english essay it is never too late

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It’s Never Too Late To Be What You Might Have Been

George Eliot? Adelaide Anne Procter? Apocryphal? Anonymous?

Dear Quote Investigator: My favorite quotation about untapped potential and enduring spirit is attributed to the prominent Victorian novelist George Eliot:

It is never too late to be what you might have been.

This popular saying has been printed on refrigerator magnets, posters, shirts, and key chains. But I have never seen the source specified. Are these really the words of George Eliot?

Quote Investigator: George Eliot was the pen name of Mary Ann Evans who died in 1880. Researchers have been unable to locate this quotation in her books or letters. Currently, the ascription to Eliot has no substantive support.

The earliest evidence of an exact match known to QI appeared in “Literary News: A Monthly Journal of Current Literature” in 1881. The editor held a contest to gather the best quotations from Eliot’s oeuvre. The following was the announcement printed in the April 1881 issue: [1] 1881 April, Literary News Prize Question No. 31: Subject: Gems from George Eliot, Quote Page 113, Publisher and Editor: F. Leypoldt, New York. (Google Books Full View) link

Prize Question No 31. Subject: Gems from George Eliot. Quote the most striking passage known to you from George Eliot’s writings; not to exceed thirty words. Answers due May 20.

In June 1881 the excerpts submitted by readers were printed in the periodical; however, they were not fully vetted for accuracy. Also, some entries did not specify the originating text. For example, these four items were included in the list. Boldface has been added to excerpts: [2] 1881 June, Literary News Prize Question No. 31: Subject: Gems from George Eliot, (Quote Number 23), Start Page 176, Quote Page 177, Publisher and Editor: F. Leypoldt, New York. (Google Books Full … Continue reading

We present herewith the selections made by our readers from the writings of George Eliot. Excluding all that exceed the prescribed limit of thirty words, we present herewith seventy-one selections. … 21. “Our deeds determine us as much as we determine our deeds.”—Adam Bede 22. “A woman’s choice generally means taking the only man she can get.” —Middlemarch. 23. “It is never too late to be what you might have been.” 24. “I’m not denyin’ the women are foolish; God Almighty made ’em to match the men.”

Statement 21 was correct though truncated. Statement 22 was slightly inaccurate; the novel used the word “usually” instead of “generally”. Statement 23 has never been found in the works of Eliot. Statement 24 did not list a source, but it did appear in “Adam Bede”.

This important citation with the incorrect attribution of the target quotation was identified by Professor Leah Price. After 1881 quotation number 23 started to appear in a variety of publications credited to George Eliot, and “Literary News” may have been the prime locus for its dissemination.

A very interesting partial match for the saying appeared earlier in a poem in 1859. Details are given further below.

Here are additional selected citations in chronological order.

A thematic precursor was included in a lecture published in London in 1847. The following passage highlighted the possibility of growth and accomplishment late in life: [3] 1847, Sequel to Lectures Delivered at Literary and Mechanics’ Institutions by William Henry Leatham, “Lecture 1: The Rise, Growth, Maturity, and Prospects of English Literature, &c, … Continue reading

It is never too late to become a scholar, or a great man. Cato, the censor, learnt Greek in his old age. King Alfred was twelve years old before he could repeat his alphabet. Cromwell was forty-two years of age before he fought his first battle—and Blake was fifty before he entered the navy.

In 1859 the poet Adelaide Anne Procter released “The Ghost in the Picture Room” in the special Christmas issue of the London periodical “All the Year Round” which was edited by Charles Dickens. QI believes that the following couplet embodied a strong conceptual match for the quotation under investigation and a partial syntactic match:

No star is ever lost we once have seen, We always may be what we might have been.

The larger context within the work discussed the possibility of leading a “noble life”. The vicissitudes of subsisting might deflect one from pursuing an ideal path, but the author contended that crucial alternatives were not foreclosed, and one might still pursue a “noble life” at any time. The poem became better known under the title “A Legend of Provence”: [4] 1859 December 13, All the Year Round: A Weekly Journal, Conducted by Charles Dickens, (The Haunted House: The Extra Christmas Number of All the Year Round. Containing the amount of two ordinary … Continue reading [5] 1864, The Poems of Adelaide A. Procter by Adelaide Anne Procter, Poem: A Legend of Provence, Start Page 181, Quote Page 191, Ticknor and Fields, Boston, Massachusetts. (Google Books Full View) link

Have we not all, amid life’s petty strife, Some pure ideal of a noble life That once seemed possible? Did we not hear The flutter of its wings, and feel it near, And just within our reach? It was. And yet We lost it in this daily jar and fret, And now live idle in a vague regret; But still our place is kept, and it will wait, Ready for us to fill it, soon or late. No star is ever lost we once have seen, We always may be what we might have been. Since good, tho’ only thought, has life and breath, God’s life—can always be redeemed from death; And evil, in its nature, is decay, And any hour can blot it all away; The hopes that, lost, in some far distance seem. May be the truer life, and this the dream.

Procter’s couplet was memorable, and it has continued to circulate up to the present day. In 1879 “Replies: A Weekly Journal of Question and Answer” printed the words within a response to a query about the second line: [6] 1879 December 20, Replies: A Weekly Journal of Question and Answer, Conducted by Malcolm C. Salaman, Volume 2, Number 38, Answers to Correspondents, Quote Page 189, Column 1, Published by The … Continue reading

Devorgill.—The line, ‘We always may be what we might have been,’ occurs in a passage in the ‘Legend of Provence,’ by Adelaide Anne Procter— ‘No star is ever lost we once have seen, We always may be what we might have been.’

In 1881 the quotation being traced was printed in “Literary News” as noted previously. The expression was submitted by a reader of the periodical and no source was designated:

In 1884 the saying was included in an article about Eliot published in the “Illinois School Journal’. The phrase appeared in a section called “Extracts” that listed twenty quotes attributed to Eliot. [7] 1884 February, Illinois School Journal, General Exercises by Edward Bangs, (Discussion of George Eliot: 1820-1880), Start Page 250, Quote Page 250, Normal, Illinois. (Google Books Full View) link

In 1887 “The English Language: Its Grammar, History and Literature” was published, and a section about George Eliot’s prose style praised her work exuberantly: [8] 1887, The English Language: Its Grammar, History and Literature by J. M. D. Meiklejohn (John Miller Dow Meiklejohn), Quote Page 365, D.C. Heath & Company, Boston, Massachusetts. (Google Books … Continue reading

Her power is sometimes almost Shakespearian. Like Shakespeare, she gives us a large number of wise sayings, expressed in the pithiest language. The following are a few:— “It is never too late to be what you might have been.” “It is easy finding reasons why other people should be patient.” “Genius, at first, is little more than a great capacity for receiving discipline.”

The maxim was not universally embraced. In 1896 a book titled “The Education of the Central Nervous System” was sharply critical because the author contended that training in the early years of life was essential: [9] 1896, The Education of the Central Nervous System: A Study of Foundations, Especially of Sensory and Motor Training by Reuben Post Halleck, Quote Page 94, Macmillan Company, New York. (Google Books … Continue reading

From this mistaken notion arose such adages as: “It is never too late to be what you might have been.” It would be nearer the truth to say: “It is always too late to be what you might have been.” With each advancing year, this becomes an absolute truth in the case of the vast majority who have reached the age of twenty.

In 1897 William DeVere, self-described tramp poet of the West, published a short piece titled “Horse Philosophy” that included a set of adages and a rephrased unattributed version of Procter’s words: [10] 1897, Jim Marshall’s New Planner and Other Western Stories (Specially adapted for public reading) by William De Vere, Horse Philosophy, Quote Page 74, M. Witmark & Sons, New York. (Google … Continue reading

And try to do to others as you’d have them do to you. Remember that no star is lost that you might once have seen, Remember that you always may be what you might have been, No matter what your task in life be sure you never shirk,

In 2011 “The New Yorker” magazine published “Middlemarch and Me: What George Eliot Teaches Us” by Rebecca Mead who discussed the quotation and its mysterious ascription to Eliot. Mead’s stance was skeptical, and she recounted the words of Professor Leah Price: [11] 2011 February 14, The New Yorker, Life and Letters: Middlemarch and Me: What George Eliot teaches us by Rebecca Mead, Start Page 76, Quote Page 82, Column 2 and 3,The New Yorker Magazine, Inc., New … Continue reading

I’ve always assumed it was apocryphal. It shows up nowhere in full text searches of G.E.’s work. What’s strange is not that the attribution is so persistent but that it starts very early.

