首頁>> 文學>> 现实百态>> 喬治·艾略特 George Eliot   英國 United Kingdom   漢諾威王朝   (1819年十一月22日1880年十二月22日)
丹尼爾·德竜達 Daniel Deronda
  超越時代的種族意識——論《丹尼爾·德竜達》中的猶太關懷 摘 要:傳統批評對喬治·艾略特的最後一部長篇小說《丹尼爾·德竜達》的抨擊集中在其猶太主題與人物塑造,這種誤讀來自對作者的超越時代的種族意識的無視。小說的猶太內容不僅促成作者在敘事藝術方面的突破,而且書中理想化的猶太人物、深切的猶太關懷,以及對其文化身分與種族意識的關註無疑將作者推到歷史的前沿。關鍵詞:猶太民族;猶太人物;猶太文化;種族意識 喬治·艾略特是維多利亞時代的著名女作傢,在英國文學史上占有很重要的地位。她的最後一部長篇小說《丹尼爾· 德竜達》(Daniel Deronda)於1876年2月至9月分8期連載於布萊剋伍德雜志社的《愛丁堡月刊》。這部描寫英國與歐洲的社會人生的小說,是作者惟一一部以創作時代為背景和主題的作品②,也是一部最有爭議的作品。有人稱贊小說在思想與藝術上的新意與突破,認為它是作者的又一成功巨著③,但不少評論傢把它看作作者創作藝術頂峰《米德爾馬契》後的一個敗筆,或是作者又一次“不幸的”話題轉移。據說,小說的前兩期發表時,好評如潮,勢頭幾乎壓過《米德爾馬契》,但第三期猶太主題出現後,讀者和評論界的反應開始轉嚮,指責和抗議聲源源不斷[4】2 。在她去世後的大半個世紀裏小說也普遍得不到認可,連近乎崇拜喬治·艾略特的F·R·利未斯( 也建議砍去猶太主題那一部分,衹保留英國故事。讀者與評論傢對小說的貶詞在很大程度上要歸咎於小說的獨特的敘事手法,其偏見到了20世紀70年代人們開始關註英語小說藝術形式時纔得以糾正。從小說的故事結構上看,作者好像是從《米德爾馬契》的現代的網狀結構又回歸到傳統的雙重綫形敘事。書中兩條故事主綫分別為英國姑娘格溫德林·哈利斯(Gwendolen Harleth)的不幸婚姻和英國社會中的猶太人的生活,兩個故事由男主人公丹尼爾·德竜達串接。雖然主要場景都在英國本土及其歐洲鄰國,在某種意義上,兩個故事同時分別發生在兩個完全不同的世界。一個是西方的、基督教的、現實主義的世界,一個現代化與都市化的歐洲。這裏,在通訊發達、交通便利、商業市場國際化、政治局面動蕩不安的社會表象下面,是英國中上層階級的醉生夢死、荒淫無度的生活。另一個是東方的、猶太教的、浪漫主義的、理想化的史詩世界,一個由神話傳說、民族習俗和大量的回憶或夢境組成的虛幻朦朧,陌生而神秘的世界。必須指出,小說中格溫德林和以丹尼爾為代表的猶太人的故事表達的不僅是兩個完全不同的主題,而且運用的是兩個完全不同、甚至是對立的文體。在對英國中上層社會的腐朽墮落進行現實主義的批評與揭露的同時,作者將大量筆墨與心力放在描寫棲身於僻冷小巷和幽暗鬥室裏的被異化被隔離的猶太移民的理想與追求。兩種不同的色彩與文體勾勒出兩個截然不同的世界,而作者超時代的人文關懷和種族意識充分 體現於作品中的猶太人物塑造、猶太主題觀照,猶太移民文化身分及其民族意識等方面。