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A study of characterisation in the novels of George Eliot

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208.<br />

he did not look mood;y; if he decl<strong>in</strong>ed ~'ome<br />

labour--why, he flung himself<br />

down with such a charm<strong>in</strong>g, half-smil<strong>in</strong>g, half-plead<strong>in</strong>g air, that <strong>the</strong><br />

pleasure <strong>of</strong> look<strong>in</strong>g at him made amends to one who had watched his growth<br />

with a sense <strong>of</strong> claim and possession. n 18 The next two sentences show<br />

<strong>the</strong> skilful <strong>in</strong>terweav<strong>in</strong>g <strong>of</strong> <strong>the</strong> two viewpo<strong>in</strong>ts. The ironic question,<br />

''Would anyone have said that Tito had not made a rich return to his benefactor,<br />

or that his gratitude and affection would fail on any great demand?tt<br />

shifts almost imperceptibly <strong>in</strong>to Tito' s mus<strong>in</strong>g with <strong>the</strong> quick<br />

rejo<strong>in</strong>der that ''he did not admit that his gratitude had failed; but 2:i<br />

!!!. !!2i certa<strong>in</strong> that Baldassarre was, <strong>in</strong> slavery, mot,;eeJrl;:a<strong>in</strong>:!bhat'hha"fuls<br />

liv<strong>in</strong>g." 19<br />

In this <strong>in</strong>stance, it would not be appropriate to describe <strong>the</strong> second<br />

narrative voice as sympa<strong>the</strong>tic; it would be even more accurate to say that<br />

here <strong>the</strong>re is only <strong>the</strong> one narra.tive VOice, <strong>the</strong> ironic. The iron;y occurs,<br />

as with .Arthur Donnithorne, because <strong>of</strong> <strong>George</strong> <strong>Eliot</strong>' s skilful presentation<br />

<strong>of</strong> <strong>the</strong> two po<strong>in</strong>ts <strong>of</strong> view. We see Tito from <strong>the</strong>" outside" <strong>the</strong> extraspective<br />

view, and we see <strong>the</strong> work<strong>in</strong>gs <strong>of</strong> his consciousness, <strong>the</strong> <strong>in</strong>trospective<br />

view. Thus we are constantly aware <strong>of</strong> <strong>the</strong> contradiction between<br />

what is <strong>the</strong> case and what Tito th<strong>in</strong>ks to be <strong>the</strong> case. It is not merely<br />

that he is mistaken; it is <strong>the</strong> element <strong>of</strong> self-deception which is emphasised<br />

by <strong>George</strong> <strong>Eliot</strong>'s subtly controlled narr.ative voioe.<br />

The examples I have <strong>of</strong>fered so far, Mr Casaubon and Tito Melema,<br />

•<br />

illustrate sucoessfUL oontrol <strong>of</strong> aes<strong>the</strong>tic distance <strong>in</strong> <strong>George</strong> <strong>Eliot</strong>'s<br />

presentation <strong>of</strong> character. However, <strong>the</strong>re is a group <strong>of</strong> idealised cbaracters<br />

towards whom <strong>George</strong> <strong>Eliot</strong> fails to achieve <strong>the</strong> necessary blend<br />

<strong>of</strong> detached observation and sympathy; <strong>in</strong>stead <strong>of</strong> <strong>the</strong> double narrator<br />

we have only <strong>the</strong> sympa<strong>the</strong>tic narrator and <strong>the</strong> tone <strong>of</strong> ironic detachment<br />

is miss<strong>in</strong>g. <strong>George</strong> <strong>Eliot</strong>' s failure to ma<strong>in</strong>ta<strong>in</strong> an adequate aes<strong>the</strong>tic<br />

distance is a major factor <strong>in</strong> <strong>the</strong> general dissatisfaction felt with

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