Book I, Miss Brooke

What are some complexities and difficulties in interpreting the novel’s narrative voice? (This is difficult to interpret because of the internal relations of its subplots, the relation of portions of the plot to each other and to the narrative voice, and the relationship of different narrative judgments and expressions of sympathy and affect to each other.)
The tone clearly can be interpreted in several ways--the same statements can be perceived as essentially sincere, ironic, or sly; sometimes its tone seems more critical than it admits to being--and its ambiguity gives distance and control. The narrator seems a controlled roving moral evaluator! It’s hard to deflect a measured understatement.
Eliot’s practice gives new meaning to the term “omniscient author.” Her narrator possesses a polyphonic, partial omniscience--reader and narrator combine to judge the material presented, a kind of interchange of judgement.

What are some aspects of the novel’s organization? (carefully plotted with four subplots--the Bulstrode/Raffles plot; the Vincy/Lydgate plot; the Dorothea Brooke/Casaubon/Lydgate plot; and the Garth/Vincy/Featherstocking plot) Which plot is closer to Mary Ann Evans’s own origins? (the Garth plot; Caleb Garth modeled on her father, Mary given her own name).

What function does the narrator take in introducing the reader to Dorothea at the beginning and throughout book I?
--presents her as an ideal physical and religious figure and demands our sympathy
----xiii first sentence attempts to define reader as serious and sympathetic
----xiii narrator defends the futility of her efforts, as outlet for her ardor
--3, narrator demands sympathy, “poor Dorothea”
--narrator tells us what our attitude should be--others find her unaccountably charming, 3, we see others admire her (“not in the least self-admiring, it was pretty to see . . . ," 3)
--narrator gives an interpretation of her character, “in girls of sweet ardent nature, every sign is apt to conjure up wonder, hope, belief, most as a sky . . . ”, 15
--defends her on the grounds of inexperience, 15
--narrator notes repeatedly that Dorothea’s ideals are in contrast to the narrow conventions of the day, 16, 17 over-sarcastic presentation of young love
--speaks of her “active conscience” and “great mental need”--adds intensifying adjectives--her “nature [is] altogether ardent, theoretic, and intellectually consequent”
--narrative description, she “holds up hands to the fire in passionate propitiation for wanting to know and think” (ignores extent to which her tears are over her own blindness--not so abstract as all that)
--repeated references to poor Dorothea, 26, yet the comments made to her had been accurate. Sometimes narrator attempts to pull our sympathies away from the ironies she has just presented--overlooks situation
“she wished, poor child, to be wise herself,” 42 (seen not as over-ambitious but as ill-fated, childlike)
“poor Dorothea,” 44, in context of describing her distaste for classical statues
--praiseful narrative voice, “she has full current of sympathetic motive,” 58; “the entire absence from her manner and expression of all search after mere effect,” 59

What kind of metaphors are used in presenting Dorothea?
--xiii St. Teresa
--xiv, cygnet amid ducklings
--she is a Blessed Virgin in dress (there have been other simply-dressed women)
--her profile and bearing that of a fine quotation from the bible!
--her musical intonation like a piece of fine recitative, 30
--Ladislaw responds to Dorothea’s voice, like the voice of a soul that had once lived in an Aeolian harp, 53
--like Santa Barbara looking out from her tower into the clear air, 59
single-mindedness of these metaphors

Why do you think George Eliot may be somewhat defensive in presenting her heroine? Is she an unusual type for a Victorian novel heroine?
(narrator wants to be certain we forgive her heroine for moral intensity. The year is 1871/72 and the average opinion on female education is probably close to that of Mr. Brooke.)

What function is served by the character of Celia? How do her remarks reveal the limits of Dorothea’s vision? (reveals Dorothea’s obliviousness, her ignorance of others’ motives, her heedlessness of the social and sexual forces which will limit her happiness)

Does Dorothea condescend to Celia? (22, eternal cherub, squirrel)

What irritating traits does Celia have? (impervious, purring, catty, more malicious than the narrator is willing overtly to tell us)
--scolds Dorothea self-righteously, 23
--speaks of “your fad to draw plans,” 23
--purring, guteral voice
--exercises restraint of one whose feelings were limited
--unruffled propriety, 31
--catty, “someone young is coming down the walk,” 51; begins objections to Casaubon by discussing his eating habits

Do our attitudes toward Celia change throughout the novel? (She is presented more sympathetically at first, but as Dorothea’s fortunes decline we feel more for the latter's struggles for an authentic life.)

How is Mr. Brooke presented? How does he behave toward Dorothea? How is he contrasted with Casaubon? (his pretentiousness in learned matters and condescension to Dorothea make Casaubon seem intelligent and polite by comparison, yet his kindliness, helpfulness, and vague tolerance are traits which wear better than the pretensions of Casaubon.)

