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        What`s Not in Middlemarch

        Dame Gillian Beer 근대 영미소설 학회 2003 근대 영미소설 Vol.10 No.1

        George Eliot`s novel Middlemarch describes itself as a `domestic epic` and is often praised for its incluslveness. The tension in the book is created by the mismatch between the provincial town that is its subject-matter and the cosmopolitan sweep of allusion in the narration. The work is braced also by the particular ironies generated between the time of its setting (the late 1820s, early 1830`s) and the time of itS writing and first reading (the late 1860s-early 1870s). This paper seeks to re-discover those ironies, and to some degree the experience of those first readers. The novel looks at what has changed between the 1830s and 70s, and what remains insufficiently changed (like women`s opportunities). Therefore the unwritten period of the 1840s, 50s, and 60s haunts the book and forms a common bond between writer and first readers. In my argument I use the initial form in which the work appeared, in separate books with two months between their reception; I look at the advertisements by which these part-issues were surrounded for the light they throw on common anxieties and preoccupations felt by the readers. I ask also about certain notable exclusions in the work and what they may have signified to those first readers: exclusions such as spirituality, appetite, adultery, and-more arguably-the rural working classes. The form of Middlemarch, with its wealth of allusion, is permeable: what`s inside it or left out may vary with different readerships. This paper asks what the novel includes for us and what it included for its first readers. It suggests that the strong exclusions it performs may account for the highly pessimistic charge felt by its Victorian readers and for the softened pastoralism sometimes ascribed to it now.

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