Chapter 1:

Summary:

The novel begins in the upper-class Brooke household in Tipton, inhabited by Mr. Brooke and his two nieces, Dorothea and Celia. Dorothea and her sister Celia are well-connected, sensible girls from a good family; they believe in economy of dress and are rather mainstream in their beliefs and behavior. Dorothea is drawn to sacrifice and grand, intellectual things, while Celia has fewer aspirations in the world of academics and religion. Their uncle, Mr. Brooke, is careful with his money, and rather Puritan in his disposition, which Dorothea is also.

Two suitors, Sir Chettam and Mr. Casaubon, make visits to the house; Sir Chettam likes Dorothea, but Dorothea believes he is more inclined toward her sister. Celia has more sense than her sister, but Dorothea is very steadfast in her Puritan ways.

Analysis

Middlemarch is supposed to be a microcosm for semi-rural England in the early 19th century; the novel takes place in the years around 1830. The novel is more focused on upper- and middle-class people than on anyone of lower financial and social status; most of these people are not at all representative of the average Briton of the period in terms of income, lifestyle, etc. However, appropriate gender roles are represented and commented upon in the novel, and even in the first chapter; Celia is more representative of the proper woman in this time period, with Dorothea embodying many less desirable qualities.

Dorothea, Celia, and Mr. Brooke do not represent the average family either; with Mr. Brooke being so averse to women, it is a mystery how Dorothea and Celia were brought up, and by whom. Though it was not uncharacteristic in this period for women to die in childbirth and leave children behind, Dorothea and Celia are in a very interesting situation. Orphaned children with competent relations would likely be left to a married female relative, or to another mother-like figure. Mr. Brooke must have hired governesses and other women to raise the girls, because he certainly could not have handled them himself, nor would it seem socially proper.

Through the comparison of Celia and Dorothea in this chapter, Eliot conveys what were and were not considered suitable qualities for women during this time period. Dorothea is a woman with strong opinions, who is more interested in the world of faith and intellect than in reality; these qualities are considered strange and undesirable, according to Eliot, and are impediments toward her getting married. Socially, in Eliot's world and in the world of this novel, a silent, self-sacrificing, weak-willed woman was still ideal, though Eliot's high regard of Dorothea and her eccentricities is a criticism of this ideal model.

Celia is clearly more suited to the time period in which she lives, able to be herself and have her own opinions without appearing out of place. But, then the question arises‹should Dorothea become more suited to her society, or should society have to learn to accept different kinds of women? This is one theme in the novel that is very pertinent to Dorothea's life. It is true that Dorothea has a lot to learn, since she lives more in her mind than in the world she inhabits; but though she is mistaken in some of her appraisals of life, doesn't necessarily mean that she needs correction in everything.

At the same time, Dorothea herself has rather outmoded views on marriage, as is made clear by Eliot's tone. The statement that Dorothea wants to marry "great men whose odd habits it would have been glorious piety to endure," exposes Dorothea's outmoded views on marriage, and her particularly interesting personality. Husbands aren't supposed to be some kind of religious trial, and one shouldn't marry in order to seek martyrdom for putting up with their eccentricities; Eliot makes it clear that Dorothea is indeed mistaken, and has much to learn, though her rebuke is soft and conveys no dislike of Dorothea as a character.

Chapter 2:

Summary:

Sir James and Casaubon are over for supper, with Sir James trying to appeal to Dorothea, while Dorothea begins to admire Casaubon. Dorothea hopes that Sir James will try to appeal to her sister Celia, rather than to herself, and Dorothea continues her perverse fascination with Casaubon.

Analysis:

Casaubon is the very creature that Dorothea should avoid turning into; he lives completely in his mind, with very little knowledge of the world in which he lives, so it is ironic that Dorothea favors him since these are the very qualities that endanger her good sense. And it is also ironic that Dorothea is so quick to slight the man who listens to her plans for the public good, and seeks to cater to the things she loves to do. That Dorothea tries her best to run from the things that would do her the most good shows a kind of perverseness inherent in her nature, that may do her a bit of harm.

Mr. Brooke holds very unkind views of females, and has no reservations about expressing his somewhat socially acceptable, though incorrect views, before his two nieces. Mr. Brooke represents an older way of thought, that is dying out, but still present; he is of past generations, who firmly believed women to be flighty and irresponsible, and hardly able to do work of merit. Mr. Brooke is very vocal on the theme of gender expectations, and airs many views typically held in his day. In contrast with Mr. Brooke is Sir James, who believes that Dorothea has valuable things to say, and has no compunctions about recognizing the merits of Dorothea's plans.

Another irony is that Dorothea bristles when Mr. Brooke belittles her capabilities, while she herself believes that she can be no more than an assistant to another man's work. Dorothea, too, adopts older, incorrect views about women, views that will do her no good if she really means to make a difference in the world, which she desperately wants to do. There is a great contradiction in Dorothea; on one hand, she totally underestimates her intellect and her ability to be her own guide, and on the other hand, she trusts herself with making workable plans to benefit a great number of people. That Dorothea doesn't trust herself intellectually, yet values her ability to create solutions, is a character issue that needs to be resolved in the course of the book.

Sir James represents progress in society's ideas about women; he is of the opposite opinion of Mr. Brooke, giving some regard to women's ideas and good sense. Though Sir James has not totally given up on established ideas of men's dominance, he is far more permissive of a woman's individuality, as shown by his acceptance Dorothea as a potential wife. Sir James, in this respect, embodies the theme of progress that is seen throughout the novel, in social, technological, and ideological areas.

Chapter 3:

Summary:

Dorothea continues to admire Casaubon, especially admiring his vast studies and knowledge. She understands that Casaubon has some regard for her, and feels honored, despite Casaubon's complete inability to show emotion. She is blind to the fact that he wants to marry her to fulfill his needs, and is taking advantage of her naivete in this decision. Casaubon actually tries to show consideration for her in the things he chooses to speak to her about, and in the way he regards her. Still, Dorothea's refusal to see Casaubon as anything other than a beacon of knowledge and good, and Sir James as an annoyance who is useful for carrying out her plans, shows how her stubbornness blinds her in judging people's characters, and in making important decisions as well.

Analysis:

Dorothea's allusion to the "affable archangel" of Paradise Lost, in explaining her feelings about Casaubon, shows a divide between what Dorothea believes to be true, and what is actually so. Dorothea takes Casaubon's pedantic and patronizing qualities to be generosity with his learning; she views everything he says and does through the lens of her good favor, disregarding anything that would give her an unappealing impression of the man. Dorothea certainly means well, but her misappraisal of Causabon's character reinforces the necessity of careful consideration, of thinking about things from all angles, rather than just from an optimistic one. Dorothea is blind to the truth about Casaubon because she chooses to be, and this trait is more foolish than good-natured.

That Dorothea wrests herself away from the things she loves most‹riding horses, planning public improvements‹illuminates a certain perversion inherent in her nature. It is not a contradiction that she will be happy living with, and its existence, and the way that this flaw keeps her from being happy, foreshadows a necessary self-examination on Dorothea's part. She will need to decide whether to continue with her habits of self-denial and sacrifice, at the detriment of her happiness and greatest desires.

Eliot may not be in favor of Dorothea and Sir James marrying, but she does interject a bit of her own social commentary, stating that Sir James might be well-served by following Dorothea's plans, as other men would benefit from the ideas of strong women. This highlights a particular paradox in Victorian era society; although men are acknowledged as head of their households and leaders outside the home, it is "feminine direction" which creates men from children, and often guides their spouses. Women are not acknowledged as leaders, and they do lead; and Eliot professes a belief that more female leadership would do even more good.

Chapter 4:

Summary:

Sir James has acted on Dorothea's plan, and made new, more pleasant cottages for his poor tenants; Dorothea is still determined not to think highly of him, though Celia is rather fond of Sir James. Dorothea admits to her sister that she does not like Sir James, although he plainly likes her; Celia cannot believe that Dorothea could so easily dismiss a man who loves her. When Dorothea gets back, her uncle tells her that he went to visit Casaubon, and Casaubon inquired about marrying Dorothea. Mr. Brooke is against it, because of Casaubon's tendency to mope about and live in books; but, when Dorothea says that she would accept Casaubon over Sir Chettam, Mr. Brooke speaks diplomatically, while laying out before her the realities of marriage. Though Dorothea listens, she does not seem to absorb all the important things he says. Mr. Brooke has brought back a letter of proposal to Dorothea, and she is determined to accept.

Analysis:

Celia, who has remained in the background up until this point, is finally revealed as a very sensible, perceptive girl; she makes the most accurate appraisal of Dorothea's character so far, telling her sister that "you always see what nobody else seesŠyet you never see what is quite plain" (36). Also, Dorothea prefers to blame people around her when their words or actions make her see, on some unconscious level, that she is wrong; Celia knows about Dorothea's faults, though Dorothea refuses to realize them herself. The theme of hiding in knowledge is introduced, as Dorothea, almost instinctively, turns to books and the library after she realizes that she is acting unfairly toward Sir James. Knowledge is indeed a noble pursuit, but plunging into it to save one's self from confronting reality is definitely unhealthy, and is a habit that Dorothea will need overcome.

Here, Dorothea is confronted with the issue of expectations vs. reality for the first time. Her uncle cautions her on what to expect and what not to expect for marriage; although she says she has some idea of what to expect if she marries Casaubon, in reality she has no idea what it will be like. Dorothea presumes to know more than any sheltered girl of 18 ever could know; but at least she takes Mr. Brooke's advice with some weight. Still, the emphasis on Mr. Brooke's warnings, and Dorothea's attention to those warnings, foreshadow that there is some truth in what Mr. Brooke says. Dorothea indeed will have to face the difference between what she expects from marriage, and what she is going to get.

Chapter 5:

Summary:

Dorothea reads Casaubon's letter, and is touched by it; she immediately writes out an acceptance, taking the letter to mean that he feels the same about her as she does about him. Celia has no idea what has happened until Casaubon joins them all for dinner, and she, at least, knows that her sister has made a serious mistake, and perhaps can be swayed from it. Dorothea, however, is convinced that she has made the right choice; Casaubon expresses happiness at their engagement, and Dorothea completely overlooks his lack of passion.

Analysis:

Casaubon's letter is a perfect expose of his stoic, remote character; he refers to his material "need" in wanting her as a wife, and mentions her "fitness to supply that need" (43). But, what Dorothea fails to notice is that he states his feelings as being "sincere devotion," far short of the infatuation/ love with which she regards him. Dorothea sees the letter as a confirmation of Casaubon and her won mutual feelings; what she does not see in the letter is its stark confession that he needs her help and companionship, without the troubles of passion and an equal union. Dorothea loves Casaubon for his learning and his mind; but her vitality and her passion, the two things that energize and support her, will receive no nourishment from Casaubon's cold, emotionless self. She mistakes his practical proposal for a confession of "loving [her]," another instance where her naivete and her blindness to the truth deceive her. Dorothea's shows of passion overwhelm Casaubon, and also betray his feelings that Dorothea owes him something in this union; not once does he ask himself whether he is good enough for her, and this foreshadows a rocky start to their marriage.

Eliot says as much concerning the union-to-be; Eliot draws special attention to Casaubon's frigid rhetoric, which, although it is sincere in its intent, again conveys how emotionless Casaubon really is. Dorothea's inability to see what is before her plainly is a theme that becomes important with this union. As Eliot notes, "Dorothea's faith supplied all that Mr. Casaubon's words seemed to leave unsaid"; Dorothea, for better or for worse, is a "believer," and nothing that Casaubon says or does can truly be unpalatable to her in this blind state.

Eliot makes Dorothea's flaws and oversights very clear, but does not chastise her for them; Eliot seems to hope that Dorothea will find her own way, letting the characters flow through the work, rather than bending them artificially to the author's own desires. Eliot has much in common with Austen, as regards the tone, purpose, treatment of characters, and criticisms of society in their novels; Eliot, like Austen, is able to display human follies and shortcomings, show where their respective societies fall short, and are able to criticize without being disparaging, keeping a rather objective tone throughout their works.

