International Journal of Academic Research and Reflection
Vol. 2, No. 1, 2014
THE REPRESENTATION OF LUCY AS A TYPICAL VICTORIAN WOMAN AND
MAGGIE AS A CHANGING VICTORIAN WOMAN IN GEORGE ELIOTS NOVEL
THE MILL ON THE FLOSS
Sakina Younas, Anum Yaseen, Shumaila Hanif, Sana Razzaq, Anees Fatimah & Sidra Ijaz
Department of English, University of Sargodha, Sargodha, Pakistan
Corresponding Author E-mail:
[email protected]ABSTRACT
The article focuses on Maggies representation as a changing Victorian woman which is the
indication of modernity started prevailing in the end of the Victorian period, and in contrast,
there are female characters mainly a character of Lucy, who is typical Victorian lady, apparently
and as well as in her taste and manners, in the George Eliots novel Mill on The Floss. In this
article the representation of these two ladies are given through two aspects, one is through their
appearances and the way they dressed up, and the second is their nature and their mental
tendency, as Eliot shows in this novel through psychological analysis of the characters.
Keywords: Victorian women, Character Lucy, Character Maggie, George Eliot, Mill on the
Floss, Patriarchal pressure.
INTRODUCTION
Maggie is the heroine of Gorge Eliots Mill on the Floss. Lucy is her cousin. Both of them
belong to the truly typical Victorian families. Maggie is quite in contrast not only physically but
mentally too to the typicality of Victorian people especially the women of that age. Due to this
contrast, she has to face a lot of problems and her personality draws a negative impact on the
blind followers of set patterns and norms of society. On the contrary Lucy has no such problem.
She is a true portrayal of a typical Victorian woman. This study is representation of both these
ladies.
Maggie Tullivers Unconventional Appearance in Contrast to Lucy
The Mill on the Floss, a novel written by George Eliot, tells a story about a girl named Maggie
Tulliver, the main female character in the novel. The women she portrays in this novel are
typical Victorian, except Maggie who in contrast with other female characters is quite different
not only in appearance but also in manners, which gives the indication of changing of Victorian
women in new modern women. Our main focus is on the female characters that apparently and
inwardly the female characters are quite typical, but Maggies position which evokes much
negative attention because her physical features diverge from the norms of the upper class
society.
The appearance of Maggies outward being includes her unusual facial features, her undesirable
hair and the dark complexion of her skin. Maggies appearance is portrayed as unattractive in
contrast to the Victorians ideals of beauty. Moreover, her physical qualities are sharply judged in
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contrast to her cousin Lucy who in the novel symbolizes beauty and Maggies traits are instead
associated with Gypsies.
The Fashion in this Victorian society changed from the gauzy look of dresses to the bell-shaped
figure draped with heavy fabrics. A crinoline consisted of many layers of fabric worn under the
dress but as time progressed, instead of layers of petticoats, women wore a caged crinoline, an
apparatus that looked like an inverted, cone-shaped trellis designed for a rather large creeping
plant (Pool 214).
As Mill on the Floss was published in 1860, Eliot would have been aware that the crinoline was
essential to most women, regardless of class. Whether young woman wore a crinoline or not, yet
they were taught to dress properly. Fashion of Victorian women represents in this novel, in the
form of Lizzy. Maggie seems discomfort when the ruffle stitched to gown irritated her neck and
she was frowning and twisting her shoulders, that she might if possible shrink away from the
prickliest of tuckers. It is understandable that a ruffle stitched to the neck of a gown might
irritate a child, but Maggies rejection of fashion early in her life would lead to her rejection of
other types of conventions.
Maggie rejects conventional fashion and it shows when Mrs. Tulliver makes Maggie a dress
from a piece of Mrs. Gleggs older clothing, and induced Maggie to wear the dyed silk frock.
