Tess of the D'Urbervilles

This is an enjoyable read, and I found ‘The Maiden’, the first of six ‘phases’, to be five star, really getting it off to a great start. I’ll describe the main elements of its plot (mini spoiler alert), but not too much beyond that. We’re first introduced to Tess Durbeyfield’s father, who is somewhat lazy and a drinker; when he finds out he has a connection to an ancient family in the region, he comes to have some unrealistic, high falutin’ hopes about falling into fortune. One night when he can’t drive his beehives to the market for the following morning’s sales, Tess goes in his place. Unfortunately, she falls asleep at the reins, which Hardy describes cosmically: “With no longer a companion to distract her, Tess show more fell more deeply into reverie than ever, her back leaning against the hives. The mute procession past her shoulders of trees and hedges became attached to fantastic scenes outside reality and the occasional heave of the wind became the sigh of some immense sad soul, conterminous with the universe in space, and with history in time.”

Shortly afterward, in a shocking sequence, Tess gets into a violent accident with a wagon coming the other direction, which kills the family horse. The resulting financial hardship encourages her parents all the more to send her off to the distant d’Urberville family, to work on their property and form a connection with them, but there she becomes the prey of the dastardly Alec d’Urberville. Hardy hints at Alec’s intentions in ways that make the reader cringe, and in an absolutely brilliant sequence late at night after a dance, he rapes Tess. In the morality of the time, this stains Tess; she feels guilty over it for the rest of the novel and unworthy of a future husband, while Alec happily goes on with his life. Grrr.

Hardy was a transitional writer in the late 19th century, including old school melodrama in his writing, but also modernist psychology, and challenges to religion and the morality of the day which deeply offended Victorians. As an extension of that, his (ostensible) protagonist Angel Clare, the more enlightened gentleman who finds Tess and falls for her, is a transitional thinker. On the one hand, Angel is aware of evolution and flouts religion and conventionality, but on the other hand, he has old-fashioned about a woman’s virtue. Between the outright evil of Alec, who Tess has fled, and Alec’s hypocrisy, it’s hard to like either character, or to know who is worse, but I think that’s part of Hardy’s point. The unfairness of life for women will almost certainly make you grit your teeth, and Hardy may go on a teeny bit too long in the center sections of the book, but there is a lot to like here.

Quotes:
On art:
“She thought, without exactly wording the thought, how strange and godlike was a composer’s power, who from the grave could lead through sequences of emotion, which he alone had felt at first, a girl like her who had never heard of his name, and never would have a clue to his personality.”

On beauty:
“How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman’s lips and teeth which forced upon his mind with such persistent iteration the old Elizabeth simile of roses filled with snow. Perfect, he, as a lover, might have called them off-hand. But no – they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity.”

On death, I thought this was an interesting perspective, and yes, our ‘deathday’ is out there somewhere for all of us:
“She philosophically noted dates as they came past in the revolution of the year; the disastrous night of her undoing at Tantridge with its dark background of The Chase; also the dates of the baby’s birth and death; also her own birthday; and every other day individualized by incidents in which she had taken some share. She suddenly thought one afternoon, when looking in the glass at her fairness, that there was yet another date, of greater importance to her than those; that of her own death, when all these charms would have disappeared; a day which lay sly and unseen and among all the other days of the year, giving no sign or sound when she annually passed over it; but not the less surely there. When was it? Why did she not feel the chill of each yearly encounter with such a cold relation? She had Jeremy Taylor’s thought that some time in the future those who had known her would say, ‘It is the- th, the day that poor Tess Durbeyfield died’; and there would be nothing singular to their minds in the statement. Of that day, doomed to her terminus in time through all the ages, she did not know the place in month, week, season, or year.”

On knowledge:
“’Because what’s the use of learning that I am one of a long row only – finding out that there is set down in some old book somebody just like me, and to know that I shall only act her part; making me sad, that’s all. The best is not to remember that your nature and past doings have been just like thousands’ and thousands’, and that your coming life and doings’ll be like thousands’ and thousands’.’
‘What, really, then, you don’t want to learn anything?’
‘I shouldn’t mind learning why – why the sun do shine on the just and the unjust alike,’ she answered, with a slight quaver in her voice. ‘But that’s what the books will not tell me.’”

