Daniel Deronda and the Importance of Paternity in the Victorian Era
Ignorance gives one a large range of probabilities—Daniel
Deronda
Mary
Anne Evans is mostly known by her pen name, George Elliot to distance herself
from her writing; this allowed her to explore many fields and to give her books
an equal opportunity in the ‘man’s world’ in which she lived in during the
Victorian Era. Daniel Deronda is Eliot’s last novel written in 1876 and
the only one to have been set within in her contemporary day. Besides being a
controversial novel that explores religion, discrimination of race and class,
Eliot also explores the significance of paternity in the Victorian Era by using
Deronda’s discovery of his mysterious identity.
 |
| The Victorian Era |
With
the different existing classes in the Victorian Era, Elliot emphasizes the
important role that paternity plays with the mysterious identity of Daniel
Deronda. As most people whose past is unknown, Deronda is curious of his
parentage; at first he believes there is proof that suggests he is not part of
the gentleman class in which he has been raised (Eliot 150). There are large
portions where he wonders if the truth will ever be made known to him by his guardian
Sir Hugo Mallinger whom he calls uncle. In one instance, Deronda questions when
“would the time come when his uncle would tell him everything?” (150). However,
due to the secrecy of the situation, a part of Deronda fears the truth if such
knowledge of his paternity is to be no good (150). Eventually, Deronda’s
curiosity will win out when given the chance to find out about his birth.
 |
| The Mystery Surrounding Daniel Deronda's Paternity |
As
Deronda is understood to be the ward of Sir Hugo, their Victorians friends not
only have mixed feelings about him, but they also misinterpret Deronda’s status
in life. To start with, Sir Hugo’s own nephew describes Deronda as "a sort
of ward of Sir Hugo Mallinger's. Nothing of any consequence" (287). There
are very likely to be others who feel the same as is the consequences in the
Victorian Era when one doesn’t know their parentage. Among Deronda’s humbler
friends, he is thought to be part of and related to high class society because
he is the ward of Sir Hugo (197). Simply being the ward of a respected
gentleman in in the higher circles of the Victorian Era lead people to assume
Deronda is of noble birth as well.
 |
| Sir Hugo Mallinger |
However,
the fact that Eliot’s novel revolves around Deronda and his unknown past and
his good luck in being the ward of a very wealthy guardian who happens to be
the baronet Sir Hugo, breeds false rumors. Because of this fact “everyone says
he is the son of Sir Hugo Mallinger, who brought him up; though he passes for a
ward” (291). This axiomatic fact confirms that their surrounding friends
believe that Deronda’s being Sir Hugo’s ward is a charade and that he’s really
the illegitimate son. This rumor is not kept quite so secretly among Deronda
and Sir Hugo’s friends, “No one was better aware than he [i.e. Sir Hugo] that
Daniel was generally suspected to be his own son. But he was pleased with that
suspicion” (154). These two characters that Eliot uses, show a great affection
for one another despite the circumstances and uncertainties that Deronda faces.
Sir Hugo never imagined the consequences that this would incite or “the way in
which the boy [i.e. Deronda] himself might be affected, either then or in the
future, by the enigmatic aspect of his circumstances” (154). Although Eliot
keeps her readers in the dark for a great part of the novel, she shows the role
of importance that paternity has developed in Deronda since a young age.
Although it is unintentional, the ignorance in
which Deronda is purposely kept about his paternity in the Victorian Era begins
to have a great emotional strain on him since his adolescence. Deronda’s
inquisitive and innocent mind led him to ask his tutor one day about the
abundance of nephews among the popes and cardinals. The answer being that their
nephews were really their illegitimate children began to turn the wheels in
young Deronda’s mind since that moment. “He had always called Sir Hugo
Mallinger his uncle” (145). Believing to have just found out that he is really
Sir Hugo’s illegitimate son, embarrasses Deronda. It had never occurred to
Deronda about his own association with illegitimacy and it pains and consumes
his thoughts from thereafter for a long time. “The possibility that here was
the secret of his own birth, and that the man whom he called uncle was really
his father” brings a strong curiosity, but his timidity prevents him from
addressing Sir Hugo directly about this (147). This shock brings Deronda great
distress as a child. Although Deronda no longer doubts “that Sir Hugo was his
father,” the fact that he doesn’t approach him about it, leads Deronda
to interpret it as his father’s silent denial of him and graciously steps aside
and accepts the terms (154). The effects of this knowledge burdens Deronda as
later on in Eliot’s novel, the confusion overwhelms him when trying to find his
place in the world.
