首页>> 文学论坛>> 现实百态>> 乔治·艾略特 George Eliot   英国 United Kingdom   汉诺威王朝   (1819年11月22日1880年12月22日)
丹尼尔·德龙达 Daniel Deronda
  超越时代的种族意识——论《丹尼尔·德龙达》中的犹太关怀 摘 要:传统批评对乔治·艾略特的最后一部长篇小说《丹尼尔·德龙达》的抨击集中在其犹太主题与人物塑造,这种误读来自对作者的超越时代的种族意识的无视。小说的犹太内容不仅促成作者在叙事艺术方面的突破,而且书中理想化的犹太人物、深切的犹太关怀,以及对其文化身分与种族意识的关注无疑将作者推到历史的前沿。关键词:犹太民族;犹太人物;犹太文化;种族意识 乔治·艾略特是维多利亚时代的著名女作家,在英国文学史上占有很重要的地位。她的最后一部长篇小说《丹尼尔· 德龙达》(Daniel Deronda)于1876年2月至9月分8期连载于布莱克伍德杂志社的《爱丁堡月刊》。这部描写英国与欧洲的社会人生的小说,是作者惟一一部以创作时代为背景和主题的作品②,也是一部最有争议的作品。有人称赞小说在思想与艺术上的新意与突破,认为它是作者的又一成功巨著③,但不少评论家把它看作作者创作艺术顶峰《米德尔马契》后的一个败笔,或是作者又一次“不幸的”话题转移。据说,小说的前两期发表时,好评如潮,势头几乎压过《米德尔马契》,但第三期犹太主题出现后,读者和评论界的反应开始转向,指责和抗议声源源不断[4】2 。在她去世后的大半个世纪里小说也普遍得不到认可,连近乎崇拜乔治·艾略特的F·R·利未斯( 也建议砍去犹太主题那一部分,只保留英国故事。读者与评论家对小说的贬词在很大程度上要归咎于小说的独特的叙事手法,其偏见到了20世纪70年代人们开始关注英语小说艺术形式时才得以纠正。从小说的故事结构上看,作者好像是从《米德尔马契》的现代的网状结构又回归到传统的双重线形叙事。书中两条故事主线分别为英国姑娘格温德林·哈利斯(Gwendolen Harleth)的不幸婚姻和英国社会中的犹太人的生活,两个故事由男主人公丹尼尔·德龙达串接。虽然主要场景都在英国本土及其欧洲邻国,在某种意义上,两个故事同时分别发生在两个完全不同的世界。一个是西方的、基督教的、现实主义的世界,一个现代化与都市化的欧洲。这里,在通讯发达、交通便利、商业市场国际化、政治局面动荡不安的社会表象下面,是英国中上层阶级的醉生梦死、荒淫无度的生活。另一个是东方的、犹太教的、浪漫主义的、理想化的史诗世界,一个由神话传说、民族习俗和大量的回忆或梦境组成的虚幻朦胧,陌生而神秘的世界。必须指出,小说中格温德林和以丹尼尔为代表的犹太人的故事表达的不仅是两个完全不同的主题,而且运用的是两个完全不同、甚至是对立的文体。在对英国中上层社会的腐朽堕落进行现实主义的批评与揭露的同时,作者将大量笔墨与心力放在描写栖身于僻冷小巷和幽暗斗室里的被异化被隔离的犹太移民的理想与追求。两种不同的色彩与文体勾勒出两个截然不同的世界,而作者超时代的人文关怀和种族意识充分 体现于作品中的犹太人物塑造、犹太主题观照,犹太移民文化身分及其民族意识等方面。一、理想化的犹太人物:对犹太宗教文化的景仰小说的男主人公丹尼尔·德龙达无疑是犹太民族的代表人物。他的形象让人想起作者笔下的黛娜、罗慕拉、菲利克斯和多萝西娅①,只是他比他们更理想、更完美,不少读者与评论家都认为他非凡间之人。他出身于一个犹太上层家庭,但从小随英国养父雨果·马林杰爵爷过着贵族生活,受过良好的英国绅士教育。他头脑敏捷,想象丰富;温良谦恭,淡泊名誉;心地善良,毫无私心;他的细心小到对身边的人与事无微不至地关照,他的胸怀宽阔得足以容纳整个世界和所有民族。他是个“神秘的”“天才”,有着超自然的能力。比如小说开始时,当他驻足关注赌场上春风得意的格温德林时,原本手气甚佳、横扫一切的姑娘就开始倒霉,很快连本带利输个精光;他不用打听询问,一见到莫迪凯·拉皮德斯(Mordecai Lapidoth)就知道他是米拉(Mirah Lapidoth)失踪已久的哥哥。他还是个耶稣式的救世主,不但从水中救起多年寻兄无果、对生活绝望的犹太姑娘米拉,而且也拯救了失去灵魂、在痛苦中挣扎的英国姑娘格温德林。与《圣经·新约》中的耶稣一样,他几乎没有过去,“出道”时已是一个性格成熟的青年。年纪轻轻的他似乎没有普通青年人的血气,无论是面对千娇百媚的美女格温德林,还是娇小文静的米拉,还是个性刚烈、六亲不认的母亲,他几乎从来没有大悲大喜或不能承受的感情波澜。他的举止永远是那么从容不迫,平静恬淡;他的话语总是那么理性,说教似地机械平和而又句句触人心灵。他一直对自己的身世充满疑惑,进入青年期后对自己的未来更加感觉茫然;由于素不相识的莫迪凯的一席话,他便毅然走上寻根的道路。在确定自己的犹太血统之后,他又果断地放弃高贵的英国公民的身分。最后,作为莫迪凯的传人,他与犹太姑娘米拉结合,并立志为振兴犹太民族事业而奋斗终身。 、书中,犹太姑娘米拉把他当作古老东方神话中为了拯救嗷嗷待哺的虎仔们而自愿献身于饥饿的母老虎的佛陀(Bud.dha),暗示他已达佛主的无我境界。梅里克小姐也戏谑地称丹尼尔为《天方夜谭》里的卡玛拉尔扎曼王子。虽然这只不过是个玩笑,这个称谓却赋予他新的戏剧角色,即一位以拯救女士为使命、最终与布都尔皇后(由米拉小姐扮演的)成婚的东方骑士。更具有宗教寓意的是丹尼尔原来的名字,也就是他那曾为犹太教领袖的外祖父的名字——charisi,即英语的耶稣Christ,其意思是替天下犹太人赎罪的救世主。在小说世界的这场人生戏剧中,英国姑娘格温德林则扮演了《圣经》中的那个堕落女子玛丽的角色,是丹尼尔这个耶稣拯救了她。他教导她不要让自己的过去成为未来生活的累赘,而要将对过去的忏悔当作未来的动力。他的话就像上帝奇迹之手,点石成金,起死回生。也许正是他这种典型的耶稣式的经历与特征使得不少人大失所望。直到作品发表后的半个多世纪,人们都对格温德林的故事赞口不绝,而普遍认为丹尼尔是个令人乏味的“道学先生”,是作者人物刻画的一大败笔。小说中最神奇的人物当属犹太教先知莫迪凯·拉皮德斯。这个最优秀、最具代表性的犹太人以其有限的一生展示了犹太民族令人敬佩和崇拜的特质,以及一直令西方人好奇的东方神秘文化。莫迪凯的物质生活主要靠手工劳动勉强维持,十分简朴清寡,而他的精神生活极其丰富。他饱读诗书,学富五车,不光精通犹太教义,而且深谙人间世态炎凉。他是一个神秘主义者,但又非沉溺于纯玄学;他对犹太民族几千年的历史与文化如数家珍,对其遥远的未来胸有成竹,俨然先知艾赛亚(Isaiah)在世。他的语言几乎就是从《圣经· 旧约》上照搬下来的,词句简洁明了,而又充满神秘的隐晦。他知道丹尼尔的过去,还能预言他的未来,甚至连他的外貌也能预知。他召唤丹尼尔来到自己身边,认他为徒,并宣布自己死后灵魂将转附到丹尼尔身上。他通晓喀巴拉(Cabbala)的②犹太教神秘主义体系和中世纪西班牙神秘教诗人Jehuda—ha— Levi,还熟知丹尼尔的家族的西(班牙)葡(萄牙)犹太后裔的传奇故事。这些传说涉及东方宗教的灵魂转世说,强调东方文化中的种族遗传以及个人与社会的密切关系 ¨ 叭 。莫迪凯对丹尼尔的具有宗教意义和特征的交接仪式,给读者一种神奇的魔力。临终前,他对丹尼尔说,你“不光是我的人(手),还是我的心(灵魂)——(在你身上)会出现一种神奇的完整性。相信我的宗教—— 运用我的推理——怀抱我的希望——注视我指向的地方——看着我眼中的荣耀!”⋯ 莫迪凯的生活与信仰,以及他这个人物的宗教意义,无疑是对19世纪欧洲自由思想家们的实证主义的科学理念的挑战。但叙述者自始至终对他未有丝毫讥讽或批判,他的形象如此高大神秘、如此令人敬畏,他的一切似乎都那么令人信服,无可置疑。据说莫迪凯的原型是作者当年在伦敦认识的一位叫伊曼纽尔·多伊奇 (EmmanuelDeutsch,1829—1873)的犹太青年学者。他曾辅导乔治·艾略特学习希伯来语,并向她介绍犹太民族宗教与习俗。他本人 1869年曾到过犹太人的家乡巴勒斯坦,1872年打算重游故里,结果途中因癌症死于埃及。二、深切的犹太关· :对传统种族歧视的反拨贯穿于小说具有现代主义特色的叙事结构和理想化的人物塑造的是,作者对人生、对反犹太复国主义(anti—Zionism)的不同看法和主张。从开始创作时乔治·艾略特就预 感书中的犹太情节会招来非议。当读者抗议呼声四起,出版商布莱克伍德先生等人提出删减犹太故事情节时,她断然拒绝①。在这种原则性的问题上,她毫不退却 290。她说:“对犹太教,我们这些受基督教教育成长的西方人尤其有愧。不管我们承认不承认,我们之间绝对存在着一种宗教与道德情感的特殊联系⋯⋯ 正是因为我觉得基督教对犹太人的态度通常是—— 根据他们自己宣称的原则,我真不知道该说是更不虔诚呢还是更愚蠢。因此,我觉得应该尽量给予犹太人同情和理解。再者,对犹太人,还有所有与我们英国人交往的东方人,我们都是以傲慢骄横,高高在上的态度待之;这是我们民族的耻辱。如果可能,我好想唤醒大家的想象,让他们认识到那些跟我们信仰与习俗不同的异族同胞也应该享有做人的权利0 99v ⅣⅫI2在某种意义上,乔治·艾略特对犹太民族的公然关注和同情是一种具有划时代意义的行为。众所周知,在英国历史上,人们对犹太民族的蔑视和仇恨由来已久。莎士比亚戏剧中夏洛克(Shylock),狄更斯笔下的伐金(Fagin)②成为人们心目中的犹太人经典形象。他们的自私、贪婪、吝啬和无情的职业特征,神秘而怪异的生活模式,令人可怖的外貌,还有他们信奉恪守的古老神秘的犹太教,都使大家对这个从东方“流亡”过来的民族产生一种不可名状的防范意识与仇恨。正是这种反犹意识最终导致二战期间希特勒的骇人听闻的大屠杀。