Price told Mead about the 1881 contest in “Literary News” that presented the first known instance of the quotation.

In conclusion, QI speculates that the quote attributed to George Eliot is traceable to the line written by Adelaide Anne Procter: “We always may be what we might have been”. In this scenario Procter’s statement would have been rephrased and then reassigned to Eliot. This process may have occurred in the mind of the individual who sent the quote to “Literary News”. Alternatively, the transition may have occurred in multiple steps. Perhaps future research will uncover these intermediary steps. Of course, other hypotheses are not ruled out.

(Great thanks to Karen Pfeiffer Jones @nykaren24 whose inquiry gave impetus to QI to formulate this question and initiate this exploration. Special thanks to Rebecca Mead and Leah Price for their very valuable efforts.)

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English Essay, Paragraph, Speech on “It is Never Too Late to Begin Once Again” Complete Essay for Class 10, Class 12 and Graduation and other classes.

It is never too late to begin once again.

To err is human. We often slip-up and make mistakes. All of us have our moments of weakness. We commit errors or careless acts which we live to regret later

More than the adults such acts are more common, especially in young boys and girls. They drift aimlessly without giving a thought to the future. It is during this period that they pick up bad habits. These habits could be anything from smoking to bunking classes or even eve-teasing. Such is the age that they do not realize their mistakes. Attempts by elders to correct them are taken as insults by them.

However, most of them realize their mistakes after some time. They understand that what they have been doing till now was wastage of time, energy and money. They become wiser and mend their ways. They correct themselves and begin in earnest to reform themselves. This they begin by giving up bad company and bad habits. They start paying more attention to their future and their profession. Until and unless they do not commit any serious offense the society is always willing to give them a second chance.

This has happened to most of us. Those who have come back from the path of sin and self-pleasure very early in their lives are today much wiser and sensitive and better human beings. While those who have realized their mistakes late in their lives have much to regret. They are the ones who have in their pursuit of pleasure just lost find sincere friendship and relationships. These people can once again try to restart their lives. However, it will remain doubtful that they may become happy and useful citizens. This is so because too much time has gone for them to be accepted once again as a useful member of the society

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Middlemarch and Me

The first time I read George Eliot’s “Middlemarch,” I was seventeen years old, and was preparing to take the entrance examination for Oxford University. For several hours every weekend, I would join three or four classmates to discuss the novel, which was published in 1872, at the home of a benevolent teacher who lived on the outskirts of Weymouth, the English seaside resort where I grew up. Weymouth is in Dorset, a rural county in the southwest of the country; its rolling farmlands are traversed by narrow roads and hedgerowed lanes that discreetly delineate the ancestral holdings of landed families. A quarter century ago, as I looked out from my teacher’s living-room window at hills that seemed perpetually sodden, my domain felt hardly less provincial and remote than the Midlands of the eighteen-thirties, which Eliot had described in her novel.

I identified completely with Dorothea Brooke, the ardent young gentlewoman yearning for a more significant existence, even though my upbringing was barely similar. Dorothea lives at Tipton Grange, a large estate equipped with household staff; my family—a few generations from being household staff—occupied a modest house, built in the nineteen-fifties, with a carefully tended patch of garden. Dorothea, who at the novel’s outset is nineteen, disdains her suitor, Sir James Chettam, an amiable, pink-faced baronet whose land is adjacent to the property that any future son of hers will inherit. Instead, she makes a spectacularly unwise marriage to Edward Casaubon, the pedantic scholar laboring on the interminable “Key to all Mythologies”—“Our Lowick Cicero,” as a dismissive neighbor calls him. Ultimately, she is united with Will Ladislaw, a passionate, idealistic lightweight, a journalist turned politician.

I relished the satire in Eliot’s “study of provincial life,” as the book is subtitled, with its amused depictions of minor characters like Celia, Dorothea’s more earthbound sister, whose marriage to the passed-over Sir James produces baby Arthur—“the infantine Bouddha”—whom everyone is obliged to adore. But I missed, more or less completely, the irony in the portrayal of Dorothea, with her righteous aspirations. (Her love of riding is so great that “she felt that she enjoyed it in a pagan sensuous way, and always looked forward to renouncing it,” and she imagines, when anticipating life with Casaubon, “It would be like marrying Pascal.”) I also failed to notice what Leslie Stephen, an early critic, described as “a slight touch of stupidity” about Dorothea. Rather, her formless desire for a life of the mind, and a life of meaning, struck not so much a chord with me as a symphony.

In my Penguin English Library edition, I marked what seemed to me particularly salient passages with a fluorescent yellow pen; the highlights have faded now to an almost imperceptible citrine. From Chapter 37, as Will enlightens Dorothea about Casaubon’s intellectual inadequacies: “Now when she looked steadily at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one track where duty became tenderness.” From Chapter 64, where Lydgate—the high-minded, ambitious young doctor whose trajectory the novel charts in parallel with Dorothea’s—is in dire financial straits, and his relations with Rosamond, his willful, empty-headed wife, are at their most strained: “In marriage, the certainty, ‘She will never love me much,’ is easier to bear than the fear, ‘I shall love her no more.’ ”

On the brink of adulthood—not knowing where I would study, where I might live, what men I would love, whether I would have children—I felt that everything I might need to know about marriage, about love, about life itself, was encompassed in the novel’s eight hundred and fifty pages. When I finally went for my interview at Oxford, I met with a senior tutor whose study was furnished with low-slung easy chairs upholstered in mustard-colored corduroy: one could either perch on a chair’s edge or sink into its depths, and I shifted uncomfortably between one inappropriate position and the other while talking passionately about “Middlemarch.” A few months later, when I received a letter telling me that I had been offered a scholarship to read English at University College, it was the first time that George Eliot had a hand in determining the direction of my life.

In the subsequent decades, just about every love affair I had was refracted through “Middlemarch.” I spent far too much of my twenties helplessly, if resentfully, in love with a preoccupied man nearly two decades my senior—a distinguished professor who studied the classics and once told me that one of his greatest fears was to discover that he was Casaubon. It might have been like marrying Pascal, but the professor eventually decided that I was not fit to receive a proposal of the type that Casaubon, in an excruciatingly stilted letter, offers Dorothea: “I have discerned in you an elevation of thought and a capability of devotedness, which I had hitherto not conceived to be compatible either with the early bloom of youth or with those graces of sex that may be said at once to win and to confer distinction when combined, as they notably are in you, with the mental qualities above indicated.”

Some years later, I gave an otherwise well-read boyfriend a copy of “Middlemarch,” on the principle that if he wanted to understand me he needed to read this; two years later, he still had not cracked its considerable spine, which should have made our parting less painful than it was. Soon after we broke up, he—of course—got around to reading it, and told me how much he admired the climactic scene of Will and Dorothea, hitherto kept apart by the terms of Casaubon’s will and by their own discretion, clutching each other’s hands, at last, as a thunderstorm rages. I find this the book’s one overwrought note, and his admiration confirmed that things would never have worked between us. When I did eventually marry, at the age of thirty-seven—older even than Eliot when she eloped with George Henry Lewes, the exuberant, omnicompetent critic who became her beloved companion for the next quarter century, despite being married to someone else—it was to a man who prized “Middlemarch” as much as I did, and whose name, by what I hope is only happy coincidence, is George.

