There the prototype of a certain character in her

There
has always been much wondering whether this or that person in Eliot’s friends
and relatives is the prototype of a certain character in her novels. There has
been just as much positive assertion that the acquaintance is surely
representing the model for the character, so this gives a soul of realism in
her writings. This is particularly true of Dinah Morris, the young and
beautiful Methodist who is an effective preacher in the society. Generally it
is to some extent stated that Eliot’s aunt Elizabeth serves as a model for
Dinah. I would say that Dinah is rather a composite of several real people, the
author herself and Miss Lewis, a former teacher of the author, being the main
contributors to the character. It is, indeed, her aunt who told the writer the
story of the young girl convicted to death for killing her child whom the aunt
had visited and comforted in jail. Eliot herself says: “The character of
Dinah grew out of my recollections of my aunt, but Dinah is not at all like my
aunt, who was a very small, black-eyed woman, and (as I was told, for I never
heard her preach) very vehement in her style of preaching.” (Cone, Gilder 269)

    Dinah’s gentle inside and outside beauty
and her selfless attitude draws all other characters to her and makes all of her
surroundings comfortable.  This is
clearly shown in Dinah’s sympathy with Adam’s mother (Lisbeth) when her husband
is dead. As Lisbeth is in her rocking chair with a covered face, she feels a
sudden gentle touch; it is Dinah’s, by acting like her daughter and sharing her
grief, Dinah successfully calms her bit-by-bit, then tidies up the place and
makes Lisbeth a little bit more comfortable, then she assures her that she and
her husband will cross paths again after death, she convinces her to start
praying and receive the religious comfort:

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Lisbeth had been
rocking herself in this way for more than five minutes, giving a low moan with
every forward movement of her body, when she suddenly felt a hand placed gently
on hers, and a sweet treble voice said to her, “Dear sister, the Lord has sent
me to see if I can be a comfort to you.”(Adam 144)

 

  Eliot’s
attempt to show religion in a nice image is by highlighting the good, nice, and
loved qualities of Dinah, as the religious Dinah love to help everyone and stand
by for all; this makes her to be loved among people for her both external and
internal beauty. 

   The
beauty of Dinah’s human nature is represented in the scene of the evening after
the trial, when she shows up outside the prison to see Hetty, she finds her in
a complete mess, Hetty stands up and gets closer; Dinah hugs her, and the two
sit quietly for a while, at last Dinah starts speaking, persuading Hetty to
confess and ease her hurt soul. At the beginning hopeless Hetty, can only
process the thought of her coming execution, but she gets back to her senses,
after hearing Dinah’s honest prayer, she explodes while confessing what she had
done, with extreme grief and sobbing. She asks the Lord to forgive her, and
they pray:

Hetty . . .
Dinah is come to you.” After a moment’s pause, Hetty lifted her head slowly and
timidly from her knees and raised her eyes. The two pale faces were looking at
each other: one with a wild hard despair in it, the other full of sad yearning
love. Dinah unconsciously opened her arms and stretched them out. “Don’t you
know me, Hetty? Don’t you remember Dinah? Did you think I wouldn’t come to you
in trouble? (Adam 588)

 

    In
the
final events of the novel, the writer expresses a picture of the strong effect
of religion at that time which is one of the elements of social realism, when
Dinah cannot accept a life of happiness for herself until she believes that’s
God’s will. In the scene in the farm when Adam comes to see Dinah to tell her
about his feelings he surpasses his fear and shyness and tells her that he is
in love with her deeply, Dinah tells him the same sort of thing; her main
motive for leaving Hayslope is, in fact, that she is scared her love for Adam
would derail her from the road of helping people. Adam attempts to convince her
to not leave but he fails: Dinah is unsure that surrendering herself to him
would not be the same as being tempted. She is worried that she is abandoning
Christ for him, and she is set on being a faithful preacher and helper of the
needed, but despite her not repelling from leaving, Dinah does have one last
hope: If she does not like her work at Snowfield then it is a sign from God
that he wants her to go back to Adam. He is left with no real choice but
acceptance. At the last scene of the novel, after sex weeks of Dinah’s absence
Adam goes to see her in Snowfield, when they meet, Dinah goes towards him,
saying that it is God wish that we stay together.

 

 

1.3 Conclusion

   The researcher finds it
necessary to show up the conclusion out of the facts mentioned above about Adam
Bede, anyone who has followed the events of the story, will notice how much
Adam Bede is affected by the personal life of George Eliot’s and how she feels
and reacts about many real subjects in the Victorian age in many ways, and how
she portrays the actions as well as the life style in that time. This influence
is seen in many topics that Eliot touches in the novel as in the illustrating
of Methodism as a positive social force presented in her own rejection of some
organized religions. The main issue in Methodism as a new religious movement
that Eliot admires is the belief that salvation is for all people through the
personal good actions and regret about their sins. 

   Another real picture of how much Eliot’s own
experience is presented in the novel is the character of Dinah, who has great
power and strength against normal social manners, and this is taken by Eliot’s
own wishes to be out of scope with normal social manners through her relation
to Lewes and her novel writing. 

   “One reviewer, in discussing Eliot’s
description of the dairy in Adam Bede, apparently even notes “. . . a
concentrated cool smell of all that is nourishing and sweet” (Anonymous Review
of Adam Bede. Atlantic Monthly 522), Eliot succeeds to persuade the
readers not only in the appearance of places and objects, but even the sound,
smell and texture. No writer could more effectively give a description of the
natural beauty of the English countryside and also shows the contrast between
internal and external beauty than Eliot does for the setting when Dinah Morris
preaches on the village green.

   However, despite the story showing clear
signs of realism along its lines, there are examples that events are not quite
realistic, which pushes the reader to wonder how  a story can continue this way, resulting in a
lost connection between the author and her readers.

   For instance; one could argue that Arthur,
being the Squire’s grandson and the heir to the estate, can marry whoever he
desires rather than be worried about his relationship and be forced to toy with
the heart of an innocent, and perhaps ignorant, young lady. Such issue could
invalidate the sincerity of the story when it comes to the social life on the
estate.

   Another scene where realism does not seem to
be in place is when Adam discovers that his soon-to-be-bride is pregnant from
another man, and after running away and killing the child, Adam can forgive
Hetty in a very simple fashion. He does not seem to blame her at all, despite
her being at fault for a lot of the events. The main reason this seems to be
odd is Adam is never portrayed as the soft type; he is rather strict with his
brother and harsh on his father. Even after his father’s death he seems to take
his place as head of the Bede family. Moreover, when he sees Arthur and Hetty
he beats Arthur and forces him to write a letter and the latter does not want
to write. This makes his forgiveness seem like an unexpected, and non-welcomed.

  In another critical view, Daniel Cottom goes
on to claim that George Eliot’s realism is the antithesis of romance:

 “In Eliot’s conception, realism transcends
romance. However, it does not do so by a simple rejection of the values or inversion
of the stylistic characteristics of romance; it transcends romance as the
liberal intellectual transcends society in general: by interpreting it,
understanding it, and so gaining the power to patronize it”. (Cottom 125)

 

    In
general, despite some misgiving, one is bound to appreciate Eliot’s effort when
reading about the main characters in Adam Bede and to admire her and
like her characters for dramatizing real people at the Victorian age. 

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