Chapter 6:

Summary:

Mrs. Cadwallader is finally introduced, a shrewd, somewhat manipulative, and meddling woman whom Mr. Brooke has little affection for. Mrs. Casaubon and Mr. Brooke talk politics for a little while, which Mr. Brooke does not want to do; finally, Celia tells Mrs. Cadwallader that Dorothea is going to marry Casaubon, which displeases Mrs. Cadwallader, a great advocate for Sir James, greatly. Sir James finds out, and is greatly displeased; but Mrs. Cadwallader tells him that Celia admires him greatly, and won't give him as much trouble. Mrs. Cadwallader is the archetype of the country woman, with her narrow interests, her meddling ways, and her great concern in anything involving people she knows. Sir James is able to conquer his disappointment, and realizes that courting Celia is what he should begin to do.

Analysis:

At last, something of Middlemarch life and politics becomes clear. In such a rural area, everyone seems to know everyone, and also knows everyone else's business as well. It is the kind of place where people show a great amount of concern for one another, although gossip takes precedence over privacy. Politically, Middlemarch is a narrow-minded place; since liberals are the minority, they are looked down upon, and there seem to be great rivalries between people of different parties.

Mrs. Cadwallader is a symbol of how this country life works, with everything out in the open, and the outside world not daring to interfere; she believes in the privileges of good birth and class, and takes great interest in the marriages and relationships of those she knows, even going so far as trying to play matchmaker between Sir James and Dorothea.

However, even she is not to be underestimated; she can sense Dorothea's reasons for marrying Casaubon, and knows how the marriages will go even before it begins. Appearances can be deceiving, even in Middlemarch; sometimes a woman who seems as clueless as Mrs. Cadwallader has the benefit of perceptiveness on her side, and the good judgment to understand people and their hidden motivations.

Pride is another theme running through the course of the book; it is what keeps Dorothea from realizing and admitting she is wrong, stops Casaubon from asking himself whether his upcoming marriage will benefit Dorothea, and smothers Sir James' disappointment in a new surge of hope for his marriage prospects. As Eliot says, pride can be a good thing; in a sensible, even-tempered person like Sir James, pride does not deceive him, and can be a rather beneficial thing. But pride also works in harmful ways, and has certainly doomed Dorothea and Casaubon's marriage even before it has begun.

Chapter 7:

Summary:

Casaubon has exhausted his meager reserves of passion already, and looks forward to married life, which he expects will be more pleasant and fulfilled. Not once does he stop and consider his duties for Dorothea, showing himself to be an unsuitable partner who will be hard-pressed to make her happy. Dorothea is eager to begin learning, out of her own desire to be able to understand and know things. Mr. Brooke cautions Casaubon that Dorothea, as a woman, might not be capable of such learning; Dorothea resents such talk, and tries to ignore it.

Analysis:

Dorothea begins to show an inkling of her real desires, beginning with her desire to know Latin and Greek not because it would help her husband, but because it will help her become a more well-learned person. Dorothea and Casaubon are foils in the way they treat their relationship; Dorothea believes it is her duty mostly to give, and is swayed by her emotion and passion. Casaubon feels little passion, and expects to receive without giving; he believes he is owed every comfort in his endless pursuit of knowledge, and thinks of Dorothea as an instrument, rather than as a person. He enjoys her being ignorant, though she does not; he wants dominance in the relationship, and she expects the relationship to be something resembling an exchange, with knowledge and enlightenment as the pay for her pains. Dorothea and Casaubon have nothing in common except their regard for learning; because of this, their marriage will certainly be very trying for both of them, and probably will not be a pleasant experience for either.

Mr. Brooke again shows himself to be a symbol of the old ways of thinking about gender roles and society. His speech about women not being suited to real learning, and needing to be limited to the arts and other light pursuits was widely believed during this time period; although he seems to trust his nieces' good judgment, he still airs his ultra-traditional beliefs about women and their capabilities at every turn. Dorothea is infected by these ideas, with her beliefs about self-sacrifice of women and her possible inability to learn like men do; but, deep down she does not believe in them, as she first demonstrates with her distaste for her uncle's assertion that women should be involved in light, artistic pursuits.

Chapter 8:

Summary:

Sir James, in spite of Dorothea's engagement, begins to like visiting the Grange, her home, once again; he is stung by her rejection, and cannot understand her attraction to Casaubon at all. He goes to speak to Mr. Cadwallader, a great friend, to clear his mind about this issue. Sir James cannot help his great pride, but at least he is very civil to Dorothea, and does not let his distaste for her marriage interfere with his plans to make the cottages she proposed.

Analysis:

Sir James compares Dorothea, after her unexplainable rejection, to Desdemona; the allusion is not quite fitting, since Casaubon has none of the passion for his future wife that Othello showed for his. However, it is likely that this comparison will prove more apt than it appears; for, with the inequality of the match, it is certain that Dorothea will be greatly wronged at one point or another by her cold, loveless mate, as Desdemona was by hers.

Sir James does prove to be a good fellow, despite his pride; like many people who know about Dorothea and Casaubon's match, he is greatly concerned, and hopes to bring the girl to her senses. And this desire on his part is due more to his regard for her well-being than his pain at being jilted; Sir James proves himself to be a decent and kind-hearted man, and a good friend to Dorothea's who is certainly worthy of respect and good regard.

Chapter 9:

Summary:

Dorothea gets her new home, Lowick, ready for her impending residence there. The house is rather big, but not particularly cheery; in fact, it rather resembles Casaubon in its looks. Dorothea, however, finds it agreeable, as she finds Casaubon also; but, chances are, she will soon find that she is mistaken, as the newness and novelty of this entire situation wears off. Celia herself dislikes anything that Dorothea accepts, and as such, dislikes Lowick and Casaubon equally.

Casaubon introduces the party to Will Ladislaw, his cousin; he dislikes Dorothea immediately, because of the way she speaks poorly of herself before others, and because she is marrying his sour, humorless cousin. Will is young, rather handsome, and an artist as well; he seems much better suited to Dorothea, though a better match than Casaubon is certainly not hard to find. Ladislaw is without occupation, so Casaubon is, reluctantly, providing for him; but Casaubon and his cousin seem not to get along at all.

Analysis:

Obvious parallels between Casaubon and his house become clear, and the parallels are bad omens for Dorothea's marriage. The house is stern, melancholy-looking, and rather plain and uninviting, qualities which Casaubon also possesses; any chance of the house, or Casaubon, becoming more cheery and friendly depend upon Dorothea, though the challenge is great and will probably be too difficult to achieve. The dour look of the house, combined with unanimous displeasure in the area about the marriage, and Casaubon's ungenerous, cold demeanor mean doom for the marriage, even before it starts; too many events, judgments, and signs have foreshadowed a bad end for the marriage, and taken together, they cannot be denied.

Dorothea seems to be overcompensating for her youth and "ignorance" by insisting on being the obedient, weak-willed wife, though these qualities are not in her nature. In comparison, Celia does seem a bit trivial in some of her judgments and dislikes, but Celia and Dorothea are girls not even out of their teens; at least Celia acts like the girl she is, while her sister belies her own nature with her attempts to be as agreeable as possible to Casaubon.

Ladislaw certainly seems like an interesting character; he immediately senses the falseness of Dorothea's profession of ignorance, and figures that she and his cousin must be ill-suited, or else she is a very disagreeable person. Ladislaw is young, and seems rash, like Dorothea can be; he is also a person of strong opinions, with a great deal of pride. Indeed, Dorothea and Ladislaw seem to have more in common even at this brief meeting than she and Casaubon ever could; he does become more important later in the work, and some kind of conflict between Ladislaw and Casaubon is foreshadowed by their mutual dislike, and Casaubon's distaste for providing for Ladislaw, and for his non-academic temperament.

Chapter 10:

Summary:

Ladislaw leaves suddenly for Europe; he has a view of life and work completely opposed to Casaubon's, and is much more impulsive and full of passion than his dull cousin. Casaubon, to his credit, does try to be more joyful about his marriage, and to understand his young bride better; but, he is fundamentally unsuited to this relationship, and cannot make himself more amenable to it. They decide to go to Rome on their honeymoon, a decision partially motivated by Casaubon's single-minded pursuit of information, to the detriment of his fragile relationship with Dorothea.

Casaubon and Dorothea attend a local dinner party, where many of the prominent citizens of the town are discussing their displeasure at Casaubon and Dorothea's marriage, and the arrival of the new doctor, Lydgate. Many of the townspeople prove completely pedestrian in their opinions, liking decorative, weak-willed women, and disapproving of any experimentation, especially relating to medicine. These are people who like routine and tradition, and will be hard-pressed to accept any progress or any outsiders in their community.

Analysis:

Eliot again proves herself an objective narrator, bringing to light Casaubon's good traits and explanations for his less desirable ones; Casaubon is definitely not as bad as he seems to be, and does deserve some sympathy for his shortcomings. Casaubon is a very lonely man, whose hopes of feeling happier and less lonely upon marrying are dashed; his high expectations of finally giving up bachelorhood prove false, and Casaubon does struggle to try and draw more emotion out of himself.

Dorothea, to her credit, is also misled‹by society's requirement that women derive their fulfillment from men, and do not seek to achieve on their own. Dorothea believes that she will gain the knowledge and the purpose she needs from Casaubon because he is a man of learning, and if he cannot give her this, no one can; Dorothea is too young to see that society is often wrong, and that she has to gain her purpose and drive from within. Metaphorically, she wants the lamp of knowledge, but thinks she needs to seek the lamp's oil elsewhere, as Eliot puts it; Dorothea does not see the fault in this metaphor, that she can only get this oil from herself.

The townspeople, as seen at the dinner party, are definitely a mixed bag; they do have an overly harsh opinion of Casaubon, but on the other hand, are perfectly correct in their appraisal of the marriage's prospects. They are unfriendly to the coming of progress, which could be a very negative characteristic; and their tendency to be wary of outsiders is also unfair. The people of Middlemarch, like the many characters in the book, have both positive and negative qualities; they are human, and hence they are flawed, but as Eliot points out, we should not be quick to condemn them for things they cannot control.

Chapter 11:

Summary:

Lydgate, the new doctor, is already enamoured of Rosamond Vincy, the mayor's daughter. She is attractive and affable, but he is not economically set for marriage yet. Lydgate believes that women should be quiet, obedient, and beautiful; he is not looking for a partner, but rather an adornment, for a wife. Rosamond seems determined to escape from the tangled web of Middlemarch marriages, in which case Lydgate seems suited to her. Rosamond's brother, Fred Vincy, is an aimless young man who failed to get his degree at college, and seems to do very little besides hang about the house and bother his sister.

Analysis:

Lydgate embodies many of the misconceptions that men have about women, and believes that the qualities that would be considered shortcomings in men are well-suited for women. Like Mr. Brooke, he believes women should not be knowledgeable, opinionated, or make decisions; he wants a woman who is pleasant, shallow, pretty, and vain. Rosamond Vincy is exactly this, a woman who delights in fripperies, and embodies all of the useless qualities that society of the time prized in women. Rosamond Vincy represents the "ideal" Victorian woman, with all her foibles and failings, and Eliot uses her to criticize this ideal, and show how little service it does to women and men alike.

Rosamond is also the embodiment of the social-climbing snob as well; she cannot bear to think that her mother was the daughter of a simple innkeeper, or that her father's family is merely middle-class. Rosamond has no idea of the value of money, nor does she have any conception of how little such things as class matter in the scheme of things. Lydgate, too, is one of this kind; he too would like to deny his origins, and pretend that he is better or higher class than he actually is.

Chapter 12:

Summary:

Fred and Rosamond travel to Stone Court, the house of their wealthy uncle, Mr. Featherstone. Mrs. Waule, Mr. Featherstone's sister, is there; and though she is also well off, she tries to get even more money from her brother. Mary Garth is Mr. Featherstone's servant, and Fred admires her very much. Mrs. Waule's visit is to lobby for more money in Mr. Featherstone's will, and she tries to discredit Fred, of whom Mr. Featherstone is very fond, by alluding to rumors about Fred's gambling debts. Mr. Featherstone bothers Fred on this subject, and Fred insists he has done nothing of the sort; Mr. Featherstone continues to shame and embarrass Fred, and finally insist that he get proof in writing from Bulstrode, who started this rumor, that it is indeed false.