I have gone back to “Middlemarch” every five years or so, my emotional response to it evolving at each revisiting. In my judgmental twenties, I thought that Ladislaw, with his brown curls and his callow artistic dabbling, was not entirely deserving of Dorothea; by forty, I could better measure the appeal of his youthful energies and Byronic hairdressing, at least to his middle-aged creator, who was fifty-three when the book was published. My identification with Eliot’s heroine and my dismissal of her simpler sister was shaken when I became the besotted mother of a son. (To a friend, a professor of English literature, I giddily wrote, “All these years I’ve thought of myself as Dorothea, and now I’ve turned overnight into Celia.”) And as I grew older the unfolding of Dorothea’s life became less immediately poignant to me than the story of Lydgate, who at the start of the book has the bold aim to “make a link in the chain of discovery,” but who, thanks to his own misguided marriage, becomes a society doctor known for a treatise on gout—“a disease which has a good deal of wealth on its side,” in Eliot’s pointed observation.

Rather than limning the inchoate hopes of youth, “Middlemarch” seemed to be about the resignations that attend middle age. It became a primer to the limitations on accomplishment that are, for the most part, the lot of even the most ardent and aspiring among us. (Lydgate dies at fifty, believing himself a failure: “He had not done what he once meant to do.”) The fate of Dorothea, who becomes a supportive wife and mother, sits ill with some readers, particularly those reared with feminist preconceptions about autonomy and success; they chafe at her lack of scope. But with each reading I became only more grateful for Eliot’s wise, consoling grace, and only more admiring of the quiet celebration of the unremarkable that infuses the book’s unforgettable conclusion: “The growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.”

A bronze statue of George Eliot stands in the center of Nuneaton, the market town in Warwickshire near her birthplace: she sits on a low wall, her eyes cast down, a book at her side. When I visited, last spring, someone had left half a cookie resting by her hand, giving her a sad, neglected air. The statue, which is almost life-size, shows Eliot with strong features, thick hair, and a slim waist; but nobody really knows how accurate the likeness is. Mary Ann Evans, as she was christened at birth, in 1819, was undoubtedly plain, and as a young woman she made unfunny jokes, in letters to friends, about her ugliness. Henry James described her as “deliciously hideous” after he met her in 1869, when he was twenty-six and handsome. She only ever posed for one photographic portrait: aged thirty-nine, she sits, long-chinned and large-nosed, with a forced simper on her face.

The statue was erected by the George Eliot Fellowship, a literary society based in Nuneaton. The society was founded eighty years ago by a local newspaper editor, A. F. Cross, who was determined to rectify the neglect that the author had suffered since her death, in 1880. In the society’s early years, celebratory dinners were held, and lectures given by scholars such as the Reverend Charles Gardner, the author of “The Inner Life of George Eliot,” who addressed its members in 1931. (Gardner was apparently interested only in the outermost reaches of Eliot’s inner life; he wrote that she was bedevilled by a “secret source of trouble,” but added, “as she has not revealed what it was, it would be impertinent to be over-curious.”) The fellowship languished after the Second World War, during which Nuneaton was badly bombed, as was nearby Coventry, where Marian Evans, as she was calling herself by then, moved at the age of twenty-one. She began her intellectual life in earnest there, in the company of the open-minded industrialist Charles Bray and his wife, Cara. The Brays introduced her to liberal theology, phrenology, and Ralph Waldo Emerson. “The first man I have ever seen,” she described him in a letter to a friend.

The hundred-and-fiftieth anniversary of George Eliot’s birth, in 1969, occasioned a revival of interest in her, and by 1980 the fellowship had persuaded the authorities at Westminster Abbey to honor her in Poets’ Corner, with a memorial stone. In the nineties, the fellowship’s ranks were modestly swollen by what the British papers called “Middlemarch mania,” following the BBC’s dramatization of the novel; at its height, the fellowship had more than six hundred members, including a Japanese chapter, based in Osaka. These days, there are about four hundred members—a figure that compares unfavorably with the popularity enjoyed by Jane Austen, whose society in North America alone has four thousand members, and whose works are the inspiration for bankable spinoffs, from “Clueless” to “Pride and Prejudice and Zombies.”

Austen’s greater current popularity is understandable: she wrote crystalline, comic novels of medium length. Eliot’s work was more varied in its attainment, and more verbose: one publisher recently released a volume called “The Mill on the Floss: In Half the Time,” an abridgment for those unable to countenance a six-hundred-page book. Even among Eliot’s devotees, many will agree that once is enough for reading “Romola,” her often tedious excursion into Renaissance Florence. Eliot admired Austen: she and Lewes read Austen’s novels aloud to each other in 1857, when she was embarking upon her own first effort at fiction—the stories that became “Scenes of Clerical Life.” But George Eliot, as she became known when that collection was published, went on to surpass her precursor. She is as adept as Austen at the ironic depiction of high and middle-class society: Mr. Brooke, Dorothea’s muddle-headed uncle, is a not too distant cousin of Mr. Bennet; and Mrs. Vincy, the exquisitely banal mother of Rosamond, might easily have found her way to Middlemarch via Highbury. But Eliot’s satire, unlike Austen’s, stops short of cruelty. She is inveterately magnanimous, even when it comes to her most flawed characters; her default authorial position is one of pity. Rosamond Vincy is foolish and intractable—her husband refers to her in his later years as his basil plant, because it was “a plant that had flourished wonderfully on a murdered man’s brains.” But the sequence of chapters in which self-involved, trivial Rosamond realizes that Will Ladislaw is in love with Dorothea, not her—she is “taken hold of by an emotion stronger than her own, hurried along in a new movement which gave all things some new, awful, undefined aspect”—is a masterpiece of sympathetic imagination. A reader marvels at Jane Austen’s cleverness, but is astonished by George Eliot’s intelligence.

The current chairman of the fellowship, John Burton, is a retired high-school English teacher. An energetic man in his sixties with a soft Midlands accent, he has focussed on encouraging a revival of interest in Eliot among the populace of Nuneaton and Bedworth, a neighboring town where there is an impressive nineteenth-century almshouse, if little else. I first met Burton at Griff House, Eliot’s childhood home, which is an elegant Georgian brick building with an ivy-covered façade on the outskirts of town. George Eliot’s father, Robert Evans, was the land agent for Francis Parker Newdigate, the proprietor of a large country house, called Arbury Hall, a mile and a half away. As a girl, Eliot often went to the big house, where she was given free range of the library. Eliot’s performance at the age of thirteen in English composition at school was so far in advance of her peers’ that it was “reserved for the private perusal and enjoyment of the teacher, who rarely found anything to correct,” according to a memoir written by the daughter of a classmate. Of the young Mary Ann Evans the classmate added, “Her schoolfellows loved her as much as they could venture to love one whom they felt to be so immeasurably superior to themselves.”

Griff House is now cut off from Arbury Hall by a highway and an industrial estate. A few years ago, the house was bought by Whitbread, a former brewery turned hospitality company, which appended a sprawling pseudo-Georgian hotel to its rear. In what was the front hall and parlor, there are now slot machines and a pool table. It is hard for even the most imaginative visitor to envisage the domestic life of Eliot, the youngest of five children, who, like Maggie Tulliver, in “The Mill on the Floss,” often retreated to the attic for solitude. (“Here she fretted out all her ill-humors, and talked aloud to the worm-eaten floors and the worm-eaten shelves,” Eliot writes of Maggie.) Burton, conducting me around the property, said, “I’ve tried to get the manager to do more things related to George Eliot, but it’s difficult.” He pointed out a tumbledown barn, which he could imagine as an arts center, and other missed opportunities. “Whitbread is more interested in profits from beer,” he said with a sigh.

A few months earlier, I had written to Burton to ask about the fellowship’s activities; he had immediately invited me to address a forthcoming “study day,” an annual springtime gathering of Eliot aficionados, which this year was to celebrate the hundred-and-fiftieth anniversary of the publication of “The Mill on the Floss.” The study day took place in a conference room at Bedworth’s Civic Hall, and when I arrived, on a Saturday morning, a number of members had already assembled. I had the increasingly unfamiliar experience of being the youngest person in the room. “We’re very well-behaved. We don’t heckle,” Anne Pavitt, a former auditor who had become hooked on Eliot after retirement, told me thoughtfully. “Well, there’s one lady that shows up sometimes—she’s a bit rude. But we’re a fellowship. We’re open to everyone.”