What role is served by Mr. Cadwallader? Are his comments sympathetic and sensible? (45, 47 Mr. Brooke, 47, she does not do it (marry) for my amusement, 47 enjoys satire on himself) What does he fail to see? (ironically he is the only one who fails to see the unsuitability of the marriage)

Does Book I present sufficient evidence to prepare for the later failure of Dorothea’s marriage?
--Casaubon’s cool letter
--his inability to feel passion
--his lack of interest in practical goodness
--his coolness to his cousin
--his lack of physical ardor (expressed in symbolism of the statues)
--correction of his wife
--his smug acceptance of her worship
--desire to study in Rome without her

What are Eliot’s views on the position of nineteenth century women? Does she attack conventions for women frontally?
--3, women were expected to have weak opinions
--12, Sir James, “a man’s mind . . . has always the advantage of being masculine . . . and even his ignorance is of a sounder quality.”
--26, Mr. Brooke repeatedly speaks of women in the abstract--sort of man a woman would like--so does Sir James (men who are judged deficient think of women as an abstract class)
--29, Mr. Brooke’s views on superior male gifts (35, won’t argue with a woman on politics, 43, Dorothea shouldn’t learn classics or mathematics)
--32, Casaubon speaks of female capacity for ardent self-sacrifice (41, thinks of female fancy, tendance, etc.)
--42, female graces of amateur art and music satirized--Dorothea doesn’t like to play light songs (but Casaubon too harsh on music; Eliot loved music)
--48, a woman dictates before marriage that she may have an appetite for submission afterwards

How do the characters’ responses give us information about other characters and events in the novel?
--Celia’s responses indicate lapses of her sister’s observations, and also indicate by contrast some of Dorothea’s merits (cmp. Lucy in Mill on the Floss, Hetty in Adam Bede). Celia is blandly, quietly catty, able to dismiss all issues as “fads,” and her sister’s aspirations as mere willfulness.
--Mr. Brooke, Sir James, Celia, and Mrs. Cadwallader comment on Casaubon. Mr. Brooke never “got ideas” from him, 25, i. e., helpful hints on mild social reform. To Sir James, “he is no better than a mummy,” 38; “look at his legs,” 45 (cmp. Celia); “Has he got any heart?” 46. Mr. Brooke’s warnings concerning marriage are surprisingly prophetic, 26. He has a practical sense Casaubon lacks, and also when young did have more charitable impulses, 26 (statement both boastful and to some degree true). Casaubon by contrast is ominously impervious to all active duties and good works, 33, 34.

How do their judgments affect our view of Dorothea? (careful and humorous balance of sympathy--defense of Dorothea intensified but also balanced by presentation of qualifying views)

How intrusive is the narrator in describing other characters besides Dorothea?
--with Casaubon, reminds us that he merits pity, 57, 102
--with Mrs. Cadwallader, reminds us that other ladies may also be narrow, 40, why confinement of readers to category of “ladies”?
--with Ladislaw, after repeating his mean thoughts concerning others, tells us (untruly) that Ladislaw’s laughter “had no mixture of sneering and self-exaltation” (54).
--with Mary Garth, describes her as having a fund of humor (“observation sate laughingly”) after she has made critical remarks

What seem to be Dorothea’s motives for matrimony?
--desires a teacher, 4
--husband to be father (guide), could teach me Hebrew
--especially excited by the prospect of learning academic dead languages
--pleased at first man who had talked directly to her on subjects of passionate concern to her, 20
--learned men kept oil of lamp of moral/rational life, 58

Are we given foreshadowing in the preface and Book I of the novel’s probable outcome? Do you find this helpful or overly heavy?
--perhaps a tragic failure xiii; loving heart-beats are dispersed among hindrances xiv
--imagery of gloom associated with Casaubon’s home;
--we’re told Lydgate may change his disapproval of Dorothea, 63; that Lydgate, Rosamond, and Dorothea will affect each other’s fate, 64

In Book I how are events and people of the next plot introduced? What are the connective links between the Dorothea-Casaubon plot and the Lydgate-Vincy-Garth plots?
--men at party speak of Rosamond Vincy as ideal, 60
--women at party discuss medicine with fervid ignorance, 61
--Lydgate finds Dorothea too moral for his tastes, 63, her society heavy, 64; foreshadowing as narrator tells us he may change his mind, 63
--descriptions of Rosamond--social-climbing, catty to brother, hyper-proper in conventional ways, has romantic fantasies of marriage to a man of birth, 80, 81, called an “angel,” a “vision,” snide in misrepresenting Mary’s comments to Fred, 82
--by contrast, Mary Garth is shown as sensible and quick-witted, much more honest, 79

In presenting a female bildungsroman, what are some predecessors of which Eliot may have been aware? (Austen’s Emma, Charlotte Bronte’s Lucy, her own Maggie Tulliver)

How are names in this novel used emblematically? (Farebrother, Caleb Garth (honest yeoman), Featherstone, Bulstrode, Mary (cmp. Mary Ann Evans), Dorothea, Casaubon--we hardly know his first name, Tertius Lydgate, Rosamond)

How are the beginnings and endings of each book important?