Mary Garth is plain and amiable, and very honest and kind. Rosamond continues to be supremely interested in Lydgate, whom Mary has met and does not think terribly highly of. Lydgate and Rosamond finally meet, and it seems like their romance has already been destined to occur.

Analysis

Despite Rosamond's snobbish disposition, she has no compunctions about socializing with Mary Garth, a servant; although Rosamond has certain ideas about social class, at least she does not hold these ideas of hers against long-standing friends. Rosamond is pleasant enough to her friends, and to her uncle, though she does show hostility to people who do not strike her fancy, like Mrs.Waule.

The weight of rumor is a theme that is very relevant to Middlemarch life; rumors are circulated like currency, and a person's reputation certainly depends on what people say or think about them. Rumors are also given a lot of credibility in this provincial life; it is a rumor that causes Featherstone to threaten to take away Fred's inheritance, and this rumor is given some credit because it originated with Bulstrode, one of the most well-known citizens of the town. Rumors are often vicious, and just as often untrue, and represent the more pernicious and flawed aspects of human nature; still, they are important in determining the reputation and caliber of the many people of Middlemarch, and rumors are also an integral part of social life there as well.

Rosamond and Lydgate's romance, though nonexistent at this point, seems to be foreshadowed by Rosamond's own stubborn conceptions about falling in love with a stranger, and him falling in love with her almost immediately. Rosamond decides to like Lydgate, since he is young, good looking, has good prospects, and is of good family; emotional connection doesn't seem to enter into the equation, and they are as shallow as a couple as they are about the opposite sex.

Chapter 13:

Summary:

Mr. Vincy goes to see Mr. Bulstrode at the bank on his son Fred's behalf; Lydgate is already there with Bulstrode, talking about the construction of a new hospital in town. Bulstrode likes Lydgate, and expects that he will make reforms and improve medical care in the town, but both are aware of the professional jealousy that will arise from Lydgate's new position, if he is indeed elected as head of the hospital. Bulstrode, for some reason, wants a man named Mr. Tyke to be chaplain of the new hospital, in place of another man named Mr. Farebrother.

Mr. Vincy enters, and broaches the subject of Fred and his need for Bulstrode's reassurances; Mr. Bulstrode does not want to be involved. Bulstrode criticizes Fred's upbringing and personal qualities, making the matter more personal than it needs to be. This matter is complicated by the fact that Bulstrode and Vincy are brothers-in-law, and Vincy believes it is Bulstrode's family obligation to comply, though Bulstrode does not.

Analysis:

Lydgate's case in this chapter shows how small-mindedness, jealousy, and petty squabbles between people can impede progress completely; in Middlemarch, this is an important issue, and one that will thwart Lydgate, as an outsider. Middlemarch is exceedingly political, as becomes apparent in the scene with Mr. Bulstrode; friends will be made and lost through political alliances, and it seems that Lydgate's hopes depend on his siding with Bulstrode in a matter that does not concern him at all.

Bulstrode is an arrogant, self-important man who would use his power to tell people where they are right and wrong. Much like other characters, who are embodiments and representation of certain forces in society, Bulstrode is symbolic of Middlemarch politics and power, and how both of these can lead to pettiness and an inflated ego. That he and Mr. Vincy are married to sisters complicates things; family members have some kind of obligation to one another, but on the other hand, people must do what they feel compelled to do. Middlemarch is a place of tangled family alliances, old grudges, and strongheaded personalities; no decision is simply clear-cut, and many people are trying to fulfill their own interests, rather than trying to help other people.

The importance of family is a theme that reappears within the novel; what do people really owe to their family, and are there stronger ties between people than the blood ties of kinship? Friendship can certainly be a powerful bond; Sir James' friendships with Dorothea and Celia are strong enough not to be broken by Dorothea's marriage. However, there are many different views within the novel of how family ties obligate people to behave; the Vincys believe that Featherstone owes an inheritance to Fred, as his nephew, Mr. Vincy believes that Bulstrode, as a relative, should help Fred, and Casaubon believes that he is obligated to support his cousin Ladislaw for some time. But when personal interests, like greed, mingle with these ideas of family obligations, things become very tricky, and intentions are not always honorable.

Chapter 14:

Summary:

Bulstrode writes out a letter to the effect that Fred has not borrowed money on his inheritance from Featherstone, because his wife Harriet, Fred's aunt, wishes him to do so. In fact, Fred is in debt, and is given some money by Featherstone on the spot, though it is not enough to unburden him. Fred is grateful, but not as grateful as he could be; Featherstone takes pleasure in the fact that the young man depends on him for funds, and uses this to threaten Fred as well. Fred tries to talk to Mary Garth, whom he has feelings for, about his living and his feelings for her as well. Mary is realistic about his prospects, and knows that he cannot marry until he finds a living and a stable income.

Analysis:

The importance of money is a theme that is intermingled with Fred Vincy's story; indeed, money is an important thing, and how a person uses money shows a great deal about his character. Featherstone is as much of a financial miser as he is an emotional one; his joys in the power to hold back money from people is perverse, and he is miserly in his friendliness as he is with his funds. Fred is full of hope that fate will get him out of any scrapes he gets into; he spends money with this belief in mind, his naïve optimism getting him into trouble, and into debt.

Socially, money also determines a person's place; Lydgate is socially disadvantaged because he is poor, and Sir James is highly regarded not only because he is friendly, but because he is wealthy too. Although family connections are important in determining a person's place and how much respect they receive, middle-class people who are able to make money for themselves, like the Vincys, are able to lift themselves into a higher class through their gains in wealth. That isn't to say that the British class system, which is determined by birth, is dead at the time of this novel; but the class system is becoming more solvent because of the money being made by ordinary people, and allows those people to climb up the social ladder.

There is great irony in the fact that the only young couple who are truly suited and know each other well, Fred and Mary Garth, cannot get married for financial reasons. Unlike Casaubon and Dorothea, and Lydgate and Rosamond, these two are close friends, and regard each other with the greatest love and respect. As a couple, they contrast greatly with all the other young couples in the book; they seem to be the most compatible emotionally and practically, yet it comes down to a decision of finances about whether they should be joined.

Mary Garth, for her plain and humble appearance, is a clever girl with a good deal of knowledge. That she is able to make allusions to Shakespeare and Victorian literature so easily demonstrates her good grasp of literature, and that she is fairly well read‹certainly more well-read than Fred, and he has even gone to college. Mary is not a flirt, but she is good at understatement; though she loves Fred, she avoids getting his hopes up by replying to his questions of whether she loves him by merely stating, playfully, "my experience is rather mixed" (138). Mary is a very realistic girl, however; she disregards Fred's romantic, hopeful, and somewhat unrealistic tone when speaking to her of marriage, and she maintains a considerate, even-tempered, but informed tone when replying to him. Where Fred is flighty, Mary is dependable; he is too idle to deserve her, but together, they could do well for each other.

Chapter 15:

Summary:

Eliot begins the chapter with a bit of narration about the scope of the book, and then begins to delve into Lydgate's background. Lydgate was very intelligent as a young man, and fell in love with anatomy at a young age. He is a hard worker, driven to succeed in his field and make innovations, and to help people get better rather than make money, which seems to be the focus of many doctors of the time.

Analysis:

Here, Eliot takes a bit of a break from the novel, in order to insert some commentary, which is not an uncommon occurrence in the English novel. Previously, the novel had simply flowed over the events and characters involved; Eliot, as a narrator, becomes a kind of transparent presence, allowing the reader a direct window into the proceedings, without placing herself in the way. Eliot's purpose in suddenly interjecting in the proceedings is to convey the overall purpose of the novel; the purpose is to delve into the lives, motivations, personalities, and circumstances of people in a rural English community, and show the workings of human nature in the characters she chooses to create.

Middlemarch is not necessarily meant to provide a wide-ranging view of Victorian society, or to serve as a commentary on English society of the time; although the novel may have elements of social criticism included in it, this is meant as a focused study and not a sociological of epic proportions. This explains why Eliot chooses to have the narrator relate the events, with little commentary relating the people and happenings of Middlemarch to the outside world of the time.

Lydgate, as the sole outsider of Middlemarch, is an interesting case; the way that people regard him and treat him is not due to who he is, but what they believe him to be and how they feel about strangers. Lydgate stands in stark contrast with people like Fred Vincy, who feel no particular call or motivation; Lydgate, along with Dorothea, is one of few whose passion is improving the lives of the people of Middlemarch, with little concern for politics or anything that would hinder his greater purpose. Lydgate's intentions and his drive are honorable, like Dorothea's are; but it will not be so simple for him to fulfill his purposes in the tangled world of Middlemarch politics and connections.

A bit about Lydgate's personality is laid bare, and it indicates that Lydgate is susceptible to making mistakes in love. This major weakness in his nature foreshadows that he will not be able to choose wisely when it is time to marry; he can be rash when it is least convenient, especially when it comes to affairs of the heart. His overstated resolve, to "take a strictly scientific view of a woman," is certainly not supported by the way that he views Rosamond, nor by the criteria by which he judges her; Lydgate is weak when it comes to women, and his weakness is not expected by the people of Middlemarch.

The way in which Middlemarch society works concerning strangers is laid bare; if a person is considered worthy, people rush to accept him and make him one of the community. This theory of assimilation, however, is neither carefully considered nor does it take into account some people's resistance to change. It also leaves out a crucial examination of the person in consideration, which could mean the person that is accepted is not the same person who lives among them.

Chapter 16:

Summary:

Mr. Bulstrode's power becomes plain; as a banker, he has some control over those he lends money to, and he defends people in return for certain expected favors. There is a debate going on whether Bulstrode's choice of Mr. Tyke for the chaplain's position at the hospital is indeed correct; Lydgate, Mr. Vincy, Mr. Chichely, and Dr. Sprague debate this question, with Mr. Vincy firmly supporting Farebrother. Lydgate is soon able to sneak away and talk with Rosamond, whom he finds very refined and beautiful. He meets Farebrother, whom he also finds agreeable. Lydgate is in no hurry to marry, since he has no money yet; but he will certainly keep Rosamond in mind in the meantime. Rosamond, however, is sure that Lydgate is in love with her; and, with little else to think about, she sets her mind on marrying Lydgate.

Analysis:

Mr. Bulstrode is a very shrewd politician; he makes sure he carries a great deal of influence not only through his financial role in the town, but through the favors he chooses to do for people and the obligations he chooses to create. Politics is a theme that has great importance in a Middlemarcher's life, and, if one is as politically adept as Mr. Bulstrode, a great deal of power and influence can result. Bulstrode insists that he is gaining power "for the glory of God"; but the truth is that he does it out of selfish ambition, and certainly is not as clean-living as he seems. Bulstrode's great ambition and his wily ways foreshadow a fall from grace, if he dares to do anything corrupt; just as people fear and are grateful to him, many people dislike the power that Bulstrode wields, and seek to bring him low.

Politics and people blend in an interesting way; and the regards in which politics influences people's decisions and behavior toward one another is an issue that Lydgate, at least, will have to deal with. Soon, Lydgate will find himself torn between deciding on Mr. Tyke, in order to curry more favor with Bulstrode, or Farebrother, in which case Mr. Vincy would be most pleased. Lydgate also finds that "it was dangerous to insist on knowledge as a qualification for any salaried office" in Middlemarch, as certain positions are usually held by people who are not quite suited to them; this is a great irony, and one that Lydgate does not want to face. Some Middlemarch traditions are impractical and nonsensical, but yet people still cling to them; this is another example of the theme of progress vs. tradition, and in this case, tradition seems to be the more stubborn.

Lydgate soon finds himself becoming fond of Rosamond, but it is her beauty and her good manners, rather than her personality, which attracts him. He rhapsodizes about her fair looks, which he describes as being "as if the petals of some gigantic flower had just opened and disclosed her"; he devotes this elaborate simile to her attractiveness, yet can say nothing of her personality except that she is "clever" (159). He attributes "ready, self-possessed grace" not to her, but to her hair; the personification may do honor to her beauty, but he is missing the essence of Rosamond's personality entirely. Lydgate certainly does not realize that she is nothing, as Eliot's simile declares, "like a kitten" that is innocent and sincere; she has been trained and taught, and these graces and looks with which he falls in love have little to do with her real self.

