EMILE ZOLA & GEORGE ELLIOT

We see this theme visualized early on in the novel, when we see the description of the Veoreux, which sum the voracious one. The work pit represents a devour monster, devouring the landscape as readily as the souls of the people who take in that respect "This pit, piled up in the bottom of a hollow, with its hunker brick buildings, raising its chimney like a threatening horn, seemed to him to overhear the evil air of a gluttonous beast crouching there to devour the earth."

Yet, despite the devouring monster of the men who proclaim the means of production, the individuals within Germinal have among them those who are subject to resist being turned into a commodity as opposed to being treated as a gay being. One of the characters this theme is most captured within is Catherine. Catherine almost dies from asphyxiation at the beginning of the mining disaster. She then endures an extended flow of criminal suffering, unless in the end she survives it all in pretty good condition. In her attempt to escape she suffers the brutal climb come to the fore of the pit barefoot. She falls and is injured but through the help of others she is brought into the sunshine, an action symbolic of the theme that in order to attain a brighter day the workers had to climb out of the pit "She never knew how she reached daylight, carried up on people's shoulders, supported by the throttling narrowness of the passage. Suddenly she found herself in the egregious su

Elliot, G. Middlemarch. Bert G. Hornback (ed.). newfangled York, W. W. Norton & Co., 2000.

Individuality or the unique humanness of each individual is what represents freedom, love and design in Middlemarch as opposed to usual connection with others. For the common spots of connection in Middlemarch's society represent the dictatorial constraints of entrenched social values which are perceived as absolutes.

More humanist than theologian, Elliot's highest love is self-possession and love of self, a perception of the world where the laws of self are the laws one in person administers. Dorothea is meant to represent this ideal in the novel, a woman who is scraggy by her environment, one who is not understood and therefore is not able to employ the full range of her talents and gifts. Both of Dorothea's marriages tolerate to this frustration, the products of a society where female impossibility more than voltage is the norm. We see this in Dorothea's self-deprecation regarding her own learning when she discusses painting with lead "It must be my own dulness. I am perceive so much all at once, and not fellow ruleing half of it. That always makes one feel stupid. It is painful to be told that anything is very fine and not be able to feel that it is fine?something like being blind, while people gibber of the sky."

nlight, in the midst of a yelling crowd who were hooting her."

Zola, E. Germinal. Havelock Ellis (transl.). New York, Doubleday & Company, 1961.

As profound in detail and intertextual relationships of the individual lives por
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