No
one can know for sure why if it is true, that Sir Hugo doesn’t recognize
Deronda as his illegitimate son, being that he has no son to inherit after him.
Being an illegitimate son and paternally recognized in the Victorian Era was
very important. Gwendolyn, one of Deronda’s Victorian lady friends often
wonders how “it must have been a secret hardship to him that any circumstances
of his birth had shut him out from the inheritance of his father’s position
(373). Not knowing who one’s father was in the Victorian Era, especially those
from gentry’s ancestry was important because it disabled young men from
obtaining their birthright. If not in wealth, an illegitimate son could
certainly benefit from a title or higher connections that could open many doors
to a higher class and form of living that he’d not have otherwise. Since a very
young age Deronda is aware that “men who were born out of wedlock and were held
unfortunate in consequence, being under disadvantages which required them to be
a sort of heroes if they were to work themselves up to an equal standing with
their legally born brothers” (147). Illegitimacy of birth was serious because
it complicated life in the Victorian Era. Because pre-marital relations were
forbidden by the Victorian society, out of wedlock births was generally frowned
upon by all classes, complicating the lives of the victims born into that
situation. The gravity of the importance of knowing one’s paternity in the
Victorian Society is that it offered an easier and comfortable life if one
happened to be derived from the gentry.
Eliot
describes the great societal and economic differences between Sir Hugo’s ward
Daniel Deronda and his nephew Henleigh Mallinger Grandcourt. For one, as a
ward, Deronda is only under Sir Hugh’s care. This means that “of course he is
under some disadvantage: it is not as if he were Lady Mallinger’s son. He does
not inherit the property, and he is not of any consequence in the world” (291).
Deronda is, however, very fortunate in that his guardian’s high Victorian
circle of society which surrounds him, provides connections he would not have
otherwise. This allows him to be free to move in any circle which Sir Hugo is
connected as well, if Deronda so desires. On the other hand, Sir Hugo’s nephew
Lord Grandcourt stands to inherit after him. “In no case could Grandcourt have
been a nephew after his own heart; but as the presumptive heir to the Mallinger
estates” and “the want of a son to inherit the lands” proves to be a
problematic situation for Sir Hugh (139). It is quite out of his hands to
choose who inherits after him. “If Sir Hugo Mallinger could have done as he
liked with his estates, he would have left them to this Mr. Deronda, since he
has no legitimate son” (291). Unfortunately, due to the dogmatic laws that
rules the Victorian Era, Deronda knows that not being recognized as Sir Hugo’s
illegitimate son disqualifies him from inheriting.
As
Deronda comes of age, his unknown identity prompts him to explore life in hopes
of finding a place where he feels he belongs. Sir Hugo is surprised that this
means Deronda no longer desires to continue his studies at the university, but
study abroad instead (162). In Sir Hugo’s mind, Deronda doesn’t “want to be an
English gentleman…after all” (162). It is not that Deronda devalues being an
Englishman, but he wants the opportunity to “understand other points of view,”
and learn through a different perspective other than just the British way
(163). Sir Hugo appears to be a bit disappointed by this decision as he had at
one time desired Deronda to professionalize himself in a useful career such as
politics in which they could both work together. In the end, Sir Hugo
understands Deronda’s need find himself and wishes him well (163). This may be
considered as the beginning to Deronda’s journey for discovery of his own
identity.
Daniel
Deronda’s unknown paternity determines his prospects in the well-to-do circles
in the Victorian Era because of several factors. The first factor is that he
doesn’t have an inheritance by which he can count on to support himself as a
gentlemen (291). The second factor is that Deronda doesn’t own his own title or
rank of importance in society other than being Sir Hugo’s ward (291). Despite
the rumors, without any actual declaration of paternity, Deronda’s status can
only be assumed to be rather low if thought over seriously because he possesses
nothing of material value. Thanks to Sir Hugo, Deronda receives a modest
allowance, enough to support a bachelor with “seven hundred pounds a year”
(156). It is enough to get by on his own as a modest gentleman and to support
his studies if he so wishes it, but not for more. Despite his unknown
parentage, because of his connections through Sir Hugo, Deronda is still “very
well received” (291). In the Victorian Era, paternity is of valuable importance
if one had higher connections by birth; by the standards of Victorian society,
if one had no title, money or connections, one was nobody.
