Abstract

This essay uncovers George Eliot’s parodic staging of G. E. Less-ing’s Laocoon in the tableau vivant in Daniel Deronda, showing how Lessing’s writing scaffolds crucial scenes of ekphrasis in the novel. Scholars argue that George Eliot aligns herself uncritically with Lessing, but this essay offers a new understanding of how she plays with his central binary of visual stasis and narrative movement to reveal Gwendolen Harleth’s gradual progress. On a larger level, it shows how George Eliot invokes Lessing’s distinctions to counter contemporary visual artists who aestheticized tragic female stasis, notably the Pre-Raphaelites and other artists such as Gustave Doré.

pdf

Additional Information

ISSN
1522-9270
Print ISSN
0039-3657
Pages
pp. 875-899
Launched on MUSE
2014-12-01
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.