But Maggie, declaring that the frock smelled of nasty dye basted it with the roast beef the first
Sunday she wore it. But here Maggies behavior is understandable: the dress smelled and her
brother made fun of how she looked in it. At the same time, Eliot writes that it was a sin and a
shame to buy anything to dress that child [Maggie], if it wasnt a pair of shoes. Because she
connects the idea of sin and shame to dress, Eliot suggests that Maggies future will be full of
ignominy. Another humorous example of Maggies rejection of fashion occurs when the Dodson
relations criticize her hair. In an impetuous act, Maggie cuts her hair, her brother Tom, said that
her hair made her look like an idiot, and it was too painful an idea to be readily forgotten
In addition, Maggies dress had no sleeves, only a cape and bonnet and she was not likely to
make a favorable impression on anyone she met. A sleeveless dress, one cut from one of Mrs.
Gleggs old dresses, was out of fashion, and showed a little too much skin. Later in the novel,
other young ladies notice Maggies dress. As a result of Toms comments regarding her dress
and hair, Maggie is humiliated and runs away. In the gypsy camp, her dress is received
differently from how it was at home. The gypsies offer an admiration of her dress that contrasts
Toms repulsion. One gypsy says that Maggie wears such a pretty bonnet and frock. Maggie
then shares her dislike of proper fashion with the girl: I wont want to wear a bonnet she said;
Id rather wear a red handkerchief, like yours.
Maggies hair is also indicative of her nature. Mrs. Tullivers dislike of her daughters locks
several times hinted in the novel. Mrs. Tulliver feels her daughters hair is unruly and rough
especially when she is attempting to curl it in the proper fashion. In her youth, Maggies hair
becomes slightly more fashionable and her hair is braided and coiled which was acceptable in
Victorian society. Yet, like her nature, it is still unable to match to the proper fashion. Eliot
hinted once that she [Mrs. Tulliver] would still brush and carefully tend Maggies hair, which
she had become reconciled to, in spite of its refusal to curl, now it was so long and massy
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Maggies hair is symbolic of her nature. Its refusal to become typical Victorian girl, symbolizes
her refusal to bow to convention. And, like many Victorian women who strove to be different,
Maggie was doomed to fall. Almost a double standard to the modern mind, Maggies
acquiescence to her mothers desire for Maggie to have her hair decorated in a coronet on the
summit of her head after the pitiable fashion of those antiquated times In giving in to the vain
decoration which showed a queenly head above her old frocks
It is Stephen who, when he first meets Maggie, cannot hide his attraction to the dark-eyed
nymph with her jet-black coronet of hair Philip also worships Maggies hair. While spending
time in the Red Deeps, Philip likens her to a god. It is obvious to the reader the difference
between Maggie and her cousin Lucy. Even at an early age, Lucy is described as pretty and
neat, as no accidents ever happened to her clothes .The only accident to befall Lucy occurs
when Maggie, jealous of the attention lavished on Lucy by Tom, pushed the poor little pinkand-white Lucy into the cow-trodden mud Pink and white, as opposed to the red associated with
Maggie, are appropriate colors for a young lady. Instead of wondering who pushed her down, all
Lucy ponders is the spoiling of her pretty best clothes and the discomfort of being wet and
dirty ,like any proper young female child should do.
Almost perfect, Lucys thoughts mark a clear contrast between those of Maggie, whose thoughts
can run from stormy to sunny in a second. Later in the novel, when a young adult, Lucy is
described as slight and aerial and wearing faultless drapery of silk and crepe These
descriptions show that Lucys character doesnt change. Clad in the finest cloth, she is, and stays,
nearly flawless. In addition to clothing, Lucys hair is also always in fashion. To start, Lucy has
blonde curls. Her curls are always perfect, and when visiting her cousin as a young lady,
Maggie smiles and holds up one of Lucys long curls, that the sunlight might shine through it
One other contrast between Maggie and Lucy occurs in Confidential Moments. Lucy visits
Maggies bedroom to discuss their musical evening in her white dressing-gown As white is the
color of innocence, as well as the fashionable color worn by most unmarried ladies, Lucy is
wearing the perfect color. Maggie, however, wears a pink cotton gown.The color pink is made
by combining the colors white and red, and as red is associated with passion, the color of
Maggies gown is symbolic of her personalitys mix of passion and innocence. While Lucy can
get away with wearing the color pink, because her character holds no hint of passion, Maggie
cannot. The difference between the two fabrics of these gowns also illustrates the difference
between the two classesa dressing gown is slightly more fancy than a gown of simple cotton.