The differences between the worlds of men and women are made clear by the juxtaposition of Rosamond and Lydgate. Lydgate, like most men, has a profession, plenty to do outside the home, and many professional goals; he is a very busy man, which means that marrying and starting a household come second for him. However, Rosamond, as a proper young woman, has no other interests besides marrying and living in her own home; she has the temporary diversions of music, socializing, and other light tasks, but nothing to consume her time and thought other than dreams and thoughts about marriage. The worlds of Lydgate and Rosamond contrast greatly, and there will probably be a conflict between Rosamond's eagerness and Lydgate's wish to wait for marriage.

Chapter 17:

Summary:

Lydgate goes to see Farebrother at home, and observes his domestic situation. Farebrother's mother engages Lydgate in a debate about changes in religion, which Farebrother and Lydgate seem to espouse. Farebrother is a man of science, like Lydgate; they get along well, which makes Lydgate question Bulstrode's championing of Mr. Tyke even more. However, Farebrother is knowledgeable about Middlemarch politics, and knows that Lydgate must vote with Bulstrode if he wants to get ahead; Lydgate listens to this advice, but wants to vote with his conscience instead.

Analysis:

There are quite a few parallels in the lives and personalities of Lydgate and Farebrother. Both are men of scientific minds, with a great amount of interest in natural things and natural processes. Neither is in a great financial situation, meaning that marriage is not in the cards; and both are somewhat worldly and progressive-minded, clinging to changes that are being made in their own professions. Farebrother and Lydgate are also of the same opinion of many of the people of Middlemarch; they know that they must humor many people and speak very carefully to all those people who they really regard as idiots.

Farebrother is also able to inform Lydgate about a great deal regarding Middlemarch politics, of which Lydgate still has much to learn. Lydgate alludes to Voltaire when explaining his reservations about Bulstrode; but it does not matter what Lydgate's feelings about the man are, it all comes down to whose support he wants. Farebrother describes Bulstrode and his set more correctly; he posits the metaphor that "mankind [is] a doomed carcase which is to nourish them for heaven," and knows that Bulstrode and his ilk can be as unpleasant as they are ignorant. Farebrother shows great generosity and honesty in advising Lydgate to vote with Bulstrode; Farebrother is a truly intelligent and perceptive man, with a good understanding of the way Middlemarch politics work, and of how to keep from getting burned by them.

Chapter 18:

Summary:

Lydgate is compelled to vote for Farebrother, at the expense of any help from Bulstrode; he debates this with himself, and the outcomes of either decision. Lydgate wants to secure Farebrother the much needed money, but also wants to keep in Bulstrode's good graces, and knows that Tyke might be better suited to the position. The voting meeting begins, with Lydgate still waffling; people have their various reasons for voting for Farebrother or for Lydgate, and they all vary widely. Lydgate finally decides upon Mr. Tyke.

Analysis:

Lydgate finally realizes the importance of money, a theme within the book that touches on many characters, especially Fred Vincy and Farebrother. Lydgate does not feel that his lack of funds is all that important, especially since he is in no hurry to marry; but, he sees that with a man like Farebrother, who makes a very slender living and has relatives to support, money is a thing of great consequence. Money has determined how Farebrother has lived and his inability to marry; money has also dictated Fred's inability to marry, and has kept him from being truly respectable. Money can limit the way a person lives, and how much respect they are accorded; money can mean happiness or unhappiness, which Lydgate finally realizes.

The influence of one's conscience becomes an issue with which Lydgate, and many of the other men voting, are preoccupied with; when trying to make a decision, should you support the man whom you know to be a better human being, or should you support the man that will get you farther? It is a battle between conscience and self-interest, another important theme, and with Lydgate, self-interest wins; this is something that every person voting had to decide upon, with various results from each of them. Conscience does not necessarily outweigh self-interest; one must debate the merits of each choice, and go with the one that seems most important and beneficial.

In choosing Tyke, Lydgate contradicts the very essence of his nature. He must resign his pride, and vote according to the wishes of a man whom he does not like; he also must override his feelings, and rationalize himself out of making the more palatable choice. Lydgate is a man who is swayed by friendship, yet he cannot let that make his decision in this case; Lydgate, ironically, forswears the instincts that are most natural to him, and somewhat regrets the decision.

Chapter 19:

Summary:

Dorothea is at last in Rome on her honeymoon, and Will Ladislaw is there too, spotting her but not daring to approach. Will's friend, Naumann, is there too, is taken with her beauty and wants to paint her picture; Will is still under the influence of his negative first impression of her, and does not want to see her at the risk of finding her as unpleasant as he suspects.

Analysis:

At the beginning of this chapter is one of the first indications of the time period in which this book is taking place. Although Eliot wrote this book in the 1870's, the setting is at the close of the reign of George IV, and the beginning of the era of Queen Victoria. The romantic movement had not yet hit its peak, and times were more innocent of the world at large, according to Eliot. Eliot's book reflects upon the past, and the stories contained within it may illuminate the progress and the changes in attitude that have happened since. Likely, Eliot chose this time period because of the many forces which were beginning to clash; industrialism vs. the bucolic, the class system vs. new money, tradition vs. progress, superstition vs. science, all of which are issues contained within the novel.

Wisdom says that appearances are usually deceiving, but in the case of Dorothea, the way she appears to others conveys exactly what she is. Will's friend Naumann pegs her as a "Christian Antigone," the interesting allusion conveying perfectly her "sensuous force controlled by spiritual passion" (190). Will is moved by her in spite of himself, actually admitting to admiring her voice; he seems to like her though his protestations would convey other feelings.

Chapter 20:

Summary:

Dorothea is in shock by the combination of lately having become a wife, being in a place so foreign to her as Rome, and being completely alone, with the absence of her husband due to his study. Dorothea appeals to her husband to let her help, so that he may get his work finished and published; in her desperation for some emotional response, she sobs, which immediately makes Casaubon even more remote. Casaubon wants her support and affection, which she is giving him, but not in the way he wishes. They have a fundamental communication block, which upsets both of them, especially since it is their honeymoon. Casaubon continues his studies, and nothing is resolved.

Analysis:

Dorothea is just beginning to realize how her marriage cannot live up to her expectations. Casaubon is the same as he ever was, but pays little attention to her, and she cannot talk to him for fear of upsetting him. Dorothea already finds herself lacking emotional support and a like mind, and as she continues to grow out of her naivete and learn more about her marriage, these requirements will probably become more plain to her.

Casaubon's lack of emotion or passion finally dawns on Dorothea, though she has not yet realized that the deficiencies she feels in the marriage are due to her being unsuited to her husband, rather than from any deficiency on her part. As Eliot states, "Dorothea's ideas and resolves seemed like melting ice floating and lost in the warm flood"; Eliot's simile emphasizes how lost and hopeless Dorothea feels, and how her plans and aspirations are left unfulfilled by this union (198). To Casaubon, Dorothea becomes little more than "a personification of that shallow world which surrounds the ill-appreciated or desponding author"; this view is ironic and unfortunate in light of Dorothea's extensive efforts to support, encourage, and aid her husband.

On this honeymoon, Casaubon and Dorothea's completely contrasting natures first come into conflict. Every time Casaubon tries to express himself with his cold, academic tone, Dorothea is exacerbated to some display of affection or emotion, which Casaubon is desperate to avoid. Dorothea thinks of achieving, of Casaubon writing and publishing his great work, with her help; Casaubon is not so goal-oriented, and is threatened by her insistence that he do something that he is ill-qualified to finish. Casaubon and Dorothea could not contrast more than they already do; and their inability to communicate and understand each other means that there will be more conflicts to come.

Chapter 21:

Summary:

Just as Dorothea is beginning to despair again, Will Ladislaw comes to visit her. Will is surprised to find that she is nice, friendly, and far better than his dried-up old cousin could ever deserve; Will's bad first impression is proven completely wrong. They discuss art, which Dorothea can't understand; Will admits that he has not found his calling in art, and Dorothea is bewildered by his ability to be at leisure all the time. Will also realizes that Dorothea holds Casaubon in unnaturally high regard; he resents this, and wants to get her to realize how she is mistaken. Casaubon returns home, and is not pleased by his cousin's presence. Nevertheless, he invites Will back, and Dorothea senses that she has found a valuable friend.

Analysis:

Will finally learns that Dorothea does not fake ignorance in order to insult; he mistook her remark as having a tone of sarcasm, when in fact she meant what she said with all sincerity. Will returns to his metaphor of the "Aeolian harp" to describe her, in her wonder and beauty; still, he cannot help but be bewildered about someone of such beauty and emotion marrying such a passionless man. Just as Dorothea and Casaubon are completely different kinds of beings, Casaubon and Will contrast in almost every possible way. Where Will is impulsive and emotional, Casaubon is ordered and reserved; Will lives life, and Casaubon seems content to learn about it.

Will and Dorothea actually seem very much alike in temperament, emotional disposition, and in their honesty. That Dorothea finds him the only person she has ever met who seems "likely to understand everything" is very significant; this impression upon such a brief meeting foreshadows that Dorothea and Will shall become close, and that she will take the chance to open her heart to him and express her feelings, which will deepen the relationship.

The brief conversation with Will also brings her to an important realization, that she cannot expect emotional fulfillment or understanding from Casaubon. She begins to know that he also has an emotional void and is not the pillar of strength she thought he was; she starts to realize her husband's humanity, but also that her marriage is fundamentally unsatisfying to her.

Chapter 22:

Summary:

Will impresses Dorothea with the way he is able to listen to Casaubon and make him feel at ease; Will is also able to engage Dorothea in the conversation, and draw some statements out of her that make Casaubon proud of his well-spoken wife. Will gets Casaubon to agree to bring Dorothea to the studio; once there, Naumann gets Casaubon to sit as a model for Thomas Aquinas, which allows Naumann to also paint Dorothea without Casaubon feeling slighted. Will goes to visit Dorothea later, when Casaubon is not at home; they speak, and Will tells her plainly that she will not be happy with Casaubon, and that her piety is completely unnatural.

Analysis:

The relationship between Will and Dorothea begins to change at a rapid pace; within a space of days, Will has become a "worshipper" of Dorothea, his "soul's sovereign" (218). The metaphor relates how intensely Will loves Dorothea, and how highly he regards her; in turn, Dorothea begins to appreciate Will, and finally learns to understand a bit of art from his passionate mind and eager explanations. How ironic that she married her husband so that he could teach her, yet the only man she has learned from is the last one she expected to meet. Dorothea is beginning to find emotional fulfillment and intellectual stimulation in places other than her marriage; if this, and her attachment to Will, continues, her marriage to Casaubon will then be without purpose.

In Will's most impressive bit of conversation with Dorothea so far, he is able to diagnose the nature of her piety, and tell her exactly how she will be affected if she continues to follow her ideas so religiously. Dorothea counters with absolute frankness about her nature and habits, saying things aloud and before company that she has scarcely been able to admit to herself previously. Dorothea has started on her journey of self-discovery, and from this point on, self-discovery will continue to be one of the most vital themes in her story.

Will's passion becomes plain when he adopts a very passionate tone, and riddles his speech with hyperbole. He is saddened by Dorothea's apparent lack of youth, overstating this sentiment by saying that she acts as if she "had a vision of Hades in [her] childhood" (220). He also states, with passion-fueled hyperbole, that she has been unfairly haunted by "Minotaurs" in some of the things she has been led to believe. Will's hyperbole and overstatement reflect his great concern for Dorothea, and the thought which he has devoted to her person.

Dorothea responds to Will's emotion with equal zest; she is relieved and energized to find someone who understands her so well, and does take the opportunity to open her mind and her heart to him. This is the first time in the novel that Dorothea speaks with real frankness, and dredges up many of the emotions that have been haunting her during these first few days of her marriage. Will is able to bring her out of her shyness and her unnatural brooding, and makes a very big impression on her as well. Will's influence and his aid in helping her understand her situation and her plight has given Dorothea fuel for her attempts to find usefulness and happiness. She already has some idea that she will find neither of these with Casaubon, and if she takes Will's advice to heart, she can stop blaming herself and start to see the error she made in her marriage and become a less naïve person.