It was an unseasonably hot day, and many of the ladies were in longish floral skirts, as if they were trying out to be cast as villagers in a dramatization of “Adam Bede.” That book, Eliot’s first full-length novel, was published in 1859, and in it she expresses a conviction that informed all her fiction: “The way in which I have come to the conclusion that human nature is loveable—the way I have learned something of its deep pathos, its sublime mysteries—has been by living a great deal among people more or less commonplace and vulgar.” It was hard not to stare at a notable exception to this maxim: a tall woman, no longer young but still striking, who had upswept blond hair and wore teetering heels and a gash of red lipstick. She turned out to be Brenda McKay, the author of a book with the daunting title “George Eliot and Victorian Attitudes to Racial Diversity, Colonialism, Darwinism, Class, Gender, and Jewish Culture and Prophesy.” She was a veteran of many literary gatherings. “There’s the Dickens Society, the Trollope Society,” she said. “James Joyce, of course. They’re all kind of hippie types, with long beards. They seem like heavy drinkers, pot smokers.” She was shortly going to a conference that was being held by the members of the Brontë Society. “They have very contentious meetings,” she said, with some satisfaction. “There are always fists flying.”

The first speaker, Marilyn Orr, a professor at Laurentian University, in Canada, argued that “The Mill on the Floss” marked Marian Evans’s self-severing from the landscape of her youth: Maggie Tulliver has to die so that George Eliot might live. Next, Melissa Raines, who teaches at Liverpool University, gave a paper in which she examined the emotional valence of Eliot’s punctuation and pointed out that Maggie’s speech tends to devolve into dashes when she is most susceptible to the influence of Stephen Guest, her seducer, but maintains the discipline of periods, colons, and semicolons when her better nature is dominant. Raines was a proofreader before she became an academic.

The audience members, many of whom turned out to be teachers or professors who had been immersed in Eliot’s work for decades, listened intently, and questioned the speakers with English deference. “I wonder how this fits in with George Eliot’s view of David Strauss?” one proposed, referring to the German theologian. “Could I ask about martyrdom?” offered another. The questions seemed designed to prompt fruitful discussion, not simply to demonstrate the inquirer’s own erudition, and I felt as if I were back in my schoolteacher’s parlor, learning how to talk about books and how to love talking about them.

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George Eliot’s own parlor—at the Priory, the London home that she shared with Lewes for fifteen years—is re-created at the Nuneaton museum. It has wainscoting, dark-green wallpaper, and a table draped in lace, set with an oil lamp and a tea cake. Life-size models represent Eliot, in a silk-and-jet gown with a notepad in her hand; George Henry Lewes, standing by red curtains and holding a cup of tea; and John Cross, the couple’s business manager, sitting in an armchair and looking stricken. Eliot’s relationship with Cross was the subject of a talk by Brenda Maddox, Eliot’s most recent biographer, and the third speaker of the day. Maddox focussed on Eliot’s surprising late marriage, after the death of Lewes, to Cross, who was twenty years her junior and had been known fondly in the Eliot-Lewes household as “Nephew.” The marriage was brief—Eliot died within a few months—but it was marked by one indelible incident: while the newlyweds were on their honeymoon in Venice, Cross threw himself from their hotel room into the Grand Canal. The reasons for the leap are unknown, though Maddox conjectures that Cross was unable or unwilling to perform his nuptial duties. (He was rescued, unharmed, by a gondolier.)

Cross, Eliot’s first biographer, has been given scant respect by subsequent scholars, not least because he destroyed many of her documents, deeming them too personal. But his proposal granted Eliot the status she had been denied for the previous quarter century: that of a married woman. Even her long-estranged brother Isaac, who had disapproved of her alliance with Lewes, wrote with his congratulations. Barbara Bodichon, an early feminist and Eliot’s close friend, seems to have understood the odd couple’s motivations, writing warmly to the author of her approval: “Tell Johnny Cross I should have done exactly what he has done if you would have let me and I had been a man.”

I was the final speaker, and my subject was a quotation attributed to George Eliot that I had recently been coming across: “It is never too late to be what you might have been.” The first time I saw the phrase was on a refrigerator magnet, where it was set in sans-serif type on an aquamarine starburst background—design choices that seemed evocative more of the New Age than of the Victorian age. After hunting around, I discovered the quotation in other contexts. Marianne Williamson, the best-selling author of spiritual books, included it in “The Gift of Change: Spiritual Guidance for a Radically New Life.” Tom Peters, the best-selling author of “In Search of Excellence,” cited it on his Web site. It appeared on many personal blogs, and seemed particularly popular among middle-aged women. One author, BJ Gallagher, had even taken the quote as a book title. “You only go around once in this life, so why not live a life you love?” Gallagher wrote. “You were put on this earth to be the best YOU that you can be. If you don’t do it, nobody else can.”

It was an appealing notion: who doesn’t want to believe that there’s still time to do what hasn’t yet been accomplished? (Certainly not the author of one blog I found, titled “Older than George Eliot”: “I’m older now than she was when she became a published writer, so I’d better start typing and stop dreaming if I ever want to make it.”) But the sentence didn’t sound to me like anything George Eliot would say—at least, not my George Eliot, whose finest moments were often compassionate depictions of characters not quite coming up to the mark. It did not sound like the Eliot who had written of her most subtly drawn heroine, “Dorothea herself had no dreams of being praised above other women, feeling that there was always something better which she might have done, if she had only been better and known better”; or the Eliot who, in creating Casaubon, had avoided the easy path of ridicule, and instead had shown a frail creature tortured by the knowledge of his own insufficiencies. Eliot had no faith in a limitless capacity for self-reinvention. Once, when she was asked which real-life person had been the inspiration for Casaubon—a man whose “soul was sensitive without being enthusiastic; it was too languid to thrill out of self-consciousness into passionate delight; it went on fluttering in the swampy ground where it was hatched, thinking of its wings and never flying”—she tapped her own breast.

George Eliot is an author whom dilatory writers can point to with some optimism: she didn’t start writing fiction until she was thirty-six, and then only at the encouragement of Lewes, who suspected that she might have a talent for “concrete description,” as she wrote later in an essay titled “How I Came to Write Fiction.” When Eliot met Lewes, she was already the translator of Strauss’s “Life of Jesus,” and a brilliant, if underappreciated, editor and critic at the Westminster Review . There, in 1856, she produced an acid essay about the weaknesses of current popular fiction, titled “Silly Novels by Lady Novelists.” She mocked the typical heroine of such books: “Her eyes and her wit are both dazzling; her nose and her morals are alike free from any tendency to irregularity.” The next year, Eliot started creating heroines of her own; an early one, Janet Dempster—the abused, alcoholic wife at the center of “Janet’s Repentance”—was so irregular that her publisher, John Blackwood, at first declined the story.

Eliot’s imaginative life blossomed with the arrival of domestic and conjugal happiness. At the end of 1857, when she was thirty-eight, she wrote, “My life has deepened unspeakably during the last year; I feel a greater capacity for moral and intellectual enjoyment; a more acute sense of my deficiencies in the past; a more solemn desire to be faithful to coming duties than I remember at any former period of my life. And my happiness has deepened too; the blessedness of a perfect love and union grows daily.” She added, “Few women, I fear, have had such reason as I have to think the long sad years of youth were worth living for the sake of middle age.” But “Middlemarch” is not about blooming late, or unexpectedly coming into one’s own after the unproductive flush of youth. “Middlemarch” suggests that it is always too late to be what you might have been—but it also shows that, virtually without exception, the unrealized life is worth living. The book that Virginia Woolf characterized as “one of the few English novels written for grown-up people” is also a book about how to be a grownup person—about how to bear one’s share of sorrow, failure, and loss, as well as to enjoy moments of hard-won happiness.

