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A study of characterisation in the novels of George Eliot

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222.<br />

do not "choose, ~<br />

<strong>in</strong> Mill t S sense, to make <strong>the</strong>ir characters base ar.d<br />

ignom<strong>in</strong>ious. On <strong>the</strong> o<strong>the</strong>r band, Kaggie can certa<strong>in</strong>ly be said to have<br />

chosen to make her character. She decides consciously and deliberately<br />

to practise self-renunoiation until it becomes an habitual response"<br />

part <strong>of</strong> her oharacter. The <strong>the</strong>ory <strong>of</strong> psyohologioal determ<strong>in</strong>ism show<strong>in</strong>g<br />

how bondage is created by lay<strong>in</strong>g down and "fix<strong>in</strong>gll <strong>of</strong> habits works<br />

supremely well with a morally decl<strong>in</strong><strong>in</strong>gcharaoter. It is strangely <strong>in</strong>appropriate<br />

for <strong>George</strong> <strong>Eliot</strong> to have used this same technique to portr~<br />

<strong>the</strong> moral asoendanoy <strong>of</strong> her hero<strong>in</strong>e. The reader aooepts that habits<br />

<strong>of</strong> conoealment, or prevarication, or fear entail loss <strong>of</strong> freedom. This<br />

leads to no oontradiotion with<strong>in</strong> <strong>George</strong> <strong>Eliot</strong>ts own soheme, so that a<br />

oharacter like Tito can have <strong>in</strong>creas<strong>in</strong>gly less freedom while he persists<br />

<strong>in</strong> not reoognis<strong>in</strong>g <strong>the</strong> fact. We aooept that ~dgatets arrogant<br />

assumption <strong>of</strong> superiority over oiroumstances, whioh is <strong>in</strong>dioative <strong>of</strong> his<br />

sadly lower moral stature, is entirely delusory. The enooded messages,<br />

however, that surround Kaggie tell us firmly that she is not. <strong>of</strong> <strong>the</strong>ir<br />

k<strong>in</strong>d; she is warmly sympa<strong>the</strong>tic and "sees" more truly than <strong>the</strong> people<br />

around her. Her deoision to rejeot Stephen is dim<strong>in</strong>ished if she is not<br />

seen to have a genu<strong>in</strong>e freedom <strong>of</strong> choioe at that moment, if she is oonstra<strong>in</strong>ed<br />

by habitual self-renunoiatory responses. <strong>George</strong> <strong>Eliot</strong> oerta<strong>in</strong>lY<br />

wants us to' feel that she is free to choose, but a close analysis Of <strong>the</strong><br />

text reveals that we are on uncerta<strong>in</strong> ground, that even <strong>George</strong> <strong>Eliot</strong> has<br />

doubts as to <strong>the</strong> nature <strong>of</strong> Maggie' 5 two major moral decisions; <strong>the</strong> one<br />

affect<strong>in</strong>g Philip at <strong>the</strong> time when she is determ<strong>in</strong>ed not to oont<strong>in</strong>ue see<strong>in</strong>g<br />

him, and <strong>the</strong> o<strong>the</strong>r when she rejects Stephen, espeCially <strong>the</strong> second<br />

time after reoeiv<strong>in</strong>g his anguished letter.<br />

There is a piece <strong>of</strong> authorial commentary follow<strong>in</strong>g Maggie's first<br />

unexpected encounter with Philip which shades almost imperoeptibly <strong>in</strong>to<br />

. Maggie' $ own thoughts about <strong>the</strong> situation by means <strong>of</strong> <strong>the</strong> teohnique,

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