Tag Archives: British Literature

Impatient and Inexperienced with men: More thoughts on Eliot’s Daniel Deronda

Ovid, in Book I of his epic poem the Metamorphoses, tells the story of the wood nymph Daphne whose transformation into a tree is sad and tragic.  Daphne loathes the idea of marriage and desperately clings to her life as a maiden nymph and a devotee of the goddess Diana (L. 478-80—all translations of the Latin are my own).: “Many suitors asked for her hand in marriage, but Daphne, turning away from these pursuers in disgust, not only impatient with men but also lacking any knowledge of men, roams the remote woods, not giving a shit about marriage, love or weddings.”

One of the saddest parts of this narrative, for me, is when Daphne begs her father not to marry her off to one of these suiotrs (L. 486-489): “Let me stay a virgin forever, dearest father.  This same wish was granted to Diana by her own father Zeus.”  But Ovid states that Daphne is too pretty to stay single: “Her father tries to humor her, but her own good looks prevented what she wanted, her very beauty made her wish an impossible one.”  Just as this observation is being made about Daphne’s future, the god Apollo arrives on the scene who is burning with a deep passion to overtake Daphne with his amatory advances.

Apollo, who is normally a god associated with reason and good sense, loses his mind over Daphne after being struck by Cupid’s arrow.  The passages that lead up to Apollo’s pursuit of Daphne are full of piercing, penetrating, arrows.  Cupid, after being teased by Apollo, pulls two arrows from his quiver and takes aim: “The arrow which causes someone to fall in love is golden and gleams with a sharp point, but the arrow which causes someone to reject love is dull and has lead under its shaft.”  Needless to say, Apollo is pierced with the golden arrow and Daphne is hit with the dull one.  An intense chase through the woods immediately ensues; Ovid uses images of the hunt as metaphors to describe the terror of Daphne’s pursuit.  In order to point out delicately the sinister tone of this passage I always ask my students, “What is Apollo’s goal here?  What will he do to Daphne if he captures her?”

As I read more of Gwendolen’s story in Daniel Deronda, I am convinced that George Eliot had Ovid’s Daphne in mind as she was writing her story of a beautiful, naïve young woman who clings to her maidenhood.  Gwendolen says on several occasions that she finds men disgusting and she hates when they make love to her.  Eliot says of her protagonist, “Her observation of matrimony had inclined her to think it rather a dreary state, in which a woman could not do what she liked, had more children than were desirable, was consequently dull, and became irrevocably immersed in humdrum.”  Like Daphne, Gwendolen views marriage as a permanent restraint on her freedom and she is impatient with men and inexperienced with them: “…She objected, with a sort of physical repulsion, to being directly made love to.  With all her imaginative delight in being adored, there was a certain fierceness of maidenhood in her.”  What was that lead arrow that causes her to reject men and love?  We can only speculate (a trauma early in life or a preference for those of the same sex?  Matters for a whole different essay.)

Gwendolen’s uncle, Mr. Gascoigne, the local rector, serves as a surrogate father to her and has more than one talk with her about the importance of marriage and making a good match.  He is convinced that her beauty and charm will attract a good suitor.  And when a local aristocrat and heir to titles and a fortune, a Mr. Grandcourt, shows interest in his niece Mr. Gascoigne makes it clear that the only path for her in life is to submit to a “good marriage”: “‘My dear Gwendolen,’ he said, rising also and speaking with benignant gravity, ‘I trust you will find in marriage a new fountain of duty and affection.  Marriage is the only true and satisfactory sphere of a woman, and if your marriage with Mr. Grandcourt should be happily decided upon, you will have probably an increasing power, both of rank and wealth, which may be used for the benefit of others.  These considerations are something higher than romance.'”  Similar to Daphne’s predicament, Mr. Gascoigne makes it clear to his nieces that marriage is the only option for a woman, especially one who is beautiful; taking vows has nothing to do with what a woman wants or doesn’t want, it is simply a matter of obligation.