维多利亚时期的英国虽然接受具有犹太血统的本杰明·迪斯雷利 拍③连续两届出任首相,但仍然存在相当普遍的对犹太人的种族偏见和宗教歧视,反犹意识几乎已经渗透到各个角落,使生活在其中的犹太移民与他们的后裔始终摆脱不了双重文化身分的困扰。小说中,打算投水自尽的米拉被丹尼尔救起时,自报身分说:“我出生在英国,但我是犹太人。”⋯ 后来被丹尼尔带到他的好朋友、善良友好的梅里克夫人家里,她又自嘲地对夫人说:“我是个外人,是个犹太人。您也许会认为我是个邪恶的人吧。”⋯ 她的话流露出英国犹太人自我身分的强烈意识和对英国白人的种族歧视的蔑视和挑战。当时大多数白人读者对这类描述极为反感,但也有少数人从中看到自己种族歧视的丑陋嘴脸。乔治·艾略特对犹太民族和犹太文化予以的理解与尊重来自于她对人类历史的尊重,来自于她对个人与社会的细心观察与研究。在维多利亚时代基督教信仰受到根本动摇的大背景下,对人文和宗教的思考成为她思想体系的一个焦点。在她看来,犹太教似乎没有基督教那么绝对,它更宽容,更现实;犹太民族对灵魂的关怀,对社区的伦理教育与德行规范的重视,都令她感动不已。因此,在处理犹太民族人物或问题的时候,她都刻意回避现实生活中的那些充满种族歧视的恶意攻击和诽谤的言辞,希望通过再现他们的生活与价值,获得人们的同情,使人们尊重犹太人作为一个独立、平等的民族的人格和尊严,尊重犹太教,尊重已成为英国文化一部分的犹太文化。书中除了完美的犹太民族代表莫迪凯和领袖人物丹尼尔·德龙达,还有小商人埃兹拉的和睦的家庭生活,米拉的无私和对哥哥的关爱,音乐家赫尔·克莱斯默的正直高尚的职业道德等都是例证。但是,作者的关怀并非盲目的。小说中的犹太社会与其他社会一样,并非完美,里面依然存在愚昧、懒惰、欺骗等不平等不和谐的现象。例如,莫迪凯认真耐心、一丝不苟地教房东的儿子雅可布犹太教知识,可顽皮无知的小男孩对莫迪凯所讲的一窍不通,反而一味戏谑地模仿他的语言和腔调;而其他成年犹太人虽然能听懂莫迪凯的话,但他们只是把他当作一个不切实际、一个热衷于奇谈怪论的诗人而已。最具有嘲讽意味的是莫迪凯和米拉这对近乎完美的兄妹竟然有拉皮德斯这样一个没有任何道德责任感、生性懒惰、赌性不改的父亲,而丹尼尔这个耶稣式的犹太领袖人物的母亲居然不是像圣母玛利亚那样平和慈详、富于博爱和牺牲精神,而是一个对自己的民族和宗教充满怨恨,拒绝接受对家庭对社会的义务的现代女性。与此同时,犹太人对妇女的歧视也使人们质疑他们所谓美好的信仰。与其他东西方的女性一样,犹太妇女对家庭和社会的义务,就像中国妇女当年的三寸金莲一样,束缚了她们个人的发展,限制了她们的“更大范围的生活”的可能性。丹尼尔的母亲、犹太公主莉奥诺拉·哈尔姆一埃伯斯坦(Princess Leonora Halm—Eberstein)向儿子讲起当年自己所面临的痛苦抉择时,激动地说:“难道除了女儿和母亲,我就没有权利担任其它的角色⋯⋯我有权做艺术家 ⋯ ⋯ 不⋯ ⋯你不是女人。你可以努力——但你永远也想象不出当你拥有男人的天赋,但又不得不忍受女性的奴役该有多么痛苦。你的生活模式早已注定—— ‘犹太女人;你必须这样,应该那样。女人的心只能这么大,不能再大,否则就必须像中国妇女的脚一样被裹得小小的。她的个人幸福就跟蛋糕似的,一个模子里出来的。’这就是我父亲的愿望。他希望我是个儿子。他把我当成临时替代品。” 公主的自我辩解表达了女性除了为人女儿、妻子和母亲角色之外的理想和个人事业追求,挑战了传统的犹太家庭和社会观念。她断然拒绝儿子好心的“理解”、同情和“拯救”,拒绝向传统父权文化妥协,成为现代社会中独立、平等、自由新女性的典范。三、超越时代的种族意识:对犹太移民身分与文化遗产的关注不可否认,乔治·艾略特对社会多民族多元文化现象的关注已经远远领先了她那个时代。l9世纪后半叶在大英帝国步人自己政治、经济以及军事鼎盛时期的同时,它其实也 在酝酿着新的种族意识、危机感和一场民族政治运动。剥削阶级与被剥削阶级之间、殖民者与被殖民者之间、欧洲白人种族与少数民族之间的冲突日渐加剧,自由、平等、独立的呼声也越来越高。小说中美国独立战争,牙买加的奴隶起义,欧洲的比斯马克群岛独立运动,还有意大利的统一运动等历史事件不仅频频出现于人物的对话和故事情节里,并且是小说犹太主题的不可分割的一部分,其特定的文化、政治背景指向当时席卷欧洲大陆的民族主义运动和受压迫者——尤其是黑人和犹太人 — —争取独立的斗争。丹尼尔的复国计划显然与小说里其他民族主义的解放斗争大背景相吻合更值得关注的是,小说还提出了当时面临英国犹太人的问题,即让自己同化进西方文化,还是保留自己的民族与宗教身分。莫迪凯与同族人吉迪恩和帕什等在“手与旗”哲人俱乐部关于民族复兴、种族记忆、民族文化及其遗产,以及家园意识等的辩论就很有代表性。吉迪恩和帕什都表示反对民族主义意识,提倡民族同化说,莫迪凯则主张各民族不分大小贫富强弱都具有独立与平等的权利。他认为应该在承认和接受“差异”的基础上,建立起一种可分离式的国际大组合。按他的解释,“每个民族都有自己的事业,都是世界的一份子,都对世界有所贡献” [11439。这个观点在今天已经成为国际政治与外交的核心原则,但在当时只不过是极少数人的痴心梦想而已。发生在哲人俱乐部的争论不仅关系到那个时代流亡在外的犹太人的文化身分与生存价值问题,在今天全球化的必然趋势下,再次成为各地各国少数民族以及他们的移民所不得不面临的问题。“生存还是毁灭”,这就是问题的本质所在。小说结尾时,丹尼尔已经决定动身回到祖先生长的地方重建犹太家园。虽然这只是个人行为,但乔治·艾略特已经将犹太民族复兴的火把点燃,“星星之火,可以燎原”【1 J5黼,熊熊大火将催生一个古老的新民族。当时的她也许没想到半个多世纪后一个犹太国家果然在他们祖先的土地上诞生,她更没想到犹太民族的回归给几百年来一直生活在这块土地上的巴勒斯坦民族,给中东地区的各民族带来了无尽的领土争端和种族之间的矛盾与冲突。在乔治·艾略特的作品中,寻根故事不止一次出现。《织工马南传》和《费利克斯·霍尔特》中的埃碧和埃丝特都找到了她们的亲生父母,但两人最终都拒绝了自己的亲生父母或他们所代表的贵族家庭,而选择了家境贫寒但情操高尚的养父。而丹尼尔与《西班牙吉普赛人》中的女主人公费达尔玛一样,毅然放弃养父母家庭的财产、地位和身分,热情地接受自己的生父和家族与民族的职责。如果前两部作品告诉我们,为了感情和爱情,我们可以、也应该放弃家族遗传的地位和财产,这部小说却通过丹尼尔的例子暗示家族的真正遗产并不是地位和钱财,而是文化历史,是静静地流淌在血管里的民族意识,是深深地烙在身体上的民族身分。在现代社会中,家庭与社区日渐分裂瓦解,一个民族的维系与发展就取决于人们的“根”或血缘意识。丹尼尔那黝黑的肤色,深邃尖锐的眼睛,或许身上还有犹太之子的割礼术的痕迹,这些不可改变的生理特征决定和改变了他的未来,也打破了人能决定自己命运的神话或环境决定命运的人生观。埃碧和埃丝特的性格取决于她们赖以生存的、赋予她们教育的社会,因此她们都做出了明智的选择,但丹尼尔的命运却早有定数:他从母亲那儿得到的外祖父留下的一箱子文献和莫迪凯的预言足以决定他的未来。他的选择并非取决于获得的教育,他对自己人生的疑惑是通过一连串的偶然或非偶然的事件得以澄清和揭示。他的寻根之路不再是对个人幸福的求索,而是有关民族存亡的大业。简言之,他的命运取决于他的出生与种族特征。他承继的不光是犹太人的生理特征,而且是犹太人的历史和文化。他身上的民族无意识促使他去接受、拥抱和继承犹太民族的过去;他个人的成长与民族的兴旺交织在一起,自我意识与民族意识得到有机统一,个人权利与社会义务达到平衡,善良的天性最终与成熟、善思的民族习性和强烈的文化、信仰责任感相结合。这种对人生的理解与作者早期精心创建的科学意识形态和“因果报应说”道德原则相去甚远,也表明步入晚年的乔治·艾略特随着生活经历的丰富,知识视野的拓展,对人生的复杂与神秘性有了更深刻的认识。在最后这部小说里,种族进化观突破了传统家庭概念的桎梏,社会历史观发展为一种非常强烈的国际化意识;叙事焦点从人文精神的宏观视角转移到对个别种族的“纯化”问题的微观注视。这种观念的改变和视角的转移,这种对个人种族身分或文化身分的关注,再次将作者推向现代文化研究的前沿。在国际政治、经济、文化舞台日趋平等、人类历史逐渐步入全球化的今天,重读乔治·艾略特的《丹尼尔·德龙达》具有特别的意义。我们不仅惊叹作者对文学主题与艺术永无懈怠的探索与挑战,对她严肃执著的历史感和超越时代的种族意识与人文关怀更是肃然起敬。她对犹太民族生活和信仰的关注与尊重促成小说在叙事艺术方面的突破,同时也使之具有明显的现代政治、宗教和文化意义。应该说,小说的犹太主题与叙事的经久价值亦成为艾略特在英国文学历史上享有崇高声誉的有力佐证。参考文献:Eliot,George.Daniel Deronda[M].(Edinburgh andLondon:Wil—liam Blackwood& Sons,1876).Reprint。Hertfordshire:Wordsworth E—ditions Limited,2003.Haight,Gordon S.,ed.TheGeorgeEliotLetters[M].9 vols.NewHaven:Yale University Press,1954—78.Hanks,Patrick,ed.Collins Dictionary of the English Language[M].London&Glasgow:William Collins Sons&Co.Ltd.,1979.Pangallo,Karen L.,cd.The Critical Response to George Eliot[M].London&Connecticut:Greenwood Press,1994.任继愈.宗教词典[z].上海:上海辞书出版社,1981.