一、理想化的猶太人物:對猶太宗教文化的景仰小說的男主人公丹尼爾·德竜達無疑是猶太民族的代表人物。他的形象讓人想起作者筆下的黛娜、羅慕拉、菲利剋斯和多蘿西婭①,衹是他比他們更理想、更完美,不少讀者與評論傢都認為他非凡間之人。他出身於一個猶太上層家庭,但從小隨英國養父雨果·馬林傑爵爺過着貴族生活,受過良好的英國紳士教育。他頭腦敏捷,想象豐富;溫良謙恭,淡泊名譽;心地善良,毫無私心;他的細心小到對身邊的人與事無微不至地關照,他的胸懷寬闊得足以容納整個世界和所有民族。他是個“神秘的”“天才”,有着超自然的能力。比如小說開始時,當他駐足關註賭場上春風得意的格溫德林時,原本手氣甚佳、橫掃一切的姑娘就開始倒黴,很快連本帶利輸個精光;他不用打聽詢問,一見到莫迪凱·拉皮德斯(Mordecai Lapidoth)就知道他是米拉(Mirah Lapidoth)失蹤已久的哥哥。他還是個耶穌式的救世主,不但從水中救起多年尋兄無果、對生活絶望的猶太姑娘米拉,而且也拯救了失去靈魂、在痛苦中掙紮的英國姑娘格溫德林。與《聖經·新約》中的耶穌一樣,他幾乎沒有過去,“出道”時已是一個性格成熟的青年。年紀輕輕的他似乎沒有普通青年人的血氣,無論是面對千嬌百媚的美女格溫德林,還是嬌小文靜的米拉,還是個性剛烈、六親不認的母親,他幾乎從來沒有大悲大喜或不能承受的感情波瀾。他的舉止永遠是那麽從容不迫,平靜恬淡;他的話語總是那麽理性,說教似地機械平和而又句句觸人心靈。他一直對自己的身世充滿疑惑,進入青年期後對自己的未來更加感覺茫然;由於素不相識的莫迪凱的一席話,他便毅然走上尋根的道路。在確定自己的猶太血統之後,他又果斷地放棄高貴的英國公民的身分。最後,作為莫迪凱的傳人,他與猶太姑娘米拉結合,並立志為振興猶太民族事業而奮鬥終身。 、書中,猶太姑娘米拉把他當作古老東方神話中為了拯救嗷嗷待哺的虎仔們而自願獻身於饑餓的母老虎的佛陀(Bud.dha),暗示他已達佛主的無我境界。梅裏剋小姐也戲謔地稱丹尼爾為《天方夜譚》裏的卡瑪拉爾紮曼王子。雖然這衹不過是個玩笑,這個稱謂卻賦予他新的戲劇角色,即一位以拯救女士為使命、最終與布都爾皇后(由米拉小姐扮演的)成婚的東方騎士。更具有宗教寓意的是丹尼爾原來的名字,也就是他那曾為猶太教領袖的外祖父的名字——charisi,即英語的耶穌Christ,其意思是替天下猶太人贖罪的救世主。在小說世界的這場人生戲劇中,英國姑娘格溫德林則扮演了《聖經》中的那個墮落女子瑪麗的角色,是丹尼爾這個耶穌拯救了她。他教導她不要讓自己的過去成為未來生活的纍贅,而要將對過去的懺悔當作未來的動力。他的話就像上帝奇跡之手,點石成金,起死回生。也許正是他這種典型的耶穌式的經歷與特徵使得不少人大失所望。直到作品發表後的半個多世紀,人們都對格溫德林的故事贊口不絶,而普遍認為丹尼爾是個令人乏味的“道學先生”,是作者人物刻畫的一大敗筆。小說中最神奇的人物當屬猶太教先知莫迪凱·拉皮德斯。這個最優秀、最具代表性的猶太人以其有限的一生展示了猶太民族令人敬佩和崇拜的特質,以及一直令西方人好奇的東方神秘文化。莫迪凱的物質生活主要靠手工勞動勉強維持,十分簡樸清寡,而他的精神生活極其豐富。