The pivotal scenes during which Grandcourt, normally a reasonable and unemotional man, pursues Gwendolen occur at two different archery competitions.  Eliot weaves images of golden arrows, piercing, conquests, the hunter and the hunted throughout these scenes.  I found the description of Gwendolen, as she is about to set off to the archery competition, rather melancholy and foreboding as the comparison with Daphne floated through my mind: “Gwendolen looked lovely and vigorous as a tall, newly-opened lily the next morning; there was a reaction of young energy in her, and yesterday’s self-distrust seemed no more than the transient shiver on the surface of a full stream. The roving archery match in Cardell Chase was a delightful prospect for the sport’s sake: she felt herself beforehand moving about like a wood-nymph under the beeches (in appreciative company), and the imagined scene lent a charm to further advances on the part of Grandcourt…”

As Grandcourt decides that Gwendolen will be his wife, and his possession, his pursuit of her becomes more intense and he remarks to a friend that his new wife will be “brought to kneel down like a horse under training…though she might have an objection to it.”  This image of forcing self upon Gwendolen eerily recalls Apollo’s reason for pursuing Daphne.

In the end, Daphne calls, once again, on her father for help but the result is the destruction of her form and beauty and a transformation from the carefree, happy maiden that she once was.  It is clear from the foreshadowing in Eliot’s tale that Gwendolen’s fate will be something similar to Daphne’s.  Reading Daniel Deronda though the perspective of Ovid’s myth also makes Gwendolen’s pretending to be St. Cecilia that much more fitting and foreboding; as I mentioned in an earlier post , this martyr also rejected marriage and wished to stay a maiden but in the end was destroyed despite her wishes.

4 Comments

Filed under British Literature, Classics

The Worst Kind of Irreligion: George Eliot on the Reception of Daniel Deronda

I am reading George Eliot’s journals and letters alongside her novel Daniel Deronda.  In a letter dated the 29th of October, 1876, she describes to her friend Mrs. H.B. Stowe her surprise that Daniel Deronda has not met with more resistance because of its Jewish subject matter.  She describes the shameful racism and bigotry she witnesses among her own class:

As to the Jewish element in ‘Deronda,’ I expected from first to last, in writing it, that it would create much stronger resistance, and even repulsion, than it has actually met with.  But precisely because I felt that the usual attitude of Christians towards Jews is—I hardly know whether to say more impious or more stupid, when viewed in the light of their professed principles, I therefore felt urged to treat Jews with such sympathy and understanding as to my nature and knowledge could attain to.  Moreover, not only towards the Jews, but towards all Oriental peoples with whom we English come in contact, a spirit of arrogance and contemptuous dictatorialness is observable which has become a national disgrace to us.  There is nothing I could care more to do, if it were possible, than to rouse the imagination of men and women to a vision of human claims in those races of their fellow-men who most differ from them in customs and beliefs.  But towards the Hebrews we western people, who have been reared in Christianity, have a peculiar debt, and, whether we acknowledge it or not, a peculiar thoroughness of fellowship in religious and moral sentiment.  Can anything be more disgusting than to hear people called “educated” making small jokes about eating ham, and showing themselves empty of any real knowledge as to the relation of their own social and religious life to the history of the people they think themselves witty in insulting?  They hardly know that Christ was a Jew.  And I find men, educated, supposing that Christ spoke Greek.  To my feeling, this deadness to the history which has prepared half our world for us, this inability to find interest in any form of life that is not clad in the same coat-tails and flounces as our own, lies very close to the worst kind of irreligion.  The best that can be said of it is, that it is a sign of the intellectual narrowness—in plain English, the stupidity —which is still the average mark of our culture.

The U.K., of course,  is not the only country in which racism, bigotry and xenophobia are a persistent, national problem .  Eliot’s words are just as relevant today, unfortunately, for the culture of racism that the current leadership in the U.S. has incited which is horrifying, shameful and disgusting to witness.  I am glad that Eliot does not mince words and calls it what it is—ignorance and stupidity.

14 Comments

Filed under British Literature, Classics, Letters

Gwendolen as St. Cecilia: Some Beginning Thoughts on George Eliot’s Daniel Deronda

I am so happy to be occupying, once again, a world that George Eliot has created with her novel Daniel Deronda. Gwendolen, like many of the heroines in Eliot’s novels, is willful, independent, and a fierce presence from the very start. When we first meet her she is gambling and completely believes in the force of her luck at the roulette table and the impact of her elegant figure on her male admirers. Upon entering the home that she will occupy with her mother and four sisters, Gwendolen makes a grand entrance fitting for a young woman so confidant and headstrong; she poses at the piano and remarks to her family and the servants—her audience—that she would make the perfect figure for a portrait of Saint Cecilia:

‘Mamma, mamma, pray come here!’ said Gwendolen, Mrs. Davilow having followed slowly in talk with the housekeeper. ‘Here is an organ. I will be Saint Cecilia: someone shall paint me as Saint Cecilia. Jocosa (that was her name for Miss Merry), let down my hair. See, mamma!’

