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A study of characterisation in the novels of George Eliot

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48.<br />

see<strong>in</strong>g, or that he is look<strong>in</strong>g <strong>in</strong> <strong>the</strong> world for confirITk"ttion <strong>of</strong> what he<br />

already believes to be <strong>the</strong>re. Accord<strong>in</strong>gly, <strong>in</strong> his reactions to Maggie, he<br />

"judged by what he had been able to see; and <strong>the</strong> judgement VIas pa<strong>in</strong>ful<br />

enouf',h to himself. He thought he had <strong>the</strong> demonstration <strong>of</strong> facts observed<br />

through years by his own eyes whioh gave no warn<strong>in</strong>g <strong>of</strong> <strong>the</strong>ir imperfections."<br />

3 0 This is <strong>the</strong> mature Tom, but· we could say <strong>of</strong> him what <strong>George</strong><br />

<strong>Eliot</strong> says <strong>of</strong> Harold Transome that "<strong>the</strong> man ,vas no more than <strong>the</strong> boy<br />

writ large, with an extensive commentary. tl 31 The younger Tom had been<br />

described as a "boy who adhered tenaciously to impressions once received:<br />

as with all m<strong>in</strong>ds <strong>in</strong> which mere perception predOm<strong>in</strong>ates over thought and<br />

emotion, <strong>the</strong> external rema<strong>in</strong>ed to him rigidly what it was <strong>in</strong> <strong>the</strong> first<br />

<strong>in</strong>stance, II 32 a boy, we are told, "born with a deficient power <strong>of</strong><br />

hend<strong>in</strong>g ~igns<br />

and abstractions ••• a congenital deficiency." 33 He<br />

appreis<br />

one<br />

<strong>of</strong> those few characters whom <strong>George</strong> <strong>Eliot</strong> describes as "<strong>in</strong>exorable, unbend<strong>in</strong>g,<br />

unmodifiable." 34<br />

This brief account <strong>of</strong> Tom Tulliver <strong>in</strong>dicates two aspects <strong>of</strong> <strong>George</strong><br />

<strong>Eliot</strong>'s belief <strong>in</strong> <strong>the</strong> potency <strong>of</strong> habit formation: <strong>the</strong> fact that it produces<br />

rigid, non-adaptive behaviour and that it applies to <strong>the</strong> realm <strong>of</strong><br />

ideas as well as to <strong>the</strong> world <strong>of</strong> action. A passage <strong>in</strong> Lewes' ~ PhJsio­<br />

~ <strong>of</strong> Common ~ (1859-60) draws all <strong>the</strong>se strands toge<strong>the</strong>r. In it he<br />

equates habit, fixed ideas and automatic actions,' <strong>of</strong>fers <strong>the</strong> fact <strong>of</strong><br />

repetition as an explanation for <strong>the</strong>ir potency, and uses <strong>the</strong> word<br />

"channel" to describe how <strong>the</strong>y come to be established <strong>in</strong> <strong>the</strong> neurological<br />

circuit. Lewes ma<strong>in</strong>ta<strong>in</strong>s that<br />

Habits, FiXed Ideas, and what are called Automatic Actions, all<br />

depend on <strong>the</strong> tendency which a sensation has to discharge itself<br />

through <strong>the</strong> readiest channel. In learn<strong>in</strong>g to speak a new<br />

language, to play on a musical <strong>in</strong>strument, or to perform any<br />

unaccustomed movements, great difficulty is felt, because <strong>the</strong><br />

channels through which each sensation has to pass have not<br />

become established; but no sooner has frequent repetition cut<br />

a pathway, than this difficulty vnnishes. YJ

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