Eliot’s contemporary admirers spoke approvingly of her moral and intellectual authority. Lord Acton, the historian, wrote, a few days after her death, “In problems of life and thought, which baffled Shakespeare disgracefully, her touch was unfailing.” Such an elevation in regard was, predictably, followed by a falling off: in 1922, the critic Edmund Gosse wrote dismissively of Eliot’s “ponderous moral aphorisms and her didactic ethical influence.” (He also disparaged her late start in fiction, when she was already a “storm-tried matron of thirty-seven.”) But in her lifetime her moral aperçus were held in such high regard that they were anthologized independently of the stories in which they were originally embedded. In 1871, a young admirer named Alexander Main published a collection titled “Wise, Witty, and Tender Sayings in Prose and Verse Selected from the Works of George Eliot.” Seven years later, Main produced another collection, “The George Eliot Birthday Book,” which provides a quotation for every day of the year. Eliot gave her blessing to both books, though she evidently saw the limitations of the enterprise: she referred to birthday books as “the vulgarest thing in the book stalls” in the same letter to her publisher in which she granted Main the authority to compile one.

Main might have been expected to include an insight as succinct as “It is never too late to be what you might have been,” but the quotation does not appear in either book, or in a later anthology, “A Moment Each Day with George Eliot,” which was edited in 1902 by Ella Adams Moore, a lecturer at the extension school at the University of Chicago. (For Eliot’s birthday, November 22nd, Moore chose a line from “The Mill on the Floss”: “If you want to slip into a round hole, you must make a ball of yourself.”) The “never too late” quotation was not merely overlooked by Main, I discovered on rereading her novels; it is nowhere to be found in Eliot’s fiction. Nor is it a paraphrase of a sentiment that registers in her work. In “Middlemarch,” when the newly wed (and newly disappointed) Dorothea defends Casaubon’s sterile intellectual efforts by declaring, “Failure after long perseverance is much grander than never to have a striving good enough to be called a failure,” she is expressing a notion that is at the center of much of Eliot’s work: that individuals must make their best efforts toward a worthy end, but it is the effort toward a goal, rather than the achievement of it, that makes us who we are.

Scholars haven’t turned up the quotation, either. Rosemary Ashton, a professor at University College, London, who is the author of a substantial biography of Eliot, told me, “It doesn’t sound like George Eliot to me—too simplistically phrased and too pat, and too brief!” Rosemarie Bodenheimer, the author of “The Real Life of Mary Ann Evans: George Eliot, Her Letters and Fiction,” who teaches at Boston College, was ninety-nine per cent sure that George Eliot never uttered the phrase. Bodenheimer said, “It is the opposite of what she thought: in all her novels it’s clear that certain choices will determine the course of a character’s career, as well as his or her emotional and moral capacities in the future.” William Baker, of Northern Illinois University, who edits the journal George Eliot–George Henry Lewes Studies , told me he believed that the quotation had been misattributed to Eliot by a greeting-card company, and had subsequently been disseminated into popular culture.

BJ Gallagher, the author who took the quote as the title of her self-help book, lives in Los Angeles. She admitted that she had never really read George Eliot, though in high school she had made it through “Silas Marner”—a fable in which a miserly, reclusive weaver is robbed of the gold he has been hoarding, and is then redeemed by his adoption of a golden-haired orphan. Gallagher had found the book “not very cheery.” She admired what she knew of Eliot’s biography, though. “What I like about her is that reinventing herself—wanting to be taken seriously, so she disguised herself as a man,” she said. (Eliot’s disguise was restricted to her nom de plume, and she discarded her anonymity within two years, after a nonentity named Joseph Liggens let it be thought that he had written Eliot’s début story collection.) Gallagher wasn’t sure where she’d first found the quote—on a refrigerator magnet, quite possibly—but it offered solace as her sixtieth birthday loomed.

“I was putting on my makeup one day, and I was going, ‘Oh, it’s too late, sweetheart, you are going to be sixty next year and you are still single after all these years, and you are still overweight and you are still not rich,’ ” she told me. “I was depressed for a few days, and then I remembered the quote.” The possibility that George Eliot hadn’t actually said the words did not diminish their resonance. “We tend to like wisdom when it comes from famous people,” Gallagher said. “But even if it was just George Eliot’s next-door neighbor, who was a seamstress, it’s still valid.”

In her journals, which were not published in their entirety until twelve years ago, Eliot writes with anguish about her limited accomplishment, and a sense of too often falling short of her capacities. “Horrible scepticism about all things—paralyzing my mind,” she wrote in 1864. “Shall I ever be good for anything again?—ever do anything again?” In 1868, the year before she embarked upon “Middlemarch,” she wrote, “I am not yet engaged in any work that makes a higher life for me—a life that is young and grows, though in my other life I am getting old.” In response to the enthusiastic reception of the first volume of “Middlemarch,” Eliot wrote, “Hardly anything could have happened to me which I could regard as a greater blessing than this growth of my spiritual existence when my bodily existence is decaying. The merely egoistic satisfactions of fame are easily nullified by toothache, and that has made my chief consciousness for the last week.”

For all the satisfaction that her success provided her, she was periodically haunted by the question of whether it was too late to be all that she might have been. “As the years advance there is a new rational ground for the expectation that my life may become less fruitful,” she wrote on December 31, 1877. The previous year, she had published “Daniel Deronda,” her final novel, in which she portrays the new international social scene—prefiguring the work that Henry James went on to produce—and gives the first serious rendering in fiction of European Jewry. (The novel also depicts with flawless psychological comprehension one of the most awful marriages in literature, that of Gwendolen Harleth and Henleigh Grandcourt: “One belief which had accompanied her through her unmarried life as a self-cajoling superstition, encouraged by the subordination of every one about her—the belief in her own power of dominating—was utterly gone. Already, in seven short weeks, which seemed half her life, her husband had gained a mastery which she could no more resist than she could have resisted the benumbing effect from the touch of a torpedo.”) In her plaintive journal entry, Eliot went on, “The difficulty is, to decide how far resolution should set in the direction of activity rather than in the acceptance of a more negative state.” She had “many conceptions of works to be carried out,” she wrote, “but confidence in my own fitness to complete them worthily is all the more wanting because it is reasonable to argue that I must have already done my best.”

Nevertheless, the compulsion to work, and the awareness of the gratification to be derived by working well, remained irresistible. “My mind is embarrassed by the number and wide variety of subjects that attract me, and the enlarging vista that each brings with it,” she wrote. To think of the mind of George Eliot embarrassed by its own range is almost unbearably poignant, in its uneasy balance of aspiration and diffidence. By the time she wrote those words, Eliot had become better than anyone at what she did; but she could not have done so any earlier, or any more easily. It took all that she had been to make her all that she was.

I half hoped that someone at the study day would provide me with the missing citation for the quotation, but nobody seemed to know where it came from. (“It might be in ‘Romola,’ ” Brenda McKay suggested. It isn’t.) But while I was in Nuneaton I received an e-mail from Leah Price, a professor at Harvard, who has written about the anthologizing of Eliot during her lifetime—the sifting of “Eliot’s reusable wisdom from her ephemeral plots.” If anyone had come across the quotation, it might be Price.

“I’ve always assumed it was apocryphal,” she wrote. “It shows up nowhere in full text searches of G.E.’s work. What’s strange is not that the attribution is so persistent but that it starts very early.” She sent me a link to an article in a New York periodical called The Literary News , published in 1881, less than a year after George Eliot’s death. There, the quotation—“It is never too late to be what you might have been”—is one of seventy-one winning entries in a readers’ competition to nominate “Gems from George Eliot.” The terms of the competition were outlined in an issue of the journal from a couple of months earlier: readers were asked to “quote the most striking passage known to you from George Eliot’s writings: not to exceed thirty words.” The quotation is No. 23 on the list, between a line from “Middlemarch” (“A woman’s choice usually means taking the only man she can get”) and one from “Adam Bede” (“I’m not denyin’ the women are foolish: God Almighty made ’em to match the men”). But there was no reference to the source. Had the competition entrant come across the quotation in a review? Misremembered it? Made it up? Or found it somewhere that I had yet to discover? Could George Eliot really have said it? I had no way of proving otherwise. Like Lydgate, I had aspired to make a link in the chain of discovery, and had failed.

