Tess of the d'Urbervilles

Author: Hardy
Publisher:
Publish Date: 2003-11-01
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The tragedy of Tess, along with its social and moral roots, primarily stems from the rigid concept of female chastity in a male-dominated society. Hardy consistently opposes this notion in Tess's thoughts and actions, directing his critique directly at the society and the Christian Church that uphold it. According to the prevailing social conventions, after Tess loses her innocence, the best course of action would be to either submit to becoming the mistress of Aleck D'Urberville or find ways to legitimize their relationship. However, Tess insists on remaining a "fallen woman" rather than entering an unloving union. On her second escape from Aleck D'Urberville, returning from Pure Ridge to her hometown, she sees religious commandments written in blood-red letters on the roadside: "Do not commit (adultery)." She spits out, "Pah, I don't believe God ever said such a thing." From this moment until she privately baptizes her illegitimate child, Tess begins to doubt the prevailing social conventions and the Church, though she still believes in God and hell and has not completely shaken off religious superstitions. Subsequently, the "mud-splattered" Tess lives in isolation, silently enduring physical and emotional pain, and her rebellious thoughts against these conventions grow deeper. This is the result of her long struggle against these conventions and their impact on her. By the time Tess leaves her home for the second time, falls in love with Angel Clare, and decides to marry him, and ultimately kills Aleck D'Urberville and flees with Angel Clare, the entire process clearly shows that Tess's attitude toward social conventions evolves from doubt to rejection, then to resistance, and finally pays a high price with her young life.
Hardy not only opposes the prevailing social conventions through Tess's thoughts and actions but also directly confronts them himself at times. In the eyes of the world after losing her innocence, Tess has practically lost all credibility. However, in Hardy's portrayal, "her appearance is beautiful and striking; her soul is that of a woman who, after the tumultuous experiences of the past year or two, has not succumbed to corruption. If it were not for the prevailing social conventions, this education would almost qualify as higher education." If we place such remarks in the context of the Victorian era a hundred years ago, we cannot help but admire the "avant-garde" nature of Hardy's thoughts. It is precisely because he infused such ideas into the character of Tess that the character becomes richer and more socially critical. In his later work, Jude the Obscure, these thoughts and insights are further developed.