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We form intimacy with characters because we recognize the characters feelings and responses in ourselves. Middlemarch begins with the idealism of youth – that common search for good, the desire to be heralded for creating good in the lives of others around us, creating our sympathetic entry into the story. Dorothea, how she interacts with her other cast members and lives life, exemplifies what is sympathetic in Middlemarch.... Bibliography lists 2 sources. jvMidlmr.rtf
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words from the page, my intimacy with them is more like an intimacy with myself, or with some aspect of myself, than it is with another, with someone over there,
beyond those footlights, under that arch, looking out over those waves, worried, from those rocks. But what aspect of myself might I be intimate with in being intimate with the
characters of a novel?" (Miller 66). We form intimacy with characters because we recognize the
characters feelings and responses in ourselves. Middlemarch begins with the idealism of youth - that common search for good, the desire to be heralded for creating good in the lives
of others around us, creating our sympathetic entry into the story. The concept of sympathy begins, of course, with the first words on
the page of Middlemarch. In them, Eliot draws in all audiences: girls, women, men, and everyone else by daring readers to explore the "history of man" (Eliot 7). She invokes
the human spirit in "the life of Saint Theresa," the "little girl" by having her walk "hand-in-hand with her smaller brother" at the dawn of day, the couch warrior who
seeks adventure of "martyrdom in the country of the Moors," and the woman interested also in becoming the warrior with beating "human heart" (Eliot 7).
With such a hook, followed by a history of the "fellowship" of women who are foundresses "of nothing" (Eliot 8), this leads us to believe that the rest
of the story is a treatise, and we again are sympathetic to the story. Then, we become disappointed after such an auspicious beginning to enter the pageant world of the
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