By the time George Eliot made her poetic debut with the publication of The Spanish Gypsy in 1868, she had already achieved wealth and fame with five successful novels: Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1863), and Felix Holt, the Radical (1866). Widely recognized as one of the era's leading writers, Eliot had established her position as a prominent novelist. Why, then, did she turn to poetry at this point in her successful publishing career? In George Eliot, Poetess, I argue that Eliot relied on the gender-specific and religiously motivated poetess persona to write poetry that promoted a doctrine of sympathy rather than orthodox religion. As a poetess with spiritual authority, Eliot could take greater risks than she could as a popular novelist. (1) Eliot's own perception of poetry's aesthetic preeminence over fiction provides evidence of another poetic aim: in 1868, she wrote that poetry had a superiority over all the other arts. (2) The cultural prestige of poetry thus offered Eliot a chance to secure a literary legacy beyond that of a popular novelist. Indeed, throughout her poems, Eliot linked herself to a great poetic tradition by invoking Dante, Boccaccio, Homer, Erinna, Sappho, and Shakespeare. Despite seeking to rank among the great artists of the age, however, Eliot also feared the corrupting power of fame and egoistic ambition. She maintained an uneasy relationship with the fame that she consciously employed to promote her work, and her poems reveal this disquietude. Scholars have noted how a number of Eliot's poems reveal her struggle with fame and ambition but have largely overlooked Arion, a little-known poem from 1873 that constitutes a fascinating example of Eliot's literary effort to address this conflict in the aftermath of MidAlemarch's critical and financial success in 1871 to 1872. (3) In Arion, Eliot adapts Herodotus's Histories, book 1, chapter 24, which tells the story of (ancient Greek poet and inventor of the dithyramb), who won fame and wealth in Italy and was forced by sailors to jump into the sea upon returning to his native Corinth. (4) Eliot's thematic and formal changes to Herodotus's story reveal her own struggle as a famous, aging artist working to compose lasting and meaningful art while grappling with the potential trappings of celebrity. After providing background concerning Eliot's poetry-writing career, I offer an in-depth examination of Arion to show how this poem indicates a maturation in Eliot's conception of herself as an artist. In addition, I offer biographical evidence to date the composition of Arion to March 1873 and explain the significance of this period by reading the poem as an expression of Eliot's struggle with artistic creation, performance, mortality, and influence after writing Middlemarch, her most famous novel. Poetry, Prominence, and Prestige Despite the crucial role that Eliot's poetic work played in the later part of her writing career, few who read Eliot today know of it. During Eliot's lifetime, her poetry sold well and received mostly positive reviews. However, after her death critics largely dismissed her poetry as inferior verse, and over time it fell out of wide circulation. (5) Until recently, scholars neglected this important part of her work--written at the height of her career--but new studies focusing on her poetry and prominence as a public figure offer a more complete picture of the author and her work as a whole. (6) From 1864 to 1878, Eliot wrote poetry regularly and, from 1866 to 1870 and 1873 to 1874, intensively. She wrote numerous poetic epigraphs to preface chapters of her novels; a handful of poetic fragments; and over twenty-five poems, including lyric poems, a sonnet sequence, elegies, hymns and ballads, verse narratives, a closet drama, philosophical dialogues, narrative monologues, and an epic-length dramatic poem. In these works, she masterfully employed blank verse, free verse, heroic couplets, and irregular rhyme schemes. …
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