Chapter 23:

Summary:

Fred still has a debt to pay, and the money he got from Featherstone will not cover the balance; even worse, his dear Mary's brother, Caleb, co-signed on Fred's debt and will be held responsible if he defaults. Fred decides to make money to pay his debt by speculating on horses; unfortunately, he buys a horse that lames itself in a stable accident, and has even less money with which to pay his debt. Fred is a fool to risk all that he has on such an uncertain plan; but the boy is slow to learn, and cannot help himself.

Analysis

The Vincy household certainly did their children no favors in giving them no idea of the value of money; Rosamond has expensive tastes that mean she requires a wealthy husband, and Fred has already gotten himself into trouble because he expects others to pay off his own debts. Those who have little money, like Farebrother and Lydgate, are more responsible and essentially less materialistic; money is a necessary evil, but for those who have no income and rely on other people to provide for their foolishness, it is a great liability as well.

There is a sobering irony at work in Fred's life, almost like fate is trying to get him to be responsible. Of course, as we find out at the beginning of the next chapter, Fred has indeed lost his investment; but what is most unfair is that Caleb Garth will have to cover for this foolish boy if he cannot take care of himself. The horse that Fred buys is a symbol of his foolishness, and his inability to hold onto his money, and the affair proves again that Fred is irresponsible and needs to assume financial responsibility for himself.

Chapter 24:

Summary:

Fred finally feels very sorry about his debt, and the fact that he has only fifty pounds and five days to pay up. Fred is most sorry because Mary's father is going to have to pay, and he feels this will jeopardize his chances with Mary. Fred goes to the Garth household to tell Caleb Garth, whose wife is very fond of Fred, but probably will not be after he tells her. Mrs. Garth is teaching her children their lessons in the kitchen, and Fred sits down and tells her and Mr. Garth the news. Mrs. Garth will have to give up the money she was saving to send her son to school; Fred feels terrible, as he should, knowing that his irresponsibility is costing them so much. Mr. Garth knows then that he was a fool to trust Fred, and they believe that there is little chance Mary will regard him so highly when she finds out.

Analysis:

The theme of the importance of money resurfaces again, as the Garths find themselves hard-pressed to pay for their trust in Fred. Although the Garths work very hard, they have little money because Mr. Garth does not like to charge much, if anything, for his work. However, in this case, money does not mean happiness; the Garths are very happy, certainly much happier than people like Dorothea and Casaubon who have plenty of money.

How ironic that responsible, hard-working people are forced to pay the debt of another person. In comparison with the Garths, Fred appears even more irresponsible, flighty, and lazy; in order to win Mary's affection, he will certainly have to work very, very hard. It is a good thing for Fred that he is very sorry for what he has done; perhaps it will teach him some lessons in responsibility, and he will be able to win back Mary's regard by working hard and repaying his debt to her family.

Chapter 25:

Summary:

Fred goes to Stone Court to tell Mary the news; he is not as repentant as he should be, and wants comforting words from Mary about his irresponsibility. He still doesn't see the entire magnitude of what he did; he tries to rationalize things with his good intentions, and by claiming that he is not so bad, compared to what other people do. Mary is upset, and says that she cannot trust him, and that he should be more sorry for what he did. Caleb comes later, to ask for whatever she has saved up; Mary gives it gladly. Caleb Garth is worried that his daughter has some feelings for

Analysis:

Mr. Garth makes a good point about marital relations: "a womanŠ has to put up with the life her husband makes for her" (257). The statement is a very accurate piece of social commentary, and certainly demonstrated as a valid theme within the book so far. Dorothea has been suffering because the life her husband has made for her is very lonely and gives her little of value to do. If Mary does decide to marry Fred, she will have to bear the brunt of his irresponsibility and spendthrift qualities; since women are economically and socially dependent upon men, and divorce is out of the question, women are forced to put up with the personalities of their husbands and the living that they choose to make. A woman's decision to marry was something she could not afford to think lightly of, as her future would be almost entirely determined by the match she made.

Another good bit of advice, which Dorothea would have benefited from hearing, is Caleb Garth's observations on how a relationship changes from courting to marriage. When couples first dream of marriage, "they may think it all holidayŠbut it soon turns into working day" (257). This truth is one that plagues Dorothea and Casaubon's marriage, as their idealistic views of their union have failed to prepare them for the realities of marriage. Caleb Garth may be too trusting of his fellow man, but he is a great source of wisdom and sense in the book.

Chapter 26:

Summary:

Fred is foolish enough to go back in search of his old horse, and ends up with an even worse one. He soon becomes ill, and after their regular doctor tries to help and fails, Lydgate is brought in and says he has scarlet fever. Mr. and Mrs. Vincy get angry at their regular doctor, Mr. Wrench, for failing to catch such a serious illness; Mr. Wrench is in turn angry at Lydgate for interfering, and very uncivil to the new doctor. Rumors spread about the confrontation between Mr. Wrench and the Vincys, and between Mr. Wrench and Lydgate. Various opinions and stories surface about the alleged scuffles, leaving everyone worse off as subjects of untrue gossip.

Analysis:

Mrs. Vincy proves to be as overprotective a mother as previously shown; upon Fred's diagnosis by Lydgate, she becomes like "Niobe," overly full of tears and sorrow. The allusion shows how much Mrs. Vincy dotes on her oldest son, which cannot be healthy, regarding his irresponsible and selfish nature. Although Fred's faults are his own, he cannot help that these traits were bred into him through his upbringing; he has the difficult task of leaving his parents' protection and becoming independent, a struggle which is as much his own fault as it is his parents'.

The medical profession in Middlemarch seems to be more political than politics, even; people take Mr. Wrench's side because Bulstrode swears by him, or like Lydgate because the Vincys and others do, and Fred's condition is manipulated and exaggerated by hearsay fueled by what people think of the parties involved. It seems that the livelihood of Middlemarch doctors is made or broken by what people say and think about them; and the greatest irony is that they are not judged by their skill, but by whether people say good things about them. The Wrench/ Lydgate situation parallels the machinations of the Tyke/ Farebrother debate; people align themselves with either party due to who they feel they must align themselves with, who they might have a personal grudge against, and based on what embellished news they have heard about either of them. The real issue, of who is a better doctor, seems to have no place in this debate; again, Middlemarch comes off as looking like the most backward of backward towns, more concerned with squabbles among townsfolk than obtaining good health care and better doctors.

Chapter 27:

Summary:

Mrs. Vincy becomes completely consumed by Fred and his illness, to an unhealthy extent; Lydgate is around the house frequently, and sees a good bit of Rosamond as well. Lydgate's attentions to Rosamond are causing some resentment in the neighborhood, as rivals for her affection become jealous of him; Rosamond continues to believe that Lydgate is in love with her and intends marriage, while Lydgate merely enjoys her pleasant company. At the end of the chapter, Lydgate receives a summons from Sir James Chettam, who he has not attended to before.

Analysis:

Eliot's extended metaphor of Rosamond's luck to scratches in a pier-glass is an apt one; Rosamond does believe herself to be lucky and served by fate, and events do seem to happen by chance that further her designs. It is another good thing that Rosamond recognizes a good chance when she happens upon it, and so takes advantage of the opportunity to become closer to Lydgate. Rosamond, for all her flaws, is a very canny girl, and able to use situations to her benefit.

The vanity of Middlemarch men becomes apparent, as they all begin to resent Lydgate for gaining Rosamond's attentions. They prefer to blame Lydgate, though it is Rosamond who is responsible, and they are loathe to admit that maybe she just isn't interested in them. Skins are rather thin in Middlemarch, and it seems that people try hard to blame other people, rather than to realize a truth that might hurt them.

Unfortunately for Lydgate, not only is he making enemies, but he is failing in his attempts to get close to Rosamond, yet keep marriage at a distance. Eliot compares the plight of Lydgate's plan to a "jellyfish which gets melted without knowing it"; the metaphor reinforces the danger that Lydgate is in, of being pushed into a relationship which he is in no way ready for.

Chapter 28:

Summary:

Dorothea arrives at Lowick with her husband in January, after their honeymoon. Dorothea, who had been so dejected during their honeymoon, feels revived by being home, in familiar surroundings. However, she is still haunted by the knowledge that her vision of marriage is yet unfulfilled, and the depressing atmosphere of Lowick. Her sister Celia finally arrives, brightening up the place with her presence; Celia tells Dorothea of her engagement to Sir James, and Dorothea is very happy for her sister.

Analysis:

The many images of liveliness in Dorothea's appearance convey her change of heart, how she feels renewed and hopeful at her future again; the irony of these feelings is how false they are, and how they do nothing to prepare her for what she will have to endure. Perhaps Dorothea is trying to falsely reassure herself that everything will be alright, now that she is in Middlemarch again; but the same problems that dogged her in Rome have not gone away so easily, and she will find her married life very difficult. The "ghostly stag" that appears in her room is a symbol of Dorothea's married life; both are trapped, flattened into decoration, and live in the same "chill, colorless, narrowed landscape" (274).

"Each remembered thing in the room was disenchanted, was deadened as an unlit transparency," to Dorothea; Eliot's metaphor conveys Dorothea's despair, and the lack of color in her life. In her new situation, Dorothea feels that there must be parallels between her and Julia, Will Ladislaw's grandmother, who was doomed by a bad marriage. She finally sees that her match was also badly made, and that the same consequences and unhappiness might be in store for her.

Chapter 29:

Summary:

Mr. Casaubon's beliefs about marriage are reiterated; he wanted to marry someone young and impressionable, so that she would be pleasant and able to help him with his work and be taught by him. He also believed that marriage would make him happy for the first time; but marriage could never instantly change his disposition, and his hopes for his union were too high, as were Dorothea's. Casaubon and Dorothea have a bit of a tiff, as Casaubon tells her that he does not want Ladislaw to visit, and Dorothea resents the condescending and mean-natured tone he takes with her. Casaubon is weakened, and Dorothea strengthened by this altercation; it seems like this relationship is going to make her stronger, though it will definitely not work out.

Analysis:

Here, Eliot foreshadows the outcome of Casaubon and Dorothea's relationship; though, with every clash Casaubon feels weaker and more vulnerable, Dorothea only learns how to defend herself and becomes more confident. The tables have just turned, and it is unlikely that their relationship will be able to last any significant amount of time. Casaubon's dearest fantasy, about marriage bringing him perfect contentment and filling the gaps in his life, is falling apart, and he is faltering along with it.

Sir James' misgivings about Dorothea's union prove true; the question is, will the problems in her union resolve themselves, or will she just be trapped? Dorothea does not deserve to pay such a penance for anything she is done; it comes down to whether fate is kind to her or not as to what happens, and how her story ends.

Chapter 30:

Summary:

Lydgate comes to check on Casaubon, and cannot find anything immediately wrong; he asks that Casaubon give up his studies for the time being, and focus on leisurely pursuits. Dorothea is informed as to the details of whatever ails Casaubon; Lydgate says that he must be kept from any stresses, or else his condition might be aggravated, and his life cut short. Dorothea is sad, but not sure exactly what to think; Ladislaw is supposed to be arriving there in a few days, and she asks Mr. Brooke to write Ladislaw a letter saying that Casaubon is ill, and not to visit. Mr. Brooke does write a letter, but the contents are nothing like Dorothea intends; Mr. Brooke invites Ladislaw, and also proposes that he might work for Mr. Brooke's newspaper, since Mr. Brooke has been favorably impressed with what he has heard.

Analysis:

It is ironic that the very thing which Dorothea wants Ladislaw to know is the opposite of what is communicated to him; Dorothea would, because of Casaubon's condition, have Ladislaw anywhere but near them, yet providence seems to have arranged that Ladislaw is going to live and work in Middlemarch with Mr. Brooke. It seems that Casaubon's wishes are being thwarted once again, and he is destined for aggravation; this situation will do nothing to extend his life-span, and seems to be arranged in order to cause Casaubon more illness.

The tone of Lydgate's message, and the content of what he says, is a definite foreshadowing of Casaubon's coming illness. Lydgate does say that Casaubon could live for some time if he is not aggravated; but, with all the unpleasant surprises in store for him, compounded with Lydgate's harsh warning about what could happen, mean that Casaubon is in for trouble.