Maggies imperfect facial features show, a sharp contrast in the presence of
Lucy, whose features are highly admired by her aunts. The following passage illustrates the exact
opposites of the cousins and the reaction they cause. Maggies appearance is attractive and her
facial features diverge from beauty norms and are therefore disliked by her relatives. The face
was fundamental in determining feminine beauty during the Victorian era and highlights that the
Victorians valued smooth, pink and rounded cheeks, fairly large eyes, small, straight noses and
little rosebud mouths. So, it can be argued that Lucys traits resembles with the Victorians
ideal of feminine beauty and are therefore highly valued, while Maggies lack of beautiful
physical features becomes a strong indication of non-femininity.
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Throughout Maggies childhood, the outer beauty of the female body is the essential element in
establishing the personal value of women. This can clearly be noticed in the judgments of
Maggies outer self where she is the target of criticism. Her mother and her aunts in particular
are very observant. On the occasion when all of the family members are gathered to have dinner
together, the following discussion regarding Maggies hair and her dark complexion arises
between her aunts and her mother:
I think the gell has too much hair. Id have it thinned and cut shorter, sister, if I was you; it isnt
good for her health. Its that as makes her skin so brown. It shouldnt wonder. Dont you think
so, sister Deane? I cant say, Im sure sister, said Mrs Deane, shutting her lips close again and
looking at Maggie with a critical eye. No, no said Mrs Tulliver the childs healthy enough
theres nothing ail her. Theres red wheat as well as white, for that matter, and somelike the dark
grain best. But it ud be as well if Bessy ud have the childs hair cut, so as it ud lie smooth.
Through these dialogues, it is evident that the prevailing discontent causes a strong desire among
the aunts to alter Maggies outer appearance. Apparently, even though Mrs. Tulliver, Maggies
mother, offers some defense of Maggies dark complexion, it emerges to be undesired and
therefore criticized, which in our opinion has its roots in brown skin being representative of the
low rank in the current social hierarchy during this historical period.
Moreover, the beauty norms of the upper class, which Maggies aunts are members of, are very
much influenced by class standards. Therefore, light skin and curly blond hair are highly valued
by Maggies aunts because they uphold the values of the upper class where the ideals of beauty
in the superior class because of her failure to fulfill the decisive requirement for gaining social
status.
Eliot, through the character of Maggie, powerfully demonstrates how a females behavior and
character determine her social status, her possibilities and limitations. Finally, the presented
evidence of Maggies appearance shows that the deviations in her facial features lie outside the
typical upper-middle-class female beauty norms which result in Maggie represents as an
unattractive lady. Her dark, straight hair and her dark complexion are indicators of ugliness
which contribute to the exclusion from her own social class.
One social norm that Maggie becomes acquainted with very early on is about education. Boys, as
they are expected to be involved in business and public matters when they grow up, are given a
comprehensive education. Girls, on the other hand, are not provided with such an opportunity.
They receive only a perfunctory education, which Eliot calls shreds and patches of feeble
literature and false history. Maggie has better at understanding Latin than Tom, and she helps
her brother with his homework. It shows that Maggie is quite different than typical Victorian
women in her mental capabilities.
A look at Maggie's overall character at this point may give an idea as to why she goes against
social norms and disagrees with perceptions about women, what guides her actions and why she
fails. From childhood, Maggie is not what is expected of a girl her age: she is tomboyish, always
getting her pinafore dirty by romping about outdoors, she can't tolerate the procedure of having
her hair curled and her mother cannot keep her in bonnets.
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In short, she does not fit into the confines that define what a 'proper' little girl should be. Her
physical aspects having unruly hair, her skin being darker in color than the Dodsons meet
with her aunts' disapproval, as well as her wayward.