  Daniel Deronda is a novel by George Eliot, first published in 1876. It was the last novel she completed and the only one set in the contemporary Victorian society of her day. Its mixture of social satire and moral searching, along with a sympathetic rendering of Jewish proto-Zionist and Kaballistic ideas has made it a controversial final statement of one of the greatest of Victorian novelists.
  
  The novel has been filmed three times, once as a silent feature and twice for television. It has also been adapted for the stage, most notably in a production in the 1960s by the 69 Theatre Company in Manchester with Vanessa Redgrave as Gwendolen Harleth.
  
  Plot summary
  
  Daniel Deronda contains two main strains of plot, united by the title character. The novel begins in mid-story in late August 1865 with the meeting of Daniel Deronda and Gwendolen Harleth in Leubronn, Germany. Daniel finds himself attracted to but wary of the beautiful, stubborn, and selfish Gwendolen, whom he sees lose all her winnings in a game of roulette. The next day, Gwendolen receives a letter from her mother telling her that the family is financially ruined and asking her to go home. In despair at losing all her money, Gwendolen decides to pawn a necklace and debates gambling again in order to make her fortune. In a fateful moment, however, her necklace is returned to her by a porter, and she realises that Daniel saw her pawn the necklace and redeemed it for her. From this point, the plot breaks off into two separate flashbacks, one which gives us the history of Gwendolen Harleth and one of Daniel Deronda.
  
  In October 1864, soon after the death of Gwendolen's stepfather, Gwendolen and her family move to a new neighbourhood. It is here that she meets Henleigh Mallinger Grandcourt, a taciturn and calculating man, who proposes marriage shortly after their first meeting. At first open to his advances, she eventually flees (to the German town in which she meets Deronda) upon discovering that he has several children with his mistress, Lydia Glasher. This portion of the novel sets Gwendolen up as a haughty, selfish, yet affectionate daughter, admired for her beauty but suspected by many in society because of her satirical observations and somewhat manipulative behaviour. She is also prone to fits of terror that shake her otherwise calm and controlling exterior.
  