Chapter 31:

Summary:

Lydgate and Rosamond become closer, as Lydgate is about to be sucked into a relationship which he is unprepared for because of the nature of Middlemarch society. Mrs. Bulstrode and Mrs. Plymdale gossip about Rosamond's pride, and how Lydgate might suit her; Mrs. Plymdale thinks that the match would be unwise for Lydgate, since Rosamond has expensive habits, and Mrs. Bulstrode goes to speak to Rosamond out of concern. When Mrs. Bulstrode sees Rosamond and her fine garments, she knows that Mrs. Plymdale was at least right about that one point. Mrs. Bulstrode speaks to her, telling her that if she marries Lydgate, she will not be able to keep her expensive habits; Rosamond admits that he has made no offer of marriage to her, and seems intent on ignoring her aunt's good advice. Then, Mrs. Bulstrode approaches Lydgate, and tells him that he should not press his advantages as a romantic-seeming outsider with the Middlemarch girls; Lydgate sees that others believe him to be engaged to Rosamond, and wants to avoid marriage at all costs.

However, Lydgate ends up going by the house after an absence of two weeks, to deliver bad news about Mr. Featherstone's health; Rosamond cries when she sees him again, and this display of affection touches him enough to abandon his plans and reasonable thinking, and propose to her. Rosamond accepts, and they are engaged.

Analysis:

Rosamond's first priority in all things seems to be "playing the part prettily," as she is in Mrs. Bulstrode's frank discussion with her. Rosamond refuses to take good, practical advice, even when it is offered to her in a sincere way; she is stubborn and wants to hold onto this stubbornness, and proves vain about more than just her looks. Vanity is a key issue that Rosamond needs to overcome; not only does she pride herself on looking and acting beautifully, she likes to think that her ideas and manner of living are above reproach, and her character needs no correction.

Lydgate's pride is his failing, and his own issue to get over; he blames Mrs. Bulstrode's diction for his stung feelings when she speaks to him about Rosamond, rather than his own character issues. However, Lydgate, unlike Rosamond, is not too vain to think that his character and his perception are beyond reproach; he takes Mrs. Bulstrode's talking to him to mean that Rosamond is set on him, and others expect them to marry, and decides to serve his original intention of remaining single. Lydgate had not previously realized the power of other people's expectations, another theme in the novel. He wants to disprove that his situation is metaphorically akin to being tempted by a siren, as Farebrother states that Lydgate's situation might be; the allusion particularly upsets Lydgate, as he realizes that the sirens, whom Farebrother alludes to, might stand for the expectations and ideas of those around him.

Rosamond seems to be more in love with the way Lydgate compliments her and flatters her vanity, more than Lydgate as a person. She is a rather mild version of Ariadne, Eliot says, with the allusion emphasizing Rosamond's relatively shallow feelings and the sometime ridiculousness of her expectations. Lydgate proposes to her out of his great weakness, pride; he is somewhat proud of the fact that Rosamond is unhappy without him, for the brief period of time that he avoids her home. He sees that Rosamond looks up to him and has some feelings for him, and this cements their engagement. Since Rosamond and Lydgate's relationship is based on their mutual need to feed their flawed natures, it is doomed to fail; there are greater considerations for marriage than the fulfillment of pride and vanity, and intellectually and ideologically, they are ill-suited.

Chapter 32:

Summary:

Mr. Featherstone's relatives begin to pop out and appear, and all expect that he will die soon, and will leave them some bit of money, since he is their rich relation. They all expect that he should do something for them, that he owes them money because they are relatives; they do not consider that they have done nothing for him, but are like vultures circling, waiting to pick up his money once he dies.

Mr. Featherstone wants to see none of the greedy, crowding relatives; Mary Garth has to try and turn them away, but doesn't have the heart for the task. Mrs. Vincy hovers around, sure that Fred will receive most of the property and money anyway, as Featherstone regards and treats them so much better than his other relatives. Trumbull, an auctioneer and assistant to Featherstone in business matters, is the other person who Featherstone shows any regard for; on the basis of behavior alone, it would seem that these people would receive most from Featherstone's will. Mary Garth must put up with the various visitors and their varying degrees of rudeness, but manages to stay calm and make the constant crush of daytime visitors as comfortable as she can.

Analysis:

The theme of family and family obligations comes to the fore once again as Mr. Featherstone is dying; Featherstone, being the mean-hearted, always distempered person that he is, feels no kinship or kindness for family members, while others only pretend affection for him thinking that he will leave them money. People's conceptions of blood ties and what they entail vary widely; Mr. Featherstone disregards them entirely, some relatives believe it entitles them to gifts in Featherstone's will.

Fred and the Vincys believe that the fact that they are closely related to Featherstone means that they will gain the bulk of the money in the will, and regard Mr. Featherstone as a benefactor. There is a great deal of hypocrisy in people's conceptions of family, especially with the herds of distant relatives who believe that they are owed money simply because of being related, and not because they have done anything nice or been well-acquainted with Mr. Featherstone. It is a good thing that Featherstone sees through these attempts to flatter themselves into money, but a shame that he regards nearly everyone with great suspicion and meanness.

It is interesting how impressions of Mary Garth vary according to the personality of the person appraising her. Mrs. Waule, a naturally suspicious person, regards Mary as tricky because of her potential influence on Mr. Featherstone, and because she appears shy and intelligent; this view is ironic, since Mary is both of those things, but that Mrs. Waule loads these traits with such negative baggage. Mr. Trumbull compliments her and is very polite to her, because he is a person who regards his own social graces highly; others regard her kindly merely because they are looking for some way to get into Featherstone's will, and think that she is trustworthy enough to help them with that.

Mr. Trumbull makes a point worth noting at the end of the chapter, about marriage; "a manŠshould think of his wife as a nurse," he says, and "some men must marry to elevate themselves a little" (313). The first point is most applicable to Casaubon, who believes that Dorothea is responsible for curing all his ails, mental more so than physical; but it does no good to regard your wife as a nurse when you refuse to tell her what you need fixed, especially when it is something that only a person can fix for themselves. It seems that Lydgate is about to marry to elevate himself, in terms of style, breeding, and refinement; but it is still to be seen whether this will work. Mr. Trumbull's remarks aren't directed at any situation in particular, but his words put an interesting frame on a few of the relationships in the novel.

Chapter 33:

Summary:

Mary Garth is sitting with Mr. Featherstone at night, as she usually does, reflecting on the events of the day, and sitting in silence, for the most part. She figures that the issue of Featherstone's will shall disappoint everyone involved. Mr. Featherstone suddenly tells her to open the chest with his will in it, and burn one of them; Mary refuses, even when she is offered a sizable amount of money to do so. Mary is scared of his sudden energy, and does not think that he is in his right mind; Mr. Featherstone drifts off to sleep, and by the morning he is dead.

Analysis:

Mary is quite a paradox; she is sweet, modest, and uncomplicated, yet she has a great deal of wisdom about human nature, and a keen sense of humor, neither of which can be guessed from her day-to-day dealings. She seems very plain, but inside she is anything but; few people in the book suspect that this difference between what Mary is in her common interactions, and what she is to herself, which makes their judgments of her particularly laden with irony. Mary also has a great deal of foresight, which few people have seen in action; she knows that everyone will be disappointed by Featherstone's will, though there is more to be decided on this issue still.

By the end of the chapter, whether Mary has done or not done the right thing is a pressing question. Mr. Featherstone's frantic tone must have put her off; he is acting "like an aged hyena," the simile denoting his nervous energy, and his uncharacteristic behavior. Mary did manage to avoid the temptation of money, which is the weakness of many in the book, especially Fred; and, she also did nothing that could have haunted her later, or made suspicion fall on her, which was also a good decision. But what the repercussions of Mary's upright behavior will be, is soon to be seen.

Chapter 34:

Summary:

Mr. Featherstone is finally buried, with many relatives whom he did not like there; the occasion is a rather expensive one, for although Featherstone was miserly in many respects, he liked to show off his money when it could impress many people. Dorothea and Celia, along with Sir James, watch the proceedings from their house, as he is being buried at the church that is on Casaubon's land. Will Ladislaw appears again, and Mr. Brooke reveals that Will is his guest, and has brought the picture that Casaubon sat for in Rome. Casaubon is shocked and upset, and Mr. Brooke explains that he wrote to Ladislaw when Casaubon was ill, not Dorothea; Mr. Brooke continues to speak of his fondness for Will, as Casaubon tries to hide his displeasure, and Dorothea becomes alarmed.

Analysis

Money is a theme of importance in the book, and means very different things to different people. To someone like Fred, money is something that appears when he needs it, and is not something of terrible consequence; to the Garths, money is a precious commodity, and is saved carefully for worthwhile causes. Featherstone's character is illuminated by the way he regards money; he uses money to gain power over people, like Fred, and to show off the power and advantages that having money gives him.

In Eliot's explanation of the significance of Featherstone's funeral to Dorothea, we are introduced to another theme of the novel; the unity of people in Middlemarch, through events that they share in. Dorothea might not be at the funeral, nor did Featherstone mean anything to her in particular; however, it is times like this one that become associated with moods and feelings, and so become important in the memory. The funeral "mirror[s] that sense of loneliness" that is part of Dorothea's nature, and so becomes significant to her.

Chapter 35:

Summary:

The funeral is over, and people are waiting anxiously for the will to be read and the sums they are to receive to be announced. There is a stranger among them, though, who makes them nervous; his name is Rigg, he is in his early 30's, and no one is quite sure of who he is or where he comes from. A lawyer is there, named Standish, who went through the will with two witnesses; he reads through the two wills that Featherstone left, regarding the last one as the most correct. Mary Garth is nervous, and somewhat excited, since her refusal to burn one of the documents has led to this outcome. The first leaves Fred a good bit of money, and gives something to most of the relatives; the second, which is considered the correct one, gives everything to Mr. Rigg, who doesn't seem surprised.

Upon hearing this, many of the relatives start complaining about the expense of traveling to the funeral, and how they should not have come if they were to get nothing. Mrs. Vincy cries, and Fred seems upset as well, to have a large bequest announced, and then taken back. No one seems very fond of Mr. Rigg, who takes the name Featherstone as requested in the will. But, it seems that all the greedy relatives, and the expectant Vincys, have all gotten their just desserts; the Garths could have been better served, but overall, people do get exactly what they deserve.

Analysis:

Eliot compares the procession of different relatives at Featherstone's funeral to the line of different paired animals onto the ark, and says that in both cases, it might have been thought that the sheer numbers would decrease rations, and that it was better to have fewer there. The parallel between the situations is clever, and it is certainly a fair description of the situation at the funeral, and before the will is read.

Money is said to bring out the worst in people, and here it does. With money present, people forget their shows of politeness, say rash and uncomplimentary things, are greedy, and jealous as well. When the theme of money is introduced in the novel, it is usually to show people at their basest, or illuminate their flaws; and here, when money becomes an issue in the plot, it does exactly this.

Chapter 36:

Summary:

Fred is sorely disappointed with not getting any money; he expected that he would get a large amount, and would not have to work. Now, he will likely have to join the clergy, or find some form of work; he will finally have to stop being idle, as his father will tolerate his idleness no longer. Mr. Vincy also says that Rosamond will have to postpone her marriage, until the family are in a better position to pay for it; Mrs. Vincy, Fred, and Rosamond are all spendthrifts, expecting that the money they need will somehow drop into their laps. Rosamond takes the issue up with her father, and he caves in; Mr. Vincy doesn't have the heart to stand up to his daughter, though she clearly needs some reasonable advice on the subject of her marriage.

It seems that only Mrs. Bulstrode knows better on the subject of Rosamond and Lydgate's engagement; she knows how difficult it will be for Rosamond to live on little money, and how extravagant she is, and how ill prepared Lydgate is to live with a flighty girl like her. However, no one will listen to her; her advice, though it will prove correct, is unheeded.

Rosamond tells Lydgate that her father wishes their marriage to be postponed; Rosamond says that she refused, not so much out of love for Lydgate, but out of stubbornness. Lydgate urges her that they be married soon; Rosamond agrees to six weeks, and manages to convince her father. Lydgate soon starts buying new things for the house, though he has little money to do so; already, he is spending beyond his means, a dangerous habit. They will go to his uncle's estate for their honeymoon; he is a baronet, and wealthy, which boosts Lydgate's hopes for a better position.

