A study of characterisation in the novels of George Eliot
A study of characterisation in the novels of George Eliot
A study of characterisation in the novels of George Eliot
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35.<br />
and fail to achieve mastery over li<strong>the</strong> unmanageable world" which, like<br />
Herr Klesmer, was lI<strong>in</strong>dependent <strong>of</strong> her wishes--someth<strong>in</strong>g vitriolic that<br />
would not cease to burn because you smiled or frowned at it." 112<br />
If we are <strong>in</strong> doubt as to <strong>the</strong> attitude <strong>George</strong> <strong>Eliot</strong> wants us to adopt<br />
tmvards Gwendolen, or are tempted to feel that <strong>George</strong> <strong>Eliot</strong> treats her<br />
too harshly, we are provided with an explicit, and <strong>in</strong> her eyes, wholly<br />
admirable, exemplar <strong>in</strong> <strong>the</strong> person <strong>of</strong> Mirah Lapidoth for whose submission<br />
to fate, and piet~ we are enj o<strong>in</strong>ed to feel unqualified approval. Mirah<br />
113<br />
says, "'I set myself to obey and suffer: what else cou.ld I do?'!!<br />
There is a very explicit structural pattern<strong>in</strong>g <strong>in</strong> <strong>the</strong> contrast between<br />
<strong>the</strong>se two women <strong>in</strong> Derondats life: <strong>the</strong> exhibitionism <strong>of</strong> <strong>the</strong> one is set<br />
aga<strong>in</strong>st <strong>the</strong> lack <strong>of</strong> self-consciousness <strong>in</strong> performance <strong>of</strong> <strong>the</strong> o<strong>the</strong>r: one<br />
rejects all claims <strong>of</strong> duty, even <strong>the</strong> teach<strong>in</strong>g <strong>of</strong> <strong>the</strong> superfluous and <strong>in</strong>convenient<br />
sisters, while <strong>the</strong> o<strong>the</strong>r sadly accepts <strong>the</strong> duty <strong>of</strong> car<strong>in</strong>g for<br />
<strong>the</strong> derelict fa<strong>the</strong>r: and most noticeably, one is defiant and unwill<strong>in</strong>g to<br />
submit to <strong>the</strong> dictates <strong>of</strong> fate while <strong>the</strong> o<strong>the</strong>r is all patient' endurance.<br />
Gwendolen t s kick<strong>in</strong>g aga<strong>in</strong>st <strong>the</strong> pricks is shovm to be futile and is based<br />
on her ignorance <strong>of</strong> circumstances. Our f<strong>in</strong>al view <strong>of</strong> her is <strong>of</strong> one chastened<br />
and reduced, anxiously mouth<strong>in</strong>g Deronda's words that she may "live to<br />
114<br />
be one <strong>of</strong> <strong>the</strong> best <strong>of</strong> women, who make o<strong>the</strong>rs glad tha.t <strong>the</strong>y were born. II<br />
Mirah's stoicism and resignation <strong>of</strong> her ovm claims are rewarded and she<br />
marries Deronda.<br />
This brief discussion <strong>of</strong> Gwendolen Harleth, and <strong>the</strong> longer analysis<br />
<strong>of</strong> Lydgate confirm <strong>George</strong> <strong>Eliot</strong>'s underly<strong>in</strong>g belief <strong>in</strong> freedom as I<br />
have outl<strong>in</strong>ed it <strong>in</strong> <strong>the</strong> first section <strong>of</strong> this chapter. Both Gwendolen<br />
and Lydgate illustra.te <strong>the</strong> waste <strong>of</strong>l potential that occurs when people<br />
are ignorant <strong>of</strong> where <strong>the</strong>ir limits lie, when <strong>the</strong>y fail to accept how<br />
much <strong>the</strong>y are circumscribed by <strong>the</strong>ir situation. They suffer for <strong>the</strong>ir<br />
failure to acknovdedge <strong>the</strong> force <strong>of</strong> necessity and for <strong>the</strong>ir refusal to
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