John Burton and his wife, Lynda, had invited me to join them that evening at the sixtieth-birthday party of a neighbor of theirs in Barnacle, a village outside Nuneaton. It would offer a glimpse into local life, Burton suggested. I agreed to go, although, having grown up in provincial England, I thought I knew what to expect. Lynda was a comfortable-looking, gray-haired woman of Burton’s age. I assumed that they’d been together for decades; but as she drove me from Griff House to the village she told me that they’d been married for only four years.

“We met through local history,” she said, with unexpected sauciness. “John founded the Bedworth Society, and I did a tour of the almshouse. Within three weeks, I was on the committee.” She paused as if finished, and I asked how that had turned into marriage. “Both our marriages split up,” she went on. “And then for a while it was just commiserating.” The rest of the story hung in the air, unspoken and inevitable, and I imagined late love blooming in Bedworth over weak coffee and crumpled agendas. I also thought of something that Dorothea tells Rosamond toward the end of “Middlemarch,” as she struggles toward her own comprehension of the complexity of intimate human relations: “Marriage is so unlike everything else. There is something even awful in the nearness it brings.” It was a sentence that had puzzled me on my first reading, when being married seemed far off; twenty-five years later, I was beginning to understand it.

Barnacle, a village of ninety-six houses, was tucked away amid patchwork fields. A placard on the roadside offered leeks and duck eggs for sale. (“You can get leeks and duck eggs, and not much else, in Barnacle,” Lynda observed.) It was a mild evening, and the twilight air was soft when we arrived at the village hall, where the party was taking place. By the time we got there, half the village had shown up. There were older men wearing stiff tuxedos, and teen-agers looking like bridesmaids, with complicated hair and lots of makeup. A band was energetically playing pop classics, fronted by a singer who had been a member of a sixties-era group that even I was mercifully too young to recall.

Not far from Barnacle lies the village of Bulkington, which George Eliot drew upon for her depiction of Raveloe, in “Silas Marner.” By the time she wrote the novel, in 1861, she had exiled herself forever from the Midlands: once she had started her romance with Lewes, she was too controversial to go home. In “Silas Marner,” Eliot describes an annual village dance, and her nostalgia is evident: “Already Mr. Macey and a few other privileged villagers who were allowed to be spectators on these great occasions, were seated on benches placed for them near the door; and great was the admiration and satisfaction in that quarter when the couples had formed themselves for the dance, and the Squire led off with Mrs. Crackenthorp, joining hands with the Rector and Mrs. Osgood. That was as it should be—that was what everybody had been used to—and the charter of Raveloe seemed to be renewed by the ceremony.”

The dance in Barnacle seemed not so distant from the world that George Eliot honored and left behind, and something also seemed renewed there. The hostess was a tanned, handsome woman in a bright-yellow dress, whose neighbors—the contemporary equivalents of the Squire and Mrs. Crackenthorp—cheered when she thanked them all for coming. As the sky darkened outside, I sat and watched as, one by one, villagers young and old took to the floor to dance together, in merry celebration of the unremarkable. ♦

‘It’s never too late’ – Origin, Meaning, Expansion, Importance

Origin of the phrase.

The earliest written form of the proverb, ‘it’s never too late’, is often attested to be in the works of the novelist George Eliot in the late nineteenth century.

However, it is likely that by the time Eliot wrote the proverb down, people had been saying it to each other for centuries.

This proverb, “it’s never too late”, means that ‘it does not matter how late it is, a person should always take the opportunity to pursue their goals’. It means that:

there is always time to start what we wanted to start, there is always time to pick up again something that we had stopped doing. the present moment is always a great time to follow our dreams. This proverb encourages us to get to work. It emphasizes on the fact that that a new task can be started anytime and there is no need to waste any further time.

To what does ‘it’ refer, for example? It can be whatever activity the person using the proverb wants it to refer to.

This proverb is often cited as an answer to a complaint: when people complain ‘it is too late to do a thing’, other can reply that ‘it’s never too late’.

The idea of being too late is crucial to this proverb. Too late can be many things. It might mean missing a deadline for school. Or, it might mean getting too old to pursue a certain activity. Often, the idea of what is too late or on time is a subjective one.

The aim of this proverb is to ‘motivate people to begin projects that they had been putting off’. It’s never to late to learn something new. There’s always time to get an education. This proverb can be used to combat ageism.

Often, the phrase ‘it’s never too late’ is often incorporated into a longer phrase. For example, people sometimes say ‘it’s never too late to begin’ or ‘it’s never too late to change your life’.

The importance of this proverb.

1. Motivation: This proverb encourages people to start on their projects and realize their dreams.

2. Uplifting: When people feel despairing, as if they have missed their chance to do something they wanted to do, the proverb ‘it’s never too late’ can uplift them and banish those despairing feelings.

3. Countering prejudice: It is often said that at a certain point in our lives, it is too late to begin some projects. For example, there are those who think that pensioners are too old to go to high school or university or that people who missed out on passing their driving test the first time around have lost their opportunity completely. The proverb ‘it’s never too late’ assures us that, no matter how old we are, we can start anything that we want to!

4. Helping with work stress: In our working lives, we are often hit with deadlines that we cannot always meet. The proverb ‘it’s never too late’ encourages us to believe that it is never too late to salvage a situation.

5. Recovering relationships: This proverb is often cited in a romantic context. It’s never too late to tell the love of our life that we love them or to reconcile after some time apart.

Conclusion.

The proverb ‘it’s never too late’ is a positive and encouraging phrase that enables people to live life to the full. If we live by this proverb, rather than feeling like one missed opportunity means that we can never go back and start all over again, we know that it is in our power to begin whatever projects we want to begin – at any time of life. We can apply this proverb to all areas of life, whether in a professional context or in a romantic and personal context.

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It’s Never Too Late

written by: Dianne Moritz

As a writer, I found success late in life. Although I’ve been writing since childhood, I never dreamed I could actually publish anything. Still, life is full of surprises: creativity blossoms, connections are made, epiphanies happen, then, suddenly, it veers off in a direction previously unimaginable. In my mid-thirties, I felt dissatisfied and frustrated, so I went into therapy. I found a therapist who encouraged me to jot down my feelings and dreams in journals. I followed his advice. I scribbled nearly every night, which led to anecdotes, poems, stories, letters to editors, and opinion pieces. Reading women’s magazines, I noticed that most of them featured a last page personal essay. I can do that, I thought. I discussed this with my doctor, who said, “Go for it.” I complied. As the old adage goes, it’s never too late. After submitting my compositions to magazines and newspapers around the country, I scored my very first sale, a humor piece, to Woman’s World for $300, in 1983 at age 37. Another sale to them soon followed. Yes, I’m a late bloomer, but I’m in great company. Laura Ingalls Wilder published “Little House on the Prairie” at age 65. She eventually wrote an eight book series that is still popular today. It is the book that keeps on giving….inspiring a hit television show that aired from 1974-1982….and earning millions. Louisa May Alcott, author of “Little Women,” was 37 when it came out. She is quoted as saying, “ I want to do something splendid…something wonderful that won’t be forgotten after I’m dead…I shall write books. ” Her book has been adapted for six films to date, plus a few plays, several mini-series, an opera, a ballet, and a musical. Wow, she’s remembered alright. And everyone on the planet knows about JK Rowling, a divorced, single parent, who penned the Harry Potter series, spawning many block-buster movies, and raking in billions. But here’s the thing, when you’re passionate about something, it’s never about the money. If great success comes, it is merely icing on the cake. The legendary confessional poet, Charles Bukowski, wrote stories and poems for years while traveling around and working various jobs. Hearse Press published his first chapbook of poems in 1960. Bukowski was forty and working for the post office in Los Angeles. In 1969, he quit to write full-time. “ I have one of two choices – stay in the post office and go crazy…or stay out here and play at writer and starve. I have decided to starve. ” He completed his first novel “Post Office” less than a month later, at age 49. Of course, he didn’t starve, as Black Sparrow Press published most of his subsequent works. There are numerous writers who found success later in life. Children’s writer, and one of my Facebook friends, Laurie Wallmark, received her MFA and published her debut book, Dino Pajama Party, at 61. Five female STEM biographies followed. I was 54 when I sold my poem, SANTA LIVES, to Peter, Pauper, Press, who then published it as a holiday gift book. I subsequently sold 4 more picture books. My latest one came out right before my 76th birthday. A year later, I continue to write picture books, haiku, poetry for both kids and adults, as well as essays and editorials. Hey, google “late bloomers” and you’ll find scores of other older writers, and lots of late bloomers in other fields, too. Yes, it’s never too late to follow your passion, no matter what it is. Senior citizens run marathons. President Carter’s mother joined the Peace Corps. Nancy Pelosi’s daughter just released a documentary about her mother. So, wish upon a star, and follow your dreams whenever and wherever they take you.

