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A study of characterisation in the novels of George Eliot

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79.<br />

<strong>in</strong> a trenchant comment <strong>in</strong> The ~ ~ ~ Floss follmv<strong>in</strong>g <strong>the</strong> description<br />

<strong>of</strong> Tom"s <strong>in</strong>transigent attitude towards his sister~": Geor-g~ <strong>Eliot</strong>wri'tes<br />

~"Tom, like every one <strong>of</strong> us, was imprisoned with<strong>in</strong> <strong>the</strong> limits <strong>of</strong> his<br />

own nature, and his education had simply glided over him, leav<strong>in</strong>g a slight<br />

deposit <strong>of</strong> polish: if you are <strong>in</strong>cl<strong>in</strong>ed to be severe on his severity, rem-<br />

. ember that <strong>the</strong> responsibility <strong>of</strong> tolerance with those who have <strong>the</strong><br />

wider vision." 25 And that <strong>the</strong> wider vision is someth<strong>in</strong>g hardly and pa<strong>in</strong>fully<br />

won she has already told us <strong>in</strong> her summ<strong>in</strong>g up <strong>of</strong> <strong>the</strong> iconographic<br />

chanter 15 <strong>in</strong> ~ B.e?:,e, after we have watched Hetty t s narcissistic mus<strong>in</strong>g<br />

<strong>in</strong> front <strong>of</strong> <strong>the</strong> mirror and <strong>the</strong> contrast<strong>in</strong>g meditative yearn<strong>in</strong>g <strong>of</strong> D<strong>in</strong>ah<br />

over <strong>the</strong> world outside her w<strong>in</strong>dow. For all D<strong>in</strong>ah's moral excellence, her<br />

understand<strong>in</strong>g <strong>of</strong> Hetty is shovm to be deficient. <strong>George</strong> <strong>Eliot</strong> rem<strong>in</strong>ds us<br />

,<br />

that "it is our habit to say tha:t while <strong>the</strong> lower nature can never understand<br />

<strong>the</strong> higher, <strong>the</strong> higher nature commands a complete view <strong>of</strong> th.e lower.<br />

But I th<strong>in</strong>k, II she goes on, II <strong>the</strong> higher nature has to learn this comprehension,<br />

as we learn <strong>the</strong> art <strong>of</strong> vision, by a good deal <strong>of</strong> hard experieuce,<br />

<strong>of</strong>ten with bruises and gashes <strong>in</strong>curred <strong>in</strong> tak<strong>in</strong>g th<strong>in</strong>gs up by <strong>the</strong> wrong<br />

end, and fancy<strong>in</strong>g our space wider than it is. II 26<br />

These last quotations, while still stress<strong>in</strong>g <strong>in</strong>herited nature with<br />

ij;s implicit <strong>in</strong>equality also emphasise <strong>the</strong> nature and quality <strong>of</strong> experience<br />

as a modify<strong>in</strong>g factor. Tom Tulliver is perhaps <strong>the</strong> only major<br />

character to be presented as "<strong>in</strong>exorable, unbend<strong>in</strong>g, unmodifiable" 27<br />

and even he is accorded his act <strong>of</strong> generosity comparable to Rosamond<br />

V<strong>in</strong>cy's acknoYlledeement that Will Ladislaw loves Doro<strong>the</strong>a. 'I'he precipitate<br />

end<strong>in</strong>g <strong>of</strong> ~ ~ ~ <strong>the</strong> Floss gives Tom!s act a permanence<br />

whereas it is most likely <strong>of</strong> <strong>the</strong> same nature as Rosamond's, a s<strong>in</strong>gle<br />

act <strong>of</strong> generosity but not one which changes <strong>the</strong> whole bias <strong>of</strong> <strong>the</strong><br />

personality. Both Tom and Rosamond have <strong>the</strong> experience which br<strong>in</strong>gs<br />

out, however momentarily, <strong>the</strong> f<strong>in</strong>er sides <strong>of</strong> <strong>the</strong>ir natures; and through-

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