Maggies Unconventional Mentality
Maggie is often inclined to do what she feels to be right, without much thought for how her
actions may be viewed by others. She is a young woman who speaks her mind when she deems it
necessary, as seen in some of the examples given earlier. Also, when she first refuses Stephen,
she does not care for what other people will think of her decision, she stands by what she has
decided, by her own sense of right and wrong, for as long as possible, and tries to resist being
directed by false public opinion about her. Maggie is also independent in spirit, if she cannot
always be so in fact. After Tom rejects her because she has not married Stephen, she wants to
earn her own living and not be dependent on anyone:
A comparison between Maggie and the other women characters shows that there is really only
one prototype for the rest of the women in the novel. And that is the type of woman belonging to
the category of those who conform to society's standards. All of Maggie's aunts and Lucy fit into
this description. Lucy, in outward appearance and behavior, is correct in every way, the image of
the proper young lady - never getting her clothes dirty or indulging in naughty behavior, her hair
always in place. Mrs. Tulliver even regrets that she is not her daughter, instead of Maggie.
The Dodson sisters - Aunts Pullett, Glegg and Deane can be considered the standard of what is
proper for married ladies. Household duties and womanly concerns such as following the latest
fashion in bonnets, having the best lace etc. are all that interest them. Maggie's father's only
sister, Mrs. Moss, on the other hand, is also an epitome of womankind in another way. She is the
image of fertility, a kind of earth mother figure, with her eight children. Although not happy with
the financial and physical difficulty of looking after so many children, she sees it as her lot in life
and is resigned.
Thus, there are only two comparable types of women in The Mill on the Floss. One is Maggie,
who is aware of the restrictions placed upon her by society but cannot act on this awareness,
except for her passive resistance to marriage, and the second is all the rest, who conform. It tells
instead of women that one would be more likely to encounter in real life in the England of the
early 19th century, the large majority who would not or could not rebel. When Maggie grows up
to be a beautiful woman in spite of her brown skin, and she starts to attract peoples attention she
becomes the culmination as an admired member of society in St. Oggs society. Maggie is
attractive precisely because she is different from other women. She also starts to get appreciation
for being clever. The appreciation comes from Philip Wakem and Stephen Guest. Slightly above
Maggies social status, Philip and Stephen are more appreciative in recognizing the value of
Maggies intelligence.
At the St. Oggs bazaar and in party, Maggie draws admiration from men and envy from the
women. However, she still thinks that Lucy is a better woman than she is:As if I, with my old
gowns and want of all accomplishments, could be a rival of dear little Lucy, who knows and
does all sort of charming things, and is ten times prettier than I am even if I were odious and
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base enough to be her rival. Maggie at this point has already internalized her societys norms of
what is considered favorable for a woman. Therefore, she thinks that she has less value because
she does not comply with the norms. Having been living a hard life after the family misfortune
and having been made to believe that she is not physically attractive, Maggie comes to believe
that: the light complexion girl would win away all the love and the blond-haired women carry
away all the happiness Maggie has read the images of these light complexion, blond-haired
women in the novels she has read. Even what she reads defines her as doubly other because
she is a brown, black-haired woman and throughout the novel she struggles hard to repress her
desires.
The young Maggie never finds a home for her soul. She painfully realizes that the world is
harsh. People do not treat her as she expects them to do (not until she meets Philip and Stephen
that she finds people who can treat her appropriately). She can only find the agreeable, tender
and delighted people in books. However, she has to give up even her books because reading the
books makes her want to have more from life than she can. Having always been constantly
opposed by her family and her social circle for her desires, Maggie learns to distrust herself and
adjust herself to the standard imposed on her by the external authority. Her need for approval and
love prevents Maggie from exercising her internal resources.
Maggie is denied the opportunity of making her own choice and judgment. She gradually learns
to accept other peoples definition about her. She learns to undermine herself. Maggie reads all
the books that are left from the family misfortune, but the knowledge that she gets from the
books does not help her much in real life. She wants people to recognize her good qualities and
sympathize with her emotion. She wants it mostly from Tom, but both Tom and other people fail
her hope. Therefore, she turns to religious books to repress her desires.