  Deronda has been raised by a wealthy gentleman, Sir Hugo Mallinger. Deronda's relationship to Sir Hugo is ambiguous and it is widely believed, even by Deronda, that he is Sir Hugo's illegitimate son, though no one is certain. Deronda is an intelligent, light-hearted and compassionate young man who cannot quite decide what to do with his life, and this is a sore point between him and Sir Hugo, who wants him to go into politics. One day in late July 1864, as he is boating on the Thames, Deronda rescues a young Jewish woman, Mirah Lapidoth, from attempting to drown herself. He takes her to the home of friends of his, and it is discovered that Mirah is a singer. She has come to London to search for her mother and brother after running away from her father, who kidnapped her when she was a child and forced her into an acting troupe. She ran away from him finally because she feared he was planning to sell her into an immoral relationship with a friend of his. Moved by her tale, Deronda undertakes to help her look for her mother (who turns out to have died years earlier) and brother and through this, he is introduced to London's Jewish community. Mirah and Daniel grow closer and Daniel, anxious about his growing affection for her, leaves for a short time to join Sir Hugo in Leubronn, where he and Gwendolen first meet.
  
  From here, the story picks up in "real time," and Gwendolen returns from Germany in early September 1865 because her family has lost its fortune in an economic downturn. Gwendolen, having an antipathy to marriage, the only respectable way in which a woman could achieve financial security, attempts to avoid working as a governess by pursuing a career in singing or on the stage, but a prominent musician tells her she does not have the talent. In order to save herself and her family from relative poverty, she marries the wealthy Grandcourt, whom she believes she can manipulate to maintain her freedom to do what she likes, despite having promised Mrs. Glasher she would not marry him and fearing that it is a mistake.
  
  Deronda continues his search for Mirah's family, meets a consumptive visionary named Mordecai. Mordecai passionately proclaims his wish that the Jewish people retain their national identity and one day be restored to their "Promised Land." Because he is dying, he wants Daniel to become his intellectual heir and continue to pursue his dream and be an advocate for the Jewish people. In spite of being strongly drawn to Mordecai, Deronda hesitates to commit himself to a cause that seems to have no connection to his own identity. Deronda's desire to embrace Mordecai's vision becomes stronger when they discover Mordecai is the brother Mirah has known by the name Ezra and has been seeking. Still, Deronda is not a Jew and cannot reconcile this fact with his affection and respect for Mordecai/Ezra, which would be necessary for him to pursue a life of Jewish advocacy.
  
  Gwendolen, meanwhile, has been emotionally crushed by her cold, self-centered, and manipulative husband. She is consumed with guilt for the disinheriting of Lydia Glasher's children by marrying their father. On Gwendolen's wedding day, Mrs. Glasher cursed her and told her she would suffer for her treachery, which only exacerbates Gwendolen's feelings of dread and terror. During this time, Gwendolen and Deronda meet regularly, and Gwendolen pours out her troubles to him whenever they meet. During a trip to Italy, Grandcourt is knocked from his boat into the water and drowns. Gwendolen, who was present, is consumed with guilt because she had long wished he would die, although after some hesitation she jumped into the Mediterranean in a futile attempt to save him. Deronda, also in Italy to meet his Jewish mother (whose identity Sir Hugo has finally revealed), comforts Gwendolen and advises her. In love with Deronda, Gwendolen hopes for a future with him, but he urges her onto a path of righteousness in which she will help others in order to alleviate her suffering.
  
  Deronda meets his mother and learns that he is the legitimate son of a famous opera singer with whom Sir Hugo was once in love. She tells him that she was the daughter of a physician and strictly pious Jew who forced her to marry her cousin whom she did not love, despite her resentment of the rigid piety of her childhood. Daniel was the only child of that union, and on her husband's death, she asked the devoted Sir Hugo to raise her son as an English gentleman, never to know that he is Jewish. Upon learning of his true origins, Deronda finally feels comfortable with his love for Mirah, and on his return to England in October 1866, he tells Mirah of his love for her. Daniel commits himself to be Ezra/Mordecai's disciple, and shortly after Deronda's marriage, Ezra/Mordecai dies with Daniel and Mirah at his side. Before Daniel marries Mirah, he goes to Gwendolen to tell her about his origins, his decision to go to "the East" (per Ezra/Mordecai's wish), and that he is betrothed to Mirah. Gwendolen is devastated by the news, but it becomes a turning point in her life, inspiring her to finally say, "I shall live." She sends him a letter on his wedding day, telling him not to think of her with sadness but to know that she will be a better person for having known him. The newly-weds then set off for "the East" to investigate what they can do to restore the Jewish nation.
  Characters
  
   * Daniel Deronda — The ward of the wealthy Sir Hugo Mallinger and hero of the novel, Deronda has a tendency to help others at a cost to himself. At the start of the novel, he has failed to win a scholarship at Cambridge because of his focus on helping a friend, has been travelling abroad, and has just started studying law. He often wonders about his birth and whether or not he is a gentleman. As he moves more and more among the world-within-a-world of the Jews of the novel he begins to identify with their cause in direct proportion to the unfolding revelations of his ancestry. Eliot used the story of Moses as part of her inspiration for Deronda. As Moses was a Jew brought up as an Egyptian who ultimately led his people to the Promised Land, so Deronda is a Jew brought up as an Englishman who ends the novel with a plan to do the same. Deronda's name presumably indicates that his ancestors lived in the Spanish city of Ronda, prior to the expulsion of the Jews from Spain in 1492.
   * Gwendolen Harleth — The beautiful, spoiled daughter of a widowed mother. Much courted by men, she is flirtatious but ultimately self-involved. Early in the novel, her family suffers a financial crisis, and she is faced with becoming a governess to help support herself and her family. Seeking an escape, she explores the idea of becoming an actress and singer, but Herr Klesmer tells her that she has started too late, that she does not know the meaning of hard work, training, and sacrifice. Gwendolen marries the controlling and cruel Henleigh Grandcourt, although she does not love him. Desperately unhappy, she seeks help from Deronda, who offers her understanding, moral support and the possibility of a way out of her guilt and sorrow. As a psychological study of an immature egoist struggling to achieve greater understanding of herself and others through suffering, Gwendolen is for many Eliot's crowning achievement as a novelist and the real core of the book. F R Leavis famously felt that the novel would have benefited from the complete removal of the Jewish section and the renaming of it as Gwendolen Harleth. It is true that though the novel is named after Deronda, a greater proportion is devoted to Gwendolen than to Deronda himself.
   * Mirah Lapidoth — A beautiful Jewish girl who was born in England but taken away by her father at a young age to travel the world as a singer. Realising, as a young woman, that her father planned to sell her as a mistress to a European nobleman, to get money for his gambling addiction, she flees from him and returns to London to look for her mother and brother. When she arrived in London she found her old home destroyed and no trace of her family. Giving in to despair, she tries to commit suicide. Rescued by Daniel, she is cared for by his friends while searching for her family and work, so that she can support herself.
   * Sir Hugo Mallinger — A wealthy gentleman; Sir Hugo fell in love with the operatic diva Maria Alcharisi when she was young and agreed, out of love for her, to raise her son Daniel Deronda.
   * Henleigh Mallinger Grandcourt — Sir Hugo's nephew and heir-presumptive, a wealthy, manipulative, sadistic man. Grandcourt marries Gwendolen Harleth and then embarks upon a campaign of emotional abuse. He has a mistress, Lydia Glasher, with whom he has several children. He had promised to marry Lydia when her husband died but reneged on the promise in order to marry Gwendolyn instead.
   * Lush — Henleigh Grandcourt's slavish associate. He and Gwendolen take an immediate dislike to one another.
   * Lydia Glasher — Henleigh Grandcourt's mistress, a fallen woman who left her husband for Grandcourt and had his children. She confronts Gwendolen, hoping to persuade her not to marry Grandcourt and protect her children's inheritance. In order to punish both women, Grandcourt takes the family diamonds he had given to Lydia and gives them to Gwendolen. He forces Gwendolen to wear them despite knowing that they had been previously worn by his mistress.
   * Ezra Mordecai Cohen — Mirah's brother. A young Jewish visionary suffering from consumption who befriends Daniel Deronda and teaches him about Judaism. A Kabbalist and proto-Zionist, Mordecai sees Deronda as his spiritual successor and inspires him to continue his vision of creating a homeland for the Jews in Palestine. Named after the biblical character Mordecai, who delivers the Jews from the machinations of Haman in the Book of Esther
   * Herr Klesmer — A German-Jewish musician in Gwendolen Harleth's social circle; Klesmer marries Catherine Arrowpoint, a wealthy girl with whom Gwendolen is friendly. He also advises Gwendolen not to try for a life on the stage. Thought to be partly based on Franz Liszt.
   * Contessa Maria Alcharisi — Daniel Deronda's mother. The daughter of a rabbi, she suffered under her father's dominance; he saw her main purpose was to produce Jewish sons. To please him, she agreed to marry a religious man, her cousin, knowing he adored her and would let her do as she wished after her father died. When her father was dead, she became a renowned singer and actress. After her husband died, she gave her son to Sir Hugo Mallinger to be raised as an English gentleman, free of all the disadvantages she felt she had had as a Jew. Later when her voice seemed to be failing, she converted to Christianity in order to marry a Russian nobleman. Her voice recovered, and she bitterly regretted having given up her life as a performer. Now ill with a fatal disease, she begins to fear retribution for having frustrated her father's plans for his grandson. She contacts Daniel through Sir Hugo, asking him to meet her in Genoa, where she travels under pretense of consulting a doctor. Their confrontation in Italy is one of the novel's important scenes. Afterwards, she tells Deronda where he can recover a chest full of important documents related to his Jewish heritage, gathered by her father.
  