She had thrown off her hat and gloves, and seated herself before the organ in an admirable pose, looking upward; while the submissive and sad Jocosa took out the one comb which fastened the coil of hair and then shook out the mass till it fell in a smooth light-brown stream far below its owner’s slim waist.

Mrs. Davilow smiled and said, ‘A charming picture, my dear!’ not indifferent to the display of her pet, even in the presence of the housekeeper. Gwendolen rose and laughed with delight. All this seemed quite to the purpose on entering a new house which was so excellent a background.

Like the martyr Saint Cecilia, Gwendolen has an interest in music and she is a strong willed woman who demands the attention of those around her. Saint Cecilia wished to remain a Virgin but her parents married her off to a pagan nobleman named Valerian. But Cecilia convinces her husband to convert to Christianity and they are both killed for their faith. In the first few chapters of this novel, my mind kept wandering back to this image of Gwendolen as Saint Cecilia. Eliot especially makes it a point to highlight Gwendolen’s talent, for which she is rather proud, as a singer and musician; and we are made very aware of the fact that Gwendolen has no real interest in marriage but views it as a means to an end—if she marries a wealthy man then her importance in life will be greatly elevated.

I suspect in this scene I’ve highlighted that, not only are we are getting a glimpse at Gwendolen’s spirit, but we are also meant to see her hubris on full display. I have no doubt that Eliot’s use of this Saint is rather deliberate and symbolic and I look forward to occupying Gwendolen’s world for a while and seeing where Eliot takes us with his image.

When I mentioned on Twitter that I was reading Daniel Deronda, a few fellow readers responded that this was their favorite Eliot novel. I would say that my favorites in order are Middlemarch, Adam Bede, The Mill on the Floss, and Silas Marner. (I have yet to read Romola, Felix Holt or Scenes of a Clerical Life.) It will be interesting to see where Daniel Deronda falls on my hierarchy of Eliot novels. What is your favorite Eliot?

15 Comments

Filed under British Literature, Classics

Aspiring Epicureans: The Colour of Memory by Geoff Dyer

Epicurus writes about friendship:  (Sententiae Vaticanae LXXVIII-translation is my own)  “A man becomes especially noble in mind through wisdom and friendship. Of these the former is a mortal good, but the latter is immortal.” (ὁ γενναῖος περὶ σοφίαν καὶ φιλίαν μάλιστα γίγνεται, ὧν τὸ μέν ἐστι θνητὸν ἀγαθόν, τὸ δὲ ἀθάνατον).  Friendship was an important aspect of his Hellenistic philosophy which promoted the attainment of a happy, carefree life free from pain and fear of death.  In Athens Epicurus had a property called the Garden where his community of friends, which regularly included women, would gather, share common meals and discuss philosophy.

The narrator in Geoff Dyer’s novel The Colour of Memory has no steady job, no real prospects in life, and lives off the dole.  But what he does have is a steady, supportive group of friends: Freddie, Carlton, Steranko, Foomie and Belinda.  The book lacks a true plot, but instead is one description after another of the narrator and these rather well-read and interesting friends hanging out, going to pubs, listening to music, getting high and generally enjoying one another’s company.  Dyer even includes long descriptions of the card games that they play throughout the course of a long, boring winter’s day.  I like to think of them as aspiring, 20th century Epicureans:

On Christmas Eve Steranko invited everyone over to his house for a turkey dinner.  We all sat around the kitchen table which he had dismantled, hauled up the stairs and then re-assembled in his room.  A fire was burning in the grate and more wood was piled up on either side of the fireplace.  All the usual clutter of his room had been cleared away and thrown on his bed or shoved into corners: notebooks, sketch pads, paperback novels.  As always, the walls were covered with unfinished drawings; canvases were stacked up in a corner.  Apart from the fire the only light in the room was from candles on the table and on the mantelpiece.  He had even bought some cheap Christmas crackers.  Everyone had brought booze and grass and we were all drunk and stoned by the time Steranko emerged from the kitchen bearing the turkey ceremoniously before him like a crown on a cushion.

Freddie’s decision to move away from England and the close knit group is what brings about the shocking and unexpected ending of the story.