他飽讀詩書,學富五車,不光精通猶太教義,而且深諳人間世態炎涼。他是一個神秘主義者,但又非沉溺於純玄學;他對猶太民族幾千年的歷史與文化如數傢珍,對其遙遠的未來胸有成竹,儼然先知艾賽亞(Isaiah)在世。他的語言幾乎就是從《聖經· 舊約》上照搬下來的,詞句簡潔明了,而又充滿神秘的隱晦。他知道丹尼爾的過去,還能預言他的未來,甚至連他的外貌也能預知。他召喚丹尼爾來到自己身邊,認他為徒,並宣佈自己死後靈魂將轉附到丹尼爾身上。他通曉喀巴拉(Cabbala)的②猶太教神秘主義體係和中世紀西班牙神秘教詩人Jehuda—ha— Levi,還熟知丹尼爾的傢族的西(班牙)葡(萄牙)猶太後裔的傳奇故事。這些傳說涉及東方宗教的靈魂轉世說,強調東方文化中的種族遺傳以及個人與社會的密切關係 ¨ 叭 。莫迪凱對丹尼爾的具有宗教意義和特徵的交接儀式,給讀者一種神奇的魔力。臨終前,他對丹尼爾說,你“不光是我的人(手),還是我的心(靈魂)——(在你身上)會出現一種神奇的完整性。相信我的宗教—— 運用我的推理——懷抱我的希望——註視我指嚮的地方——看着我眼中的榮耀!”⋯ 莫迪凱的生活與信仰,以及他這個人物的宗教意義,無疑是對19世紀歐洲自由思想傢們的實證主義的科學理念的挑戰。但敘述者自始至終對他未有絲毫譏諷或批判,他的形象如此高大神秘、如此令人敬畏,他的一切似乎都那麽令人信服,無可置疑。據說莫迪凱的原型是作者當年在倫敦認識的一位叫伊曼紐爾·多伊奇 (EmmanuelDeutsch,1829—1873)的猶太青年學者。他曾輔導喬治·艾略特學習希伯來語,並嚮她介紹猶太民族宗教與習俗。他本人 1869年曾到過猶太人的家乡巴勒斯坦,1872年打算重遊故裏,結果途中因癌癥死於埃及。二、深切的猶太關· :對傳統種族歧視的反撥貫穿於小說具有現代主義特色的敘事結構和理想化的人物塑造的是,作者對人生、對反猶太復國主義(anti—Zionism)的不同看法和主張。從開始創作時喬治·艾略特就預 感書中的猶太情節會招來非議。當讀者抗議呼聲四起,出版商布萊剋伍德先生等人提出刪減猶太故事情節時,她斷然拒絶①。在這種原則性的問題上,她毫不退卻 290。她說:“對猶太教,我們這些受基督教教育成長的西方人尤其有愧。不管我們承認不承認,我們之間絶對存在着一種宗教與道德情感的特殊聯繫⋯⋯ 正是因為我覺得基督教對猶太人的態度通常是—— 根據他們自己宣稱的原則,我真不知道該說是更不虔誠呢還是更愚蠢。因此,我覺得應該盡量給予猶太人同情和理解。再者,對猶太人,還有所有與我們英國人交往的東方人,我們都是以傲慢驕橫,高高在上的態度待之;這是我們民族的恥辱。如果可能,我好想喚醒大傢的想象,讓他們認識到那些跟我們信仰與習俗不同的異族同胞也應該享有做人的權利0 99v ⅣⅫI2在某種意義上,喬治·艾略特對猶太民族的公然關註和同情是一種具有劃時代意義的行為。衆所周知,在英國歷史上,人們對猶太民族的蔑視和仇恨由來已久。莎士比亞戲劇中夏洛剋(Shylock),狄更斯筆下的伐金(Fagin)②成為人們心目中的猶太人經典形象。