What seem to be some of the intentions of this novel? Is it a work of realist fiction? In what time period is it set? (directly before Electoral Reform Bill of 1832; presents range of social types and aspirations of a period roughly contemporaneous with the author’s girlhood, a common pattern in novels; shows variation under a seemingly dull surface; variety presented by the contrasting plots)

Book II, “Old and Young”

Who are the old and young, and with whom do our sympathies lie?
--Bulstrode/Lydgate
--Fred and Mary/Mr. Featherstone
--Casaubon/Dorothea and Ladislaw
--Lydgate/older generations of Middlemarch, Farebrother
Our sympathies are generally with the young.

Are the various youth/age oppositions related in theme? (in aged, failure to fulfill youthful ideals; in young, great expectations and overconfidence.135, tragedy in frequency of disappointment. Novel presents the need to temper expectations with foresight)

Are there any ideal characters among the older generation? The younger generation?

Does the narrator serve the same function here as in Book I? (Still intrusive, makes judgments and intervenes whenever anyone behaves badly; intrusive regarding Lydgate; insincere obtrusive narrator, p. 107) Do you prefer the narrator’s attitude here?

What are some contrasts around which this book is structured?
--Fred/Mary
--Causabon/Dorothea
--Rosamund/Lydgate
--Ladislaw/Causabon
--Mrs. Vincy/ Mrs. Garth
--Dorothea/Lydgate

What types of scenes or events do you feel Eliot portrays best?
--emotions of self-conscious weakness, loyalty--Fred and Mary Garth, Farebrother’s graceful tact with Lydgate, the scene in which the two men converse, e. g. issue of Lydgate’s bought note, Mr. Casaubon's quiet jealousy of his cousin
--when Dorothea speaks for herself scenes improve--descriptions of her seem forced, include special pleading
--perhaps narrator is better at sarcasm, or descriptions of those such as Lydgate with whom she feels more distant, limited sympathy, e. g. moment in which Lydgate finds anatomy entry, 84, 85 his medical motives--moment of illumination. In some ways able to deal more concretely with his merits than those of Dorothea, because he’s not a moral ideal.
--by contrast, the narrator’s treatment of romantic love seems forced--Ladislaw is interested in each movement of Dorothea’s eyelid, 190; Lydgate’s memory of Dorothea retained until death
--indirect in expressing sexual emotions, 137, claims that the sexual affection of “every sweet woman” is the result of childhood emotions, the purity of maternal sentiment (Eliot was defensive on this issue, from the persecution she had suffered)

What is the narrator’s view of Lydgate? (asks us to imagine a gambler attempting to predict whether he will fulfill his ideals--thus suggesting that he may not; reminds us that he has conventional tastes in many matters, including women)

What have we learned in Book II that we didn’t know before? (problems are unfolding--Mr. Vincy and Fred are in debt, Casaubon and Dorothea quarrel)

What is the significance of the endings of Books I and II? Are there any resemblances between them? (each ends with the suggestion of difficulties ahead)

How may the structure of this novel have been affected by the fact that it was published serially? (at the end of book II Causabon's sterm prohibition that Dorothea speak no further of Will contrasts with her hopeful emotions on deciding to marry him)

Book II, chapter summaries

13 Lydgate and Bulstrode meet for the first time. Bulstrode will consider giving him the hospital to manage, but wants his co-religionist Tyke elected as chaplain. Vincy asks Bulstrode for a testimonial for Fred; Vincy and Bulstrode quarrel, but the latter does relent and provide the letter. (Scene reminiscent of tensions between Tulliver and the Dodsons.) We learn that Mr. Vincy is heavily in debt, with the loans covered by his brother-in-law. As always, the characters are permitted to critique each other; Vincy says of Bulstrode, “You must be first chop in heaven, else you won’t like it much.”

14 Featherstone gives Fred a hundred pounds, but the latter is disappointed since he’s a hundred sixty pounds in debt, with a note held by Mary’s father.  (a huge amount, and he has borrowed on someone is a lower social situation than himself, and perhaps also the most generous person he knows). Mary is unhappy as a companion to Featherstone, but she had also disliked teaching, 93. Fred proposes marriage, she reproves him for idleness. Her father says an idle man ought not to marry, 94, 95. She wants him to work, suggests he pass his exam.

