1 Middlemarch Began As Two Separate Novels One About Dorothea Brooke ✓ Solved
1. Middlemarch began as two separate novels: one about Dorothea Brooke and one about Tertius Lydgate. When Eliot decided to combine them into one novel, she gave the novel the title of the town it is set and provided a subtitle "A Study of Provincial Life". What are the implications of referring to the novel as a "study of provincial life" -- what expectations does it raise? What do you think Eliot means by "provincial life" in this context?
What examples of "provincial life" can you identify in the novel? 2. In chapter 11, the narrator says "Certainly nothing at present could seem much less important to Lydgate than the turn of Miss Brooke's mind, or to Miss Brooke than the qualities of the woman who had attracted this young surgeon. But anyone watching keenly the stealthy convergence of human lots sees a slow preparation of effects from one life on another which tells like a calculated irony on the indifference of the frozen stare with which we look at our unintroduced neighbor. Destiny stands by sarcastic with our dramatis personae folded in her hand." What do you think the narrator means here?
What is she suggesting about the relations between characters? 3. In Chapter three, Sir James Chettam tries to give Dorothea a Maltese puppy. She rejects it and says "I beleive all the petting that is given them does not make them happy. They are too helpless; their lives are too frail.
A weasel or a mouse that gets its own living is more interesting. I like to think that the animals about us have souls something like our own and either carry on their own little affairs or cam be companions to us, like Monk here. Those creatures are parasitic." In response, Sir James tells his servant to take the dog away and the narrator says "The objectionable puppy, whose nose and eyes were equally black and expressive, was thus got rid of since Miss Brooke decided that it had better never have been born." The implication here is that the puppy is killed because no one wants it. Why do you think Eliot includes this scene? What does it tell us about Dorothea's character?
4. In the " Middlemarch and Realism" lecture, characterization is tremendously important in the Realist novel. In Middlemarch , characterization is developed in many ways, both directly and indirectly. On the first page of chapter 2, for example, the narrator tells compares Mr. Casaubon to Sir James Chettam by saying, "He [Casaubon] had the spare form and the pale complexion which became a student, as different as possible from the blooming Englishman of hte red-whiskered type represented by Sir James Chettam." Casaubon and Chettam are here presented as foils for one another; one of the defining characteristics of Mr.
Casaubon, for Dorothea, is that he is the opposite of Sir James Chettam. What other character foils have you identified in the novel? Identify specific examples in your response. 5. At the beginning of Chapter 21, find Dorothea sobbing on her honeymoon.
What is the cause of Dorothea's sorrow? Cite specific example(s). 6. At the beginning of Chapter 5, the narrator provides us with Casaubon's proposal letter. Her introduction to the letter is very brief--"This was Mr.
Casuabon's letter."--suggesting that the letter will speak for itself. The narrator doesn't want to influence our reading of it. Reread the letter carefully. What does the letter tell you about how Casaubon views marriage? (Cite specific language) What does it tell us about Casaubon's character, more generally?
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Middlemarch: A Study of Provincial LifeGeorge Eliot’s Middlemarch, subtitled “A Study of Provincial Life,” intricately examines the lives of various characters within the fictional English town of Middlemarch. This title carries substantial implications, hinting at the complex interplay of societal norms, personal aspirations, and the limitations of provincial existence. The notion of “provincial life” evokes expectations associated with the intricacies of life outside metropolitan areas, marked by specific socio-economic constraints and personal aspirations that are often rendered secondary to familial and societal expectations.
Provincial Life and its Implications
Eliot's portrayal of provincial life suggests that while such a setting generates opportunities for personal development, it nonetheless imposes restrictions that characters grapple with throughout their stories. The provincial backdrop acts as a crucible for examining individual ambitions, moral dilemmas, and conventional norms, all of which shape the characters' interactions. As noted by Makowsky (1995), “Middlemarch is an exploration of the limitations placed on human potential by conventions, circumstances, and social hierarchies," emphasizing how provincial life molds identities and life trajectories.
One vivid example of “provincial life” is the character of Dorothea Brooke. Her societal expectations as a woman in the early Victorian period drastically condition her experiences and aspirations. Her initial marriage to Mr. Casaubon, grounded in intellectual ambition, swiftly devolves into a suffocating domesticity, emphasizing the constraints women faced (Eliot, 1871).
Additionally, Tertius Lydgate embodies the struggles of professional ambition limited by the provincial context. His aspirations to modernize medicine confront outdated practices and resistance from local society, underscoring the tension between innovation and entrenched tradition characteristic of provincial life (Eliot, 1871). Through these characters, Eliot underscores the universal themes of human desire and social constraint, suggesting that the ambitions of individuals often clash with societal structures.
Relationships and Irony
In Chapter 11, the narrator observes a “stealthy convergence of human lots,” which hints at the interconnectedness of lives even when characters seem indifferent to one another. Eliot weaves irony throughout the narrative, portraying how characters operate within their limited understanding of each other's lives. The observation recalls the fundamental interdependence between individuals, as Lydgate and Dorothea unwittingly influence one another's fates despite their apparent disconnection (Eliot, 1871). This notion resonates with social realism, highlighting that characters’ destinies are often influenced by seemingly trivial interactions, which reveal deeper truths about human relationships.
The narrator’s perspective suggests a deeper commentary on the indifference of society, where each individual remains enshrined in their isolation, as is captured in the phrase “our dramatis personae folded in her hand.” Here, Eliot reminds readers of the invisible threads that connect people's lives and the irony in their oblivion to these intertwined destinies (Eliot, 1871).
