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A study of characterisation in the novels of George Eliot

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And this is def<strong>in</strong>itely not <strong>the</strong> case. We do feel that if Lydgate could<br />

~nly<br />

have exerted himself a little here, had only controlled hisimpetuous<br />

and impatient tongue <strong>the</strong>re, and had struggled to f<strong>in</strong>d a vocabulary<br />

to describe his and Rosamond's behaviour that would have been <strong>in</strong>telligible<br />

and acceptable to <strong>the</strong>m both, th<strong>in</strong>gs would have been different. This<br />

accords very much with Lewes' description <strong>of</strong> <strong>the</strong> factors <strong>in</strong>volved <strong>in</strong> any<br />

decision, when he says that "<strong>in</strong>psychological·language, <strong>the</strong> resultant is<br />

<strong>the</strong> chosen motive, and is conditioned by three determ<strong>in</strong>ants,--1)fhe<br />

nature <strong>of</strong> <strong>the</strong> stimulus; 2) The momentary state <strong>of</strong> <strong>the</strong> m<strong>in</strong>d; 3) The <strong>in</strong>-<br />

82<br />

dividuality <strong>of</strong> <strong>the</strong> person. II This suggests that a slight alteration <strong>of</strong><br />

potency <strong>in</strong> one or o<strong>the</strong>r <strong>of</strong> <strong>the</strong> factors will create a different comb<strong>in</strong>ation<br />

and that it is this which provides <strong>the</strong> possibility <strong>of</strong> a small degree<br />

<strong>of</strong> freedom, <strong>the</strong> loophole both <strong>George</strong> <strong>Eliot</strong> and Lewes allow for exercis<strong>in</strong>g<br />

<strong>the</strong> will. This does not suggest that <strong>the</strong> character will act <strong>in</strong>consistently;<br />

his behaviour will still be seen to accord with <strong>the</strong> rules<br />

govern<strong>in</strong>g his part~cular<br />

organism. <strong>George</strong> <strong>Eliot</strong> frequently refers to<br />

<strong>the</strong> "bias" <strong>of</strong> a personts nature. In <strong>the</strong> follow<strong>in</strong>g quotation from<br />

Middlemarch Mr Casaubon has just been told <strong>the</strong> serious nature <strong>of</strong> his<br />

illness and <strong>George</strong> <strong>Eliot</strong> stresses that even her~ at <strong>the</strong> moment <strong>of</strong> fac<strong>in</strong>g<br />

death/he does not behave <strong>in</strong> a way that is <strong>in</strong>consistent with his<br />

''bias. tI "When <strong>the</strong> conunonplace, 'We must all die l<br />

'j:;ransforms itself suddenly<br />

<strong>in</strong>to <strong>the</strong> acute consciousness 'I must die--and soon,' <strong>the</strong>n death<br />

grapples us, and his f<strong>in</strong>gers are cruel •••• In such an hour <strong>the</strong> m<strong>in</strong>d<br />

does not change its lifelong bias, but carries it onward <strong>in</strong> imag<strong>in</strong>ation<br />

to <strong>the</strong> o<strong>the</strong>r side <strong>of</strong> death, gaz<strong>in</strong>g backward--perhaps with <strong>the</strong> div<strong>in</strong>e calm<br />

<strong>of</strong> beneficence, perhaps with <strong>the</strong> petty anxieties <strong>of</strong> self-assertion." 83<br />

But <strong>George</strong> <strong>Eliot</strong> is careful to dist<strong>in</strong>guish between those characters<br />

who, like Tom Tulliver, are "<strong>in</strong>exorable, unbend<strong>in</strong>g, unmodifiable" 84 and<br />

those she shows as hav<strong>in</strong>g <strong>the</strong> possibility <strong>of</strong> growth and change. In her

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