On religion, harkening back to worship of the sun:
“The sun, on account of the mist, had a curious sentient, personal look, demanding the masculine pronoun for its adequate expression. His present aspect, coupled with the lack of all human forms in the scene, explained the old-time heliolatries in a moment. One could feel that a saner religion had never prevailed under the sky. The luminary was a golden-haired, beaming, mild-eyed, God-like creature, gazing down in the vigour and intentness of youth upon an earth that was brimming with interest for him.”

And this one, questioning God in a world of cruelty:
“The calmness which had possessed Tess since the christening remained with her in the infant’s loss. In the daylight, indeed, she felt her terrors about his soul to have been somewhat exaggerated; whether well founded or not she had no uneasiness now, reasoning that if Providence would not ratify such an act of approximation she, for one, did not value the kind of heaven lost by the irregularity – either for herself or for her child.”

And:
“Once upon a time Angel had been so unlucky as to say to his father, in a moment of irritation, that it might have resulted far better for mankind if Greece had been the source of the religion of modern civilization, and not Palestine; and his father’s grief was of that blank description which could not realize that there might lurk a thousandth part of a truth, much less a half truth or a whole truth, in such a proposition.”

Lastly this one, an example of Hardy taking a simple scene on a dairy farm and both putting it in perspective in the bigger picture, but also pointing out it’s no less important than scenes of royalty; this quote really has it all, compared to how simply it may have been put:
“Long thatched sheds stretched round the enclosure, their slopes encrusted with vivid green moss, and their eaves supported by wooden posts rubbed to a glossy smoothness by the flanks of infinite cows and calves of bygone years, now passed to an oblivion almost inconceivable in its profundity. Between the posts were ranged the milchers, each exhibiting herself at the present moment to a whimsical eye in the rear as a circle on two stalks, down the centre of which a switched moved pendulum-wise; while the sun, lowering itself behind this patient row, threw their shadows accurately inwards upon the wall. Thus it threw shadows of these obscure and homely figures every evening with as much care over each contour as if it had been the profile of a Court beauty on a palace wall; copied them as diligently as it had copied Olympian shades on marble facades long ago, or the outline of Alexander, Caesar, and the Pharaohs.” show less

Tess was the second Thomas Hardy novel I read and probably overall his best. The characters are deeply drawn, with complex motivations. It's a deeply tragic work, but the tragedy seems to flow realistically, arising from the social norms of the day and from the characters own failings, which are often indistinguishable from their virtues. Tess's pride and independence keep her from asking for help from those who would have been willing to provide it, for instance. The final pages were the books only unrealistic turn for me, with Tess's husband seemingly ready to start his live anew with Tess's sister. I guess such things might actually happen in real life, but it held and unpleasant creepiness for me.

The setting is probably the real show more star of this book. Hardy is meticulous in his description of life on an English dairy, but he as a deft hand that doesn't allow the description to distract from the plot. Hardy also produces stunningly beautiful prose, but his books never feel overwritten. Highly recommended. show less

Tess of the D’Ubervilles is a beautiful, haunting masterpiece.

When Tess’s family fall on hard times, Tess is forced to go and see family she has never heard of before – the well off D’Ubervilles. On arriving she is met with Alec D’Uberville, the man who will be her downfall. After losing her child to illness, Tess receives employment as a milkmaid, and falls in love with Angel Clare, but will Tess be able to tell him about the dark past that she has so long kept secret? And if the truth is revealed, will Angel Clare still feel the same way?

I absolutely loved this book. I’m actually sad that I haven’t read it before. I read if for classes, but so many of my classmates had read it before, and I envied being able to read it show more without studying it. It’s such a beautiful book with such an immense plot. I kept having to put it down and come back to it, purely so I could give myself time to process what I’d read. Hardy has that ability to describe something in detail, pages covering the same thing, but it’s never repetitious and it’s never boring.

Tess of the D’Ubervilles is famous for being scandalous and shocking when it was first published, and I can see why. Though not really shocking to us now, I can imagine the horror at a story of women with a child out of marriage, and the idea of concealing that child from her suitor. Hardy certainly has a lot to say about social conventions and the way women were treated at that time.