他們的自私、貪婪、吝嗇和無情的職業特徵,神秘而怪異的生活模式,令人可怖的外貌,還有他們信奉恪守的古老神秘的猶太教,都使大傢對這個從東方“流亡”過來的民族産生一種不可名狀的防範意識與仇恨。正是這種反猶意識最終導致二戰期間希特勒的駭人聽聞的大屠殺。維多利亞時期的英國雖然接受具有猶太血統的本傑明·迪斯雷利 拍③連續兩屆出任首相,但仍然存在相當普遍的對猶太人的種族偏見和宗教歧視,反猶意識幾乎已經滲透到各個角落,使生活在其中的猶太移民與他們的後裔始終擺脫不了雙重文化身分的睏擾。小說中,打算投水自盡的米拉被丹尼爾救起時,自報身分說:“我出生在英國,但我是猶太人。”⋯ 後來被丹尼爾帶到他的好朋友、善良友好的梅裏剋夫人傢裏,她又自嘲地對夫人說:“我是個外人,是個猶太人。您也許會認為我是個邪惡的人吧。”⋯ 她的話流露出英國猶太人自我身分的強烈意識和對英國白人的種族歧視的蔑視和挑戰。當時大多數白人讀者對這類描述極為反感,但也有少數人從中看到自己種族歧視的醜陋嘴臉。喬治·艾略特對猶太民族和猶太文化予以的理解與尊重來自於她對人類歷史的尊重,來自於她對個人與社會的細心觀察與研究。在維多利亞時代基督教信仰受到根本動搖的大背景下,對人文和宗教的思考成為她思想體係的一個焦點。在她看來,猶太教似乎沒有基督教那麽絶對,它更寬容,更現實;猶太民族對靈魂的關懷,對社區的倫理教育與德行規範的重視,都令她感動不已。因此,在處理猶太民族人物或問題的時候,她都刻意回避現實生活中的那些充滿種族歧視的惡意攻擊和誹謗的言辭,希望通過再現他們的生活與價值,獲得人們的同情,使人們尊重猶太人作為一個獨立、平等的民族的人格和尊嚴,尊重猶太教,尊重已成為英國文化一部分的猶太文化。書中除了完美的猶太民族代表莫迪凱和領袖人物丹尼爾·德竜達,還有小商人埃茲拉的和睦的家庭生活,米拉的無私和對哥哥的關愛,音樂傢赫爾·剋萊斯默的正直高尚的職業道德等都是例證。但是,作者的關懷並非盲目的。小說中的猶太社會與其他社會一樣,並非完美,裏面依然存在愚昧、懶惰、欺騙等不平等不和諧的現象。例如,莫迪凱認真耐心、一絲不苟地教房東的兒子雅可布猶太教知識,可頑皮無知的小男孩對莫迪凱所講的一竅不通,反而一味戲謔地模仿他的語言和腔調;而其他成年猶太人雖然能聽懂莫迪凱的話,但他們衹是把他當作一個不切實際、一個熱衷於奇談怪論的詩人而已。最具有嘲諷意味的是莫迪凱和米拉這對近乎完美的兄妹竟然有拉皮德斯這樣一個沒有任何道德責任感、生性懶惰、賭性不改的父親,而丹尼爾這個耶穌式的猶太領袖人物的母親居然不是像聖母瑪利亞那樣平和慈詳、富於博愛和犧牲精神,而是一個對自己的民族和宗教充滿怨恨,拒絶接受對家庭對社會的義務的現代女性。與此同時,猶太人對婦女的歧視也使人們質疑他們所謂美好的信仰。與其他東西方的女性一樣,猶太婦女對家庭和社會的義務,就像中國婦女當年的三寸金蓮一樣,束縛了她們個人的發展,限製了她們的“更大範圍的生活”的可能性。丹尼爾的母親、猶太公主莉奧諾拉·哈爾姆一埃伯斯坦(Princess Leonora Halm—Eberstein)嚮兒子講起當年自己所面臨的痛苦抉擇時,激動地說:“難道除了女兒和母親,我就沒有權利擔任其它的角色⋯⋯我有權做藝術傢 ⋯ ⋯ 不⋯ ⋯你不是女人。