  Literary significance and reception
  Influence on Jewish Zionism
  
  Written during a time when Christian Zionism (called at that time "Restorationism") had a strong following, Eliot's novel had a positive influence on later Jewish Zionism. It has been cited by Henrietta Szold, Eliezer Ben-Yehuda, and Emma Lazarus as having been highly influential in their decision to become Zionists.
  
  Some modern critics, notably Edward Said, point to the novel as a propaganda tool to encourage British patriation of Palestine to Jews. The novel is explicit in sending the non-Christians to a non-Christian land, and also in maintaining that "like may only marry like", i.e., Deronda can only marry his beloved if they are the same race/religion/ethnicity. Hostile critics have suggested that the book promotes a fundamentally racist view of marriage[citation needed]. However, the German-Jewish pianist Klesmer marries the Englishwoman Catherine Arrowpoint, suggesting that Eliot's views on this are subtler than these critics suggest[citation needed].
  
  In its day the Jewish section of the novel was met with bafflement by the non-Jewish reading public, which made up the majority of Eliot's readership[citation needed]. Looking at depictions of Jews in other novels such as Dickens' Oliver Twist and Trollope's The Way We Live Now, it is easy to understand why. In spite of having had a Jewish-born Prime Minister for many years (Benjamin Disreali was baptised when he was thirteen years old), Britain's view of the Jews at the time comprised derision, revulsion and prejudice, opinions expressed by several of the British characters in one scene. The fact that Eliot makes a point of comparing the world of the Jews favourably with the society of the British could only have served to heighten the hostile reaction to this element of the book. Some readers felt that the Jewish sections of the book were its weakest, and there were even efforts to rewrite the novel by excising those portions, leaving only the sections pertaining to Gwendolen and deleting references to Daniel's Jewish roots.
  
  Conversely, some Hebrew translations made by East European Zionists in the late 19th and early 20th centuries concentrated on the Jewish-Zionist parts and excised or greatly abbreviated the other portions.
  
  Needless to say, in the Jewish community of Eliot's time, Daniel Deronda was greeted with enormous warmth. It was the first time the community felt it had been represented fairly by a major British novelist.
  Jewish Zionism in the novel
  
  Daniel Deronda is composed of two interwoven stories and presents two worlds which are never completely reconciled - indeed, the separation of the two and the eventual parting of one from the other is one of the novel's major themes. There is the fashionable, familiar, upper-class English world of Gwendolen Harleth and the less familiar society-within-a-society inhabited by the Jews, most importantly Mordecai (or Ezra) Cohen and his sister, Mirah. Living between these two worlds is Daniel, who gradually identifies more and more with the Jewish side as he comes to understand the mystery of his birth and develops his relationships with Mordecai and Mirah. In the novel, the Jewish characters' spirituality, moral coherence and sense of community are contrasted favourably with the materialist, philistine, and largely corrupt society of England. The inference seems to be that the Jews' moral values are lacking in the wider British society that surrounds them.
  
  Daniel is ideological, helpful, and wise. In order to give substance to his character, Eliot had to give him a worthy purpose. However, Eliot had become interested in Jewish culture through her acquaintance with Jewish mystic, lecturer and proto-Zionist Immanuel Oscar Menahem Deutsch. Part of the inspiration for the novel was her desire to correct English ignorance and prejudice against Jews. Mordecai's story, so easily forgotten beside the glitter and passions of Gwendolen's, nonetheless finishes the novel. Partly based on Deutsch, Mordecai's political and spiritual ideas are among the core messages of the book, just as Felix Holt's politics are the core intellectual element of his novel. In a key scene in Daniel Deronda, Deronda follows Mordecai to a tavern where the latter meets with other penniless philosophers to exchange ideas. There follows a lengthy speech in which Mordecai outlines his vision of a homeland for the Jews where, he hopes, they will be able to take their place among the nations of the world for the general good.
  
  It should be remembered that at the time, idealistic people all over Europe were caught up in the nationalistic currents of the era[citation needed]. Daniel Deronda is set during the 'epoch-making' Battle of Sadowa, the beginning of the end of Austrian hegemony in Europe. Eliot thus deliberately linked the events of the novel with major historical upheavals. Movements of national unity and self-determination were gathering steam in Germany and Italy and were seen as progressive forces at odds with the reactionary, old regimes of empires such as those of Austria-Hungary and Russia[citation needed]. Eliot's enthusiasm for the Zionist cause should be understood in this context. The evidence suggests that her view was that of righting a historical injustice at a time when progressive elements viewed national liberation as a positive.
  Kabbalah in the novel
  
  A major influence on the novel is the Jewish mystical tradition known as Kabbalah, which is directly referred to in the text (cf page 406 OUP edition ISBN 0192817876, Chapter 38 in all prints). Mordecai describes himself as the reincarnation of Jewish mystics of Spain and Europe and believes his vision to be the fulfillment of an ancient yearning of the Jewish people. Many of the encounters between Mordecai and Deronda are described in quasi-mystical terms (Mordecai's meeting with Deronda on the River Thames). The inclusion of this overt mysticism is extraordinary in the work of a writer who, for many, embodies the ideals of the liberal, secular humanism of the Victorian age.
  
