Silas Marner by George Eliot (Analysis)

 

Silas Marner

by George Eliot

(Analysis) 

Plot and Structure

The story of the novel covers a long span of time, which covers over thirty years. This time has been concentrated into three relatively short periods. The first of these, the time on which the story opens, shows Silas living his lonely existence at Raveloe. This period is followed by a flashback to the time fifteen years earlier when the hero was driven from Lantern Yard. The time then skips quickly back to its original point, settling on a November afternoon. The proceedings between this time and New Years’ time take up the first part of the story, although the storyteller briefly mentions some events that follow as Silas begins to raise Eppie.

A long span of sixteen years is then jumped over, and the results of the early events are seen. The in-between years are filled in mostly by the narrator or by dialogues between characters. There are only a few spectacular portrayals of proceedings during those years, for example, the consideration between Godfrey and Nancy regarding the adoption of Eppie.

After the past is updated, the time remains at the same Sunday on which this portion of the story opened, until the main plot considerations are disposed of. These are: Dunstan’s disappearance, Godfrey’s paternal bondage to Eppie, and the shape of Eppie’s future. Some incidents occur after that like: Silas goes to Lantern Yard a few days later to settle the old accounts that had marred his reputation, and still later Eppie is married, but they are dealt with in very short descriptions. The three times on which Eliot focuses mainly contain five main events: the Lantern Yard robbery, the theft of Silas’ gold, the death of Molly which also implies the arrival of Eppie in the life of Silas, the return of Silas’ gold, and Godfrey’s endeavor to claim his daughter. Reflection of these basic dealings gives a broad view of the composition of Silas Marner. They are all inter-related, either in the mind of one or more characters, or by cause-and-effect.

The last four events of the novel fall into pairs: the theft of the gold and the coming of Eppie in its place; the return of the gold and Godfrey’s claim on Eppie. The first two are not related in fact, as the reader knows, but Silas and the other residents of Raveloe consider them to be a kind of cause-and-effect, which gives rise to a symbolic relationship between them. The latter pair is related strictly through their cause which is the discovery of Dunstan’s body with the gold leads Godfrey to confess that he is Eppie’s father. But the symbolic relationship that has been recognized carries over from the earlier period. The first event, the robbery at Lantern Yard, is of course the circumlocutory cause of the rest, for it sends Silas to Raveloe, but it also provides the basis for Silas’ reactions at the time of the second robbery, it causes his feeling of

being plagued by a hidden supremacy. As such, it is responsible for the figurative values of later dealings.

There are two plots in Silas Marner: Silas’ denunciation of humanity and his emancipation, and the plot involving Godfrey and his two wives. The two plots are closely related. In the beginning, there is little correlation between them, but by the end of the tale they are inseparable. A quick look at the events outlined above shows how this happens. The structure of the story might be thought of as a cone, with Godfrey and Silas on opposite sides at first but gradually being carried by events into the same course as if they were contents flowing at different ends in a funnel, but finally flowing through the same channel. There are many similarities between their lives. At first these parallel events are distant, but they come closer and closer until at last they join. For instance, Godfrey is cheated by Dunstan as Silas was cheated by William Dane. Godfrey has two wives to correspond to Silas’ two treasures; in both cases, the first is the cause of their devastation, and the second is the source of their deliverance. Their first real association is the gold: Dunstan is trying to obtain money by threat from Godfrey, and when he fails to get it, he steals it from Silas. Eppie comes to substitute the gold, and she is the second and far closer relationship between Silas and Godfrey. Godfrey is her real father, but Silas becomes like a father to her and eventually the girl loves him more than her biological father. What’s more, the event that brings Eppie to Silas is looked on as God’s approval by both Silas and Godfrey, for it frees Godfrey to marry Nancy.

It is also noticeable that the meanings of the novel and its figurative standards or symbolic values are completely bound up in the contrasts and comparisons between these two plots. The nature of a “blessing,” the meaning of good and bad in relation to social conduct, these and other problems become involved in the working out of events. Godfrey and Silas are not the only persons involved in these events. Their lives are linked most of all through the society in which they live. The community of Raveloe is a mediator of their acts as well as a spectator and commentator. When Silas discovers the robbery, he reports it to the Rainbow, and Godfrey hears of it from there. A cross-section of the neighborhood is present to receive the news of Molly’s death. Eppie provides a relating link not only between Godfrey and Silas, but between Silas and the society as well. Communal opinion is never the final power in the novel; Eliot often treats it sarcastically; but it is an important factor in the lives of the major characters and in the implementation of the plot.

Technique

It was a literary trend in the days of Eliot to use an omniscient point of view, which means that the novelist views the action from any point she finds suitable, whether from the narrator’s perspective, as a disinterested bystander might see it at a glance, or as seen or felt by any character existing in the fabric of the story. This viewpoint has many benefits, and it is well-matched to Eliot’s proficiency as a novelist. This technique enables her to depict what any character thinks or feels and to show an act and its after-effects with great richness of expression. Eliot uses this technique to increase the reader’s consideration and understanding of characters and of the situations they find themselves in. It also allows better control of the reader’s alertness, which is the main foundation of the irony so important in Eliot’s novels.

