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A study of characterisation in the novels of George Eliot

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251.<br />

lationship to tragedy. We are exam<strong>in</strong><strong>in</strong>g those characters who can be said<br />

to suffer from hamartia. They show a fatal flaw and we can concede that<br />

<strong>the</strong>ir stories are tragic. There is a sense <strong>of</strong> waste surround<strong>in</strong>g<br />

Lydgate t s realisation that he will not be able, after all, to contribute<br />

,<br />

significantly to medical progress. There is great pathos <strong>in</strong> lmggie s<br />

desperate struggle with <strong>the</strong> more passionate side <strong>of</strong> her nature and <strong>in</strong><br />

her f<strong>in</strong>al oomprehension <strong>of</strong> <strong>the</strong> true mean<strong>in</strong>g <strong>of</strong> renunoiation. <strong>George</strong><br />

<strong>Eliot</strong> tells us that "it is [!h~<br />

very perception that <strong>the</strong> th<strong>in</strong>g we renounce<br />

is precious, is someth<strong>in</strong>g never to be compensated to us, which<br />

constitutes <strong>the</strong> beauty and heroism <strong>of</strong> renunciation. II 112 There is great<br />

tenderness <strong>in</strong> <strong>the</strong> f<strong>in</strong>al portrait <strong>of</strong> Gwendolen's suffer<strong>in</strong>g, <strong>in</strong> her<br />

attempts to disoard her egoistic cl<strong>in</strong>g<strong>in</strong>g to Deronda and rejOice at his<br />

happ<strong>in</strong>ess. It is <strong>the</strong>se situations that survive a read<strong>in</strong>g <strong>of</strong> <strong>the</strong> <strong>novels</strong>,<br />

not whe<strong>the</strong>r Tito and Grandcourt get <strong>the</strong> deaths <strong>the</strong>y deserve.<br />

<strong>George</strong> <strong>Eliot</strong>' s own expressed goal <strong>in</strong> writ<strong>in</strong>g her <strong>novels</strong> was to w<strong>in</strong><br />

our sympathy for t'struggl<strong>in</strong>g, err<strong>in</strong>g human creatures. It 113 In~vitably<br />

our sympathies are more engaged with oharaoters who are It wrestl<strong>in</strong>g, It 114<br />

like Maggie Tulliver, with <strong>the</strong>mselves and unyield<strong>in</strong>g environments,-;thl1n<br />

when we are oOnfronted with <strong>the</strong> downfall <strong>of</strong> <strong>the</strong> unjust or <strong>the</strong> elevation<br />

<strong>of</strong> <strong>the</strong> just. And so we appreciate <strong>George</strong> <strong>Eliot</strong>'s powers more fully when<br />

she oeases to direot us so foroibly.<br />

I have concentrated on <strong>the</strong> implioations <strong>of</strong> <strong>George</strong> <strong>Eliot</strong>'s moral and<br />

psychological position <strong>in</strong> order to show that it constitutes a rigid set<br />

<strong>of</strong> co-ord<strong>in</strong>ates and provides a more or les8 distort<strong>in</strong>g model for her<br />

more extreme oharaoters. The edges <strong>of</strong> this moral frame are <strong>the</strong> problem.<br />

Aga<strong>in</strong>st its lower boundaries, lesser oharacters, Tito Melema and<br />

Grandcourt, for example, are bruised. They are made to endure a form <strong>of</strong><br />

poetic justice sadly out <strong>of</strong> keep<strong>in</strong>g for a realistic novel. 115 Aga<strong>in</strong>st<br />

its upper frame <strong>the</strong>re is a limitation <strong>of</strong> possibilities. Characters like

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