15 As newcomer, Lydgate is the subject of others' speculations and designs; narrator describes his past, 97, 98. Intellectual passion little celebrated in fiction, 99--a beautiful passage. He dreams of discovery, 101. Yet the narrator raises the question of whether his merits or flaws will predominate, and notes as a flaw that outside the realms of science he has conventional ideas and tastes. He has shown imperceptiveness in the past, especially in romance. He had followed an actress, Laure, in Europe; she had murdered her husband--striking vignette.

16 Lydgate meets Rosamond, who is clever but not humorous (contrast Mary). She’s described with detailed malice 109-110. She plays well, though in a merely imitative manner, Lydgate admires the docility of her intelligence, 112, just the kind one would desire in a woman, an ominous assumption, 115. The narrator notes that Rosamond is already constructing an imagined future with Lydgate, and is especially pleased by the thought of socializing with his aristocratic relatives. Aunt Bulstrode hopes she will find a husband suitable to her financial tastes. Her favorite poem is Thomas Moore's "Lallah Rookh"--what does this suggest? (a exotic romantic poem)

17 Lydgate visits Farebrother’s home, finds him a bit hen-pecked by his mother, sister and aunt. (Farebrother tactfully deflects his mother's firm, simple-minded and reactionary views)  On what income does he support four persons? (400 pounds a year) What habit does Lydgate think he might forego if he were paid the 40 pounds that will be given whoever becomes the new hospital chaplain? (playing for money) What does Farebrother confess about his occupation, and how does Lydgate respond? (Farebrother is often bored with clerical literature; Lydgate thinks it unsuitable to exercise an occupation without full commitment). What does the narrator think about their respective views? (Lydgate is too judgmental, Farebrother may have given up too soon)

What opinions does Farebrother express about his rival? (doesn't agree with him but doesn't vilify him) What is revealed by the fact that Farebrother tactfully suggests they can be friends on the basis of scientific interests, however Lydgate votes on the chaplaincy (not a vengeful man, understands that people have their separate interests). Of what does he warn Lydgate? (Middlemarch is filled with factions and competing interests; if he votes against Bulstrode the latter will not forgive him) Was it in his self-interest to tell Lydgate this?

Whom does he mention with approbation? (Mary Garth--we see that Farebrother might have wished to court her were he in a financial position to do so)

18 Lydgate casts the deciding vote for Tyke, judges Farebrother as suffering from an infirmity of will, 130. What does the narrator think were his motives? (he had reservations about Farebrother, but would still have voted for him had he not felt the pressure to accede to Bulstrode) Before he enters the room, what opinions on the selection had been expressed by the other board members, and on what grounds? (concerned with how the selection will affect their professional interests) Do they consider who in fact might be a better chaplain to the sick and dying?

How does Mr. Brooke vote, and on what grounds? Is there an irony in the fact that a professed liberal and Anglican selects the more sectarian, Dissenting candidate?

19 Painters who view Dorothea in the Vatican in Rome describe her as a Christian Antigone--having “sensuous force controlled by spiritual passion.” As his German friend Naumann expresses the desire to paint Dorothea, how does Ladislaw respond? (is irritated, feels women can be better described in language than art [primacy of writing]).

20 Dorothea and Casaubon quarrel; when she suggests that he should start to write up his notes, he is hurt and offended, 135. Narrator notes that the tragedy of disappointment is a common one. She has wished to extract his notes, 139; feels she cannot be of use. He fails to respond to her ardent affection, 137 (is physically cold). She weeps, but seeks least partial good, 141. Note care with which chapters end.

Who arrives at this point, and what does he note?

21 Dorothea is visited by Ladislaw, who sees that she has been weeping. He  informs her that Casaubon has not read the latest German mythological and anthropological studies that are necessary for an accurate treatment of his topic, the relationship of all mythologies; the implication is that Casaubon's studies are entirely derivative but he is unable to synthecize or frame new ideas. He views Dorothea as “an angel beguiled.” What seems to lie behind Will's responses? (dislike for his cousin, a bit of jealousy)

Will's views are those of Eliot, and Dorothea accepts their accuracy. She apologizes to her husband on his return home, understands the “sad consciousness in his life” which weighs on him, 146, “he had an equivalent center of self, whence the lights and shadows must always fall with a certain difference.”

