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A study of characterisation in the novels of George Eliot

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147.<br />

us Paul Till:i.ch ma<strong>in</strong>ta<strong>in</strong>s, lito leap from doubt to dogmatic certitude,<br />

from mean<strong>in</strong>gle:csness to a set <strong>of</strong> symbols <strong>in</strong> which <strong>the</strong> mean<strong>in</strong>g <strong>of</strong> a<br />

special ecclesiatical or political group is embodied." 63 This anticipates<br />

Derondit's leap <strong>in</strong>to Jewish nationalist politics. Deronda feels<br />

that his life is mean<strong>in</strong>gless; ~Nendolen,<br />

that hers is dreary. Both<br />

show <strong>in</strong>creas<strong>in</strong>gly <strong>the</strong> alienation from <strong>the</strong>mselves and <strong>the</strong> life around<br />

<strong>the</strong>m that becomes so strong a <strong>the</strong>me <strong>in</strong> later writers. Both respond to<br />

<strong>the</strong>ir situations with vary<strong>in</strong>g degrees <strong>of</strong> egoism. Gwendolen seeks to<br />

achieve identity and vividness by do<strong>in</strong>g IIwhatever she could do so as to<br />

strike o<strong>the</strong>rs with admiratiol}, and get <strong>in</strong> that re:fnected way a more ardent<br />

sense <strong>of</strong> liv<strong>in</strong>g"; 64 Deronda keeps himself' apart, encourag<strong>in</strong>g, even<br />

<strong>in</strong>vit<strong>in</strong>g, o<strong>the</strong>r people's confidences but not trust<br />

<strong>the</strong>m 'wi th his<br />

doubts and difficulties <strong>in</strong> return, and occasionally even feel<strong>in</strong>g a<br />

tw<strong>in</strong>ge <strong>of</strong> resentment that <strong>the</strong>y fail to see him as human. Both <strong>of</strong> <strong>the</strong>m<br />

are act<strong>in</strong>g a part; Gwendolen more obviously, Dnd Vle can see how her extreme<br />

sensitivity to <strong>the</strong> op<strong>in</strong>ions <strong>of</strong> o<strong>the</strong>r people becomes a pOi'lerful<br />

weapon <strong>in</strong> Gr!1llc.court t s armoury aga<strong>in</strong>st her. She exerts <strong>the</strong> utmost <strong>of</strong> her<br />

pride and control to conceal from her mo<strong>the</strong>r ana <strong>the</strong> vlorld that she has<br />

made a disastrous marriage, and to all but Deronda appears totally selfconta<strong>in</strong>ed.<br />

But Deronda, equally, is unable, as it '\'lere, to lose face,<br />

or to appear vulnerable; his recoil from <strong>the</strong> Jewish friend <strong>of</strong> his grandfa<strong>the</strong>r,<br />

and his distanc<strong>in</strong>g himself from a possible friend at school, are<br />

equally self-protective mechanisms, perfectly credible and justifiable,<br />

but examples no less <strong>of</strong> mauvai~:!e<br />

foi. He certa<strong>in</strong>ly represents, however,<br />

a more advanced moral state than Gwendolen, who, to beg<strong>in</strong> with, f'ee~s<br />

that it is <strong>the</strong> 'Norld that is to blame for her misfortunes and seeks to<br />

ovade rer-:ponsibilities and duties. Deronda, on <strong>the</strong> o<strong>the</strong>r hand, fully<br />

recognises <strong>the</strong> dangers <strong>of</strong> aircLlessness and <strong>in</strong>sufficient motivation <strong>in</strong><br />

himself and welcome!) '.dth relief <strong>the</strong> responsibilities ana. commitments

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