Since the group all live in the rough neighborhood of Brixton in London, they are constantly trying to avoid pain—that is the physical pain of a random beating or mugging.  The narrator is obsessed with his physical safety and does anything he can to avoid a fight, a mugging, or a burglary in his apartment.  He witnesses a man being beaten on the Tube, but neither he, nor anyone else on the train, steps in for fear of getting attacked himself.  When Freddie is badly attacked on the street his friend’s swollen and deformed head brings him to tears.

Where the narrator and his friends fall short of being true Epicureans is their tendency to engage in recreational substances to the point of hedonism.  I thought it especially astute for the narrator to recognize this flaw:

Waking up the next morning with the odd sensation of being surprised to be alive I threw recklessness to the wind and abandoned my spontaneity programme then and there.  I was fed up with the rigours of impulsive living anyway: I didn’t have the application for it.  I couldn’t cope with being stoned at eleven thirty in the morning and that kind of thing.  Spontaneity seemed constantly to tow regret in its wake.  Living for the moment was all very well, I decided, but you had to pick your moments carefully.

He doesn’t completely give up drinking and getting stoned, but he does back it off to the point where his activities don’t cause him excruciating pain and regret the next day.  I took a break from my epic summer reads to try something a bit shorter and easier to read.  Dyer’s book was a pleasant distraction for a few hours.

4 Comments

Filed under British Literature

Corpus Erat: The Metamorphosis of Marcus in Brigid Brophy’s Flesh

This was my first experience with a Brophy text and I was pleasantly surprised by her writing even with a rather short novella. I viewed the book as a metamorphosis, much like those described in Ovid’s epic poem, in both a physical and emotional sense. At the beginning of the story Marcus is a timid, skinny, introvert who lingers at the edge of the parties that he forces himself to attend. He is the only boy of a wealthy Jewish family living in London and, as a result of his upbringing, he leads a rather pampered life. He has his own flat in London, for instance, but most nights he goes home for dinner and sleeps at his parent’s home. Since he has no need of a real occupation or a source of income, he spends his time reading and studying art. Being an introvert myself, Brophy’s description of Marcus’s awkwardness at a party made me cringe:

He had got himself hemmed in by other people’s backs and jammed in a corner between a bookcase and a table of food, on either of which was there room for him to set down his glass, which had been empty for half an hour. He picked out one of the books, opening up a black gap on the shelf, and mimed reading. But this solitary pleasure at a party seemed to him as much a solecism and a confession as if he had stood there wiggling a loose tooth in his mouth; and the feeling of being exposed overwhelmed any pleasure the book might have given him.

Marcus meets his future wife, Nancy, at this same party and this interesting woman is immediately drawn to Marcus because of the potential she sees in him. A potential for what, we have no idea at first. But when a very nervous and virginal Marcus is initiated into the pleasure of the flesh during his honeymoon, we are made to understand that she saw in Marcus a man that she could teach to please her in just the ways she needed: “Nancy did have a talent. It was for sexual intercourse.”

What I found most surprising in this small book is that, although much of the narrative is funny and quirky, Brophy also inserts passages with sublime, poetic descriptions of physical intimacy. After Marcus and Nancy consummate their marriage, she writes:

Where she led him was a strange world that was not new to him, since he had always known it existed, subterraneanly: a grotto, with whose confines and geographical dispositions he at once made himself quite familiar, as with the world of inside his own mouth: but a magic grotto, limitless, infinitely receding and enticing, because every sensation he experience there carried on its back an endless multiplication of overtones, with the result that the sensation, though more than complete, was never finished, and every experience conducted him to the next; a world where he pleasurable lost himself in a confusion of the senses not in the least malapropos but as appropriate and precise as poetry—a world where one really did see sounds and hear scents, where doves might well have roared and given suck, where perfectly defined, delightful local tactile sensations dissolved into apperceptions of light or darkness. of colour, of thickness, of temperature…

This marks the turning point in Marcus’s transformation to a more self-confident man. He finds a job that he is good at and really likes, he starts to gain quite a bit of weight, and he continues to delight in the physical aspect of his marriage to Nancy. As Brophy lingered on Marcus’s physical transformation in the second half of the novella, I kept thinking of a line in Ovid’s Metamorphoses when Pygmalion discovers that he statue has come to life: “Corpus erat! “ (It was a body!), he exclaims.

I have one other Brophy, The King of a Rainy Country, sitting on my bookshelf that I am now eager to read. I am about to visit some amazing bookstores on my summer travels, so please let me know in the comments of other Brophy titles I should be on the lookout for.

8 Comments

Filed under British Literature, Classics