having encouraged Tina's affections, he feels them to be a "nuisance" once he is engaged to Miss Assher, and cannot understand why the two women find it difficult to get on with each other.

Sir Christopher Cheverel - "as fine a specimen of the old English gentleman as could well have been found in those days of cocked hats and pigtails", the Baronet. He is somewhat autocratic, but good-natured and affectionate towards his family and household.

Lady Cheverel - wife of Sir Christopher, a "rather cold" woman. She has decided views about the propriety of a wife's submitting to her husband, and is somewhat disapproving of the headstrong Miss Assher as a result. "She is nearly fifty, but her complexion is still fresh and beautiful... her proud pouting lips, and her head thrown a little backward as she walks, give an expression of hauteur which is not contradicted by the cold grey eyes."

Miss Beatrice Assher - daughter of an old flame of Sir Christopher's, she is intended by him to be Captain Wybrow's bride. A proud, beautiful woman, she feels it beneath her dignity to contend with Tina, who is considerably lower than her in terms of social status, for Captain Wybrow's affections.

"Janet's Repentance" [edit]

Reverend Edgar Tryan - the recently appointed minister at the chapel of ease at Paddiford Common. He is young, but in poor health. Theologically, he is an evangelical. He explains to Janet Dempster that he entered the Church as a result of deep grief and remorse following the death of Lucy, a young woman whom he enticed to leave her home and then abandoned.

Janet Dempster - wife of Robert Dempster. Described as a tall woman with dark hair and eyes, she has been married for fifteen years. She has turned to alcohol as an escape from her domestic problems. Initially she is strongly "anti-Tryanite", but reassesses her judgement of the clergyman after she meets him at a parishioner's sickbed.

Robert Dempster - a lawyer of Milby. He is widely acknowledged as a skilled attorney, albeit not necessarily completely honest in his dealings. He drinks to excess and, when drunk, is given to abusing his wife, both verbally and physically.

Mrs Raynor - Janet's mother. She subscribes to no particular religious doctrine, believing that she can find all the spiritual support that she needs through her own study of the Bible.

Mr and Mrs Crewe - Mr Crewe is the long-established curate of Milby. Initially somewhat ridiculed by his parishioners, who laugh amongst themselves at his brown wig and his odd speaking voice, he gains support as the anti-Tryanite campaign mobilises. Mrs Crewe is old and deaf, and a great friend of Janet Dempster's. She pretends not to notice Janet's drinking problem.

Reception and criticism [edit]

The publication of Amos Barton caused some alarm among those who - rightly or wrongly - suspected that they had been the models for the characters, few of whom are described in a flattering manner. Eliot was forced to apologise to John Gwyther, who had been the local curate in her childhood, and to whom the character of Barton himself bore more than a passing resemblance.[7]

Initial criticism of Amos Barton was mixed, with Blackwood's close friend W. G. Hamley "dead against Amos" and Thackeray diplomatically noncomittal.[7] However, the complete Scenes of Clerical Life was met with 'just and discerning applause', and considerable speculation as to the identity of its author.[31] Sales were no better than satisfactory, following a first printing of 1,500 copies, but Blackwood was none the less confident of Eliot's talent.[32] Early reviewers deemed the writer "religious, without cant or intolerance" and "strong in his [sic] knowledge of the human heart".[33] It was praised for its realism: one contemporary review noted approvingly that "the fictitious element is securely based upon a broad groundwork of actual truth, truth as well in detail as in general".[34] Due to its subject matter, it was widely assumed to be the work of a real-life country parson; one such even attempted to take the credit.[1] Popular opinion in Eliot's home town attributed the work to a Mr Joseph Liggins, who attempted ineffectually to deny the rumours, and eventually accepted the undeserved celebrity. George Eliot's "identity" was revealed in a letter to The Times, but this claim was immediately refuted in a letter from Eliot herself.[35] In 1858 Charles Dickens wrote to Eliot to express his approval of the book, and was among the first to suggest that Scenes of Clerical Life might have been written by a woman.[36]

I have been so strongly affected by the two first tales in the book you have had the kindness to send me, through Messrs. Blackwood, that I hope you will excuse my writing to you to express my admiration of their extraordinary merit. The exquisite truth and delicacy both of the humor and the pathos of these stories, I have never seen the like of; and they have impressed me in a manner that I should find it very difficult to describe to you. if I had the impertinence to try. In addressing these few words of thankfulness to the creator of the Sad Fortunes of the Rev. Amos Barton, and the sad love-story of Mr. Gilfil, I am (I presume) bound to adopt the name that it pleases that excellent writer to assume. I can suggest no better one: but I should have been strongly disposed, if I had been left to my own devices, to address the said writer as a woman. I have observed what seemed to me such womanly touches in those moving fictions, that the assurance on the title-page is insufficient to satisfy me even now. If they originated with no woman, I believe that no man ever before had the art of making himself mentally so like a woman since the world began.[37]

More recently, Scenes of Clerical Life has been interpreted mainly in relation to Eliot's later works. It has been claimed that "in Scenes of Clerical Life, her style and manner as a novelist were still in the making".[31] Ewen detects "an obvious awkwardness in the handling of the materials of the Scenes and a tendency... to moralize", but affirms that "these stories are germinal for the George Eliot to come".[38] "The emergent novelist is glimpsed in the way in which the three scenes interpenetrate to establish a densely textured, cumulative study of a particular provincial location, its beliefs and customs and way of life."[39]

Subsequent releases and interpretations [edit]

Scenes of Clerical Life has been reprinted in book form several times since 1858, including five editions within Eliot's lifetime.[2] The three stories were released separately by Hesperus Press over the years 2003 to 2007. A silent film based on "Mr. Gilfil's Love Story" was released in 1920, starring R. Henderson Bland as Maynard Gilfil and Mary Odette as Caterina.[40]

In 1898 the work Newdigate-Newdegate Cheverels was issued by Lady Newdigate-Newdegate [41] In this book, the letters written by lady Hester Margaretta Mundy Newdigate to her husband Sir Roger Newdigate are compiled and commented that had inspired Eliot's Scenes of Clerical Life.

Bibliography [edit]

Eliot, George (1998). Scenes of Clerical Life. Jennifer Gribble. New York: Penguin. ISBN 0-14-043638-3, 9780140436389 Check |isbn= value (help).

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