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A study of characterisation in the novels of George Eliot

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205.<br />

one day be too heavy for him, and br<strong>in</strong>g his heart to its f<strong>in</strong>al 7<br />

pause •••• Mr Casaubon, too, was <strong>the</strong> centre <strong>of</strong> his own world ••••<br />

And accord<strong>in</strong>gly, we are <strong>in</strong>vited to enter <strong>the</strong> narrow circle <strong>of</strong> t hat world<br />

<strong>in</strong>habited by tta small hungry shiver<strong>in</strong>g self. II 8 We observe his lonel<strong>in</strong>ess,<br />

his despair at his unf<strong>in</strong>ished scholarship, his anxious conceal<strong>in</strong>g <strong>of</strong> his<br />

self-doubts, and his dread <strong>of</strong> sympathy. In ~ ~ .2!!. ~ Floss our<br />

attitude towards Tom Tulliver is strongly <strong>in</strong>fluenced by our sense <strong>of</strong> outrage<br />

at his treatment <strong>of</strong> ~ggie;<br />

this means that we have difficulty<br />

sympathis<strong>in</strong>g with his undoubted suffer<strong>in</strong>g and <strong>the</strong> bleak narrow<strong>in</strong>g <strong>of</strong> his<br />

life follow<strong>in</strong>g Mr Tulli ver t s "failure. tt It is a mark <strong>of</strong> <strong>George</strong> <strong>Eliot</strong>' s<br />

matured control that despite a similar identification with Doro<strong>the</strong>a we<br />

are capable <strong>of</strong> feel<strong>in</strong>g compassion for Mr Casaubon.Actually our identification<br />

with Doro<strong>the</strong>a is an important aspect <strong>of</strong> our compassion for Mr<br />

Casaubon. As she pa<strong>in</strong>fully comes to realise that he has "an equivalent<br />

centre <strong>of</strong> self, It 9 we also have to reconsider our assessment <strong>of</strong> him.<br />

Our appreciation <strong>of</strong> <strong>the</strong> f<strong>in</strong>eness <strong>of</strong> Doro<strong>the</strong>ats character requires <strong>of</strong> us<br />

an attitude <strong>of</strong> tolerant sympathy towards her husband. This is one <strong>of</strong> <strong>the</strong><br />

ways <strong>George</strong> <strong>Eliot</strong> seeks to enlarge <strong>the</strong> sensibilities <strong>of</strong> her readers by<br />

<strong>in</strong>duc<strong>in</strong>g that sympathy which, to her, is <strong>the</strong> essential mark <strong>of</strong> <strong>the</strong><br />

moral sense.<br />

Doro<strong>the</strong>a's changed perspective <strong>of</strong> Mr Casaubon is presented metaphorically<br />

<strong>in</strong> terms <strong>of</strong> <strong>the</strong> opposition between <strong>the</strong> "hard unaccommodat<strong>in</strong>g .<br />

Actual tI 10 and <strong>the</strong> blurred conception <strong>of</strong> that ac,"tual <strong>of</strong>fered by <strong>the</strong><br />

egoistic imag<strong>in</strong>ation. Indeed her changed way <strong>of</strong> see<strong>in</strong>g is as much a revised<br />

perception <strong>of</strong> herself. She recognises how far she has only herself<br />

to blame if her idealisation <strong>of</strong> her husband has raised false expectations<br />

<strong>in</strong> her. She realises that <strong>the</strong> "new real future which was replac<strong>in</strong>g <strong>the</strong><br />

imag<strong>in</strong>ary drew its material from <strong>the</strong> endless m<strong>in</strong>utiae by which her view<br />

<strong>of</strong> Mr Casaubon and her wifely relation, now that she was marri ed to him,

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