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A study of characterisation in the novels of George Eliot

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250.<br />

are tlanguish to ~hei~<br />

own nobleness" belongs to such a widen<strong>in</strong>g psych-<br />

ology. They are surrounded with a "penumbra <strong>of</strong> unrealised possibilities. tI<br />

110<br />

And this is not just that <strong>the</strong>y are presented ecologically with <strong>the</strong>ir<br />

relationships to, and <strong>the</strong>ir <strong>in</strong>dependence on <strong>the</strong>ir respective communities<br />

drawn so conv<strong>in</strong>c<strong>in</strong>gly. It is more that we sense that it is touch<br />

and go whe<strong>the</strong>r <strong>the</strong>y will betray <strong>the</strong>ir own ideals; a little more exertion<br />

here and a little less pressure <strong>the</strong>re, and th<strong>in</strong>gs might have been different.<br />

Maggie might have found <strong>the</strong> courage to stand up to her redoubtable<br />

bro<strong>the</strong>r; Lydgate might have succeeded <strong>in</strong> present<strong>in</strong>g <strong>the</strong>ir f<strong>in</strong>ancial situation<br />

to Rosamond <strong>in</strong> terms that she could or would have understood.<br />

These characters are allowed to be more conv<strong>in</strong>c<strong>in</strong>gly and roundly human.<br />

Gwendolen H~leth is ano<strong>the</strong>r such, except that with her we are <strong>in</strong> doubt<br />

as to <strong>the</strong> permanence <strong>of</strong> her moral redemption once Deronda' s constra<strong>in</strong><strong>in</strong>g<br />

presence is withdrawn. There is an unpredictability about <strong>the</strong>se characters.<br />

The encoded messages still place <strong>the</strong>m but <strong>the</strong> presentation <strong>of</strong><br />

<strong>the</strong>i±' moral struggles is more flexible and we sense that <strong>the</strong>y confront<br />

a wider range <strong>of</strong> possibilities. The morally very good and very bad <strong>of</strong><br />

<strong>George</strong> <strong>Eliot</strong> t s characters are tlresultants, il <strong>in</strong> Lewes t term<strong>in</strong>ology; <strong>the</strong>se<br />

111<br />

middle range characters are "emergents" and, as a result, <strong>the</strong>y <strong>the</strong>mselves<br />

take on a greater humanity and a greater vividness. There is<br />

greater roOm <strong>in</strong> <strong>the</strong>ir portrayal for <strong>George</strong> <strong>Eliot</strong>.' s b<strong>in</strong>ocular vision. In<br />

an earlier chapter I have already <strong>in</strong>dicated <strong>the</strong> withdrawal <strong>of</strong> irony<br />

from <strong>the</strong> morally evolved characters. But with characters like Maggie<br />

or Gwendolen/or Lydgate, <strong>George</strong> <strong>Eliot</strong> can regard <strong>the</strong>ir foibles and<br />

<strong>the</strong>ir moral struggles with irony at <strong>the</strong> same time as she is surround<strong>in</strong>g<br />

<strong>the</strong>m with her compassion.<br />

The satisfaction we feel at her presentation <strong>of</strong> her err<strong>in</strong>g characters<br />

and <strong>the</strong> dissatisfaction aroused by her very good or very bad<br />

characters fit an Aristotelian def<strong>in</strong>ition <strong>of</strong> character and its re-

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