Daniel Deronda by George Eliot (ebook pdf reader for pc .txt) 📕
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Daniel Deronda, published in 1876, was George Eliot’s last novel. It deals with two major characters whose lives intersect: One is a spoiled young woman named Gwendolen Harleth who makes an unwise marriage to escape impending poverty; the other is the titular character, Daniel Deronda, a wealthy young man who feels a mission to help the suffering.
During her childhood Gwendolen’s family was well-off. She lived in comfort and was indulged and pampered. But the family’s fortune is lost through an unwise investment, and she returns to a life of near-poverty, a change which she greatly resents both for herself and for her widowed mother. The only escape seems to be for her to marry a wealthy older man who has been courting her in a casual, unemotional way. The marriage turns out to be a terrible mistake.
Daniel Deronda has been raised by Sir Hugo Mallinger as his nephew, but Daniel has never discovered his true parentage, thinking it likely that he is Sir Hugo’s natural son. This consciousness of his probable illegitimacy moves him to kindness and tolerance towards anyone who is suffering from disadvantage. One evening, while rowing on the river Thames, he spots a young woman about to leap into the water to drown herself. He persuades her instead to come with him for shelter to a family he knows. The young woman turns out to be Jewish, and through his trying to help her find her lost family, Deronda comes into contact with Jewish culture—and in particular with a man named Mordecai, who has a passionate vision for the future of the Jewish race and who sees in Daniel a kindred spirit.
The paths that Gwendolen and Daniel follow intersect often, and Daniel’s kindly nature moves him to try to offer her comfort and advice in her moments of distress. Unsurprisingly, Gwendolen misinterprets Daniel’s attentions.
In Daniel Deronda Eliot demonstrates considerable sympathy towards the Jewish people, their culture, and their aspirations for a national homeland. At the time this was an unpopular and even controversial view. A foreword in this edition reproduces a letter Evans wrote to Harriet Beecher Stowe, defending her stance in this regard. Nevertheless, the novel was a success, and was translated almost immediately into German and Dutch. It is considered to have had a positive influence on Zionist thinkers.
Daniel Deronda has been adapted both for film and television, with the 2002 B.B.C. series winning several awards.
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- Author: George Eliot
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He was fired with an intolerance that seemed foreign to him. But he was now trying hard to master himself and keep silence. A horror had swept in upon his anger lest he should say something too hard in this moment which made an epoch never to be recalled. There was a pause before his mother spoke again, and when she spoke her voice had become more firmly resistant in its finely varied tones:
“I chose for you what I would have chosen for myself. How could I know that you would have the spirit of my father in you? How could I know that you would love what I hated?—if you really love to be a Jew.” The last words had such bitterness in them that anyone overhearing might have supposed some hatred had arisen between the mother and son.
But Deronda had recovered his fuller self. He was recalling his sensibilities to what life had been and actually was for her whose best years were gone, and who with the signs of suffering in her frame was now exerting herself to tell him of a past which was not his alone but also hers. His habitual shame at the acceptance of events as if they were his only, helped him even here. As he looked at his mother silently after her last words, his face regained some of its penetrative calm; yet it seemed to have a strangely agitating influence over her: her eyes were fixed on him with a sort of fascination, but not with any repose of maternal delight.
“Forgive me, if I speak hastily,” he said, with diffident gravity. “Why have you resolved now on disclosing to me what you took care to have me brought up in ignorance of? Why—since you seem angry that I should be glad?”
“Oh—the reasons of our actions!” said the Princess, with a ring of something like sarcastic scorn. “When you are as old as I am, it will not seem so simple a question—‘Why did you do this?’ People talk of their motives in a cut and dried way. Every woman is supposed to have the same set of motives, or else to be a monster. I am not a monster, but I have not felt exactly what other women feel—or say they feel, for fear of being thought unlike others. When you reproach me in your heart for sending you away from me, you mean that I ought to say I felt about you as other women say they feel about their children. I did not feel that. I was glad to be freed from you. But I did well for you, and I gave you your father’s fortune. Do I seem now to be revoking everything?—Well, there are reasons. I feel many things that I cannot understand. A fatal illness has been growing in me for a year. I shall very likely not live another year. I will not deny anything I have done. I will not pretend to love where I have no love. But shadows are rising round me. Sickness makes them. If I have wronged the dead—I have but little time to do what I left undone.”
The varied transitions of tone with which this speech was delivered were as perfect as the most accomplished actress could have made them. The speech was in fact a piece of what may be called sincere acting; this woman’s nature was one in which all feeling—and all the more when it was tragic as well as real—immediately became matter of conscious representation: experience immediately passed into drama, and she acted her own emotions. In a minor degree this is nothing uncommon, but in the Princess the acting had a rare perfection of physiognomy, voice, and gesture. It would not be true to say that she felt less because of this double consciousness: she felt—that is, her mind went through—all the more, but with a difference; each nucleus of pain or pleasure had a deep atmosphere of the excitement or spiritual intoxication which at once exalts and deadens. But Deronda made no reflection of this kind. All his thoughts hung on the purport of what his mother was saying; her tones and her wonderful face entered into his agitation without being noted. What he longed for with an awed desire was to know as much as she would tell him of the strange mental conflict under which it seemed he had been brought into the world; what his compassionate nature made the controlling idea within him were the suffering and the confession that breathed through her later words, and these forbade any further question, when she paused and remained silent, with her brow knit, her head turned a little away from him, and her large eyes fixed as if on something incorporeal. He must wait for her to speak again. She did so with strange abruptness, turning her eyes upon him suddenly, and saying more quickly,
“Sir Hugo has written much about you. He tells me you have a wonderful mind—you comprehend everything—you are wiser than he is with all his sixty years. You say you are glad to know that you were born a Jew. I am not going to tell you that I have changed my mind about that. Your feelings are against mine. You don’t thank me for what I did. Shall you comprehend your mother, or only blame her?”
“There is not a fibre within me but makes me wish to comprehend her,” said Deronda, meeting her sharp gaze solemnly. “It is a bitter reversal of my longing to think of blaming her. What I have been most trying to do for fifteen years is to have some understanding of those who differ from myself.”
“Then you have become unlike your grandfather in that.” said the mother, “though you
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