George Eliot was the male anonym of Mary Ann Evans ( she would subsequently name herself Marian ) . born on November 22. 1819 at Arbury Farm in Warwickshire. Her male parent. Robert Evans. was an superintendent at the Arbury Hall estate. and Eliot kept house for him after her female parent died in 1836. The Mill on the Floss involves many autobiographical inside informations. and it reflects Eliot’s near childhood relationships with her male parent and her older brother Isaac.
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The Floss is a slightly hard symbol to track. as it besides exists for realistic consequence in the workings of the novel. On the symbolic degree. the Floss is related most frequently to Maggie. and the river. with its deepness and potency to inundation. symbolizes Maggie’s deeply running and unpredictable emotions. The river’s way. nonexistent on maps. is besides used to typify the unforseeable way of Maggie’s fate.
St. Ogg. the legendary frequenter saint of the town. was a Floss ferryman. One dark a adult female with a kid asked to be taken across the river. but the air currents were high and no other leghorns would take her. Merely Ogg felt commiseration for her in her demand and took her. When they reached the other side. her shred turned into robes. and she revealed herself to be the Blessed Virgin. The Virgin pronounced Ogg’s boat safe to all who rode in it. and she sat ever in the bow. The fable of Ogg rewards the human feeling of commiseration or understanding.
Maggie has a dream during her dark on the boat with Stephen. wherein Tom and Lucy row past them. and Tom is St. Ogg. while Lucy is the Virgin. The dream makes expressed Maggie’s fright of holding neglected to sympathise with those whom she hurts during her dark with Stephen ( and besides. possibly. her fright that they will non sympathise with her in the hereafter ) . But it is Maggie. eventually. who stands for St. Ogg. as she rows down river believing merely of Tom’s safety during the inundation in a effort of “almost marvelous. divinely-protected attempt. ”
Particularly in the early books of The Mill on the Floss. Tom. and particularly Maggie. are associated with carnal imagination. The imagination is normally of farm-type animals—ponies. Canis familiariss. ducks—and normally points to the character’s capacity for fondness or non-adherence to societal convention. Following Darwin. Eliot uses this imagination besides to gesticulate toward the wider relation between worlds and animate beings that can be particularly seen in immature kids. Therefore. when Maggie and Tom reconcile in Chapter IV of Book First. the storyteller points out. “We [ grownups ] no longer come close in our behavior to the mere impulsiveness of the lower animate beings. but conduct ourselves in every regard like members of a extremely civilised society. Maggie and Tom were still really much like immature animate beings. ”
The motive of darkness and elation of women—meaning their eyes. hair. or skin—is frequently used to stress the singularity of Maggie’s visual aspect. The motive of darkness and elation connects to the motive of the differentiations between the Dodsons and the Tullivers—the Tullivers have darker tegument. while the Dodsons have lighter tegument. The Dodsons. and so. all of St. Ogg’s. regard or covet Lucy Deane’s just visual aspect. Her elation is besides prized in a larger cultural sphere. and. in Book Fourth. Maggie becomes frustrated by the traditional secret plan lines in which the visible radiation. light-haired adult females live merrily of all time after in love. Maggie’s household views her darkness as ugly and unnatural. yet by the terminal of the novel. it has made work forces perceive Maggie as more beautiful because her darkness is a rareness.
Eliot depicts Maggie’s eyes as her most dramatic characteristic. All work forces ( including Philip. Bob Jakin. and Stephen ) notice her eyes foremost and go beguiled. Maggie’s eyes are a symbol of the power of emotion she contains—the deepness of feeling and hungriness for love that make her a tragic character. This alone force of character seems to give her power over others. for better or for worse. In Book First. Maggie is associated with Medusa. the monster who turns work forces to lapidate by looking at them. Maggie’s eyes compel people. and different characters’ reactions to them frequently reflect the character’s relationship with Maggie.
Therefore. Philip. who will go Maggie’s instructor. in a sense. and first love. notices that her eyes “were full of unsated intelligence. and unsated. biding fondness. ” Bob Jakin. who views Maggie as superior to him and a figure of whom to be in awe. studies that Maggie has “such uncommon eyes. they looked someway as they made him experience nohow. ” Finally. Stephen. who will work the interior battle that Maggie has felt for the full novel. notices that Maggie’s eyes are “full of delightful antonyms. ”