  Daniel Deronda is full of references to spiritual, archetypal, and mythological imagery, from the Kabbalism of Mordecai to the encounter of Lydia Glasher with Gwendolen among a group of standing stones and Gwendolen's reaction to the image of a dying man. Of all of Eliot's novels, this is the most mystical with an analysis of religious belief as a progressive force in human nature, albeit a non-Christian one.
  Men can do nothing without the make-believe of a beginning. Even science, the strict measurer, is obliged to start with a make-believe unit, and must fix on a point in the stars' unceasing journey when his sidereal clock shall pretend that time is at Nought. His less accurate grandmother Poetry has always been understood to start in the middle; but on reflection it appears that her proceeding is not very different from his; since Science, too, reckons backward as well as forward, divides his unit into billions, and with his clock-finger at Nought really sets off _in medias res_. No retrospect will take us to the true beginning; and whether our prologue be in heaven or on earth, it is but a fraction of that all-presupposing fact with which our story sets out.
   Was she beautiful or not beautiful? and what was the secret of form or expression which gave the dynamic quality to her glance? Was the good or the evil genius dominant in those beams? Probably the evil; else why was the effect that of unrest rather than of undisturbed charm? Why was the wish to look again felt as coercion and not as a longing in which the whole being consents?
   She who raised these questions in Daniel Deronda's mind was occupied in gambling: not in the open air under a southern sky, tossing coppers on a ruined wall, with rags about her limbs; but in one of those splendid resorts which the enlightenment of ages has prepared for the same species of pleasure at a heavy cost of guilt mouldings, dark-toned color and chubby nudities, all correspondingly heavy--forming a suitable condenser for human breath belonging, in great part, to the highest fashion, and not easily procurable to be breathed in elsewhere in the like proportion, at least by persons of little fashion.
   It was near four o'clock on a September day, so that the atmosphere was well-brewed to a visible haze. There was deep stillness, broken only by a light rattle, a light chink, a small sweeping sound, and an occasional monotone in French, such as might be expected to issue from an ingeniously constructed automaton. Round two long tables were gathered two serried crowds of human beings, all save one having their faces and attention bent on the tables. The one exception was a melancholy little boy, with his knees and calves simply in their natural clothing of epidermis, but for the rest of his person in a fancy dress. He alone had his face turned toward the doorway, and fixing on it the blank gaze of a bedizened child stationed as a masquerading advertisement on the platform of an itinerant show, stood close behind a lady deeply engaged at the roulette-table.
   About this table fifty or sixty persons were assembled, many in the outer rows, where there was occasionally a deposit of new-comers, being mere spectators, only that one of them, usually a woman, might now and then be observed putting down a five-franc with a simpering air, just to see what the passion of gambling really was. Those who were taking their pleasure at a higher strength, and were absorbed in play, showed very distant varieties of European type: Livonian and Spanish, Graeco-Italian and miscellaneous German, English aristocratic and English plebeian. Here certainly was a striking admission of human equality. The white bejewelled fingers of an English countess were very near touching a bony, yellow, crab-like hand stretching a bared wrist to clutch a heap of coin--a hand easy to sort with the square, gaunt face, deep-set eyes, grizzled eyebrows, and ill-combed scanty hair which seemed a slight metamorphosis of the vulture. And where else would her ladyship have graciously consented to sit by that dry-lipped feminine figure prematurely old, withered after short bloom like her artificial flowers, holding a shabby velvet reticule before her, and occasionally putting in her mouth the point with which she pricked her card? There too, very near the fair countess, was a respectable London tradesman, blonde and soft-handed, his sleek hair scrupulously parted behind and before, conscious of circulars addressed to the nobility and gentry, whose distinguished patronage enabled him to take his holidays fashionably, and to a certain extent in their distinguished company. Not his gambler's passion that nullifies appetite, but a well-fed leisure, which, in the intervals of winning money in business and spending it showily, sees no better resource than winning money in play and spending it yet more showily--reflecting always that Providence had never manifested any disapprobation of his amusement, and dispassionate enough to leave off if the sweetness of winning much and seeing others lose had turned to the sourness of losing much and seeing others win. For the vice of gambling lay in losing money at it. In his bearing there might be something of the tradesman, but in his pleasures he was fit to rank with the owners of the oldest titles. Standing close to his chair was a handsome Italian, calm, statuesque, reaching across him to place the first pile of napoleons from a new bagful just brought him by an envoy with a scrolled mustache. The pile was in half a minute pushed over to an old bewigged woman with eye-glasses pinching her nose. There was a slight gleam, a faint mumbling smile about the lips of the old woman; but the statuesque Italian remained impassive, and--probably secure in an infallible system which placed his foot on the neck of chance--immediately prepared a new pile. So did a man with the air of an emaciated beau or worn-out libertine, who looked at life through one eye-glass, and held out his hand tremulously when he asked for change. It could surely be no severity of system, but rather some dream of white crows, or the induction that the eighth of the month was lucky, which inspired the fierce yet tottering impulsiveness of his play.
   But, while every single player differed markedly from every other, there was a certain uniform negativeness of expression which had the effect of a mask--as if they had all eaten of some root that for the time compelled the brains of each to the same narrow monotony of action.
   Deronda's first thought when his eyes fell on this scene of dull, gas- poisoned absorption, was that the gambling of Spanish shepherd-boys had seemed to him more enviable:--so far Rousseau might be justified in maintaining that art and science had done a poor service to mankind. But suddenly he felt the moment become dramatic. His attention was arrested by a young lady who, standing at an angle not far from him, was the last to whom his eyes traveled. She was bending and speaking English to a middle- aged lady seated at play beside her: but the next instant she returned to her play, and showed the full height of a graceful figure, with a face which might possibly be looked at without admiration, but could hardly be passed with indifference.
   The inward debate which she raised in Deronda gave to his eyes a growing expression of scrutiny, tending farther and farther away from the glow of mingled undefined sensibilities forming admiration. At one moment they followed the movements of the figure, of the arms and hands, as this problematic sylph bent forward to deposit her stake with an air of firm choice; and the next they returned to the face which, at present unaffected by beholders, was directed steadily toward the game. The sylph was a winner; and as her taper fingers, delicately gloved in pale-gray, were adjusting the coins which had been pushed toward her in order to pass them back again to the winning point, she looked round her with a survey too markedly cold and neutral not to have in it a little of that nature which we call art concealing an inward exultation.
   But in the course of that survey her eyes met Deronda's, and instead of averting them as she would have desired to do, she was unpleasantly conscious that they were arrested--how long? The darting sense that he was measuring her and looking down on her as an inferior, that he was of different quality from the human dross around her, that he felt himself in a region outside and above her, and was examining her as a specimen of a lower order, roused a tingling resentment which stretched the moment with conflict. It did not bring the blood to her cheeks, but it sent it away from her lips. She controlled herself by the help of an inward defiance, and without other sign of emotion than this lip-paleness turned to her play. But Deronda's gaze seemed to have acted as an evil eye. Her stake was gone. No matter; she had been winning ever since she took to roulette with a few napoleons at command, and had a considerable reserve. She had begun to believe in her luck, others had begun to believe in it: she had visions of being followed by a _cortège_ who would worship her as a goddess of luck and watch her play as a directing augury. Such things had been known of male gamblers; why should not a woman have a like supremacy? Her friend and chaperon who had not wished her to play at first was beginning to approve, only administering the prudent advice to stop at the right moment and carry money back to England--advice to which Gwendolen had replied that she cared for the excitement of play, not the winnings. On that supposition the present moment ought to have made the flood-tide in her eager experience of gambling. Yet, when her next stake was swept away, she felt the orbits of her eyes getting hot, and the certainty she had (without looking) of that man still watching her was something like a pressure which begins to be torturing. The more reason to her why she should not flinch, but go on playing as if she were indifferent to loss or gain. Her friend touched her elbow and proposed that they should quit the table. For reply Gwendolen put ten louis on the same spot: she was in that mood of defiance in which the mind loses sight of any end beyond the satisfaction of enraged resistance; and with the puerile stupidity of a dominant impulse includes luck among its objects of defiance. Since she was not winning strikingly, the next best thing was to lose strikingly. She controlled her muscles, and showed no tremor of mouth or hands. Each time her stake was swept off she doubled it. Many were now watching her, but the sole observation she was conscious of was Deronda's, who, though she never looked toward him, she was sure had not moved away. Such a drama takes no long while to play out: development and catastrophe can often be measured by nothing clumsier than the moment-hand. "Faites votre jeu, mesdames et messieurs," said the automatic voice of destiny from between the mustache and imperial of the croupier: and Gwendolen's arm was stretched to deposit her last poor heap of napoleons. "Le jeu ne va plus," said destiny. And in five seconds Gwendolen turned from the table, but turned resolutely with her face toward Deronda and looked at him. There was a smile of irony in his eyes as their glances met; but it was at least better that he should have disregarded her as one of an insect swarm who had no individual physiognomy. Besides, in spite of his superciliousness and irony, it was difficult to believe that he did not admire her spirit as well as her person: he was young, handsome, distinguished in appearance--not one of these ridiculous and dowdy Philistines who thought it incumbent on them to blight the gaming-table with a sour look of protest as they passed by it. The general conviction that we are admirable does not easily give way before a single negative; rather when any of Vanity's large family, male or female, find their performance received coldly, they are apt to believe that a little more of it will win over the unaccountable dissident. In Gwendolen's habits of mind it had been taken for granted that she knew what was admirable and that she herself was admired. This basis of her thinking had received a disagreeable concussion, and reeled a little, but was not easily to be overthrown.
