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A study of characterisation in the novels of George Eliot

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195.<br />

for effective aotion is distorted by his egoism; he persistently th<strong>in</strong>ks<br />

<strong>of</strong> himself as a free agent, able to oontrol and manipulate oiroumstanoes<br />

to his own ends. But, far from aohiev<strong>in</strong>g a greater measure <strong>of</strong> freedom,<br />

he is effectively b<strong>in</strong>d<strong>in</strong>g himself tighter and tighter. The steel waistcoat<br />

he wears oonoealed under his jaoket to guard himself aga<strong>in</strong>st unexpeoted<br />

attaok is but <strong>the</strong> external manifestation <strong>of</strong> <strong>the</strong>straitjaoket <strong>of</strong><br />

fear he oarries with<strong>in</strong> him; <strong>the</strong> "undy<strong>in</strong>g habit <strong>of</strong> fear" 12 as <strong>George</strong><br />

<strong>Eliot</strong> describes it.<br />

<strong>George</strong> <strong>Eliot</strong> handles this opposition between reality and <strong>the</strong> distorted<br />

view <strong>of</strong> reality produoed by <strong>the</strong> solipsistio, egoistio assumptions <strong>of</strong><br />

her oharaoters with <strong>in</strong>creas<strong>in</strong>g skill. She expla<strong>in</strong>s <strong>in</strong> l4iddlemarch that<br />

<strong>the</strong> distorted view is caused by <strong>the</strong> "speck <strong>of</strong> self" 13 and we can see<br />

such a speck <strong>of</strong> self operat<strong>in</strong>g <strong>in</strong> Lydgatets attempt to reassess <strong>the</strong> part<br />

he played <strong>in</strong> vot<strong>in</strong>g for Tyke.<br />

He vms really uncerta<strong>in</strong> whe<strong>the</strong>r Tyke were not <strong>the</strong> more suitable<br />

candidate, and yet his consciousness told him that if he had been<br />

qutte tree "trom <strong>in</strong>d:irectbias be. should have voted for. Mr<br />

Farebro<strong>the</strong>r. The affair <strong>of</strong> <strong>the</strong> chapla<strong>in</strong>oy rema<strong>in</strong>ed a sore po<strong>in</strong>t<br />

<strong>in</strong> his memory as a case <strong>in</strong> which this ~ medium <strong>of</strong> Middlemarch<br />

had been too strong for him •••• So <strong>the</strong> Re~-Walter Tyke became<br />

chapla<strong>in</strong> to <strong>the</strong> Infirmary, and Lydgate cont<strong>in</strong>ued to work with<br />

&:: Bulstrode. 14 (II\Y italiCS) .<br />

The clause I have underl<strong>in</strong>ed shows <strong>the</strong> self-<strong>in</strong>terest which, .<strong>in</strong> fact, motivates<br />

Lydgate's choioe, for all its apparent impulsiveness. The word<br />

"petty" shows his actual attitude towards Middlemarch, and reveals unarguably<br />

one aspect <strong>of</strong> Lydgate's "spots <strong>of</strong> commonness," 15 his arrogance.<br />

In <strong>the</strong> discussion <strong>of</strong> Lydgate <strong>in</strong> <strong>the</strong> chapter on determ<strong>in</strong>ism, I<br />

<strong>in</strong>dicated how far this arrogance contributed to his moral deol<strong>in</strong>e by prevent<strong>in</strong>g<br />

him from mak<strong>in</strong>g a realistic assessment ei<strong>the</strong>r <strong>of</strong> himself or <strong>of</strong><br />

<strong>the</strong> environmental pressures on him.<br />

These various examples show <strong>George</strong> <strong>Eliot</strong>'s metaphorio use <strong>of</strong> <strong>the</strong><br />

''hard non-moral outward conditions." 16 They provide a frame and a<br />

po<strong>in</strong>t <strong>of</strong> reference for her <strong>novels</strong>. Soientific allusions, laws, sequences

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