22 When Ladislaw takes Casaubon and Dorothea to visit Naumann's atelier, Naumann asks to draw Casaubon as St. Thomas Acquinas in order to induce him to permit him to draw Dorothea as Santa Clara. Is the choice of Santa Clara appropriate (she had founded an order of nuns who serve the poor). After many internal effusions about Dorothea’s qualities, Will calls on her and they discuss Mr. Casaubon’s choice of sources; he tells her he will return to England to support himself (cmp. Mary-Fred plot).

What reasons does he give for not wanting to be an artist? (could not be a great one; also doesn't like the tone of artistic circles) What are her aspirations? (wants to improve life for all) What does he wish in return? (would like to help her if he could) When she suggests he could be a poet, he flatters her with the response that she is one.

On his return, Casaubon is chilly about Will’s resolutions and forbids her to speak further of his cousin. Is this an ominous ending for book II? What does the reader assume may happen?

Questions for Book II:

1.At the end of book I, what do we learn indirectly about the characters who will be introduced in Book II—such as Lydgate, Rosamond, Featherstone and the Vincys? What report is given of Rosamond? Of Dorothea?

What do we learn of the characters of Rosamond and Fred Vincy? Of Mary Garth’s position in the social hierarchy?

Why do you think the author introduces her characters obliquely?

2. What is the significance of Book II’s opening scene? (at beginning, conversation between Lydgate and Bulstrode) Its closing scene? (Casaubon tells Dorothea Will should not visit) Why do you think these two incidents are chosen as bookends? (indicate problematic points for future)

3. Which names of characters reflect their respective personalities? Is Eliot’s naming practice similar to that of Dickens?

4. Why do you think Book II is named “Old and Young”? Who are the old and young, and with whom do our sympathies generally lie? What seem to be the problems which beset people in each category?

5. Are there any ideal characters among the older generation? The younger generation?

6. Does the narrator serve the same function here as in Book I? Whom does she pause to criticize? To praise?

Are there instances in which the narrative voice seems insincere or misleading? Can you give an example?

7. What are some important contrasts of character around which Book II is organized? What contrasts do we see between Rosamond and Mary? (former has no sense of humor, rude, preoccupied with status)

8. In this book, what are some types of scenes or events which you think Eliot portrays best?

9. What are some instances in which Dorothea speaks for herself, as opposed to being described? Which form of presentation do you prefer?

10. What aspects of Lydgate’s ambitions are most favorably presented? What motivates his desire to be a doctor? At this point in the novel, do you think he is likely to attain his ambition, and on what grounds can you make such a judgement? (narrator elaborates at length on his limitation)

11. How is Ladislaw’s attachment to Dorothea presented? What form of attachment does the narrator claim she feels for him?

12. What have we learned in Book II that we didn’t know before? How would the novel have been altered by reversing the sequence of the first two books?

Chapter 13 What do we learn in this chapter about the financing of hospitals in Middlemarch? What faction is represented by Bulstrode and Tyke?

What causes a quarrel between Bulstrode and Vincy? Is anyone in the “right”? What do the two men think of each other?

Chapter 14 Why isn’t Fred happy when Featherstone gives him a hundred pounds? What are Mary’s career prospects?

How does Mary respond to Fred’s proposal, and on what grounds? What advice does she give him?

Chapter 15 What do we learn about Lydgate’s romantic past? What speculations do others form concerning him? What topic does Eliot believe has been too little portrayed in fiction?

Chapter 16  How does the narrator describe Rosamund? Are there any ominous signs for her future?

Chapter 17 How is Mr. Farebrother described? What is Lydgate’s opinion of Farebrother’s home life, and how might this be improved? Why doesn’t Farebrother campaign to be given the chaplaincy?

Chapter 18  Why does Lydgate cast his vote for Tyke’s appointment as chaplain? Are his grounds religious? Do you think the narrator approves of his choice? (this incident will also foreshadow another dubious medical decision, or indecision, which Lydgate will make later in the book)

Chapter 19 To which iconic heroine is Dorothea compared by painters in Rome, and on what basis?

Chapter 20 On what grounds do Dorothea and Casaubon quarrel? What is her considered response to her husband’s coldness?

Chapter 21 What does Dorothea learn from Ladislaw about the nature of her husband’s studies? How does he interpret her loyalty and interest in her husband’s work?

Chapter 22 What is the significance of the roles the painter Nauman chooses for Casaubon and Dorothea respectively?
What resolution does Will make? Is this important to the plot?

Book III, “Waiting for Death”

One of shortest books, 62 pages (in contrast to 82 pages of Book I); a kind of miscellaneous quality; fortunes decline or are stagnant. At beginning of second quadrant, lacks the excitement of new beginnings--Eliot is preeminently a novelist of slow development.