   In the evening the same room was more stiflingly heated, was brilliant with gas and with the costumes of ladies who floated their trains along it or were seated on the ottomans.
   The Nereid in sea-green robes and silver ornaments, with a pale sea-green feather fastened in silver falling backward over her green hat and light brown hair, was Gwendolen Harleth. She was under the wing, or rather soared by the shoulder, of the lady who had sat by her at the roulette- table; and with them was a gentleman with a white mustache and clipped hair: solid-browed, stiff and German. They were walking about or standing to chat with acquaintances, and Gwendolen was much observed by the seated groups.
   "A striking girl--that Miss Harleth--unlike others."
   "Yes, she has got herself up as a sort of serpent now--all green and silver, and winds her neck about a little more than usual."
   "Oh, she must always be doing something extraordinary. She is that kind of girl, I fancy. Do you think her pretty, Mr. Vandernoodt?"
   "Very. A man might risk hanging for her--I mean a fool might."
   "You like a _nez retroussé_, then, and long narrow eyes?"
   "When they go with such an _ensemble_."
   "The _ensemble du serpent_?"
   "If you will. Woman was tempted by a serpent; why not man?"
   "She is certainly very graceful; but she wants a tinge of color in her cheeks. It is a sort of Lamia beauty she has."
   "On the contrary, I think her complexion one of her chief charms. It is a warm paleness; it looks thoroughly healthy. And that delicate nose with its gradual little upward curve is distracting. And then her mouth--there never was a prettier mouth, the lips curled backward so finely, eh, Mackworth?"
   "Think so? I cannot endure that sort of mouth. It looks so self- complacent, as if it knew its own beauty--the curves are too immovable. I like a mouth that trembles more."
   "For my part, I think her odious," said a dowager. "It is wonderful what unpleasant girls get into vogue. Who are these Langens? Does anybody know them?"
   "They are quite _comme il faut_. I have dined with them several times at the _Russie_. The baroness is English. Miss Harleth calls her cousin. The girl herself is thoroughly well-bred, and as clever as possible."
   "Dear me! and the baron?".
   "A very good furniture picture."
   "Your baroness is always at the roulette-table," said Mackworth. "I fancy she has taught the girl to gamble."
   "Oh, the old woman plays a very sober game; drops a ten-franc piece here and there. The girl is more headlong. But it is only a freak."
   "I hear she has lost all her winnings to-day. Are they rich? Who knows?"
   "Ah, who knows? Who knows that about anybody?" said Mr. Vandernoodt, moving off to join the Langens.
   The remark that Gwendolen wound her neck about more than usual this evening was true. But it was not that she might carry out the serpent idea more completely: it was that she watched for any chance of seeing Deronda, so that she might inquire about this stranger, under whose measuring gaze she was still wincing. At last her opportunity came.
   "Mr. Vandernoodt, you know everybody," said Gwendolen, not too eagerly, rather with a certain languor of utterance which she sometimes gave to her clear soprano. "Who is that near the door?"
   "There are half a dozen near the door. Do you mean that old Adonis in the George the Fourth wig?"
   "No, no; the dark-haired young man on the right with the dreadful expression."
   "Dreadful, do you call it? I think he is an uncommonly fine fellow."
   "But who is he?"
   "He is lately come to our hotel with Sir Hugo Mallinger."
   "Sir Hugo Mallinger?"
   "Yes. Do you know him?"
   "No." (Gwendolen colored slightly.) "He has a place near us, but he never comes to it. What did you say was the name of that gentleman near the door?"
   "Deronda--Mr. Deronda."
   "What a delightful name! Is he an Englishman?"
   "Yes. He is reported to be rather closely related to the baronet. You are interested in him?"
   "Yes. I think he is not like young men in general."
   "And you don't admire young men in general?"
   "Not in the least. I always know what they will say. I can't at all guess what this Mr. Deronda would say. What _does_ he say?"
   "Nothing, chiefly. I sat with his party for a good hour last night on the terrace, and he never spoke--and was not smoking either. He looked bored."
   "Another reason why I should like to know him. I am always bored."
   "I should think he would be charmed to have an introduction. Shall I bring it about? Will you allow it, baroness?"
   "Why not?--since he is related to Sir Hugo Mallinger. It is a new _r?le_ of yours, Gwendolen, to be always bored," continued Madame von Langen, when Mr. Vandernoodt had moved away. "Until now you have always seemed eager about something from morning till night."
   "That is just because I am bored to death. If I am to leave off play I must break my arm or my collar-bone. I must make something happen; unless you will go into Switzerland and take me up the Matterhorn."
   "Perhaps this Mr. Deronda's acquaintance will do instead of the Matterhorn."
   "Perhaps."
   But Gwendolen did not make Deronda's acquaintance on this occasion. Mr. Vandernoodt did not succeed in bringing him up to her that evening, and when she re-entered her own room she found a letter recalling her home.
  This man contrives a secret 'twixt us two, That he may quell me with his meeting eyes Like one who quells a lioness at bay.
   This was the letter Gwendolen found on her table:--
   DEAREST CHILD.--I have been expecting to hear from you for a week. In your last you said the Langens thought of leaving Leubronn and going to Baden. How could you be so thoughtless as to leave me in uncertainty about your address? I am in the greatest anxiety lest this should not reach you. In any case, you were to come home at the end of September, and I must now entreat you to return as quickly as possible, for if you spent all your money it would be out of my power to send you any more, and you must not borrow of the Langens, for I could not repay them. This is the sad truth, my child--I wish I could prepare you for it better--but a dreadful calamity has befallen us all. You know nothing about business and will not understand it; but Grapnell & Co. have failed for a million, and we are totally ruined-- your aunt Gascoigne as well as I, only that your uncle has his benefice, so that by putting down their carriage and getting interest for the boys, the family can go on. All the property our poor father saved for us goes to pay the liabilities. There is nothing I can call my own. It is better you should know this at once, though it rends my heart to have to tell it you. Of course we cannot help thinking what a pity it was that you went away just when you did. But I shall never reproach you, my dear child; I would save you from all trouble if I could. On your way home you will have time to prepare yourself for the change you will find. We shall perhaps leave Offendene at once, for we hope that Mr. Haynes, who wanted it before, may be ready to take it off my hands. Of course we cannot go to the rectory--there is not a corner there to spare. We must get some hut or other to shelter us, and we must live on your uncle Gascoigne's charity, until I see what else can be done. I shall not be able to pay the debts to the tradesmen besides the servants' wages. Summon up your fortitude, my dear child; we must resign ourselves to God's will. But it is hard to resign one's self to Mr. Lassman's wicked recklessness, which they say was the cause of the failure. Your poor sisters can only cry with me and give me no help. If you were once here, there might be a break in the cloud--I always feel it impossible that you can have been meant for poverty. If the Langens wish to remain abroad, perhaps you can put yourself under some one else's care for the journey. But come as soon as you can to your afflicted and loving mamma,
   FANNY DAVILOW.
   The first effect of this letter on Gwendolen was half-stupefying. The implicit confidence that her destiny must be one of luxurious ease, where any trouble that occurred would be well clad and provided for, had been stronger in her own mind than in her mamma's, being fed there by her youthful blood and that sense of superior claims which made a large part of her consciousness. It was almost as difficult for her to believe suddenly that her position had become one of poverty and of humiliating dependence, as it would have been to get into the strong current of her blooming life the chill sense that her death would really come. She stood motionless for a few minutes, then tossed off her hat and automatically looked in the glass. The coils of her smooth light-brown hair were still in order perfect enough for a ball-room; and as on other nights, Gwendolen might have looked lingeringly at herself for pleasure (surely an allowable indulgence); but now she took no conscious note of her reflected beauty, and simply stared right before her as if she had been jarred by a hateful sound and was waiting for any sign of its cause. By-and-by she threw herself in the corner of the red velvet sofa, took up the letter again and read it twice deliberately, letting it at last fall on the ground, while she rested her clasped hands on her lap and sat perfectly still, shedding no tears. Her impulse was to survey and resist the situation rather than to wail over it. There was no inward exclamation of "Poor mamma!" Her mamma had never seemed to get much enjoyment out of life, and if Gwendolen had been at this moment disposed to feel pity she would have bestowed it on herself--for was she not naturally and rightfully the chief object of