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A study of characterisation in the novels of George Eliot

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1<br />

thought processes as, f"ee:L<strong>in</strong>g secure i<br />

tak<strong>in</strong>g this resolution,<br />

he 'chen allows himself' to :fan~l.s. about :f'~ture 'I f"orbidden<br />

meet<strong>in</strong>gs with Hetty.<br />

The s<strong>of</strong>t air did not help his re~olutions, e::; he leaned out and<br />

lookGd <strong>in</strong>to <strong>the</strong> leaf"y distance. Jut he consifered his resolution<br />

suf"f"iciently f"ixed: <strong>the</strong>re was n( to ·is: with himself any<br />

longer. He had made up his m<strong>in</strong>d not to 'I:.eet Potty aga<strong>in</strong>; and now<br />

he might give himself" up to th<strong>in</strong>ld.ng how irnme:lsely agr~e~bl:.e .. it.<br />

would beif'circumstanoeswere dif"ferent--hovl pleasant' it would<br />

hayebeen to meet her this eveni:lg as she cam'" back, and put his<br />

a:r;j.; around her aga<strong>in</strong> and look <strong>in</strong>to her :'5weet "a. lie wondered<br />

if" <strong>the</strong> dear little th<strong>in</strong>g were ;.hil'l.k<strong>in</strong>g <strong>of</strong> him too-twenty to one<br />

she was. How beautifJ,ll her eyes 'were with <strong>the</strong> tear on <strong>the</strong>ir<br />

lashes! He would like to satisf"y his soul for a day with look<strong>in</strong>g<br />

at <strong>the</strong>m, and he ~ see her aga<strong>in</strong>. 9<br />

This is a very successful account <strong>of</strong> <strong>the</strong> behavior <strong>of</strong> a weak-willed<br />

man under extreme temptation and presents no jarr<strong>in</strong>~<br />

false note. However,<br />

<strong>in</strong> o<strong>the</strong>r parts <strong>of</strong> ~ Bede, <strong>George</strong> <strong>Eliot</strong> is not alYiB.Ys so sure <strong>of</strong> her<br />

narrative teohnique. \llhen she turns directly to <strong>the</strong> reader with, "Are<br />

you <strong>in</strong>cl<strong>in</strong>ed to ask whe<strong>the</strong>r this Can be <strong>the</strong> same krt';:ur?" 1 0 we become<br />

aware <strong>of</strong> an <strong>in</strong>stability <strong>in</strong> her relation to her ohars'Jters ,l<br />

a<br />

stridency <strong>of</strong> ef"feot. Disouss<strong>in</strong>g this failure <strong>of</strong>"<br />

Laurenoe Lerner oomments that Itto expose self-decepti.',ln is to po<strong>in</strong>t out<br />

an <strong>in</strong>oongruity: between tr'ue and false versions <strong>of</strong><br />

between what is seen and what is. In Adam Bede Gear;;;,<br />

-~ '.-~<br />

world or <strong>the</strong> self",<br />

<strong>Eliot</strong> shows one-<br />

,half <strong>of</strong> <strong>the</strong> ..<br />

ncongruity (what is seen) with COllSUID.m.",e skill ..... 1ne f"ailure<br />

comes <strong>in</strong> her render<strong>in</strong>g <strong>of</strong> <strong>the</strong> o<strong>the</strong>r half;. for at" sometimes :tells,<br />

us Wliat is, a.t effusive, even embarrass:lng length,<br />

with a frequent<br />

betrayal <strong>of</strong> uncerta<strong>in</strong>ty. II 11<br />

By <strong>the</strong> time she came to write Romol~ however, G~.;;orge <strong>Eliot</strong> had<br />

ga<strong>in</strong>ed considerably <strong>in</strong> assurance and <strong>the</strong> ironic<br />

'ntation <strong>of</strong> <strong>the</strong><br />

dissonance betweon what Tito thL

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