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Expansion of an Idea – “It’s Never Too Late to Mend” for Students / Teachers / Parents

The proverb “It’s Never Too Late to Mend” emphasizes the importance of continuing efforts to make amends, even after a long period of time has passed. This proverb teaches us that it is never too late to take steps towards reconciliation, healing, and growth. It reminds us that it is never too late to make positive changes in our lives, relationships, and communities.

It’s Never Too Late to Mend

The proverb “It’s never too late to mend” suggests that no matter how difficult or hopeless a situation or relationship may seem, it is always possible to repair or improve it. This phrase implies that it is never too late to make amends, seek forgiveness, or take steps to resolve a conflict.

The proverb emphasizes the importance of perseverance and a positive attitude in the face of challenges. It encourages us to remain hopeful and to believe that positive change is possible, even when things may seem dire or impossible.

In the context of personal relationships, the proverb suggests that even after prolonged difficulties or conflicts, it is still possible to mend and restore the relationship. By acknowledging mistakes, taking responsibility for our actions, and expressing genuine remorse, we can begin the process of healing and reconciliation.

The proverb is also applicable to broader social issues, such as addressing historical injustices or promoting social change. It suggests that even after years of systemic oppression or discrimination, it is still possible to take steps towards positive change and social progress.

In conclusion, the proverb “It’s never too late to mend” emphasizes the importance of perseverance and a positive attitude in the face of challenges. It encourages us to remain hopeful and to believe that positive change is always possible, no matter how difficult or hopeless a situation or relationship may seem.

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August 19, 2024

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Print or web publication, “it’s never too late”.

I have thought of myself as a writer from the time of my childhood. So, the best advice I ever received on the subject of writing was to never give up. I needed that directive because I had abandoned my dream of writing professionally, opting for what seemed a more practical career as a lawyer. “Lawyers write,” I told myself as a consolation. I could still experience the power of expressing myself on the page, and it could be for good causes. But very often the words lawyers write express the feelings and desires of others, things they themselves may not believe. The prospect of doing that forever was deeply unsatisfying. Writing was, for me, about telling the truth—or as near to the truth as could be found.

One evening in Manhattan, wrestling with these feelings, I went to see James Baldwin give a talk. Baldwin was the idol of my youth, the consummate truth-teller about the United States. I read his work obsessively, captivated by his marvelous style and lightning intelligence. It was thrilling to be in the same room with him. After he finished his talk, I stood in line to have him sign a copy of one of his books. I approached nervously, handed him my book and proceeded to tell him—much too rapidly, trying to fit everything into our brief encounter—how much his work meant to me. I ended, “I’ve always wanted to be a writer, but it’s too late.” He paused, looked up, and smiled. “It’s never too late,” he said. That was all I needed.

Annette Gordon-Reed is the Charles Warren Professor of American Legal History at Harvard Law School, Professor of History in the Faculty of Arts and Sciences, and Carol K. Pforzheimer Professor at the Radcliffe Institute for Advanced Study. She is the author of  The Hemingses of Monticello: An American Family .

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Lesson of the Day: Inspiration From The Times’s ‘It’s Never Too Late’ Series

In this lesson, students will read about people who pursued dreams later in life. Then, they will interview someone with a similar story, or make a plan to pursue a dream of their own.

By Jeremy Engle

Lesson Overview

Featured Series: “It’s Never Too Late”

Many of us dream of trying something new, but then somehow fail to get around to it. A new Times series, “It’s Never Too Late,” tells the inspiring stories of people who have decided to switch gears, change their lives and pursue their dreams.

Whether it’s playing the cello , climbing a mountain , learning to ride horseback or recording your first album, these stories are a reminder that you never know what the future holds — but you do have the power to shape it. As Vijaya Srivastava, who learned to swim at 68, put it: “Finally I decided if I don’t try, it’s never going to happen.”

In this lesson, you will learn about people who prove that you can always change your life. In a Going Further activity, you will use some of the Times’s articles as mentor texts to create your own portrait of an older person who tried something new later in their lives. Or, you can make a plan to pursue a dream of your own!

Consider the two sayings:

“You can’t teach an old dog new tricks.”

“It's never too late to be what you might have been.”

Which of these sayings do you find more accurate, more true to life?

Turn to a partner and share your thoughts. Then, discuss one or more of the following questions:

Are there certain things that are easier or harder to learn, depending on your age?

Is there anything that, in your relatively young life, you already feel it’s too late to try?

Are there any goals you have that might be better to pursue when you are older?

Article Choices:

Choose one of the articles in the “It’s Never Too Late” series to read in its entirety:

It’s Never Too Late to Fall in Love For Phyllis Raphael, 86, a chance meeting on the street turned into a get-together. Then came a date. A second and third followed. So did a love affair.

It’s Never Too Late to Record Your First Album For a celebrated architecture professor at the University of California, Berkeley, an album of 11 original songs, in a variety of genres, was eight decades in the making.

It’s Never Too Late to Follow Your Spiritual Calling After coming out as a transgender woman more than two years ago, Vica Steel never dreamed of forging a path to church leadership. Until now.

It’s Never Too Late to Climb That Mountain Dierdre Wolownick, whose son, Alex Honnold, is one of the world’s top rock climbers, ascended Yosemite’s El Capitan to celebrate her 70th birthday.

It’s Never Too Late to Publish a Debut Book and Score a Netflix Deal Jocelyn Nicole Johnson, at 50, is not the average age of a debut author. But the public school teacher describes herself as a “literary debutante” with the October publication of “My Monticello.”

Questions for Writing and Discussion

Answer the questions below based on the article you read:

1. Which article in the “It’s Never Too Late” series did you select and why? Give a short snapshot of the older person profiled in the piece, including at least two significant biographical details.

2. What was this person’s goal? What obstacles prevented them from pursuing their dream when they were younger? What finally prompted or inspired them to go for it?

3. What did they discover when they achieved their long-sought-after goal — about themselves and about life?

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It’s never too late to dream big

Grammar - structures with 'It'

LESSON OVERVIEW

The main objectives of this lesson are to:

• discuss life and career goals;
• practise structures with ‘It’ to give opinions;
• watch a video and talk about personal passions.

This lesson allows students to understand the use of structures with ‘It’ (e.g. it seems to me that, it feels as if, it looks like , etc.), share their opinions on dreams and ambitions, and practise useful vocabulary to talk about the topic (e.g. pursue, defer, master , etc.). They also discuss balancing dreams and practical life challenges and watch a video about a man who pursues two careers.

This is a Flipped Classroom lesson plan. In a nutshell, it means that the first part of the lesson needs to be done by students at home. Learn more about flipped classroom and how we implement it in these lesson plans in our post.

PRE-CLASS ACTIVITIES

At home, students study and practise the use of structures with ‘It’. First, they match the structures (e.g. It + verb + that ) with examples (e.g. It annoys me that he keeps making excuses. ). After that, students complete sentences using given verbs (e.g. amaze, worry, occur , etc.) and one of the structures from the previous task.  