In the way the events are exposed, we see that the reader generally knows more than any single character, for instance, about Godfrey’s secret marriage and that Dunstan is the thief, whose single act of theft matters a lot in moulding the events of the story; and this superior knowledge lends ironic humor to the things the characters think and do in their unawareness. Nevertheless, the reader is not told everything outright. The news of Dunstan’s death is perhaps less of a surprise than to Godfrey, but it has never been a certainty. This allows the reader to feel something of the shock that Godfrey must experience at that instant.

Characterization

George Eliot’s art of characterization is par excellence. The distinction of her categorization depends partly on this omniscience, but the most significant feature is Eliot’s deep understanding of human psychology. She presents her prominent characters in great depth. Their roles and reactions are varied: they are capable of astounding, yet they never seem illogical. If we analyze their actions and reactions, we find that the reactions which seemed surprising in them are consistent with their previous actions. They do not remain stagnant, but their expansion builds on the past. Let us take the example of Silas. His faith in God goes through a series of developments that are related to his past happenings.

Throughout all these changes, he invariably clings to some sort of support: his church, his work, his gold, or his daughter. It is noteworthy that his character shows both change and constancy, and this makes him noticeably the same person even as he changes. His character does not merely change, rather, it develops.

Eliot’s style allows her to use several aids to determine the characterization of her novels. The omniscient standpoint sometimes does this by giving the reaction of an unbiased observer, a person whom the reader will accept as true. The Miss Gunns finds Nancy charming; and since they are neutral toward her, the reader readily and believingly accepts their view.

Another important mechanism of influence is metaphor, which is expected to go unnoticed by the reader, but which has an ever-increasing effect. In the initial chapters, Silas is compared to a spider in a number of ways, and this “insect-like existence” provides authenticity to the withering of his humanity.

A third tool of characterization is speech. The characters do not all talk alike. Squire Cass’ speech is coarse but influential. Priscilla sounds almost like a man and it is evident that she is trying to fill a man’s place. All of the characters with the exception of Godfrey speak a bucolic dialect, but it is more pronounced when Eliot is calling attention to the narrow-mindedness of the community, as can be seen at the gathering at the Rainbow. Godfrey’s speech is always more refined than his neighbors’ or his father’s, demonstrating that he is trying to hold himself above a life of “conviviality and condescension.”

The way the characters have been molded throughout the story to suit the requirement of the events is remarkable. More information about the individual characters can be had from the Glossary section that follows in this unit.

Themes

The most significant theme of Silas Marner is the power of “pure, natural human relationships”. There are a number of other minor themes as well. Some of these never occur as a direct statement, but are brought to the forefront by constant repetition. One of these themes is the function of religion in society. Another is the use of custom and tradition. There is a more direct consideration, focused on Nancy, of the extent to which “principle” should predominate over sympathy in human relationships. This is closely connected to the question of luxury versus restraint in human life, as illustrated by the home life of Godfrey and Nancy as a couple. Sometimes the theme is indirect yet explicit. One such in Silas Marner is the effect of industrialization on English society in the nineteenth century. After the factory is set up, Lantern Yard is a dirty, dark place crowded with unwholesome people. There is a sharp contrast between the unsociability of Lantern Yard and the community spirit of Raveloe, between Silas’ life as a spinning insect and the fresh air of the open fields. The novel explores the issues of redemptive love, the concept of community, the role of religion, and the significance of the gentry and family. While religion and religious devotion play a strong part in this text, Eliot concerns herself, with issues of ethics, and evidently for her, ethics exist apart from religion.

On the face value, the book has a well-built moral zone; the bad characters like Dunstan Cass get their just deserts, while the good characters like Silas Marner are handsomely rewarded. A first-hand reading projects it as a simple moral story with a happy ending, yet it includes several pointed criticisms on organized religion, the role of the gentry, and the impact of industrialization. Since it was written during Industrial Revolution, it may be a reaction against it.

Symbolism

A symbol is an object or a situation that refers to another object or to a concept which can only be thought-of by deep thinking. The tale of Silas Marner certainly must be understood symbolically. Eppie is unambiguously a replacement for Silas’ treasure, and this raises questions of the temperament of treasures literal and spiritual. Dunstan steals Silas’ gold and in the process falls into a pit, the pit may be considered as the pit or hell that waits for all sinful humans. Silas’ open door is symbolical of his spiritual condition, and evil and good influence him simultaneously. Silas’ regeneration of faith and human contact in this way becomes a symbolic renaissance. Both through his fits and through his alienation from other men, he is a man who has seemed dead and has come back to life. If we interpret these situations of the novel thus, we find a richer and deeper sense in the story.