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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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26.<br />

"spots <strong>of</strong> commonness. It 76 So that ·although "about his ord<strong>in</strong>ary bear<strong>in</strong>g<br />

<strong>the</strong>re was a certa<strong>in</strong> fl<strong>in</strong>g, a fearless expectation <strong>of</strong> success, a confidence<br />

<strong>in</strong> his ovm powers and <strong>in</strong>tegrity much fortified by contempt for petty<br />

obstacles or seductions <strong>of</strong> which he had had no experience,1t 77 he came <strong>in</strong><br />

<strong>the</strong> end to be counted among those who are "shapen after <strong>the</strong> average and<br />

fit to be packed by <strong>the</strong> gross. II 78<br />

At this po<strong>in</strong>t, we confront a difficuUy that W. J. Harvey expressly<br />

warns us about, a difficulty <strong>of</strong> not confus<strong>in</strong>g <strong>the</strong> "artistic <strong>in</strong>evitability<br />

<strong>of</strong> 8. novel "lith determ<strong>in</strong>ism as a philosophy_ /I<br />

79 UIn so far as a novel<br />

is successfully created," he ma<strong>in</strong>ta<strong>in</strong>s, "it will seem to have an <strong>in</strong>evitable<br />

tightness and f<strong>in</strong>ality; given <strong>the</strong>se characters and this situation<br />

<strong>the</strong> outcome will have a logic and justness we cannot but accept. But this<br />

is a by-product <strong>of</strong> artistic success; it has noth<strong>in</strong>g to do with naturalism<br />

as a literary k<strong>in</strong>d nor with determ<strong>in</strong>ism as a world view." 80<br />

How <strong>the</strong>n do Vie decide that a character such as Lydgate is not constra<strong>in</strong>ed,<br />

not compelled by forces outside his potential control but has<br />

some freedom to choose, is permitted some measure <strong>of</strong> autonomy? With<strong>in</strong><br />

<strong>the</strong> narrow loophole <strong>of</strong> freedom, which, I have <strong>in</strong>dicated, is all that<br />

<strong>George</strong> <strong>Eliot</strong> allows, <strong>the</strong>re is not an <strong>in</strong>def<strong>in</strong>ite range <strong>of</strong> possibilities,<br />

not an open-ended future. We do not f<strong>in</strong>d <strong>in</strong> her <strong>novels</strong> <strong>the</strong> random, <strong>the</strong><br />

arbitrary, <strong>the</strong> totally unexpected, nor do we f<strong>in</strong>d a character mak<strong>in</strong>g<br />

dramatic and drastic changes <strong>in</strong> his behaviour and attitudes.<br />

However, if Lydgate were not free to choose, if he were constra<strong>in</strong>ed<br />

or compelled, <strong>the</strong>re would be no suggestion that he was responsible, accountable<br />

for his actions; we vlould have <strong>the</strong> impression that he was travel-<br />

. l<strong>in</strong>g along a rigidly def<strong>in</strong>ed path and that at no po<strong>in</strong>t was <strong>the</strong>re <strong>the</strong> remotest<br />

possibility <strong>of</strong> divergence. We would have no sense <strong>of</strong> crisis, <strong>of</strong><br />

suspense; <strong>the</strong>re would be no accompany<strong>in</strong>g "penumbra <strong>of</strong> unrealized possibilities,"<br />

81 no suggestion <strong>of</strong> what might have happened "if only ••• "

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