For whose death are we waiting? What metaphor is used to describe the hovering relatives? (vultures) Are there other forms of waiting in this book? What effect does each delay have?
--Featherstone’s--effect of delay in his death? Fred’s difficulties increase; delay reveals flaws in his character.
--Casaubon’s--effect of his sickness? Delay emphasizes Dorothea’s devotion.
--Fred’s sickness--effect of his recovery? Rosamond and Lydgate become engaged.

What themes seem most heavily reiterated, and how are they supported by the book’s structure?
--theme of false goals and tempered illusions; destructive fantasies vs. acceptance of fate
--contrasts and comparisons--Mary Garth and Fred/Garths vs. Vincys/Lydgate and Rosamond/Dorothea and Casaubon.
Fred wise in love, stupid in outer world; Lydgate the reverse
Rosamond overhasty to climb socially, Mary consistent in eschewing false ambition
Caleb Garth and Fred--Caleb presented as ideally humble man. Mary and Caleb are the only two whose fantasies are real, 173
Mary Garth and Fred’s non-engagement based on reality; Lydgate and Rosamond engage themselves on the basis of an illusion
Rosamond a social climber, Caleb Garth desires to remain associated with business, 173

How does Mary Garth’s relation to Featherstone relate to this theme?
--cmp. relatives’ desire to tamper with the will with Mary’s refusal to alter it at the last minute
--person with no expectations makes final determination of the disposal of the old man’s estate

Do you believe that Mary does right in refusing to help Mr. Featherstone alter his will without a witness?  Does the narrator seem to think so?

What were patterns of relationship between men and women of which Eliot approves and disapproves?
In each case, one partner or potential partner suffers distress:
--Rosamond, Lydgate comforts her
--Fred, Mary feels maternal emotions (also she’s a good daughter); 176, they had played together as children
--Casaubon, Dorothea feels pain at his psychic estrangement. Lydgate admires Dorothea’s fervid concern for her husband.

At which places in Book III does the narrator seem most concerned to intrude? (In finding fault with Fred Vincy, 158, 159, 161, 167, a fortunate passion tempered by good character of others) Why this emphasis on severity? (Fred’s false expectations are emphasized in contrast to Featherstone’s promises.) (Narrator also intrudes in Casaubon-Dorothea incident)

What is significant about Mary Garth’s refusal to collude with Featherstone’s burning of his current will?

Are there humorous aspects to the Featherstone death scene? Moral aspects?

What are some noticeable patterns of imagery and symbolism?
--Rosamond birdlike, Lydgate a bear with bird, 208, blue flower, 187, bear-bird
--scene of relatives surrounding dying man
--death of old Featherstone impotent and clutching gold--does he too have illusions? (cmp. themes of Great Expectations and Vanity Fair)

What are some relationships between the subplots? (e. g. Lydgate visits Chettam and Casaubon, Featherstone given "living" of Lowick)

What are some features of the structure of Book III? (three illnesses precede a death, casting a shadow forward)

What changes/progress is made from the end of Books I and II to the end of Books III and IV?

23-25 The Fred and Mary plot continues: Fred loses money on horses and must confess his loss to the Garth parents and to Mary; scene shows Fred’s gullibility, he’s a good-natured egotist.

26-27 Fred’s sickness provides the occasion for increased friendship between Lydgate and Rosamond.

28-30 Dorothea and Casaubon return from Rome after a stiff and unhappy honeymoon; their quarrel precipitates Casaubon’s first heart attack

31 Lydgate and Rosamond become engaged. Mr. Brooke invites Ladislaw to visit him.

32-33 Featherstone’s death

Book IV, “Three Love Problems”

9 chapters, 75 pages, slow unfolding.

Chapter 34
The Brooke circle comment on Featherstone’s death and funeral, a meeting of different social classes.
Featherstone is dismissed with wonderful irony, 221, interactive narrator.
Dorothea dislikes her remoteness from her neighbors, 233.
The catty Mrs. Cadwallader is nonetheless accurate when she describes Mayor Vincy’s beneftting from the handloom weavers in Tipton and Freshitt, 224.
Mrs. Cadwallader and Celia comment snidely on Ladislaw, 224-25.

Chapter 35
The reading of the will is described in detail, with the disappointment of each of the auditors presented in turn. Joshua Rigg's presence at first evokes some suspicion and even derision (the thought of Joshua Rigg as a "love child" provokes Fred to laughter), but to everyone's surprise he turns out to be Featherstone's illegitimate son and heir.

Mary learns the result of her action/refusal, 230. In the first will, the Garths were not mentioned, but Fred was to receive ten thousand pounds (which would have provided an income of five hundred pounds yearly, enabling him to marry). The second will left the residue of Featherstone's estate for the erection of alms-houses, with the sentiment that he hoped God Almighty will see fit to forgive his sins, and left nothing to anyone present except Rigg, who inherited his land.

