12. My own approach: I want to dramatize the story as faithfully as possible, laying a strong emphasis on those elements that speak most vividly to a 1990s audience: love, sex, class, money, and not least idealism, the urge to make the world a better place, and to make one's own life meaningful. There is lots of scope for passion, pathos, irony, sympathetic humour. I want to present the characters, initially, at any rate as they see themselves, not limited as they are in the book by the author's God-like judgement. It's easy to get the audience's sympathy for Dorothea and Lydgate - I want to make them empathise with Rosamond, Casaubon, even Bulstrode. I want to stress the youthful energy and optimism of the characters as much as possible before they are trapped in compromise, disappointment, and defeat. I also want to explore a society at a point of change, but principally (and how else, for God's sake?) through the interrelationships of the people in the story.

Additional notes in pen:

Annotation 1: To the left of the type written text, there are two asterisks (*) at the top of the text and at the bottom of it, joined with a hand-drawn line.

Ref Code: PM-100 Title: Extract from letter to Michael Wearing, Head of BBC Drama Serials, from Andrew Davies' about his vision for adapting Middlemarch for television. Date: c. 1991-09 Format: .png Source: D/061/A/043/C/05 Letter to Michael Wearing from Andrew Davies, 26th Sept 1991. From D/061 Papers of Andrew Davies, Screenwriter. Held at De Montfort University, Leicester, UK. https://specialcollections.catalogue.dmu.ac.uk/records/D/061/A/043/C/05