Unable to get recognition and sympathy from the world, Maggie tries to look inward to selfsufficiently fulfill her needs. Maggie turns to self-renunciation. Maggie knows that people
consider her different, and she accepts their conception. Since it is mainly her desires that set her
apart from other girls, she is determined to repress them. However willing she is in her
renunciation, she is still yearning for love, understanding and recognition which the world cannot
give her.
Maggie knows that she is not made happy by repressing her desires, but she also knows that it is
the only way for her to survive, to get acceptance and love.It is indeed a form of suicide when
Maggie always represses her own desires. Philip tries to convince Maggie not to deny herself and
seek safety in negation. He offers to support Maggie in her struggle, supplying her with books
and becoming her brother and teacher. He says: It is less wrong that you should see me than you
should be committing this long suicide. Denying herself, in Philips opinion, means taking away
life from herself. Maggie is willing to accept Philips offer. She even admits that she loves
Philip. Yet, Maggie is again forced to deny her desire because Tom does not approve her
relationship with Philip.
Philip understands Maggies desires and loves her the way she is. His recollection of childhood
memory shows that they both have things in common: intelligence and sensitivity. Philip sees
Maggie as the other but in a more positive sense. Maggies intelligence and sensitivity that
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cause her trouble when she was a child, are the qualities that make her differ from other women,
yet make Philip love her. Philip, however, fails to convince Maggie to set up her own standard
and follow her desires. Maggie says: I begin to think there can never come much happiness to
me from loving. I have always had so much pain mingled with it. I wish I could make myself a
world outside it, as men do. This statement represents Maggies bitter experience with Tom.
Maggie struggles all through her life to get Toms love, and she feels a lot of pain because of
Toms conditional love. Therefore, she feels the need of a world outside affection although she
knows there is no such world for her because she is a woman. Philip tries to make her see that
her statement shows that what she is doing is renunciation, a way to escape from pain. Maggie,
however, has made herself believe that she has to submit herself and adopt the inferior position.
Being a young adult, Maggie still seeks Toms love and approval. In her relationship with her
brother, Maggie is always the other. Maggie is the one who always has to follow what Tom
wants, not only because she is younger but mostly also because she is female.
Their relationship is never equal. Maggie chooses to succumb to whatever Tom wishes her to do,
even when it means denying her own desires, even though it is not without resistance. Tom
forbids Maggie to see Philip because he thinks that by seeing Philip, Maggie disobeys and
disgraces her father. Realizing that disagreeing with Tom is useless, Maggie agrees saying:
Because you are a man, Tom, and have power, and can do something in the world Toms reply
emphasizes what he believes about what man can do and woman cannot. He says that if Maggie
knows that she cannot do anything in the world, she should submit to those who have power
and can do something in the world. In his effort to force Maggie to give up Phillip, Tom
arrogantly tells her,
You might have sense enough to see that a brother, who goes out into the world and mixes with
men, necessarily knows better what is right and respectable to his sister than she can know
herself. You think I am not kind; but my kindness canonly be directed by what I believe to be
good for you
Toms statement confirms the binary of Self/Subject and Other. His remark: a brother, who
goes out into the world and mixes with men, necessarily knows better signifies the notion of
men occupying the public sphere and women the domestic sphere. It also suggests that even
though both Tom and Maggie have their own experience in the world, Tom privileges the kind of
world that he experiences over the world that Maggie experiences. Tom sets up the standard and
denigrates the kind of knowledge that she has. In other words, his version of the world counts,
and her version of the world does not. He is the active and knowing subject. Therefore, he self
importantly insists that his sister always follow his will. As a man, Tom sets himself up as the
standard. Maggie, on the other hand, also realizes the privileges that men have over women.