Due
Deronda’s unknown patronage, one of the few prospects he has to partake in the
higher Victorian societies are his connections through Sir Hugo. Despite that
Daniel has not many high or powerful connections of his own, he does possess
great influence among Sir Hugo’s circle. One example is when Deronda invites
Mirah—a Jewish girl he’s saved and is trying to help her re-enter the musical
career, he is commended over finding such a talented singer (496). Mirah
becomes quite popular at the party and the night is a success for Mirah and
incidentally for Deronda as well. Deronda also has great influence over
Gwendolyn—Grandcourt’s young wife. Granted, she sees Daniel as one see’s one’s
savior. Gwendolyn is very familiar with Deronda, however, their relationship is
respectable, and can be modernly compared to that of an abused wife and her
respectable, but very handsome therapist. She seeks him out at every
opportunity to relieve herself of her marital burdens. In a letter near the end
of Eliot’s novel, Gwendolyn writes thanking and apologizing to Deronda:
I have remembered your words--that I may live to be one of the best
of women, who make others glad that they were born. I do not yet see how that
can be, but you know better than I. If it ever comes true, it will be because
you helped me. I only thought of myself, and I made you grieve. It hurts me now
to think of your grief. You must not grieve any more for me. It is better--it
shall be better with me because I have known you. (709)
To those whom
Deronda encounters and befriends of Sir Hugo’s circle, he gains advantage and
connections that can be useful to him in the Victorian era, despite not knowing
his parentage.
Another
prospect that Deronda possesses in order to partake in the high society during
the Victorian Era despite his mysterious background are his natural
recommendations. Deronda may be compared to the un-wealthy young ladies of the
Victorian Era where beauty speaks for itself. Since childhood, Deronda is
admired by many and thought to be a beautiful boy (154). As a grown man Eliot
describes him as “young, handsome,” and “distinguished in appearance” (7).
Besides his physical beauty, other natural recommendations that Deronda may
rely upon are similar to the un-wealthy and plain ladies in the Victorian
Era—virtues. The possession of virtues are an asset during the Victorian Era
especially if one was not wealthy, plain or without title like Deronda. His
university friend Hans Meyrick, sees the compassionate affection quality which
Deronda possesses when he saves Mirah Lapidoth on their first encounter where
she nearly committed suicide from drowning (411). Hans also relates Deronda’s
goodness and virtues to his family (197). For Daniel, his compassion and
goodness has no reservations; he always has an ear for Gwendolyn’s troubles,
looking out for Mirah’s wellbeing and that of his friends like the Meyrick
family as well as for those outside his own assumed age, class, race and
ethnicity. Deronda is a person who gives attention to all, including the
usually seen-but not heard children. This causes one mother to become
“enchanted with this handsome young gentleman, who appreciated remarkable
children” (346). These virtues that Deronda possesses are a great asset to
Daniel that help smooth over the mystery of his paternity in the Victorian Era.
Not
knowing one’s paternity in the Victorian Era was a humbling experience;
therefore, it is an important factor that molds Deronda’s character. Growing up
believing that he is an illegitimate child in the Victorian Era proves to be
humbling for Deronda. This element plays a dynamic role in Deronda’s life which
molds him into a compassionate individual. He demonstrates these
characteristics by being able to befriend Gwendolyn prior and after her
marriage to Grandcourt. Even when he has at one time been attracted to her, he
puts aside his own feelings and doesn’t condemn her for her choice of marriage.
Rather, he demonstrates true compassion by simply listening to her and
encouraging her to live, and to not pity herself but to focus her energy on
others whose plight is far worse than her emotionally abusive marriage. Deronda
pities her in her choice of marriage, “poor thing! She may have been urged into
it. How can one feel anything else than pity for a young creature like that”
(356). Another example of Deronda’s compassion is when he saves Mirah’s life. “He felt an outleap
of interest and compassion toward her” that Deronda not
only saves her life, but helps reconnect her with her long lost family (165).
Eliot interestingly depicts Deronda as a self-sacrificing individual who puts
others before himself. Daniel might not have this quality of compassion which
he has developed through the humbling knowledge of his questionable paternity.
 |
| The Meyrick Family |
Another characteristic that Deronda has
developed as a consequence of the embarrassment that he has endured on the
subject of his unknown parentage is his ability to adapt easily in any circle.
He easily blends into the parties of the higher class hosted by Sir Hugo and/or
his friends (386). There are also his middle class friends like the Meyrick
family whom Deronda often spends time with, where he is quite at ease as well
(178). Deronda is also quite comfortable outside of his own cultural circle.