你可以努力——但你永遠也想象不出當你擁有男人的天賦,但又不得不忍受女性的奴役該有多麽痛苦。你的生活模式早已註定—— ‘猶太女人;你必須這樣,應該那樣。女人的心衹能這麽大,不能再大,否則就必須像中國婦女的腳一樣被裹得小小的。她的個人幸福就跟蛋糕似的,一個模子裏出來的。’這就是我父親的願望。他希望我是個兒子。他把我當成臨時替代品。” 公主的自我辯解表達了女性除了為人女兒、妻子和母親角色之外的理想和個人事業追求,挑戰了傳統的猶太家庭和社會觀念。她斷然拒絶兒子好心的“理解”、同情和“拯救”,拒絶嚮傳統父權文化妥協,成為現代社會中獨立、平等、自由新女性的典範。三、超越時代的種族意識:對猶太移民身分與文化遺産的關註不可否認,喬治·艾略特對社會多民族多元文化現象的關註已經遠遠領先了她那個時代。l9世紀後半葉在大英帝國步人自己政治、經濟以及軍事鼎盛時期的同時,它其實也 在醖釀着新的種族意識、危機感和一場民族政治運動。剝削階級與被剝削階級之間、殖民者與被殖民者之間、歐洲白人種族與少數民族之間的衝突日漸加劇,自由、平等、獨立的呼聲也越來越高。小說中美國獨立戰爭,牙買加的奴隸起義,歐洲的比斯馬剋群島獨立運動,還有意大利的統一運動等歷史事件不僅頻頻出現於人物的對話和故事情節裏,並且是小說猶太主題的不可分割的一部分,其特定的文化、政治背景指嚮當時席捲歐洲大陸的民族主義運動和受壓迫者——尤其是黑人和猶太人 — —爭取獨立的鬥爭。丹尼爾的復國計劃顯然與小說裏其他民族主義的解放鬥爭大背景相吻合更值得關註的是,小說還提出了當時面臨英國猶太人的問題,即讓自己同化進西方文化,還是保留自己的民族與宗教身分。莫迪凱與同族人吉迪恩和帕什等在“手與旗”哲人俱樂部關於民族復興、種族記憶、民族文化及其遺産,以及傢園意識等的辯論就很有代表性。吉迪恩和帕什都表示反對民族主義意識,提倡民族同化說,莫迪凱則主張各民族不分大小貧富強弱都具有獨立與平等的權利。他認為應該在承認和接受“差異”的基礎上,建立起一種可分離式的國際大組合。按他的解釋,“每個民族都有自己的事業,都是世界的一份子,都對世界有所貢獻” [11439。這個觀點在今天已經成為國際政治與外交的核心原則,但在當時衹不過是極少數人的癡心夢想而已。發生在哲人俱樂部的爭論不僅關係到那個時代流亡在外的猶太人的文化身分與生存價值問題,在今天全球化的必然趨勢下,再次成為各地各國少數民族以及他們的移民所不得不面臨的問題。“生存還是毀滅”,這就是問題的本質所在。小說結尾時,丹尼爾已經决定動身回到祖先生長的地方重建猶太傢園。雖然這衹是個人行為,但喬治·艾略特已經將猶太民族復興的火把點燃,“星星之火,可以燎原”【1 J5黼,熊熊大火將催生一個古老的新民族。當時的她也許沒想到半個多世紀後一個猶太國傢果然在他們祖先的土地上誕生,她更沒想到猶太民族的回歸給幾百年來一直生活在這塊土地上的巴勒斯坦民族,給中東地區的各民族帶來了無盡的領土爭端和種族之間的矛盾與衝突。在喬治·艾略特的作品中,尋根故事不止一次出現。《織工馬南傳》和《費利剋斯·霍爾特》中的埃碧和埃絲特都找到了她們的親生父母,但兩人最終都拒絶了自己的親生父母或他們所代表的貴族家庭,而選擇了傢境貧寒但情操高尚的養父。