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Writing at the very moment when the foundations of Western thought were being challenged and undermined, George Eliot fashions in "Middlemarch" the quintessential Victorian novel, a concept of life and society free from the dogma of the past yet able to confront the scepticism that was taking over the age.

Middlemarch (Barnes & Noble Classics Series)

In a panoramic sweep of English life during the years leading up to the First Reform Bill of , Eliot explores nearly every subject of concern to modern life: art, religion, science, politics, self, society, human relationships. Among her characters are some of the most remarkable portraits in English literature: Dorothea Brooke, the heroine, idealistic but naive; Rosamond Vincy, beautiful and egoistic; Edward Casaubon, the dry-as-dust scholar; Tertius Lydgate, the brilliant but morally flawed physician; the passionate artist Will Ladislaw; and Fred Vincey and Mary Garth, childhood sweethearts whose charming courtship is one of the many humorous elements in the novel's rich comic vein.

Genre: Literary Fiction. North and South Elizabeth Gaskell.

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Our Mutual Friend Charles Dickens. Vanity Fair William Makepeace Thackeray. Great Expectations Charles Dickens. Title: Middlemarch v. Eliot surrounds her main figures with a gallery of characters drawn from every social class, from laborers and shopkeepers to the rising middle class to members of the wealthy, landed gentry.

Together they form an extraordinarily rich and precisely detailed portrait of English provincial life in the s. Strikingly modern in its painful ironies and psychological insight, Middlemarch was pivotal in the shaping of twentieth-century literary realism. Lynne Sharon Schwartz is the author of fourteen books of fiction, non-fiction, and poetry, including the novels Disturbances in the Field, Leaving Brooklyn , and In the Family Way , and the memoir Ruined by Reading. If anything, she makes things uncomfortably lucid, like a too-bright light that permits no mitigating shadows. On the very first page, Dorothea is likened to Saint Theresa, whose "passionate, ideal nature demanded an epic life,.

Many Theresas are born, Eliot says, and then doomed to "a life of mistakes, the offspring of a certain spiritual grandeur ill-matched with the meanness of opportunity. Against the urging of her uncle and guardian, the foolish and nonchalant Mr.

Middlemarch

Brooke, her shrewd younger sister Celia, and her would-be suitor, the unimaginative but decent Sir James Chettam, she marries the wrong man. Victorian novels often turn on choices in marriage, and here Middlemarch follows suit. Eliot hints that if Dorothea had had a mother to advise her, she might not have leaped so hastily into error. But as in so many novels of the time a stunning example is George Meredith's The Egoist , which turns on a young woman's being coerced into a disastrous match , no such mother-figure exists.


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No doubt this is partly a practical choice: Any marriage plot would be stymied from the start if the heroine avoided her mistake. Besides, readers loved and still do watching young women in sexual and emotional peril.


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  6. But more important, no serious role existed in fiction for sensible, mature women. Until fairly recently, interesting women characters were required to be young, on the threshold of their one momentous decision. Older women in positions of authority tend either to be superannuated or ridiculous and useless-witness Mrs.

    Bennet, mother of five marriageable daughters in Jane Austen's much earlier Pride and Prejudice. In any case, Middlemarch , unlike so many notable works of its period, does not end at the altar with the prospect of a settled, if unsatisfying, future; it begins with the marriage and traces the course of its agonies to the final death rattle.

    One could hardly imagine a worse choice for a young woman of brimming energy and "a certain spiritual grandeur. The chapter in which Dorothea meets him opens aptly with an epigraph from Don Quixote: The bemused knight sees a cavalier with a golden helmet approaching on a dapple-gray steed, while the down-to-earth Sancho Panza sees "a man on a gray ass.

    And he always blinks before he speaks. However grotesque it appears, the choice is implicit in Dorothea's nature. In the first chapter, she shows a taste for righteous self-denial, a streak of ascetic Puritanism.

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    When she and Celia divide up their late mother's jewelry, Dorothea tries to "justify her delight in the colors by merging them in her mystic religious joy. Marriage to Casaubon would certainly keep her safe from physical passion. Beyond that, Dorothea is awed by what she takes to be Casaubon's learning; assisting him in his research, she imagines, will be the ideal goal for her restless energies. She goes so far as to envision his estate, Lowick, as the testing ground for her schemes to improve the tenant farmers' living conditions.

    In a cunningly ironic moment, she is disappointed to discover Lowick in such good order that little remains to be done.

    Middlemarch - REVIEW

    Her reforming zeal is so abstract that she would enjoy finding the farmers ground down by miseries she might then alleviate. Dorothea's notions of married life are comically naive: She views it as an initiation into ideas. But from the first moment, Casaubon's gloomy house, full of "anterooms and winding passages," and Casaubon himself, with his pigeonhole mind, are more stifling than stimulating.

    Despite her mighty efforts to make allowances, despite her self-deceptions Eliot's characters are masters of self-deception , in no time at all Dorothea is sunk in a "nightmare of a life in which every energy was arrested by dread. Casaubon is no less disillusioned. In a grimly humorous passage, Eliot outlines his motives for marrying-entirely willed, painfully rational-and his dismay at the outcome.

    He had "determined to abandon himself to the stream of feeling, and perhaps was surprised to find what an exceedingly shallow rill it was. Still, it is a measure of her even-handed sympathies that Casaubon is not made wholly monstrous. However unattractive, he is human, and granted human complexity. In the remarkable chapter 29, Eliot reveals his rankling disappointments and self-doubts, his secret awareness of his own failure, with an acuteness that compels a grudging compassion.

    Middlemarch by George Eliot

    When his bitterness finally turns against Dorothea, its source is all too clear. Into this dour nightmare of a marriage steps Casaubon's maverick nephew Will Ladislaw, an unconventional outsider by birth as well as by inclination. Like Dorothea, Will is driven by feeling, not logic.

    Will's feelings do not arise from some vaguely religious morality, like Dorothea's, but from an equally vague aestheticized view of the world. He seems a harbinger of the Pre-Raphaelite brotherhood of Eliot's own era, those poets, painters and critics Dante Gabriel Rossetti, John Millais, William Morris, and John Ruskin, among others who indulged in a cult of beauty steeped in nostalgia for the preindustrial simplicities of the Middle Ages.