Analysis:

Eliot compares Rosamond and Lydgate's love to a "gossamer web," and indeed, the metaphor describes the relationship well, being based on tender moments together, delicate feelings, and easily dashed hopes. At the same time, the relationship is anything but solid, and certainly not based on genuine compatibility either; it is also ironic that Lydgate hurries forth with the relationship, after getting burned before by love, and the difficulty of his present circumstances.

Eliot's tone becomes slightly mocking, and shows the ridiculousness of Lydgate and Rosamond in their considerations of marriage. Rosamond's mental faculties are belittled, as becoming "slightly meditative," quite a feat for her, amounts to no more than thinking of how long it will take for her marriage clothes to be made. That Lydgate and Rosamond consider everything in deciding to get married but whether they love each other and are compatible is an irony that dooms their relationship from the start. The demise of their union is foreshadowed by their consideration of only inconsequential things, and their inability to act outside of the confines of their pride, vanity, and stubbornness.

Lydgate too believes in the preconceived notions of the day about gender relations; the "goose and gander" model, as Eliot calls it, is his ideal. Indeed, Lydgate wants a woman who is unassuming, attractive, knows the appropriate arts and flourishes, and will obey him. Rosamond is all of these; but what he does not foresee is how little economy she has, how silly she really is, and how basically unsuited they are. Lydgate is misled by society's ideals of women, and of marriage; and in searching blindly after these ideals, he will make a marriage that will not be beneficial for him, an be very disappointed in the life he will have to live with Rosamond.

Chapter 37:

Summary:

Middlemarch politics assert themselves once again, in the rivalry of the two papers of the region. It is revealed that Mr. Brooke has bought one of the papers, The Pioneer, and has inserted his unorthodox political views into it. Will Ladislaw has been hired to head the paper, and Mr. Brooke is very pleased with his work, and his coverage of the Middlemarch political situation. Casaubon continues to resent Will, and Will grows more angry that Casaubon married someone as young and naïve as Dorothea, dragging her down into Casaubon's dull, dry world of academia. Will's affection for Dorothea continues to grow, and Dorothea becomes more and more fond of Will in return.

Will goes to Lowick to sketch; luckily for him, it begins to rain, and when he takes refuge in the house, he finds only Dorothea at home. They begin to speak as they did in Rome, very happy to be alone in each other's company; Dorothea becomes more aware of her husband's failings, but also learns of his generosity toward Will's family. Will tells Dorothea that he has a job at Mr. Brooke's paper, if he wants it; Dorothea says she would like him to stay in the neighborhood very much, but then realizes that Casaubon would disagree with her.

Dorothea tells Casaubon, who of course is not in the least supportive. Casaubon writes Will a letter, telling him he should not take the position, nor should he call at the house any longer. Casaubon's letter seems to be motivated not out of embarrassment for having a relative of lower status nearby, but out of some jealousy perhaps for his friendship with Dorothea. Dorothea becomes consumed by the case of Will's grandmother, and her unfair disinheritance when she married; she believes that Will is owed a good part of what Casaubon has because his family was impoverished unfairly, and wants to bring that up to Casaubon, though it will upset him.

Casaubon is not suspicious that Dorothea is being influenced by Will, but he thinks that it might happen; his insecurity and jealousy lead him to contrive secret hindrances for Will. He dislikes his cousin more than ever, because he imagines that Dorothea would like Will more than she likes him.

Analysis:

The issue of propriety would have Mr. Brooke take no part in papers, or in politics in general; also, the theme of social position plays a part in how neighbors and relatives regard Mr. Brooke's new venture. It seems that the newspaper business is regarded as too lowly and common a pursuit for a gentleman of money like Mr. Brooke; also, Mr. Brooke's airing of his political views in such a public forum is also considered distasteful. It is quite a paradox that politics in Middlemarch are decided through the influence of wealthy gentlemen like Mr. Brooke, yet to have these men publicly declare their opinion in politics is taboo.

The theme of social position is also very important in Casaubon's situation; he believes in a well-defined social hierarchy, especially since it gives him a position of superiority over people like Will Ladislaw. However, once Will stops accepting money from him, and establishes his own place in Middlemarch with Mr. Brooke's newspaper, Casaubon feels that his position over Will has been diminished, which he resents. Casaubon's feelings about social organization are not unorthodox in the Middlemarch community; there are others who feel the same as Casaubon does, like the Vincys and the Bulstrodes, who like people to know their place, and act accordingly.

Will's inner declaration of loyalty to Dorothea shows how his affection for her is continuing to strengthen; and the fact that she regards him highly as well foreshadows a romantic relationship between them in the book. Eliot is building up the romantic tension between them, as their feelings become stronger and more intense; they will have to come to terms with their mutual affection at some point in the book, and hopefully all turns out well. With Eliot's metaphor comparing them to "two flowers which had opened then and there" when they get in each other's presence, and describing Will as "fresh water" to Dorothea after the stagnation she bears in her marriage, it is unlikely that the two can be easily separated.

The changed tones of voice which Dorothea and Will use in each other's presence testifies to their being suited for each other; Dorothea only seems to shrug off her melancholy, and the careful, depressed tone she uses around her husband when she is talking to Will, and Will sheds his usual sarcasm and becomes more gentle and thoughtful in his tone and speech.

However, at the same time, "tongues are little triggers," and Will cannot help but display this metaphor at work. Dorothea becomes conscious of her husband's failures when she speaks to Will; Dorothea pours forth the reasons why she married Casaubon, which Will could not have guessed. But jealousy is a theme in the novel that comes about because of this relationship; Mr. Casaubon is anything but pleased that his wife and cousin are friends, and fears that Dorothea could like Will better than he, which she does. Casaubon pretends to act out of concern for social hierarchy, another theme of importance in Middlemarch life; however, his real intent is hidden beneath, and is a function of his insecurity about himself. The end of the novel, and the brief mention of Casaubon contriving obstacles for Will, foreshadows some great plot of his, some act of spite to come.

Chapter 38:

Summary:

Mr. Brooke is making enemies through his advocacy for the Whig party, when Middlemarch is a predominantly conservative, Tory area. Bulstrode is allied with Brooke politically, but many of the neighbors disapprove, including Sir James. Sir James, Mrs. Cadwallader, and others are gossiping about Brooke and Will Ladislaw, Brooke's need to take care of his parish, and other subjects. Brooke comes by, in the middle of being discussed; they inquire about the state of his tenants, attacks that have been made on him, etc.

Brooke, however, does not wish to enter into any arguments, or listen to see if they do have any valid points to make amid the rumors they are discussing. Brooke runs out quickly, and the others wish that maybe he could see if he was doing something wrong, and act on that.

Analysis:

Middlemarch politics seem very modern, for all the wrangling an dealing that goes on; Sir James mentions that dirt will be dug up on Brooke, to discredit his opinions, a practice which is regular in today's politics. However, the enmity between the conservative Tories and the liberal Whigs is something that is a little uncommon; people seek to squelch minority opinion, something which is not as common today. Snobbery and social standing also have a great deal to do with political opinion, which is not as true now as it was then; the wealthy are mostly conservatives, and those who are not, like Mr. Brooke, are shunned. Middlemarch has its own "liberal," Whig-leaning media in the form of its papers, plenty of political haggling, dirt-digging, wild rumors, all kinds of things which are still parts of politics today, which might be surprising, regarding the time period.

In Middlemarch, rumors are almost as good a currency as fact; this intermingling of rumor and fact and how each works compared to the other, is another theme. Brooke especially sees that insinuation can do as much damage as fact; when Sir James and his company are talking, hearsay is treated as fact, even as having more weight than Brooke's denials or explanations.

At the same time, Brooke could benefit from listening to the more mild, objective criticisms, and perhaps acting upon them; although he is politically liberal, it is his unique paradox that he is conservative when it comes to his own tenants and social improvements. Brooke would be better off if he did try to reconcile his public beliefs with his private actions; and his reluctance to do so foreshadows his downfall if he runs for office, especially since it is an idiosyncrasy that is well-known in the neighborhood, and much disputed.

Chapter 39:

Summary:

Sir James becomes more judicious in his appraisal of Brooke's situation, and decides that Brooke needs to invest in improvements for his tenants if he wants to evade the scathing criticisms of the other Middlemarch paper, The Trumpet. Dorothea is the key to convincing him, figures Sir James, since she is a great advocate for improvements. Dorothea goes to visit her uncle, and Will Ladislaw turns out to be there; she tells her uncle that Sir James told her that Tipton was to be managed by Caleb Garth, and improvements made. Dorothea is very passionate that this should be done; however, her uncle will not commit. She and Will find a moment alone, to explain a bit more of themselves; Will seems to be falling in love with her, as their relationship becomes stronger.

Mr. Brooke goes to visit a tenant whose son has been poaching on Brooke's land, and is chastised by the tenant. Brooke, who liked to fancy himself a favorite of his tenants, is shocked; also, the house looks worse now that Dorothea has made her criticisms. It looks like Mr. Brooke will give in, and turn the management of the estate over to Mr. Garth after all.

Analysis:

When Dorothea speaks of improvements to be made on the property, to help the tenants, she is filled with passion for the first time in a while. Social reform is Dorothea's true passion; she is a woman who needs to be doing and achieving, which makes her match with Casaubon particularly ironic, and also strange. Dorothea in this scene becomes a complete dramatic foil for Casaubon; where he is cold and meticulous, she is passionate and impulsive. Casaubon's work is in his mind, and not result-oriented, whereas Dorothea wants real progress made, for the benefit of real people. As Dorothea becomes wiser about Casaubon's nature and about their marriage, the juxtaposition between the two of them becomes even more start; for Dorothea cannot stifle her true personality and self any longer to spare Casaubon's insecurities and feelings, and it just so happens that everything that Casaubon is, Dorothea is not.

The change in Dorothea's tone when she speaks about something for which she has so much interest is very marked; there is a great contrast between the brief, strained tone she uses with her husband, and the emotional, image-laden, eager tone that she adopts here. Self-expression is an issue that has dogged Dorothea since her marriage, and finally she is finding ways to express her feelings and desires. The irony is, where her marriage was supposed to broaden her knowledge and fulfill her desires, all the knowledge and fulfillment she has gained are from outside her marriage‹like Sir James and Will. Also, Dorothea's expression is quite apart from the appropriate modes of women's expression, which startles Will and reduces Mr. Brooke to stammering; this tendency is not looked upon kindly in society as a whole, and Dorothea continues to be very unconventional in nature compared to what women were expected to be.

The lancelet that the boy kills can be taken as a symbol of how Mr. Brooke is mistaken; he believes that the boy should be punished for killing the animal, just as he believes that his tenants should, and do, bear him some amount of affection. He actually finds out that things are very much the opposite; and Mr. Brooke is not such a hard man that suggestions from his neighbors and his niece, compounded with an outburst from a tenant, does not move him. Mr. Brooke realizes the irony that has dogged his position as landlord; he thought that everything he did as a landlord, including taking over the operation of his land, was positive and good, when in fact he was messing things up beyond what he could have expected.

Chapter 40:

Summary:

Focus moves to the Garths, who are gathered at the table, reading letters. Mary is looking for another position, and has decided to take a place at a school in York, though it does not please her, or her parents, too well. However, Mr. Garth reads a letter from Sir James that asks him whether Mr. Garth would start managing Freshitt, and mentions that Mr. Brooke might want his services again as well. This would double the Garths' income, and means that Mary can stay at home; but Mr. Garth will need an assistant, and none of his sons are in the position to do so. The whole family is happy, Caleb Garth most of all because he will be able to do good work to help even more people.

Mr. Farebrother comes to visit; he has some interest in Mary Garth, and also likes to visit and spend time with the family. He has been talking to Fred Vincy, and informs them of Fred's situation, telling them Fred is going back to study, and still cannot pay off his debt to them.

Analysis:

Rosamond and Mary Garth are dramatic foils in every possible way; Rosamond is vain, naïve, materialistic, whereas Mary is intelligent, modest, and frugal. Although Mary and Rosamond are friends, Mary thinks nothing of pointing out Rosamond's ridiculous insistence on certain clothes for her wedding; "she can't be married without this handkerchief," Mary says, her playful tone bringing attention to Rosamond's folly.