The notion that the almshouses might actually have been an appropriate legacy also seems to occur to no one--as Featherstone's sister Jane notes, Featherstone in his lifetime had never shown interest in the favor of God Almighty.

After the funeral and disappointing will, Rigg moved to the area, assuming the surname of Featherstone. No one suspects that Rigg will cause further problems.

Chapter 36
Lydgate and Rosamond plan their marriage; less attention is given to this subplot than on the other two. Mr. Vincy is worried about money, Lydgate doesn’t like his in-laws, Rosamond more concerned about clothes and visits, and Lydgate under some pressure buys furniture on credit.

Rosamond’s persistence is commented on, 237. Mr. Vincy discusses the engagement’s financial burden with his sister Harriet Bulstrode, but her intercession with her husband is to no avail. Lydgate urges a swift wedding, but Rosamond is concerned about wedding clothes. Rosamond is always associated with flower imagery. The narrator heavily undercuts Lydgate’s illusions, especially on wifely admiration, 245. He is the subject of heavy-handed censure--we’re not permitted to hear his own thoughts, but rather the narrator interprets them for us.

Chapter 37

We learn that a Reform Bill is in prospect (the 1832 Reform Bill) and that Mr. Brooke is liable to criticism as a stingy landlord (247)--an irony, in view of his reformist sentiments on matters at large.

Ladislaw talks with Dorothea at Lowick about his editing of Brooke’s newspaper, The Patriot. Casaubon wants to evict Will from the environs but Will refuses to leave, and Casaubon plots more measures. The narrator intrudes to describe Dorothea’s attitude toward Will, 249, her pleasure in his agreement with her thoughts, 253. Casaubon’s aunt’s son, as the child of the elder daughter, would have inherited at least half of the estate which went to Casaubon in lieu of another heir, and Dorothea thus suggests an alteration of his will in Ladislaw’s favor, an idea which angers Casaubon. (Among other things, this would have been an admission of prior family guilt.)

Chapter 38
Brooke’s candidacy is disapproved of by his circle, and he’s attacked in the papers for his inconsistency. By contrast Sir James is a considerate landlord, and he suggests the employment of Caleb Garth to manage his and Mr. Brooke's lands. A hilarious “Trumpet” article satirizing Brooke appears, 265.

Chapter 39
Tenant Dugley shows his dislike for Brooke and runs him off his land. Ladislaw and Dorothea talk at Tipton, in a conversation in which she declares her faith in a will toward goodness, 270. Chettam urges Dorothea’s visit to her uncle, and she encourages her uncle's employment of Garth on his estate.

Chapter 40
Mary Garth is saved from the undesired fate of teaching by Garth’s good fortune; Caleb thinks of apprenticing Fred, and persists in his thoughts despite Mrs. Garth’s reservations, that the Vincys will object, and that pride should prevent them from seeming to wish to ally with their better-placed relatives. Caleb responds that the world would be a poor place if such motives prevented one from doing a helpful deed.

The narrator tells us of Mary Garth’s admiration for Vicar Farebrother, 218, and of his fondness for her and his slight jealousy of Fred. Garth surveys Featherstone’s land for Bulstrode, who seems a potential purchaser.

Chapter 41
The Rigg and Raffles connection is introduced, and we learn of Joshua Rigg’s past. Raffles has been a harsh stepfather and selfish husband. When Raffles asks Rigg for money, the latter demands that he leave the property under threat of arrest.

42 Casaubon learns from Lydgate that his heart condition could be fatal, and faces the fact that he may be unable to complete his supposed life's work. He also fears that Dorothea may be swayed by Will, and ominously, he thinks of how to prevent this after his death.

Dorothea is angered when her suggestion that Casaubon could leave 1/2 of his estate to Will at his death is (not surprisingly) rejected by the latter, and their tense conversation precipitates feelings of unwellness in both. Casaubon writes a letter to Will stating that he hopes the latter will desist from the ungentlemanly occupation of journalism and leave the vicinity, and Will replies with reasonable politeness that he intends to earn his living where he chooses. Dorothea conquers her anger sufficiently to join her husband affectionately as he leaves the seclusion of his library to retire for the night, with compassion for his sense of aging and fear of death.

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Questions for Book IV:

Chapter 34
What is the attitude of the Brooke family circle toward Featherstone’s death? What has been their view of Featherstone?

What do we learn about the sources of the Vincy family income? (factory workers)

What lack does Dorothea note in her interactions with her neighbors? (scarcely knows them)

Chapter 35

What are some features of the will reading scene? Are some of these comic? How would you describe the narrative tone?

