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A study of characterisation in the novels of George Eliot

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ignore <strong>the</strong> fact that we have only <strong>the</strong> one set <strong>of</strong> alternatives. Doro<strong>the</strong>a<br />

is regarded as unconventional and dar<strong>in</strong>g <strong>in</strong> marry<strong>in</strong>g a man whose genealogy<br />

is as confused as 1adislaw's; unless we are very much on our guard,<br />

we f<strong>in</strong>d ourselves accept<strong>in</strong>g <strong>George</strong> <strong>Eliot</strong>'s presentation <strong>of</strong> <strong>the</strong> possibilities<br />

which confront Doro<strong>the</strong>a and we do not recognise <strong>the</strong> sleight-<strong>of</strong>hand<br />

<strong>in</strong>volved. Given <strong>the</strong> available choices, Doro<strong>the</strong>a is :Yndoubtedly rebellious<br />

when she decides to discard her fortune to marry Will, but <strong>in</strong><br />

a wider context than <strong>the</strong> novel such rebelliousness surely does not count<br />

for much.<br />

The third rebellious character, Ca<strong>the</strong>r<strong>in</strong>e Arro ....'lPo<strong>in</strong>t <strong>in</strong> Daniel<br />

Deronda, has an amus<strong>in</strong>g <strong>in</strong>terview vdth her outraged parents when she<br />

tells <strong>the</strong>m she is go<strong>in</strong>g to marry Herr Klesmer. They had fully expected<br />

her to sacrifice herself by marry<strong>in</strong>g some impecunious, but high-rank<strong>in</strong>g<br />

gentleman. Informed by her mo<strong>the</strong>r that it is her duty '''to place a great<br />

property <strong>in</strong> <strong>the</strong> right hands,'" she answers tartly that Ilf people can<br />

easily take <strong>the</strong> sacred word duty as a name for what <strong>the</strong>y des~re<br />

any one<br />

else to do. t II 49 It is a sentiment t hat we might vlell wish o<strong>the</strong>r <strong>of</strong><br />

<strong>George</strong> <strong>Eliot</strong>'s hero<strong>in</strong>es had been able to utter. But Ca<strong>the</strong>r<strong>in</strong>e is not a<br />

protagonist. Her function <strong>in</strong> <strong>the</strong> novel is to provide a foil to Gwendolen.<br />

T~Air respective attitudes to music, for example, are contrasted.<br />

Ca<strong>the</strong>r<strong>in</strong>e's character shows strength and <strong>in</strong>tegrity and her approach to<br />

<strong>the</strong> sacred world <strong>of</strong> art is a mark <strong>of</strong> her moral worth. A f<strong>in</strong>e musician,<br />

she would never have contemplated us<strong>in</strong>g her music as a mere means <strong>of</strong><br />

earn<strong>in</strong>g money as Gwendolen does. The scene I have just referred to,<br />

shows her choos<strong>in</strong>g comparative poverty for <strong>the</strong> sake <strong>of</strong> love. Gwendolen<br />

will shortly accept a loveless but wealthy marriage. But Ca<strong>the</strong>r<strong>in</strong>e is a<br />

static character <strong>of</strong> little account <strong>in</strong> her ovm self and appears only <strong>in</strong><br />

explicitly pattern<strong>in</strong>g episodes. Therefore, it is safe to entrust such<br />

a subversive speech to her. Besides, her parents' expectations <strong>of</strong> her

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