Middlemarch Began As Two Novels, One About Dorothea

Middlemarch Began As Two Separate Novels One About Dorothea Brooke

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?

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?

In Chapter three, Sir James Chettam tries to give Dorothea a Maltese puppy. She rejects it and says "I believe 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 can 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." Why do you think Eliot includes this scene? What does it tell us about Dorothea's character?

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 the 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.

At the beginning of Chapter 21, find Dorothea sobbing on her honeymoon. What is the cause of Dorothea's sorrow? Cite specific example(s).

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. Casubon’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, authored by George Eliot, is a comprehensive exploration of 19th-century provincial life in England, encapsulating the social, cultural, and moral fabric of a small community. Initially conceived as two separate narratives—one centered around Dorothea Brooke and the other around Tertius Lydgate—the novel's unification under the title "Middlemarch" and the subtitle "A Study of Provincial Life" underscores its thematic focus. Referring to the novel as a "study of provincial life" conjures expectations of an in-depth, nuanced portrayal of middle-class morality, ambitions, and limitations within a confined geographical and social setting. Eliot's use of "provincial" is not merely geographical but also social and moral, emphasizing the insularity and self-sufficiency of small-town life, with its intricate web of personal relationships and societal expectations. Examples of "provincial life" vividly appear throughout the novel, from the interconnectedness of families and their social standings to the Victorian values dictating behavior and moral judgments, all set against the backdrop of Middlemarch, a typical provincial town.

In Chapter 11, the narrator reflects on the subtle yet profound influences characters exert on one another, often unbeknownst to themselves. The quote emphasizes the idea that individual lives are interconnected in ways that gradually develop over time, often revealing an ironic destiny. It suggests that characters are unaware of how their actions, or inactions, set off chain reactions affecting others' lives. The "stealthy convergence" and "calculated irony" imply a universe where human agency is intertwined with fate, hinting at the underlying tragic and ironic layers of provincial life. This indicates that behind the apparent indifference among neighbors, there exists a complex web of influence and destiny shaping their stories.

In Chapter three, Dorothea's rejection of the Maltese puppy reflects her philosophical beliefs about the nature of happiness and the moral consideration of animals. Her view that animals might possess souls and the statement that they can be either parasitic or companionable reveal her compassionate and reflective nature. Eliot includes this scene to paint Dorothea as a character imbued with moral depth, empathy, and a sense of responsibility extending beyond human concerns. Her rejection of the helpless puppy, citing its frailty and moral worth, characterizes her as a person who values independence and the intrinsic dignity of creatures, traits that will influence her relationships and decisions throughout the novel.

Characterization in Middlemarch is rich and multidimensional, achieved through both direct descriptions and indirect hints. For instance, Mr. Casaubon is portrayed as physically and morally different from Sir James Chettam, emphasizing their contrasting personalities and social roles. Casaubon’s pale, scholarly appearance marks him as an introverted and contemplative scholar, whereas Chettam's robust, cheerful demeanor symbolizes vitality and the active social man. These foils highlight the differences in their outlooks and actions, enriching the narrative and deepening our understanding of their characters. Other foils include the contrast between Rosamond Vincy and Mary Garth, where Rosamond's vanity and superficiality contrast with Mary’s practicality and moral integrity, illuminating their respective moral and social positions.

At the beginning of Chapter 21, Dorothea sobs on her honeymoon due to profound disappointment and internal conflict. The cause of her sorrow is the realization of the disparity between her expectations of marriage and the reality she faces. Her idealistic vision of a harmonious union is shattered by her understanding of her husband's intellectual limitations and emotional distance, as exemplified when she observes Casaubon’s coldness and her loneliness amid the marital setting. This moment reveals her internal struggle—her desire for meaningful companionship clashes with the unfulfilled reality of her marriage, highlighting her emotional vulnerability and moral sincerity.

Casaubon's proposal letter, as introduced in Chapter 5, encapsulates his worldview and conceptions of marriage. The brief introduction "This was Mr. Casubon’s letter" signifies that his words convey his sentiments directly and unequivocally, without need for embellishment. A careful rereading reveals Casaubon’s view of marriage as a serious, scholarly union rooted in shared intellectual pursuits and moral duty, rather than romantic love. Phrases such as "a work to be done" and "trust in God" suggest his perception of marriage as a moral obligation and intellectual partnership, reflecting his character as a pragmatic yet morally earnest scholar. It indicates that Casaubon values the intellectual and moral stability marriage provides, rather than personal happiness or emotional connection, qualities that ultimately distance him from Dorothea’s more passionate and idealistic view of marriage.

References

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