What have been the provisions of Simon Featherstone’s will? How may have Mary’s action in preventing his changing of the will affected Fred’s (and her) future? (He would have received 10,000 pounds under the previous will)

What do you think may have been Eliot’s purpose in creating this outcome?

What motives are ascribed to the choice of Mr. Rigg as heir?  (his son)

What reflections does the authorial voice make on realism and "low subjects," and why may these have been in her mind?

Chapter 36
What are some unfavorable circumstances which attend Lydgate and Rosamond’s plans for their wedding? (depression in trade--the year is 1829)

On what points do the engaged couple disagree? What does the narrator think of their respective values and judgment? What are some instances of narrative irony?

On what grounds does Mr. Vincy ask for help from his brother-in-law? Does he receive it? What features of the character of both men are revealed in this incident?

Chapter 37
Why does Mr. Brooke hire Will Ladislaw to help him edit a newspaper, and what will be the newspaper’s point of view?

What motivates Mr. Casaubon to desire Will’s removal from the area?

What does Dorothea learn about the circumstances of Will’s/her husband’s background, and what form of redress does she suggest? (Would it have been common to leave one-half of an estate to one's cousin, especially an unliked cousin? Could there have been a middle position between abandoning Ladislaw and making him one's half-heir? Do either Casaubon or Dorothea anticipate the existence of future children?)

What will be the unintended result of her suggestion?

Chapter 38
What does Mr. Brooke’s circle think of the wisdom of his parliamentary candidacy? On what grounds is he publicly attacked?
On what grounds does Sir James disapprove of Mr. Brooke's employment of Ladislaw? (disapproves of foreigners; essentially he agrees with Casaubon, though with less personal animus)

What seems to be the social status of journalists? Why might this have seemed an important point to Eliot? (Lewes was a journalist, among other things)

What does their conversation reveal about local politics? (bribery required; a great deal of mudslinging; actual physical attacks)
What do we learn of Sir James Chettam’s qualities as a landlord? Whom does he suggest as an appropriate manager for Brooke’s estate? (Garth)

Chapter 39
What incident dramatizes Brooke’s deficient relationship with his tenants? (chased off property by angry tenant) How are the poor represented here and elsewhere in the novel?

Under what circumstances do Dorothea and Will meet, and what is the topic of their conversation? (at the Grange; she describes her religion of willing the good; they look at one another like two children discussing birds--seems an evasive sentimentalization)

In what matter do Sir James and Dorothea cooperate? What point does Eliot seem to make in her presentation of Sir James’ good judgment and thoughtfulness?

Chapter 40
From what fate is Mary Garth saved by her father’s new employment? Why does Garth choose Fred as his apprentice? (notes that Fred has practical instincts, hopes to help him)

What is Mary’s attitude toward the Vicar Mr. Farebrother, and his toward her? What plot complications may this suggest?

Chapter 41
What do we learn about the past of Raffles and Joshua Rigg? (Raffles had been Rigg's stepfather, and had abused both him and his mother. He wants to run a tobacco shop.)

What does Lydgate tell Mr. Casaubon about his health? What do his uncertainties reveal about the medical views of the time regarding study and concentration? (harmful to health)

General questions:

What are the three love problems?

What are some comic aspects of the account of the funeral?

What do we learn in book IV about Rosamond’s responses to her father and to Mary? (ignores her father's opinions and treats Mary as a servant) Her grounds for the choice of a mate? (perceived social rank and connections)

What do we learn in book IV about Lydgate’s choices and character? What are his marital expectations? (wife will respect his views and scientific endeavors)

On what subjects do Lydgate and Rosamond’s views diverge? (honeymoon, 338-39) Why are these differences important?

What is Casaubon’s response to Will’s new occupation? (357) What does this suggest about Victorian attitudes toward journalism?

What do you think would have been George Eliot’s views on this matter, and what biographical evidence can you give?

Can you find instances of a deceptive or sly narrator in this book? (as an instance, 362)

Note instance of deceptive narrator, 362.

What are some situations in which we learn about/gather new insights about a character from the remarks of others? Are there cases in which even unreliable or flawed characters convey a certain truth?

How is the Dorothea/Casaubon/Will plot affected by Casaubon and Dorothea's childlessness? (affects issue of will, issue of remarriage) Is their childlessness symbolic?

What do you think would have been George Eliot’s views on this matter, and what biographical evidence can you give?

With what situation in the the Casaubon family does the book end? (Casaubon asks Lydgate about the seriousness of his condition and is depressed to learn that it could be fatal; though angry at her husband's coldness, Dorothea conquers her resentment and behaves affectionately towards him.)

What do we infer from the ending? (we expect his illness to be fatal)