GEORGE ELIOT: Silas Marner Remember to support your ideas with details from the writing. Read this extract, and then answer the question that follows it: 'Is she dead?' said the voice that predominated over every other within him. 'If she is, I may marry Nancy; and then I shall be a good fellow in future, and have no secrets, and the child – shall be taken care of somehow.' But across that vision came the other possibility – ‘She may live, and then it's all up with me.' Godfrey never knew how long it was before the door of the cottage opened and Mr Kimble came out. He went forward to meet his uncle, prepared to suppress the agitation he must feel, whatever news he was to hear. 'I waited for you, as I'd come so far,' he said, speaking first. 'Pooh, it was nonsense for you to come out: why didn't you send one of the men? There's nothing to be done. She's dead – has been dead for hours, I should say.' 'What sort of woman is she?' said Godfrey, feeling the blood rush to his face. ‘A young woman, but emaciated, with long black hair. Some vagrant – quite in rags. She's got a wedding-ring on, however. They must fetch her away to the workhouse tomorrow. Come, come along.' 'I want to look at her,' said Godfrey. ‘I think I saw such a woman yesterday. I'll overtake you in a minute or two.' Mr Kimble went on, and Godfrey turned back to the cottage. He cast only one glance at the dead face on the pillow, which Dolly had smoothed with decent care; but he remembered that last look at his unhappy hated wife so well, that at the end of sixteen years every line in the worn face was present to him when he told the full story of this night. He turned immediately towards the hearth where Silas Marner sat lulling the child. She was perfectly quiet now, but not asleep - only soothed by sweet porridge and warmth into that wide-gazing calm which makes us older human beings, with our inward turmoil, feel a certain awe in the presence of a little child, such as we feel before some quiet majesty or beauty in the earth or sky before a steady-glowing planet, or a full- flowered eglantine, or the bending trees over a silent pathway. The wide- open blue eyes looked up at Godfrey's without any uneasiness or sign of recognition: the child could make no visible audible claim on its father; and the father felt a strange mixture of feelings, a conflict of regret and joy, that the pulse of that little heart had no response for the half-jealous yearning in his own, when the blue eyes turned away from him slowly, and fixed themselves on the weaver's queer face, which was bent low down to look at them, while the small hand began to pull Marner's withered cheek with loving disfiguration. 'You'll take the child to the parish tomorrow?' asked Godfrey, speaking as indifferently as he could. 'Who says so?' said Marner, sharply. ‘Will they make me take her?' 'Why, you wouldn't like to keep her, should you – an old bachelor like you?' 'Till anybody shows they've a right to take her away from me,' said Marner. 'The mother's dead, and I reckon it's got no father: it's a lone thing and I'm a lone thing. My money's gone, I don't know where – and this is come from I don't know where. I know nothing – I'm partly mazed.' 'Poor little thing!' said Godfrey. ‘Let me give something towards finding it clothes.' He had put his hand in his pocket and found half-a-guinea, and, thrusting it into Silas's hand, he hurried out of the cottage to overtake Mr Kimble. 'Ah, I see it's not the same woman I saw,' he said, as he came up. 'It's a pretty little child: the old fellow seems to want to keep it; that's strange for a miser like him. But I gave him a trifle to help him out: the parish isn't likely to quarrel with him for the right to keep the child.' [from Chapter 13] In what ways does Eliot make this such a striking and significant moment in the novel?

1. In what ways does Eliot make this such a striking and significant moment in the novel?[25]