I think Tess is a really fascinating character, she’s strong willed, stubborn and utterly loyal. She makes lots of mistakes throughout the story – and more often than not she pays the price for them. Her story is an immensely sad one. She is a survivor, continuing on even when her life seems the most hopeless.

No matter what I write about Tess of the D’Ubervilles, this review will be woefully understating how wonderful this novel is (but that’s not going to stop me trying!) The language in the novel is beautiful and poetic, and I loved the descriptions of nature. Tess is closely linked to nature throughout the plot – something I found particularly interesting. She is seen as almost part of nature herself, a pure, earthy country girl.

It’s a very bleak and depressing story, but it is definitely worth reading. This was my first outing in the novels of Thomas Hardy – although I am told The Mayor of Casterbridge is by far his best novel, I really enjoyed Tess of the D’Ubervilles and all its wonderful comments on society. show less

I have a great admiration for this novel. Hardy doesn’t hold back with this one; it’s edgy, it’s dark and it’s merciless. In this allegorical tale, Tess is your loveable scapegoat, the Christ-figure if you will, that evokes our inmost pity. All she innocently desires is to do the right thing, and we martyr her because we won’t compromise our "armoured" regulations. Yes, Hardy goes way over the top here, and some may criticize him as overly romantic, but considering he was working within the confines of Victorian censorship and he didn't have much choice, this novel was ground-breaking for cleverly breaking the rules.

As a feminist, I consider this novel seminal to the movement in the late 19th century, much like I consider show more Huckleberry Finn seminal to racial awareness of the same period. They may not sound robust enough to our modern ears, but they were amongst the ideas that got the gears turning in the first place. show less

I've seen a few adaptions but I finally sat down and read the actual book and it is amazing. I've been reading a bunch of Hardy lately and I am so struck by how well he writes women characters. They have so much agency, even though they are imbeded in the system that was already past in the time Hardy was writing. It was a hard read, knowing that it was just getting worse and worse for Tess no matter what. But of all the men who mess her over, I think I am most angry about her useless father. If he could possibly act like a reasonably responsible adult even a small percentage of the time, the compounding tragedies would have no starting point. What a brilliant book.

I truly believe that this is the greatest book ever written. There is nothing about this book that I can criticise - it has drama, romance, betrayal, violence, tragedy and every part of it lulls you in. What the truly great thing about the book is that all the characters are flawed - Tess, even as a great literary heroine is naive to a fault, almost to the point of stupidity at times. She's selfless to a fault and because of her inexperience she never truly fights for what she wants, and it's a trait that sometimes makes you want to shake her and tell her she's worth more, that she deserves happiness and that she's got to fight for it more, but her naivety is a trait that you find yourself accepting and wanting to protect her from.

She's show more a victim of circumstance, and whether you buy into her being raped or merely seduced by Alex, the undeniable fact is that she was taken advantage of. Alex is a character who comes in with the air of a stereotypical victim complete with the evocative language designed to show how worldly wise and sleazy he is compared to Tess' ignorance and innocence. He, in a lot of ways though is an honest villain - he does her wrong, attempts to attone before basically backing her into a corner in her weakest moments and looking after her and her family when the hero of the piece has left her abandoned. Make no mistakes though, Alex is never a guy you like, or fully trust and even when he's 'good' there is still the dangerous air about him and the way he plays on her doubts, insecurities and fears shows that even as a changed character, at the end of the day he is still just a predator.

Perhaps the most interesting character is Angel - the love interest and one more man who does her wrong. He meets and falls in love with her and pursues her relentlessly until she agrees to marry him and then, when she eventually agrees he casts her aside with such stunning hypocrisy that you want desperately to hate him for it. He admits that prior to their marriage that he had taken another lover and that confession leads to Tess confessing what happened in her own past and the scene where she's begging his forgiveness is heartbreaking.

Angel, deciding he can't be with Tess due to her 'sins' decides to separate for her until he can forgive her, and Tess, in her shame at hurting him agrees to every term he demands. Angel, after separating from her decides to go to Brazil but in his heartbreak he considers taking a mistress with him and propositions Tess' friend and it is only when she admits that Tess loves him more than she ever could he realises his folly, but it's a sign of the utter hypocrisy of the times.

