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A study of characterisation in the novels of George Eliot

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145.<br />

lito do what >'Jas pleasant to herself <strong>in</strong> a strik<strong>in</strong>g manner, II 52 is set<br />

with<strong>in</strong> <strong>the</strong> ironic framework <strong>of</strong> her ignorance that she is "held captive<br />

by <strong>the</strong> ord<strong>in</strong>ary '.virework <strong>of</strong> social forms II and thus can do "noth<strong>in</strong>g <strong>in</strong><br />

particular. II<br />

The passion <strong>in</strong> her to be <strong>in</strong>dependent is grand but <strong>the</strong><br />

r~armfor her to achieve that <strong>in</strong>dependence are slight. Noth<strong>in</strong>g expresses<br />

this contrast more vividly than <strong>the</strong> follow<strong>in</strong>g l<strong>in</strong>es <strong>of</strong> authorial comment,<br />

that "she rejoioed to feel herself exceptional; but her horizon<br />

was that <strong>of</strong> <strong>the</strong> genteel romance where <strong>the</strong> hero<strong>in</strong>e's soul poured out <strong>in</strong><br />

her journal is full <strong>of</strong> vague power, orig<strong>in</strong>ality, and general rebellion,<br />

while her life moves stricjly <strong>in</strong> <strong>the</strong> sphere <strong>of</strong> fashion; and if she<br />

wanders <strong>in</strong>to a swamp, <strong>the</strong> pathos lies partly, so to speak, <strong>in</strong> her hav<strong>in</strong>g<br />

on her sat<strong>in</strong> shoes." 54<br />

This gives a portrait on two levels: ~vendolen's<br />

picture <strong>of</strong> herself<br />

is a portrait full <strong>of</strong> brilliancy, all foreground with scarcely any middle<br />

distanoe or background to relate her to <strong>the</strong> rest <strong>of</strong> <strong>the</strong> world; but <strong>George</strong><br />

<strong>Eliot</strong> skilfully fills out for us <strong>the</strong> background so that we can see what<br />

Gwendolen cannot, that this brilliant portrait is really just a detail<br />

from a massively constructed picture. No wonder, <strong>the</strong>n, that when Deronda<br />

tells her someth<strong>in</strong>g <strong>of</strong> his plans for go<strong>in</strong>g to <strong>the</strong> East, li<strong>the</strong> world seemed<br />

gett<strong>in</strong>g larger round poor Gwendolen, and she more solitary and helpless<br />

55<br />

<strong>in</strong> <strong>the</strong> midst." She thought she hl3d <strong>the</strong> canvas to herself', or at least<br />

shared it only with <strong>the</strong> neoessary admirers, and she had no iruCl<strong>in</strong>g, until<br />

<strong>the</strong>n, <strong>of</strong> <strong>the</strong> cistance between her m<strong>in</strong>d and Deronda~s.<br />

If' we set <strong>the</strong> proud, self-conta<strong>in</strong>ed, self-delight<strong>in</strong>g ~vendolen<br />

<strong>of</strong><br />

<strong>the</strong> first part <strong>of</strong> <strong>the</strong> book alongside <strong>the</strong> somewhat pa<strong>the</strong>tic, self-doubt<strong>in</strong>g<br />

woman <strong>of</strong> <strong>the</strong> f<strong>in</strong>al pages, we can make a fairly firm judgement <strong>of</strong> <strong>George</strong><br />

<strong>Eliot</strong>'s <strong>in</strong>tentions with regard to her. Gwendolen, after proudly reject<strong>in</strong>g<br />

all claims on herself, and roundly <strong>in</strong>sist<strong>in</strong>g on her ovm claims, has<br />

been chastened and subdued. The <strong>in</strong>jury she has done to 1~s<br />

Glasher and

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