The boys' reaction on hearing Mary say that she will have to teach at a girls' school exposes a bit of the difference between the education that boys receive, and the education that girls receive during this time. Most girls' schools were the equivalent of charm schools, like the one Rosamond went to; little is taught besides basic knowledge, social skills, and a little art and music. Girls are also not allowed to play like boys, as Jim points out; boys are given far more freedom and learning in their education, but girls must settle for a window-dressing equivalent.

Money, which is so important to so many others, is an issue of lesser importance to Mr. Garth. His first love is helping people, improving the land, making others' lives better through his work. Although the situations of Mr. Garth and Dorothea are quite different, there are parallels between the two because of their lesser regard for money, and their passion for social improvement.

The social standing of the clergy is a quirk of the English class system that is in place in Middlemarch; whereas most people are judged according to birth and family first, and according to wealth and landholdings next, clergymen, who are poor and have little property, are given far more respect and latitude than someone else of similar social, but different professional, situation. At the same time, the clergy is not for everyone; it certainly does not seem suited to Fred, though it is a profession that wayward sons and men with few prospects are dumped into.

The clergy, however, would not be an unrespectable field for a young man of good family, like Fred Vincy, to enter into; however, manual work, like Caleb Garth does, is considered beneath him. This is another place where social hierarchy intrudes upon Middlemarch life, attempting to hinder people for the sake of "respectability." At the same time, the Industrial Revolution is beginning to change English society, and notions of "respectable" occupations according to class; social mobility is becoming more common, and business and commerce are finally seen as decent occupations, as men like Mr. Vincy and Bulstrode are not looked down upon for their commerce-funded livelihood.

It is quite a paradox that Mary thinks well of Farebrother and is harsh on Fred, but loves Fred and is just friends with Farebrother. Mary's particular concern for Fred, especially for his prospects, foreshadows that they will become a couple; indeed, Fred is not one to learn from doing foolish things, but when he costs the Garths a good deal of money, he is more sorry of that than anything he has ever done. Family expectation is one of the guiding themes of Fred Vincy's life; he does try to please his parents with his choice of profession and his study, but at the same time, seems ill-suited to the academic and business pursuits they would have him enter into. Will Fred defy his parents' wishes, and society's unwritten rules, about the occupations he should hold according to birth and family position? Fred is unable to excel in anything he does not enjoy, so knowing him, if he wants to work for Caleb Garth, that will be all he will be able to do.

Chapter 41:

Summary:

It is not long since Mr. Rigg Featherstone has gained the estate of Stone Court, and already there is word that he wishes to sell the place to Mr. Bulstrode. It is revealed that Mr. Rigg is Featherstone's illegitimate child, who was brought up far away from Middlemarch, with very little money. Someone named John Raffles is there, his mother's new husband; he wants money to start a tobacco shop from Mr. Rigg's new-found fortune. Rigg refuses, because Raffles, he alleges, was very cruel to him as a child, took money from his mother, and left them poor and miserable. He says that he will continue to send his mother an allowance, but will give Mr. Raffles nothing. Rigg gives him money to get back home, and some liquor, but not before Mr. Raffles makes use of an important paper, signed by Mr. Bulstrode, to keep his flask from falling apart.

Analysis:

It seems that Mr. Rigg has inherited more from Mr. Featherstone than just a name and some property; he has inherited Mr. Featherstone's coldness, whether deserved or not by the person on whom he bestows it. Mr. Rigg, like Featherstone, is the kind of person whom flattery cannot sway, nor belated kindness persuade; neither have much regard for their relatives if they are of no good account, but at least Rigg is less mean with his money when it comes to supporting his mother. However, Rigg's constitution also differs from Featherstone's; he is more quiet, less liable to taunt or try to impress people with his money, though it is newly come to him. Rigg is a man of greater stoicism and stiffness, and seems less likely to give people trouble if they deserve none.

Chapter 42:

Summary:

Lydgate is at least back from his honeymoon with Rosamond, and is immediately called to Casaubon, whose health seems to be getting worse. He is also haunted by the idea that he has never been given credit for his studies, and that the Key to All Mythologies will never be finished; he is starting to admit that he has failed in his life-long project. Casaubon is disappointed also with Dorothea; she does all her duties as a wife, but he suspects that she is critical of him secretly, and this disturbs him a great deal.

Casaubon's vitriol against Will, and against Dorothea's suspected affection for Will, takes him over; he concedes to write a passage into his will "protecting" Dorothea from marrying eager, potentially deceptive suitors like Will. Lydgate finally arrives, and Casaubon asks that he be told exactly what his condition is. Lydgate tells him that he has a heart ailment, but cannot be sure that it will cut his life short, or have any immediate effect. Lydgate goes once Casaubon has heard enough, and Dorothea comes out to fetch him; he withdraws from her, and soon she becomes angry at him for treating her so. Dorothea realizes that she has reduced herself in order to try and please him, but he seems to be satisfied with nothing; she is tired of not being herself, and resents him greatly. However, when he says that he needs her help, she forgets her anger, and goes to join him.

Analysis:

The theme of gender roles and accepted notions of gender comes back to haunt Casaubon; he has been led to believe that women are supposed to be self-sacrificing, supportive, emotionally giving, etc., and no different from the flat, narrow stereotype of the typical wife. Ironically, he believes that Dorothea is a woman, but does not believe that this makes her a person; the idea that she might have opinions about him, a mind of her own, or the ability to make her own decisions disturbs him, as if she should lack these basic human qualities because she is a woman.

The Key to All Mythologies becomes a symbol of Casaubon's failure as a scholar, and as a human being; his life's work has finally come to an unpublishable heap of meaningless papers, and his obsessive devotion to these papers has cost him any real relationships he might have had. Casaubon's life among moldy books has gained him nothing, in the end; he has gained no recognition, because he cannot seem to distill his learning into anything of practical use. He is too involved in his directionless studies that he leaves no time to get to know his wife, or form any friendships with neighbors, or with family like Will. He is socially insecure and more than a bit jealous of people, like Will, who are able to operate in society in the ways he cannot; this is another hindrance to him, in finding and making acquaintances.

Casaubon's tone, as he speaks of "protecting" his wife and of the potential influence Will would have on her, becomes bitter, informed by suspicion, and prone to justify invention with a gloss of rational-sounding diction. His thoughts are structured like a lawyer's argument, the diction stiff and sometimes precise, though the sentiments contained within, and the presumptions of character, are mostly the stuff of Casaubon's paranoia. However, the fact that Casaubon is putting a formal hindrance in Dorothea and Will's way foreshadows that they will finally become a couple; such a mean-spirited, vain attempt on Casaubon's part must be proved as wrong as the spirit in which it was written.

Eliot's personification of death adds drama and immediacy to Casaubon's situation; it also foreshadows that something is to happen to Casaubon soon, and that his illness shall not be drawn out by any means. The subdued, solemn images and surroundings are also conducive, and sympathetic, to some dramatic event. Dorothea being described as being possibly a "heaven-sent angel" is also further hint about Casaubon's fast approaching fate; the metaphor is correct in characterizing her as a kind of loving, sympathetic creature, but not even Casaubon is his state will accept her affection.

This chapter sees Dorothea finally come close to revolt; she has shaken off her naivete about the marriage, and settled into anger, rather than pity or self-consciousness. If Casaubon has been displeased with her so far, he in unlikely to find any satisfaction; she knows that she has been trying hard to suppress herself, in order to please him, and can no longer do this. However, she sinks into her old ways once again, when he comes to get her, and asks for her help. Dorothea is so affection-starved that she will continue to distort herself in order to please, but in light of her realization, this tendency might not be long-lived.

Chapter 43:

Summary:

Dorothea decides to seek out Lydgate, and ask him if there has been a serious change in her husband's condition, or else why he has been so troubled since Lydgate's visit. She goes to his house, and finds Rosamond there; but Will is also there, which makes Dorothea panic, and she immediately leaves to find Lydgate at his hospital. Will fears that Dorothea will think badly of him because she has found him in the company of another woman, and not totally devoted to her; but she acted the way she did because she likes him, and knows that her husband doesn't approve of the friendship, and that it is some kind of betrayal as well.

Rosamond begins to get ideas about perhaps attracting other admirers, in order to appease her vanity, and allay her fears about Lydgate's fondness for her growing weaker. It seems like she might try to win Mr. Ladislaw's affections, and seems a little jealous that he likes Dorothea rather than her. She also seems to suspect that maybe her husband has a soft spot for Dorothea, and that might have been part of the reason she was searching for Lydgate.

Analysis:

Eliot juxtaposes Rosamond and Dorothea in appearance in order to show a corresponding difference in their character. Whereas Rosamond dresses in a showy, fashionable way that plays to her vanity, Dorothea is attired in a way that suggests her piety, modesty, and humility, which are especially plain to see in contrast with Rosamond. Eliot's allusions to Imogen and Cato's daughter convey the almost theatrical dignity with which Rosamond composes herself; she is all for show, and acts the part, even at home.

Will feels that being seen at Rosamond might convey to Dorothea that he doesn't think exclusively of her; he fears it has made a bad impression on her, and that Casaubon has poisoned her against him. He feels that his dilemma lies in having to make acquaintances in Middlemarch in order to get ahead professionally and socially, versus devoting himself completely to his admiration for Dorothea. Will compares his situation to "the situation in which Diana had descended too unexpectedly upon her worshipper". The allusion to Diana confirms Will's high regard for Dorothea and her virtue, and the parallels between Will's conception of the situation and this example highlight his wishes to please her, and to convey his love to her.

Dorothea is torn by the theme of loyalty vs. desire; she wants to be in Will's presence, but on the other hand, this will be directly against her husband's wishes. Dorothea is not sure at all what she should do in this situation; she knows now of her husband's fallibility, and something of his prejudice toward Will as well. If she were to be herself, as she wishes, she would merely go to see Will, and think nothing more of it; but Dorothea is too faithful a creature to be dishonest, and must continue to struggle with her feelings, as Will is with his.

Chapter 44:

Summary:

Dorothea finally talks to Lydgate, and Lydgate tells her that Casaubon now knows about his condition, and he is probably upset by it. Lydgate turns her attention to the new hospital; Bulstrode has been one of the few supporting it, and so many are against the hospital because they do not like Bulstrode. Dorothea says that she would like to do something for such a good cause, and pledges money from her yearly allowance; she is happier that she is able to make a significant contribution, but still her husband's illness and behavior bother her.

Analysis:

The theme of politics becomes prevalent once again; it seems that political maneuvering is more important than the health of the community, a stance that is both ironic and counterproductive. Political ties seem to trump almost any other kind of consideration in Middlemarch, including friendships and social duty. The amount of strong dislike for Bulstrode is not a good omen; it foreshadows his downfall if he attempts to overstep his bounds, as people are already poised to attack as things are.

Dorothea is down to her last avenue for joy, which is social improvement; it seems that she has given up any hopes for happiness in her marriage, or any idea that she might be able to please her husband as well. Since her husband's talk with Lydgate, Dorothea has settled back into her usual dejected tone, and pious understatements of her unhappiness. It is unexpected that Dorothea would be back to her old self after having her epiphany about Casaubon's behavior, the state of their marriage, and her uselessness in the union.

She is resilient in a way that is not necessarily healthy for her; she is getting more knowledgeable about her situation, but needs to snap out of her almost masochistic attraction to misery, and make some changes in her life. At this point, it is clear that Dorothea is not a prisoner, that she does have some power over her situation; however, she perversely refuses to use it, and makes herself into a kind of martyr, which suits the more perversely pious aspects of her personality.

Chapter 45:

Summary:

Lydgate's practice seems to be at the mercy of rumor, hearsay, and general sentiment; people go to him because they have heard about "miracle cures" that he has done, or stay away because they have heard he is newfangled, and they like their present practitioner just fine. The backward Middlemarch way of doing and deciding has helped Lydgate's reputation and practice to spread, but opinion could turn against him just as rapidly, and dry up his practice. Lydgate is unlucky enough to come into Middlemarch at a time when old ways are becoming contested in other regions, and reforms have started to creep into Middlemarch as well; a few believe that maybe his way is best, but others have been roused to defend the old, and are more militant about this point than usual. Lydgate is also disliked because he has taken on cases from other doctors, given a different diagnosis, and been