Complete Works. George Eliot

Dinner-Time.

       III. The Health-Drinking.

       IV. The Games.

       V. The Dance.

       Book Four.

       I. A crisis.

       II. A Dilemma.

       III. The Next Morning.

       IV. The Delivery of the Letter.

       V. In Hetty’s Bed-Chamber.

       VI. Mrs. Poyser “Has Her Say Out”.

       VII. More Links.

       VIII. The Betrothal.

       IX. The Hidden Dread.

       Book Five.

       I. The Journey of Hope.

       II. The Journey in Despair.

       III. The Quest.

       IV. The Tidings.

       V. The Bitter Waters Spread.

       VI. The Eve of the Trial.

       VII. The Morning of the Trial.

       VIII. The Verdict.

       IX. Arthur’s Return.

       X. In the Prison.

       XI. The Hours of Suspense.

       XII. The Last Moment.

       XIII. Another Meeting in the Wood.

       Book Six.

       I. At the Hall Farm.

       II. In the Cottage.

       III. Sunday Morning.

       IV. Adam and Dinah.

       V. The Harvest Supper.

       VI. The Meeting on the Hill.

       VII. Marriage Bells.

       Epilogue.

Book One.

      Chapter I.

       The Workshop.

       Table of Contents

      With a single drop of ink for a mirror, the Egyptian sorcerer undertakes to reveal to any chance comer far-reaching visions of the past. This is what I undertake to do for you, reader. With this drop of ink at the end of my pen, I will show you the roomy workshop of Mr. Jonathan Burge, carpenter and builder, in the village of Hayslope, as it appeared on the eighteenth of June, in the year of our Lord 1799.

      The afternoon sun was warm on the five workmen there, busy upon doors and window-frames and wainscoting. A scent of pine-wood from a tentlike pile of planks outside the open door mingled itself with the scent of the elder-bushes which were spreading their summer snow close to the open window opposite; the slanting sunbeams shone through the transparent shavings that flew before the steady plane, and lit up the fine grain of the oak panelling which stood propped against the wall. On a heap of those soft shavings a rough, grey shepherd dog had made himself a pleasant bed, and was lying with his nose between his fore-paws, occasionally wrinkling his brows to cast a glance at the tallest of the five workmen, who was carving a shield in the centre of a wooden mantelpiece. It was to this workman that the strong barytone belonged which was heard above the sound of plane and hammer singing—

      Awake, my soul, and with the sun

      Thy daily stage of duty run;

      Shake off dull sloth…

      Here some measurement was to be taken which required more concentrated attention, and the sonorous voice subsided into a low whistle; but it presently broke out again with renewed vigour—

      Let all thy converse be sincere,

      Thy conscience as the noonday clear.

      Such a voice could only come from a broad chest, and the broad chest belonged to a large-boned, muscular man nearly six feet high, with a back so flat and a head so well poised that when he drew himself up to take a more distant survey of his work, he had the air of a soldier standing at ease. The sleeve rolled up above the elbow showed an arm that was likely to win the prize for feats of strength; yet the long supple hand, with its broad finger-tips, looked ready for works of skill. In his tall stalwartness Adam Bede was a Saxon, and justified his name; but the jet-black hair, made the more noticeable by its contrast with the light paper cap, and the keen glance of the dark eyes that shone from under strongly marked, prominent and mobile eyebrows, indicated a mixture of Celtic blood. The face was large and roughly hewn, and when in repose had no other beauty than such as belongs to an expression of good-humoured honest intelligence.

      It is clear at a glance that the next workman is Adam’s brother. He is nearly as tall; he has the same type of features, the same hue of hair and complexion; but the strength of the family likeness seems only to render more conspicuous the remarkable difference of expression both in form and face. Seth’s broad shoulders have a slight stoop; his eyes are grey; his eyebrows have less prominence and more repose than his brother’s; and his glance, instead of being keen, is confiding and benign. He has thrown off his paper cap, and you see that his hair is not thick and straight, like Adam’s, but thin and wavy, allowing