The return of Angel, and the culmination of the Tess,Angel,Alex dynamic is heartbreaking. You want so badly for Angel and Tess to have their happily ever after, you want Tess to have good things happen for once in her life, but ultimately you know that it's not going to happen. I remember reading this for the first time as a kid and being shocked and heartbroken how it ended despite the clues throughout, and even after multiple re-readings and knowing how it ends, I still read it and get shocked and heartbroken because I will never stop wanting Tess and Angel to get away. There's something about tragedy and soulmates being wrenched asunder under such tragic circumstances after wasting so much time due to stupid things that will never not be relevant be it in 19th Century Wessex, or 21st century anywhere.

If you haven't read it, please do. It's an amazing book with amazing characters and everyone should read it at least once in their lives. show less

“I felt a little like a man reading a very grim book. A Thomas Hardy novel, say. You know how it’s going to end, but instead of spoiling things, that somehow increases your fascination. It’s like watching a kid run his electric train faster and faster and waiting for it to derail on one of the curves.”Stephen King, [b:11/22/63|10644930|11/22/63|Stephen King|https://d.gr-assets.com/books/1327876792s/10644930.jpg|15553789]When I was reading King’s [b:11/22/63|10644930|11/22/63|Stephen King|https://d.gr-assets.com/books/1327876792s/10644930.jpg|15553789] I noted down this line because I was planning to read Tess of the d'Urbervilles soon and from its reputation and the two other Thomas Hardy novels that I read I expected that it show more will probably make me at least a little melancholy, if not downright miserable. Why read it then? Just as books by [a:Neal Stephenson|545|Neal Stephenson|https://d.gr-assets.com/authors/1430920344p2/545.jpg] is a workout for the mind I think that Hardy’s books are a good workout for the emotion (or what we on the interweb call the feels these days).

The initial plot trajectory from the moment Tess meets the obvious degenerate (and proud of it) Alec d'Urberville with his fancy sports car dog-cart is predictable. It is clearly telegraphed by the author and you just know it is not going to well for poor Tess. After being turned into “damaged goods,” she puts up a brave face and soldiers on with her life, taking a minimum wage job as a milkmaid. As luck (or misfortune) would have it she meets Angel Clare a nice young man who relentlessly courted her and she falls in love with to devastating effect.

Tess of the d'Urbervilles is a character study and also a social commentary of the time of Hardy’s writing. The characterization of the main protagonists is quite complex. Tess herself starts off a naturally beautiful naïve girl who Hardy puts through the wringer and emerges no less beautiful in spite of spiritual damage. The only truly indomitable thing about her seems to be her beauty. She makes a one poor decision after another and the goodness of her heart is eventually her undoing as misadventures are heaped upon her by the author (shakes fist at Hardy).

As for Angel Clare, the romantic lead of this tale of woe, although he evidently a good man he is in some ways worse than Alec d'Urberville. The devastation he wrought upon Tess on the basis of his self-righteous conception of morality makes him entirely unsympathetic. While Alec is basically just a garden variety womanizer Angel is what Monty Python once described as a “silly bunt” (if that makes no sense you may want to google it).

So as expected it all ends in tears, this novel is no less miserable than the mirthless [b:Jude the Obscure|50798|Jude the Obscure|Thomas Hardy|https://d.gr-assets.com/books/1389403264s/50798.jpg|41342119] (if you want to read a relatively happy Hardy you may want to check out [b:Far from the Madding Crowd|31463|Far from the Madding Crowd |Thomas Hardy|https://d.gr-assets.com/books/1388279695s/31463.jpg|914540]). Thomas Hardy’s writing flows as beautifully as ever but if he was still alive today I probably wouldn’t want to invite him to a birthday party. I have [b:The Return of the Native|32650|The Return of the Native |Thomas Hardy|https://d.gr-assets.com/books/1403182613s/32650.jpg|3140534] in my TBR though. Like Tess, I must be a sucker for punishment.

Anyway, highly recommended; read this and you may never laugh again (LOL!).

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Note:
I read the audiobook version of this book, beautifully narrated by Davina Porter, got it really cheap from Amazon at $0.99! show less