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A study of characterisation in the novels of George Eliot

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Web images are a major pattern<strong>in</strong>g<br />

<strong>in</strong> Middlemarch. Lydgatefs<br />

failure to connect different experiences or to apply <strong>the</strong> same str<strong>in</strong>gent<br />

rules <strong>of</strong> observation and evidence to his emotional life as he does to<br />

his scientific researches is described as an image <strong>of</strong> a web that has not<br />

been constructed. The various strands are still separate. I~as<br />

it not<br />

ceased to be remarkable--is it not ra<strong>the</strong>r what we expect <strong>in</strong> men," <strong>the</strong><br />

narrator asks us, "that <strong>the</strong>y should have numerous strands <strong>of</strong> experience<br />

ly<strong>in</strong>g side by side and never compare <strong>the</strong>m with each o<strong>the</strong>r?1I 4. Rose,IDond<br />

and Lydgate dur<strong>in</strong>g <strong>the</strong>ir engagement~e<br />

described as <strong>in</strong>dustriously sp<strong>in</strong>n<strong>in</strong>g<br />

away at <strong>the</strong> web that b<strong>in</strong>ds <strong>the</strong>m toge<strong>the</strong>r. This is a salutary rem<strong>in</strong>der<br />

that we are responsible for our ovm bondage and cannot dismiss<br />

our responsibility with pleas <strong>of</strong> ignorance or cries that circumstances<br />

have been too much for us, as Mr Tulliver, for example, or even Mr<br />

Farebro<strong>the</strong>r try to do.<br />

Besides <strong>the</strong> web imagery which refers specifically to particular characters<br />

or particular situations, <strong>the</strong>re are <strong>in</strong> liiddlemarch o<strong>the</strong>r examples<br />

cf such images which refer to <strong>George</strong> <strong>Eliot</strong>'s attitude towards <strong>the</strong> process<br />

<strong>of</strong> writ<strong>in</strong>g a novel. These refer to her own sense <strong>of</strong> <strong>the</strong> complex material<br />

<strong>in</strong> front <strong>of</strong> her, to <strong>the</strong> problems <strong>of</strong> selection and control if that material<br />

is go<strong>in</strong>g to present to us <strong>the</strong> required pattern. She claims apologetically,<br />

ItI at least have so much to do <strong>in</strong> unravell<strong>in</strong>g certa<strong>in</strong> human lots, and<br />

see<strong>in</strong>g how <strong>the</strong>y 17ere woven and <strong>in</strong>terwoven, that all <strong>the</strong> light I can<br />

command must be concentrated on this particular web, and not dispersed<br />

over that tempt<strong>in</strong>g range <strong>of</strong> relevancies called <strong>the</strong> universe." 5 She is<br />

iwo modest. Many critics have exam<strong>in</strong>ed <strong>the</strong> rich historical and literary<br />

allusi veness <strong>of</strong> her <strong>novels</strong> and especially <strong>of</strong> Middlemarch. 6 Mr Casaubon,<br />

for example, apart from bear<strong>in</strong>g <strong>the</strong> hame <strong>of</strong> an erudite contemporaFJ <strong>of</strong><br />

William Shakespeare, is compared variously with Locke, Milton, and<br />

Aqu<strong>in</strong>as. However, <strong>the</strong>se references to scholarly gentlemen are subtly

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