her mamma's anxiety too? But it was anger, it was resistance that possessed her; it was bitter vexation that she had lost her gains at roulette, whereas if her luck had continued through this one day she would have had a handsome sum to carry home, or she might have gone on playing and won enough to support them all. Even now was it not possible? She had only four napoleons left in her purse, but she possessed some ornaments which she could sell: a practice so common in stylish society at German baths that there was no need to be ashamed of it; and even if she had not received her mamma's letter, she would probably have decided to get money for an Etruscan necklace which she happened not to have been wearing since her arrival; nay, she might have done so with an agreeable sense that she was living with some intensity and escaping humdrum. With ten louis at her disposal and a return of her former luck, which seemed probable, what could she do better than go on playing for a few days? If her friends at home disapproved of the way in which she got the money, as they certainly would, still the money would be there. Gwendolen's imagination dwelt on this course and created agreeable consequences, but not with unbroken confidence and rising certainty as it would have done if she had been touched with the gambler's mania. She had gone to the roulette-table not because of passion, but in search of it: her mind was still sanely capable of picturing balanced probabilities, and while the chance of winning allured her, the chance of losing thrust itself on her with alternate strength and made a vision from which her pride sank sensitively. For she was resolved not to tell the Langens that any misfortune had befallen her family, or to make herself in any way indebted to their compassion; and if she were to part with her jewelry to any observable extent, they would interfere by inquiries and remonstrances. The course that held the least risk of intolerable annoyance was to raise money on her necklace early in the morning, tell the Langens that her mother desired her immediate return without giving a reason, and take the train for Brussels that evening. She had no maid with her, and the Langens might make difficulties about her returning home, but her will was peremptory.
   Instead of going to bed she made as brilliant a light as she could and began to pack, working diligently, though all the while visited by the scenes that might take place on the coming day--now by the tiresome explanations and farewells, and the whirling journey toward a changed home, now by the alternative of staying just another day and standing again at the roulette-table. But always in this latter scene there was the presence of that Deronda, watching her with exasperating irony, and--the two keen experiences were inevitably revived together--beholding her again forsaken by luck. This importunate image certainly helped to sway her resolve on the side of immediate departure, and to urge her packing to the point which would make a change of mind inconvenient. It had struck twelve when she came into her room, and by the time she was assuring herself that she had left out only what was necessary, the faint dawn was stealing through the white blinds and dulling her candles. What was the use of going to bed? Her cold bath was refreshment enough, and she saw that a slight trace of fatigue about the eyes only made her look the more interesting. Before six o'clock she was completely equipped in her gray traveling dress even to her felt hat, for she meant to walk out as soon as she could count on seeing other ladies on their way to the springs. And happening to be seated sideways before the long strip of mirror between her two windows she turned to look at herself, leaning her elbow on the back of the chair in an attitude that might have been chosen for her portrait. It is possible to have a strong self-love without any self- satisfaction, rather with a self-discontent which is the more intense because one's own little core of egoistic sensibility is a supreme care; but Gwendolen knew nothing of such inward strife. She had a _na?ve_ delight in her fortunate self, which any but the harshest saintliness will have some indulgence for in a girl who had every day seen a pleasant reflection of that self in her friends' flattery as well as in the looking-glass. And even in this beginning of troubles, while for lack of anything else to do she sat gazing at her image in the growing light, her face gathered a complacency gradual as the cheerfulness of the morning. Her beautiful lips curled into a more and more decided smile, till at last she took off her hat, leaned forward and kissed the cold glass which had looked so warm. How could she believe in sorrow? If it attacked her, she felt the force to crush it, to defy it, or run away from it, as she had done already. Anything seemed more possible than that she could go on bearing miseries, great or small.
   Madame von Langen never went out before breakfast, so that Gwendolen could safely end her early walk by taking her way homeward through the Obere Strasse in which was the needed shop, sure to be open after seven. At that hour any observers whom she minded would be either on their walks in the region of the springs, or would be still in their bedrooms; but certainly there was one grand hotel, the _Czarina_ from which eyes might follow her up to Mr. Wiener's door. This was a chance to be risked: might she not be going in to buy something which had struck her fancy? This implicit falsehood passed through her mind as she remembered that the _Czarina_ was Deronda's hotel; but she was then already far up the Obere Strasse, and she walked on with her usual floating movement, every line in her figure and drapery falling in gentle curves attractive to all eyes except those which discerned in them too close a resemblance to the serpent, and objected to the revival of serpent-worship. She looked neither to the right hand nor to the left, and transacted her business in the shop with a coolness which gave little Mr. Weiner nothing to remark except her proud grace of manner, and the superior size and quality of the three central turquoises in the necklace she offered him. They had belonged to a chain once her father's: but she had never known her father; and the necklace was in all respects the ornament she could most conveniently part with. Who supposes that it is an impossible contradiction to be superstitious and rationalizing at the same time? Roulette encourages a romantic superstition as to the chances of the game, and the most prosaic rationalism as to human sentiments which stand in the way of raising needful money. Gwendolen's dominant regret was that after all she had only nine louis to add to the four in her purse: these Jew dealers were so unscrupulous in taking advantage of Christians unfortunate at play! But she was the Langens' guest in their hired apartment, and had nothing to pay there: thirteen louis would do more than take her home; even if she determined on risking three, the remaining ten would more than suffice, since she meant to travel right on, day and night. As she turned homeward, nay, entered and seated herself in the _salon_ to await her friends and breakfast, she still wavered as to her immediate departure, or rather she had concluded to tell the Langens simply that she had had a letter from her mamma desiring her return, and to leave it still undecided when she should start. It was already the usual breakfast-time, and hearing some one enter as she was leaning back rather tired and hungry with her eyes shut, she rose expecting to see one or other of the Langens--the words which might determine her lingering at least another day, ready-formed to pass her lips. But it was the servant bringing in a small packet for Miss Harleth, which had at that moment been left at the door. Gwendolen took it in her hand and immediately hurried into her own room. She looked paler and more agitated than when she had first read her mamma's letter. Something--she never quite knew what--revealed to her before she opened the packet that it contained the necklace she had just parted with. Underneath the paper it was wrapped in a cambric handkerchief, and within this was a scrap of torn-off note-paper, on which was written with a pencil, in clear but rapid handwriting--"_A stranger who has found Miss Harleth's necklace returns it to her with the hope that she will not again risk the loss of it._"
   Gwendolen reddened with the vexation of wounded pride. A large corner of the handkerchief seemed to have been recklessly torn off to get rid of a mark; but she at once believed in the first image of "the stranger" that presented itself to her mind. It was Deronda; he must have seen her go into the shop; he must have gone in immediately after and repurchased the necklace. He had taken an unpardonable liberty, and had dared to place her in a thoroughly hateful position. What could she do?--Not, assuredly, act on her conviction that it was he who had sent her the necklace and straightway send it back to him: that would be to face the possibility that she had been mistaken; nay, even if the "stranger" were he and no other, it would be something too gross for her to let him know that she had divined this, and to meet him again with that recognition in their minds. He knew very well that he was entangling her in helpless humiliation: it was another way of smiling at her ironically, and taking the air of a supercilious mentor. Gwendolen felt the bitter tears of mortification rising and rolling down her cheeks. No one had ever before dared to treat her with irony and contempt. One thing was clear: she must carry out her resolution to quit this place at once; it was impossible for her to reappear in the public _salon_, still less stand at the gaming- table with the risk of seeing Deronda. Now came an importunate knock at the door: breakfast was ready. Gwendolen with a passionate movement thrust necklace, cambric, scrap of paper, and all into her _nécessaire_, pressed her handkerchief against her face, and after pausing a minute or two to summon back her proud self-control, went to join her friends. Such signs of tears and fatigue as were left seemed accordant enough with the account she at once gave of her having sat up to do her packing, instead of waiting for help from her friend's maid. There was much protestation, as she had expected, against her traveling alone, but she persisted in refusing any arrangements for companionship. She would be put into the ladies' compartment and go right on. She could rest exceedingly well in the train, and was afraid of nothing.
   In this way it happened that Gwendolen never reappeared at the roulette- table, but that Thursday evening left Leubronn for Brussels, and on Saturday morning arrived at Offendene, the home to which she and her family were soon to say a last good-bye.
首页>> 文学论坛>> 现实百态>> 乔治·艾略特 George Eliot   英国 United Kingdom   汉诺威王朝   (1819年11月22日1880年12月22日)