St. Oggs society does not see women for what they are capable of doing. When Philip tries to
get his fathers consent to marry Maggie, Philip says that Maggie was never involved in their
families dispute. Mr Wakem replies: We dont ask what a woman does we ask whom she
belongs to. It is indeed what society thinks of womans worth. It applies strictly to Maggie in
her case with Stephen Guest, the son of the owner of Guest & Co., who is attracted to Maggie for
being clever and intelligent. Maggie goes out for a rowing with Stephen, but their boat is carried
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further away so that they are unable to go back in time. Acknowledging their mutual feeling of
love, Stephen proposes to marry Maggie. Maggie refuses the proposal because she feels that it is
wrong to hurt Lucy and Philip. Confronting herself in a conflict of duty and desire,
Maggie chooses to give up her desire, although she is tempted to accept Stephens proposal.
Stephen has warned Maggie of the consequence if she goes home unwed, but Maggie insists.
When Stephen says that she does not know what will be said and that she sees nothing as it
really is, Maggie still believes that since she is innocent, people will believe her. Poor Maggie is
wrong. When Maggie comes home alone after few days, she is rejected by Tom, I loathe your
character and conduct. You struggled with your feelings, you say. Yes! I have had feelings to
struggle with; but I conquered them. I had a harder life than you have had; but I have found my
comfort in doing my duty. But I will sanction no such character as yours: the world shall know
that I feel the difference between right and wrong
Again, Tom sets himself up as the standard. He values what he does and denigrates Maggies
feeling and conduct. He does not try to understand Maggie and cannot forgive her because he
thinks Maggie does not follow what he asks her to do. He strongly believes that he has done his
duty, while Maggie only disgraces the family. Although Maggie is as innocent as before, society
considers her as a fallen woman. If she comes home married, people will forgive that she runs
away with Stephen. What she does is less important than whom she belongs to. Because she
comes home unmarried, she does not belong to anyone, thus she is made an outcast. She is being
othered yet again by St. Ogg society as a whole.
Refusing Stephens proposal but giving into her desire for him, Maggie let herself be doublyothered because she is now seen as a fallen woman. Although Stephen writes a letter
explaining that Maggie is innocent, nothing can help Maggies position once she is taken as a
fallen woman. Dr Kenn, the clergyman, says, That letter, as I said, ought to suffice to prevent
false impressions concerning you.
But I am bound to tell you, Miss Tulliver, that not only the experience of my whole life, but my
observation within the last three days, makes me fear that there is hardly any evidence which will
save you from the painful effect of false imputations Dr Kenn is right in his judgment of the
rigid society which will not spare Maggie. He suggests that Maggie leave the town, but Maggie
insists on staying. Maggie still struggles, even when Dr Kenn, the only respectable person in the
society who lends her a hand, gives up. He releases Maggie from the position of a governess,
because he cannot bear the criticism of the society. It accuses him of an intention to marry
Maggie. Although Maggie is innocent, she plays the role of a fallen woman inadvertently and
then is force into repeating it. She refuses Stephens final proposal: I will bear it, and bear it till
death Accepting Stephens proposal will save Maggie from being a fallen woman, but Maggie
chooses not to accept it. Performing acts as a fallen woman, Maggie in essence becomes one
until death comes to her.
Maggies End
Maggies struggle ends with her final reconciliation with Tom through the flood. The resolution
in the death of Maggie and Tom, according to David is: an emblem of irresolvable contention
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between the Victorian containment of woman to an undeveloped intellectual life and the
elevation of one woman intellectual to iconic sage hood Maggies death, in my opinion,
strengthens the notion that woman is always in struggle to find her place in the male dominated
world. Being both other and doubly other, not only in the eyes of men but also of women who
hold up patriarchal norms, Maggie struggles until the end of her life.
CONCLUSION
The journey of Maggie from her childhood to youth is contrasted with Lucy not only by readers
but also by their relatives, which is clearly shown in above description. The physical appearances
and their mental aptitude also compares throughout the novel, which shows that both of them
were totally different. Lucy, who was typical, was admired in that society, but Maggie, who was
unconventional became the victim of that Victorian society, who in actual was representative of
modern woman of this age. In this modern age Maggie is acceptable and admirable, but
unfortunately that type of girls, were victim of criticism in the Victorian age.
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