Publisher's Synopsis
Daniel Deronda is a novel by George Eliot, first published in 1876. It was the last novel she completed and the only one set in the contemporary Victorian society of her day. Its mixture of social satire and moral searching, along with a sympathetic rendering of Jewish proto-Zionist and Kabbalistic ideas, has made it a controversial final statement of one of the greatest of Victorian novelists. The novel has been adapted for film three times, once as a silent feature and twice for television. It has also been adapted for the stage, most notably in the 1960s by the 69 Theatre Company in Manchester with Vanessa Redgrave cast as the heroine Gwendolen Harleth. Daniel Deronda contains two main strains of plot, united by the title character. The novel begins in late August 1865[1] with the meeting of Daniel Deronda and Gwendolen Harleth in the fictional town of Leubronn, Germany. Daniel finds himself attracted to, but wary of, the beautiful, stubborn, and selfish Gwendolen, whom he sees losing all her winnings in a game of roulette. The next day, Gwendolen receives a letter from her mother telling her that the family is financially ruined and asking her to come home. In despair at losing all her money, Gwendolen pawns a necklace and debates gambling again to make her fortune. In a fateful moment, however, her necklace is returned to her by a porter, and she realises that Daniel saw her pawn the necklace and redeemed it for her. From this point, the plot breaks off into two separate flashbacks, one which gives us the history of Gwendolen Harleth and one of Daniel Deronda. In October 1864, [1] soon after the death of Gwendolen's stepfather, Gwendolen and her family move to a new neighbourhood. It is here that she meets Henleigh Mallinger Grandcourt, a taciturn and calculating man who proposes marriage shortly after their first meeting. At first open to his advances, she eventually flees (to the German town where she meets Deronda) upon discovering that Grandcourt has several children with his mistress, Lydia Glasher. This portion of the novel sets Gwendolen up as a haughty and selfish, yet affectionate daughter, admired for her beauty but suspected by many in society because of her satirical observations and somewhat manipulative behaviour. She is also prone to fits of terror that shake her otherwise calm and controlling exterior.