而丹尼爾與《西班牙吉普賽人》中的女主人公費達爾瑪一樣,毅然放棄養父母家庭的財産、地位和身分,熱情地接受自己的生父和傢族與民族的職責。如果前兩部作品告訴我們,為了感情和愛情,我們可以、也應該放棄傢族遺傳的地位和財産,這部小說卻通過丹尼爾的例子暗示傢族的真正遺産並不是地位和錢財,而是文化歷史,是靜靜地流淌在血管裏的民族意識,是深深地烙在身體上的民族身分。在現代社會中,家庭與社區日漸分裂瓦解,一個民族的維係與發展就取决於人們的“根”或血緣意識。丹尼爾那黝黑的膚色,深邃尖銳的眼睛,或許身上還有猶太之子的割禮術的痕跡,這些不可改變的生理特徵决定和改變了他的未來,也打破了人能决定自己命運的神話或環境决定命運的人生觀。埃碧和埃絲特的性格取决於她們賴以生存的、賦予她們教育的社會,因此她們都做出了明智的選擇,但丹尼爾的命運卻早有定數:他從母親那兒得到的外祖父留下的一箱子文獻和莫迪凱的預言足以决定他的未來。他的選擇並非取决於獲得的教育,他對自己人生的疑惑是通過一連串的偶然或非偶然的事件得以澄清和揭示。他的尋根之路不再是對個人幸福的求索,而是有關民族存亡的大業。簡言之,他的命運取决於他的出生與種族特徵。他承繼的不光是猶太人的生理特徵,而且是猶太人的歷史和文化。他身上的民族無意識促使他去接受、擁抱和繼承猶太民族的過去;他個人的成長與民族的興旺交織在一起,自我意識與民族意識得到有機統一,個人權利與社會義務達到平衡,善良的天性最終與成熟、善思的民族習性和強烈的文化、信仰責任感相結合。這種對人生的理解與作者早期精心創建的科學意識形態和“因果報應說”道德原則相去甚遠,也表明步入晚年的喬治·艾略特隨着生活經歷的豐富,知識視野的拓展,對人生的復雜與神秘性有了更深刻的認識。在最後這部小說裏,種族進化觀突破了傳統家庭概念的桎梏,社會歷史觀發展為一種非常強烈的國際化意識;敘事焦點從人文精神的宏觀視角轉移到對個別種族的“純化”問題的微觀註視。這種觀念的改變和視角的轉移,這種對個人種族身分或文化身分的關註,再次將作者推嚮現代文化研究的前沿。在國際政治、經濟、文化舞臺日趨平等、人類歷史逐漸步入全球化的今天,重讀喬治·艾略特的《丹尼爾·德竜達》具有特別的意義。我們不僅驚嘆作者對文學主題與藝術永無懈怠的探索與挑戰,對她嚴肅執著的歷史感和超越時代的種族意識與人文關懷更是肅然起敬。她對猶太民族生活和信仰的關註與尊重促成小說在敘事藝術方面的突破,同時也使之具有明顯的現代政治、宗教和文化意義。應該說,小說的猶太主題與敘事的經久價值亦成為艾略特在英國文學歷史上享有崇高聲譽的有力佐證。參考文獻: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.任繼愈.宗教詞典[z].上海:上海辭書出版社,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.
首頁>> 文學>> 现实百态>> 喬治·艾略特 George Eliot   英國 United Kingdom   漢諾威王朝   (1819年十一月22日1880年十二月22日)