Daniel Deronda · Chapter
Chapter XXXVII explained
Deronda visits the Meyricks and observes Mirah's newfound liveliness, largely due to Hans Meyrick's return.
What happens
Deronda visits the Meyricks and observes Mirah's newfound liveliness, largely due to Hans Meyrick's return. He grows uneasy upon learning that Hans is using Mirah as a model for a series of paintings depicting the Jewish queen Berenice, a figure whose story involves betrayal of her people. Deronda objects, fearing public recognition and misinterpretation, but Hans dismisses his concerns, noting his works are unlikely to be widely exhibited. The chapter also reveals Hans's sketches of Rex Gascoigne and his plans for the Berenice series.
Themes in this chapter
Art and Performance
Hans's Berenice series and his character performances highlight the role of artistic representation and the tension between aesthetic ambition and personal dignity.
Jewish Heritage and Nationalism
Mirah's identification with the penitent Berenice and Deronda's concern about her portrayal reflect themes of Jewish identity and historical loyalty.
Sympathy and Moral Growth
Deronda's protective concern for Mirah's reputation and his discomfort with Hans's plans demonstrate his moral sensitivity and growing empathy.
Characters to notice
- Daniel Deronda
Visits the Meyricks, feels uneasy about Hans using Mirah as a model for Berenice, and expresses concern for her reputation.
- Mirah Lapidoth
Shows new liveliness and laughter, discusses Hans's performances, and unknowingly serves as model for Hans's Berenice series.
- Hans Meyrick
Returns home, entertains the family with character pieces, and works on a Berenice painting series using Mirah as model.
- Mrs. Meyrick
Relieved by Hans's return, observes Mirah's laughter, and poses as Gessius Florus for Hans's painting.
- Rex Gascoigne
Mentioned as a former student of Hans, with a sketch of his face among Hans's drawings.
Key passages
“It is one thing to be resolute in placing one's self out of the question, and another to endure that others should perform that exclusion for us.”
It's easy to decide not to pursue something yourself, but harder to accept when others assume you're not in the running.
Deronda reflects on his discomfort with Hans's pursuit of Mirah, despite his own resolve not to compete.
“He passes from one figure to another as if he were a bit of flame where you fancied the figures without seeing them”
He shifts between characters so quickly and fluidly that you imagine the figures without clearly seeing the transitions.
Mirah describes Hans's talent for rapid character impersonations.
“I break off in the Homeric style. The story is chipped off, so to speak, and passes with a ragged edge into nothing—le néant; can anything be more sublime, especially in French?”
I end the series abruptly, like Homer, leaving the story unfinished and fading into nothingness—could anything be more sublime, especially in French?
Hans explains his artistic choice to leave Berenice's fate unresolved in his painting series.