Strange Customs

Strange Customs; going inward to yield outward results. 

When Silas communicates in a “slow and difficult process” to Dolly about the “dark shadows” of his past, it is not because of the wickedness he encountered that was not part of her outward experience that she didn’t understand, but that every novelty Silas explained to her of his past, became a source of wonder (118).  Raveloe produced the naïve and humble Dolly, in George Eliot’s 1861 novel Silas Marner.  In Thomas Carlyle “Signs of the Times” essay of 1829, he predicted that “knowledge, education are opening the eyes of the humblest; are increasing the number of thinking minds without limit.” The basis of the interaction between Silas and Dolly is the personal relationship that is lacking in The City of the 19^th Century along with the debate about where does man’s purpose lie; within him, or without, inward or outward? The main question to begin this debate would be; do relationships, or possessions guide the motives of man?

Carlyle reacts against the motives of society, which he believes has also become a machine. The public policing is shown when Dolly explains Raveloe’s expectations of Silas; to spend Sunday’s with the community and bring Eppie to Sunday church. Eliot is showing the gulf between the strange differences of City and Country customs, which completely contrast with each other as well as showing that if one wants a satisfying inward personal relationship, one must acquiesce to the outward. So even if one’s motives begin from within, they cannot be fulfilled unless society gives its approval.

Eppie, the product of Silas, and of her godmother, Dolly, evolves into the symbol of innocence and virtuous freshness. Although there is not a genius to her, (which would have proven Carlyle’s Dynamic inspiration theory with more emphasis, darn it Eliot), there is a wonderful sense of loyalty to humanism seen; Eppie is not persuaded by class structures, or riches, and in turn Eliot shows her rejecting the Industrial and Mechanical era. She has surpassed Marner’s greed with her grace. And this action places emphasis on Carlyle’s summation that “Beauty is no longer the god it worships, but some brute image of Strength; which we may call an idol, for true Strength is one and the same with Beauty…” Eppie’s strength to turn down Cass’ offer, choosing a familiar custom instead, guarantees that the “inward”, although proving to shield no results in the Mechanical Age, produces what Carlyle suggests the greatest element of a wise man; the “human enjoyment, the attainments and possessions that exalt man’s life to its present height.” By outwardly rejecting the royalties of her lineage is a slap in the face of the industrial age; clearly the internal virtues of love and devotion outweigh any external gifts; being it come wrapped up nicely by one's bloodline, riches, social class or land ownership. Eliot is reacting against the Industrial age and fulfilling what Carlyle considers “the thinking minds of all nations call for change.” Eppie becomes the symbol of one’s inward and virtuous Nature, which the readers of Eliot romanticized about emanating.