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A study of characterisation in the novels of George Eliot

A study of characterisation in the novels of George Eliot

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apparent when we look at <strong>the</strong> characters at <strong>the</strong> far end <strong>of</strong> <strong>the</strong> moral axis,<br />

<strong>the</strong> egoists. They tend to fall short on all <strong>the</strong> moral counts, disclaim<strong>in</strong>g<br />

all duty, lack<strong>in</strong>g <strong>in</strong> sympathy, believ<strong>in</strong>g <strong>in</strong> chance and <strong>the</strong> efficacies<br />

<strong>of</strong> gambl<strong>in</strong>g, and totally misconstru<strong>in</strong>g each o<strong>the</strong>r's motives. The "speck<br />

<strong>of</strong> self" 99 <strong>George</strong> <strong>Eliot</strong> mentions <strong>in</strong> Middlemarch effectively blots out<br />

<strong>the</strong> rest <strong>of</strong> <strong>the</strong> world and <strong>the</strong>y respond only <strong>in</strong> accordance with <strong>the</strong>ir own<br />

claims. Rosamond V<strong>in</strong>ey's neutrally expressed question to Lydgate after<br />

he has attempted to w<strong>in</strong> her co-operation <strong>in</strong> <strong>the</strong>ir money troubles, is<br />

symptomatic <strong>of</strong> such egoists. "'What can !. do, !'erlius?'" 100 she asks.<br />

Her self-protect<strong>in</strong>g mask is shattered only once by <strong>the</strong> angry disda<strong>in</strong> <strong>of</strong><br />

Will Ladislaw, and this makes it easier for her to respond to Doro<strong>the</strong>a t s<br />

goodness. But o<strong>the</strong>rwise she rema<strong>in</strong>s <strong>the</strong> same: exquisite, shallow and<br />

egoistic. O<strong>the</strong>r egoists are redeemed <strong>in</strong> <strong>George</strong> <strong>Eliot</strong>'s eyes b,y remorse.<br />

Arthur Donnithorne does his penance outside <strong>the</strong> covers <strong>of</strong> <strong>the</strong> book,<br />

~ Bede, but Gwendolen Harleth who has much <strong>in</strong> common with Rosamond<br />

suffers before our eyes and, like Es<strong>the</strong>r Lyon, is only redee~ed by <strong>the</strong><br />

impact <strong>of</strong> a larger character on her narrow selfishness.<br />

The signall<strong>in</strong>g devices nudge <strong>the</strong> reader <strong>in</strong> <strong>the</strong> right direction, ref<strong>in</strong>e<br />

his moral awareness, and prevent him from giv<strong>in</strong>g his sympathy or<br />

attention to <strong>the</strong> wrong character. In an earlier novel, The !ill. ~ ~<br />

Floss, <strong>George</strong> <strong>Eliot</strong> emphasises Tom Tulliver's rigidity at <strong>the</strong> expense <strong>of</strong><br />

his morally laudable qualities: his acceptance <strong>of</strong>t duty and his strong<br />

relationship with his past. Accord<strong>in</strong>gly, few readers grant him <strong>the</strong> sympathy<br />

<strong>the</strong>y give t 0- Maggie. Both Tom and Maggie , however, were meant to<br />

illustrate <strong>the</strong> problem one generation has with ano<strong>the</strong>r. The messages<br />

with regard to Tom were not clearly enough expressed. <strong>George</strong> <strong>Eliot</strong> regretted<br />

<strong>the</strong> withdrawal <strong>of</strong> <strong>the</strong> reader's sympathy from Tom; she would<br />

have been outraged that any reader could feel sympathy with Grandcourt,<br />

whose behaviour towards Gwendolen has been seen as entirely appropriate

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