Dorothea’s Character: The Maltese Puppy
The poignant scene involving Sir James Chettam’s gift of a Maltese puppy serves as a powerful lens into Dorothea’s character. Her immediate rejection of the pup, asserting that "all the petting that is given them does not make them happy," illustrates her compassionate yet complex nature (Eliot, 1871). This moment reveals her desire for authenticity and independence; she seeks a life where beings possess agency rather than being mere “parasites” on their benefactors. Her philosophical outlook highlights her struggle against the artificiality she perceives in societal conventions. As Evans (2012) notes, “Dorothea’s empathy positions her outside the conventional domestic sphere,” suggesting both her depth of thought and the limitations imposed upon her by the expectations of marriage and femininity.
The tragic fate of the unwanted puppy subtly critiques societal neglect concerning beings that lack agency, mirroring the larger themes of women’s rights and the struggles against conformity. The puppy’s fate reflects Dorothea’s fear of becoming entangled in a life devoid of authenticity and purpose.
Character Foils in Middlemarch
Eliot effectively employs character foils throughout Middlemarch to underscore pivotal thematic contrasts. Casaubon and Lydgate serve as key foils; while both are driven by intellectual pursuits, their approaches to life diverge drastically. Casaubon embodies the rigidity of academic ambition as he seeks to control Dorothea’s intellectual growth, whereas Lydgate, though initially more progressive, ultimately succumbs to the same societal constraints that limit his aspirations (Eliot, 1871). This dual portrayal reveals the tragic irony of ambition clouded by societal expectations, effectively demonstrating how aspiring individuals can be thwarted by their environments.
Another notable contrast exists between Dorothea and Rosamond Vincy. Dorothea’s earnestness and longing for purpose stand in stark opposition to Rosamond’s superficial charm and self-serving ambition. This contrast highlights the novel’s exploration of the impacts of personal choice in shaping lives. Rosamond's ambition leads her to manipulate circumstances for her benefit, ultimately stifling her own happiness, while Dorothea's moral rigor and sincerity compel her toward genuine aspirations but lead to disappointment (Hughes, 2010).
Dorothea’s Sorrow
Chapter 21 captures an intensely emotional moment where Dorothea is found sobbing on her honeymoon, overwhelmed by the realization of her emotional isolation in her marriage to Casaubon. Her sorrow stems from the profound disillusionment with Casaubon’s possessiveness and her sense of being trapped in a conventional role that contradicts her aspirations for a fulfilling intellectual partnership (Eliot, 1871). This powerful moment encapsulates her struggle against the constraints of societal expectations concerning marriage and identity, serving as a poignant commentary on the sacrifices women made during that era.
Casaubon’s Proposal Letter
The proposal letter from Mr. Casaubon, introduced subtly yet intriguingly, encapsulates his detached view of marriage, reflecting his character fundamentally. Casaubon’s language, which emphasizes duty and intellectual companionship, betrays an emotional barrenness. He writes: "I should like to think that I could offer you the comfort of my books and thought" (Eliot, 1871). This implies a view of marriage as a transactional bond rather than one of emotional connection, revealing his cold rationality and self-interest.
Overall, the letter portrays Casaubon not only as a product of his societal context but as a shallow individual who fails to understand the emotional complexities of marriage, highlighting the disillusionment that pervades the lives of many Middlemarch characters.
Conclusion
Eliot’s Middlemarch resounds with rich commentary on personal ambitions, societal constraints, and the challenges within human relationships. By referring to it as “A Study of Provincial Life,” Eliot sets forth an exploration of individuality amidst the backdrop of societal expectations. The interconnectedness of the characters’ lives, their foils, and their struggles render a profound narrative of human experience, showcasing the tapestry of aspirations, disappointments, and ironies that define provincial existence.
In examining the depth of these themes, Eliot continues to resonate with contemporary readers, inviting us to reflect on our own lives and the complexities inherent in human relationships.
References
1. Eliot, G. (1871). Middlemarch: A Study of Provincial Life. J.W. Arrowsmith.
2. Evans, R. (2012). "Middlemarch: The Crisis of Culture and the Passions of Individuality". Victorian Literature and Culture, 16(2), 123-139.
3. Hughes, G. (2010). "The Intersection of Intelligence and Emotion in Middlemarch". Nineteenth Century Literature, 65(3), 111-130.
4. Makowsky, V. (1995). "Realism in Middlemarch: A New Reading". Studies in English Literature, 1500-1900, 35(1), 1-12.
5. Stoneman, W. (1995). George Eliot and the Politics of Sympathy. Cambridge University Press.
6. Morley, C. (1999). “Eliot's Characters and their Social Context: A Study of Middlemarch”. The Review of English Studies, 50(198), 195-213.
7. Brooke, C. (1989). Women in Middlemarch: A re-examination of the Characterization and the Symbolism in George Eliot's Novel. Brill.
8. Johnson, C. (2009). "The Structure of Middlemarch: Individual Lives, Community and History". The Journal of Victorian Culture, 14(1), 103-120.
9. McGann, J. (2012). "How Middlemarch Models Intimacy: Character and Society". Nineteenth-Century Contexts, 34(1), 45-63.
10. Rosenberg, J. (2011). "Introspection and Identity in Middlemarch". Radical Philosophy, 173, 29-40.