IN-CLASS ACTIVITIES

In the in-class part of the lesson , students look at a statement that is often used in motivational speeches about people achieving their dreams and comment on it using a prompt (e.g. It sounds as if…, it looks like…, it appears that… , etc.). Afterwards, they discuss questions about childhood dreams and their influence. Then, students use pairs of words to complete sentences about balancing dreams and practical life challenges. Students can work more with the phrases they created (e.g. make every moment count, spread oneself too thin, etc . ) by answering short questions . Following that, students respond to the statements from the previous exercise using the structures with ‘It’. 

In this part of the lesson, students make predictions about the video they are going to watch by reading comments . Then, they watch the video about a man who pursues his two passions as a doctor and a chef and put the events in the correct order. After that, students try to answer questions about the video and watch it again to check their comprehension . Next, they look at ideas connected to the video and say to what extent they agree or disagree with them. Finally, students discuss statements about pursuing multiple careers versus focusing on a single goal. They answer questions using structures with ‘It’ and verbs studied in the lesson (e.g. appear, seem, bother , etc.). 

HOMEWORK/REVISION

This lesson also includes an additional task that you can use as homework or revision. In the task, students choose the correct words in unfinished sentences and continue them using words in brackets. The task is available in the teacher’s version of the worksheet. You can print it and hand it out to your students. It’s also included in the e-lesson plan.

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I’m sorry but the pdfs don’t want to open 🙁

Hi! It’s probably a cookies/cache issue. Please try accessing the website in Incognito mode to see if the same happens there. If not and you can access that lesson that way, I’d recommend clearing cookies/cache in your browser as this should provide a permanent fix.

Thank you so much for your reply. I did as I was told but it sadly didn’t do anything. And I can access other handouts without any problems.

Hi! Can you please email us at [email protected] with this issue so that we can help you fix it? Thanks!

The worksheet has been posted but it cannot be accessed!

Hi! It works fine on our side. Please email us at [email protected] and describe the issue so that we can help you resolve it 🙂

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Is there a minimum subscription period if I choose a monthly subscription?

No, there’s no minimum required number of subscription months. You can cancel any time you want. Basically, you can sign up and then cancel your subscription the next day, which will mean you have access for 1 month and won’t be charged again.

What currencies can I pay in for my subscription?

Our default currency is USD (American dollar), but you can also pay in EUR (euro), GBP (British pound sterling) or PLN (Polish zloty). You can change the currency you want to pay in at the Pricing page before selecting a subscription plan.

How can I edit an e-lesson plan?

You can get your own editable copy of an e-lesson plan and make changes to it. To do so, either (1) make a copy of it on your Google Drive (preferable method) or (2) download it in a Powerpoint format (but formatting might be a bit off so we can’t guarantee that it will work well).

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It’s Never Too Late To Study

Jessamy Amic

Table of contents.

What would you do if you had the chance to do things differently? 

It’s a question that most of us have either asked other people or asked ourselves. For people who feel stuck in their career choices , this question runs through their head often. It’s a wonderful daydream to have until it’s back to reality. 

We often think that switching careers or learning a new skill is risky. Furthering your studies often meant reviewing your budget and perhaps disrupting your work schedule to keep up with classes.

However, with today’s digital evolution, you have the chance to keep your current job while you develop or refine your knowledge. Here’s why it’s never too late to study:

Flexible schedule

The biggest misconception about studying – especially if you’re an adult with a career – is that there’s no time to keep up with studying and fulfil your work tasks.  

With online learning , you can learn at a pace that is comfortable for you and doesn’t disrupt your work. These days, all you need is a stable internet connection and a device. You can learn during lunchtime, at home, or read notes on your commute. 

Online courses are also not a massive time commitment. You can now educate yourself within a few weeks. Notes are succinct and simple to understand, which makes learning easier and more engaging. 

Learning for all ages and experience

You must shudder to think about sitting in a classroom with students way younger than you. It’s a thought that often discourages most people from furthering their studying, but it shouldn’t. 

Furthering your education is noble and the best investment. Remember, you’re doing this for you. With work experience and wisdom, you may have an edge. 

Also, investing in education doesn’t always mean taking classes at a university. With online learning , having insecurities around your fellow students are a thing of the past. The goal of the content is to ensure that knowledge can be easily applied to the workplace. This is why it’s easy to understand and accessible to all levels. 

Change your career whenever you want 

Let’s say you’ve been working in marketing for a long time, but you’re ready to strike out on your own. Starting your own business seems appealing, but you have no idea about the basics of entrepreneurship.

Investing in your education will help you develop business acumen and provide you with the basic principles of entrepreneurship. 

Boost your career prospects

If you’re looking at getting a promotion at work, learning a new skill will help. Online learning can help you develop a new skill – whether it’s refining your marketing abilities or learning about HR. Adding a new certificate to your CV will ensure you’re top of the shortlist. 

Learning is still fun

Learning a new skill at any age is always enjoyable. These days, course content has become so interactive that they’re more enjoyable. Now, you have quizzes and videos from experts in the industry. 

No matter your experience or age, you still have the chance to better your prospects in the workplace. Furthering and expanding your knowledge helps. It’s never too late to make the leap! 

Browse our course catalogue today and discover how you can set yourself up for the future. 

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It's Never Too Late to Convince Patients to Quit Smoking

Kenneth W. Lin, MD, MPH

Authors and Disclosures

Disclosure: Kenneth W. Lin, MD, MPH, has disclosed no relevant financial relationships.

Hi, everyone. I'm Dr Kenny Lin. I am a family physician and associate director of the Lancaster General Hospital Family Medicine Residency, and I blog at Common Sense Family Doctor .

An estimated 450,000 US deaths are expected this year from conditions attributed to cigarette smoking. Although the percentage of adults who smoke declined from 21% in 2005 to 11% in 2022, the annual death toll has been stable since 2005 and isn't expected to decline until 2030, owing to aging population of current and former smokers.

In 2022, based on a national survey , two thirds of the 28.8 million US adult smokers wanted to quit, and more than half tried quitting on their own or with the help of clinicians, but less than 9% succeeded in kicking the habit. The health benefits of quitting, summarized in a patient education handout from the American Cancer Society, include a lower risk for cancer, diabetes, and cardiovascular disease. Furthermore, the handout states, "quitting smoking can add as much as 10 years to your life, compared to if you continued to smoke."

For my patients older than age 50 who are lifelong smokers, the qualifier "as much as" can be a sticking point. Although most recognize that continuing to smoke exposes them to greater health risks and are willing to undergo lung cancer screening and receive pneumococcal vaccines , a kind of fatalism frequently sets in. I've heard more times than I can recall some version of the declaration, "It's too late for quitting to make much difference for me." Many smokers think that once they reach middle age, gains in life expectancy will be too small to be worth the intense effort and multiple failed attempts that are typically required to quit permanently. Until recently, there were few data I could call on to persuade them they were wrong.

In February 2024, Dr Eo Rin Cho and colleagues pooled data from four national cohort studies (United States, United Kingdom, Norway, and Canada) to calculate mortality differences among current, former, and never smokers aged 20-79 years. Compared with never smokers, lifelong smokers died an average of 12-13 years earlier. However, quitting before age 50 nearly eliminated the excess mortality associated with smoking, and in the 50- to 59-year-old age group, cessation eventually reduced excess mortality by 92%-95%. Better yet, more than half of the benefits occurred within the first 3 years after cessation.

At first glance, these estimates may seem too good to be true. A few months later, though, a different research group, using data from a large cancer prevention study and 2018 US population census and mortality rates, largely confirmed their findings . Dr Thuy Le and colleagues found that quitting at age 35, 45, 55, 65, or 75 years resulted in average life gains of 8, 5.6, 3.5, 1.7, and 0.7 years, respectively, relative to continuing to smoke. Because no patient is average, the analysis also presented some helpful probabilities. For example, a smoker who quits at age 65 has about a 1 in 4 chance of gaining at least 1 full year of life and a 1 in 6 chance of gaining at least 4 years. In other words, from a life expectancy perspective alone, it's almost never too late to quit smoking.

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