GEORGE ELIOT’S MIDDLEMARCH concludes with the summing up of the lives of her most visionary characters, bringing them to either happy fulfillment or early demise according, not to the worth of their dreams but, in part, to their success or failure in choosing a domestic partner. For Dorothea Brooke, Middlemarch’s most luminous and large-souled citizen, Eliot can finally justify no other existence than that of a devoted wife and mother. Eliot defends this apparent demotion of her heroine from modern Saint Theresa to London matron by arguing that her “study of provincial life” was of necessity the story of domestic times, when, in fact, the “heroics” of raising a family and offering “wifely help” to a husband were more noble than sororal obligation or religious mysticism. Though the novel is set in the late Georgian period just before the first Reform Bill of 1832, it was published in 1871–72, at the height of the Victorian era and is thoroughly Victorian in character. For the Victorians, the “reformed rakes” of Richardson and Fielding are no longer desirable as heads of households. The Queen herself seemed to offer a model of perfect domesticity in her large family, middle-class values, and reliance on her husband. In fact, just as Eliot concedes the dominance of the “home epic” (890), the myth of the Victorian family continues to maintain a powerful presence within contemporary American culture. Questions that still consume us today — What makes a good mother?