While searching for Mirah’s family he encounters Ezra Cohen’s shop and his
family and eventually Mirah’s own brother Mordecai. Believing that there is the
possibility that they are related to Mirah, Deronda even spends the Sabbath
with them (350). Deronda’s respect for the family and curiosity of their
culture and religion “thus left the most favorable impression behind him”
(347). Deronda is easily adapted to any circle he enters despite social class,
culture and religious differences demonstrating the humbleness he’s developed
as an effect of his unknown paternity.
 |
| Deronda's Jewish mother |
Eliot finally brings readers to light about
Deronda’s paternity which defines his identity in the Victorian Era. Deronda’s
answer to his paternity comes by letter from his mother, Princess Leonora
Halm-Eberstein (540-541). In this moment where Deronda discovers his paternity,
he is neither an illegitimate child, nor is Sir Hugo his father, but an old
friend and admirer of his mother. He discovers his father is dead and his
mother a once renowned vocalist. However, the most important factor which
Deronda discovers upon meeting with his mother in Genoa is that they are of
Jewish decent (550). Deronda discovers that the primary reason why his mother
placed him under the care of her admirer Sir Hugo is because as she states,
“the bondage I hated for myself I wanted to keep you from. What better could
the most loving mother have done? I relieved you from the bondage of having
been born a Jew” (550). Knowing about his paternity is something important to
Deronda, yet the discovery that he is a Jew is not welcoming by Victorian
society. If people that he encounters from the higher classes possessed this
knowledge, he may be ruined, socially speaking. Due to the anti-Semitism in the
Victorian Era, Deronda is committing a form of social suicide by accepting his
paternity, no longer fearing the truth, but embracing it whole heartedly. With
his encounters with the Cohen family and eventually Mirah’s own brother
Mordecai, Deronda becomes more aware of what his purpose is on earth. Constance
M. Fulmer, author of “Daniel Deronda” a work analysis explains that Deronda’s
“moral perception broadens as he becomes aware of his own identity and his
mission as a Jew” (Fulmer). Through the discovery of his parentage Deronda
finds the purpose and meaning for himself that he has been seeking for a long
time.
 |
| Deronda's Jewish Wedding Ceremony |
Deronda’s previous experiences determine his
future decisions once his paternity is established. Now that Deronda possesses
the knowledge that he is Jewish he embraces his culture and religion,
incorporating it into his life.
According to the article “Daniel Deronda (1876)”, through his friend
Mordecai, Deronda embraces “his vocation and leader of his people”. This
greatly influences his decision in marrying the beautiful Mirra Lapidoth
instead of the recently widowed and liberated Gwendolyn Grandcourt (704). The
news is a bit of a disappointment for his mother who wished to free him from
the Jewish label and for Sir Hugo who’d hope for an English gentleman’s life
for Deronda. Some see it as Deronda throwing away all his potential and life
away by associating himself with the Jewish people through marriage with Mirah.
According to Constance M. Fuller, author of “Daniel Deronda” a work analysis,
she states that Deronda learns “that to lose one’s life is to find it”
(Fulmer). Throughout the journey of his life he has faced shame and developed
humility while becoming a compassionate individual. The experience that Deronda
has lived from childhood to adulthood have prepared him for the life he has
chosen with Mirah. Carolyn F. Dickinson, author of the work analysis essay on
“Daniel Deronda” writes how this “discovery resolves dilemmas of identity and
vocation” for Deronda (Dickinson). Readers see how important paternity is
considered to be in the Victorian Era and the consequences of knowing or not
knowing one’s paternity.
Eliot’s novel of Daniel Deronda is a large
journey of Deronda’s self-discovery of his paternity and the great importance
that it had in the Victorian Era. One’s paternity could either make you or
break you in society, determining whether or not one is permitted into the
in-crowd of Victorian Society. However, Eliot also showed the negative
emotional effects of not knowing one’s paternity as well as the benefits of the
ignorance of it and the positive consequences that molded the affected
individuals into stronger characters like Deronda.
Works Cited
"Daniel Deronda (1876)."
The Novel 100, Rev. ed.: A Ranking of the Greatest Novels of All Time Daniel S.
Burt. New York: Facts on File, 2010. 298-303. Facts on File Library of World Literature. Gale Power Search. Web. 18 May 2014.
Dickinson,
Carolyn F. "Daniel Deronda." Magill’S Survey Of World
Literature, Revised Edition (2009): 1.
MagillOnLiterature Plus. Web. 21 May 2014.
Eliot, George. Daniel Deronda. New
York: Barnes & Noble Classics, 2005. Print.
Fulmer, Constance M. "Daniel
Deronda." Masterplots, Fourth Edition (2010): 1-3. MagillOnLiterature
Plus. Web. 21 May 2014.
.png)
_(3816540623).jpg)
