4 Thomas Hardy
托马斯哈代
14 novels， 4 novellas，
8 collections of poetry，
3 dramas
Far from the Madding Crowd (1874) 《远离尘嚣》
The Return of the Native (1878) 《还乡》
The Mayor of Casterbridge (1886) 《卡斯特桥市长》
Hardy is the most representative he claims to be "the character and environment of the novel" of a group of works
THANK YOU
Unlike Dickens, most of Hardy’s novels are tragic.
Influence
Living in the Victorian era, a period when ideas of Darwinian Evolution were widely discussed, his novels represent evolutionary ideas about sexual selection, resulting in stories of “sexual pursuit” which largely adhere to even more modern conceptions of evolutionary mating strategies. His novels share a pessimistic view of the human condition. Nature is indifferent to a person’s desires and efforts; perverse luck is as important as individual character in determining one’s fate. The bitter ironies of fruitless efforts and lost affections five an ironic and tragic tone to Hardy’s novels, making them unlike mainstream Victorian novels with their hopeful conclusions. His novels are influenced by Darwin’s evolution theory, which stresses that the most adapted species survives the natural selection.
德伯家的苔丝-presentation
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Life
1840 was born in Dorsetshire 1848 attended Julia Martin's school 1856 was apprenticed（当学徒） to a local architect 1862 was sent to London 1867 wrote poetry and novels 1874 married Emma Ravenna 1910 was awarded the Order of Merit 1914 married Florence Dugale 1928 died
Works
Short Stories 1888 Wessex Tales 1894 Life’s Little Ironies … Poetry 1904~1908 The Dynasts
Tess of the D'Urbervilles
Thomas Hardy (1840-1928)
Tess Durbeyfield
英语13-2 孙维
Thomas Hardy (1840~1928)
Life
Thomas Hardy (18401928) is the last of the great Victorian novelist. Hardy was born in Dorset, southern England. Son of a builder, he became a builder himself. At the age of 22, he began to write poetry. He insisted in studying literature and philosophy by himself. Then in 1867, he began to write novels. While, for the last three decades of his life, he turned back to poetry and became one of the major Victorian poets. Hardy was the most pessimistic novelist of the Victorian Age.
Thomas Hardy托马斯哈代
• To express his “twilight view of life,” he employs the architectural structure by accumulating each circumstance, each detail to strengthen the final effect—Fate (sinister, inexorable((不可阻挡的)) Fate, the tragic doom).
• Practiced architecture Living most of his life in Dorchester (southwest England)---Wessex of his novel he was very close to the English peasantry。 He was one of the important critical realistic writers, in his novels shows sympathy for the peasants in an age of decline and decay of peasantry, and at the same time shows his nostalgia for the pastoral and patriarchal mode of life.
• Tess Durbeyfield, Alec D’Urbervilles (doubtful right to it), Ange writer quotes Gloster’s speech to King Lear:
• ‘As flies to wanton(恶意) boys are we to the gods:
Charles Dickens,Jane Austen,George Eliot,Thomas Hardy作家及作品介绍
Charles DickensCharles Dickens (1812-1870), was the most eminent novelist in the early Victorian period. Dickens came from a poor background. When he was young, his father was imprisoned for debt, and he had to leave school and work in a shoe factory. He almost received no formal education, but he worked hard and did many readings on his own. Then he wrote for a pictorial book, The Pickwick Papers, which became very popular and he started his lifelong writing career. Dickens was a prolific writer. He wrote 20-odd novels and many other writings all his life.Dickens’s novels are a reflection of his own childhood, suffering in a blacking shoe factory and visiting his father in a debtor’s prison. So the archetypal Dickensian hero or heroine is often an orphan or a child whose parents, though still alive, are as well as dead to them. They find themselves alone in the heartless world, without family love and any sense of security, ignored by society and struggle for survive.Dickens’s writing feature is basically optimistic in the first two stages. While in the third stage, he becomes more and more gloomy. He is frustrated and despaired about man’s cruelty to his fellow creatures. So the later phase of his career sees him painting a social picture disconcertingly dismal and agonizing. Dickens’s province is the whole of English society of his time. He gives readers a bird’s-eye view of the panorama of English life. Dickens is essentially an intuitive artist. Spontaneity was his trade mark. His genius is basically comic. Grotesque effect and melodramatic effect are two notable feature of Dickens’s humorous narratives. Besides, Dickens is highly critical of his age. Social criticism is a hallmark of all his works. He stands forever on the side of the poor and feels adamant about the just and righteous nature of their struggles for survival.Oliver Twist is one of Dickens’s famous novels. The hero, called Oliver, is an orphan. He was born in England, in a very old orphanage and when he was a baby, his mother was dead. And then, he was regarded as goods, given to him or her. Finally, he met a very kind old man-Mr. Brown. Since then, Oliver’s life become better and better. The story is a realistic description of the grim and dark side of the life. It really has a complicated plot. It is a strong attack on social injustices and a desire for a new order of society, but Dickens seems to have faith in the charitable spirit of human beings and keeps an optimistic attitude toward society.Jane Austen (1775-1817) is a famous English female writer. She is the first mature novelist. Although she was born in the romantic period, she is not a romantic writer. She tends to be realistic, but is influenced by romanticism in some ways. Austen came from a well-cultured country family. As she published her novels anonymously, she was not famous in her lifetime. Scott admired her talent for portraying ordinary life in a wonderful way. Among her numerous strengths are her exquisite, compact prose, her moral judgment, her wit, and her vivid character portrayal. She was not married in her lifetime.One thing to note about her fiction is its limited subject. She wrote her novels for her own family circle. Her novels cover just that section of society to which she belonged: the country gentry and their lives in the rural village setting. There is hardly any aristocrat or a poor peasant to feature as her major characters. It reveals a principle in literary creation that one can show one’s best when one makes the best of one’s best knowledge.Austen’s writing feature is unifying the realistic and detailed portrayal of outward manners and behaviors combined with inward psychological exploration. Other features of her writing are the complex and subtle portrayal of characters, a classic precision of structure, a vivid and humorous dialogue, her quiet irony and her simple delicate analysis of character. Because of her “limitation”, her novels have neither heroic passions nor astounding adventures. Austen is the founder of the novel dealing with unimportant middle-class people. Her writing style is easy and effortless.Pride and Prejudice is Austen’s masterpiece. The story is mainly about Mrs. Bennet’s four daughters’ marriage. Elizabeth, the second oldest daughter and Darcy’s love is used as the main plotline and the other three daughters’ marriage as the subordinate plot. In the story, Charlotte and Mr. Collins marry for material wealth and social position. Lydia and Wickham marry for passion. While, Elizabeth and Darcy, Jane and Bingley marry for true love. The gallery of woman here is simply glittering. It is the panorama view of the female gender in the world of men. Austen uses love and marriage as the subject matter, and dedicatedly describes the middle class and upper class’s life during late 18th to early 19th century. The theme of the story is that maturity is achieved through the loss of illusions.George Eliot (1819-1880) whose original name is Mary Ann Evans, is the most preeminent novelist in the mid-Victorian period and the most prolific woman writer in the 19th-century England. Eliot was not happy with her personal life. She was homely, though with plenty of will and brains, no one seemed to want her. Her life with George Henry Lewes was the happiest of all her life and career, but he died ahead of her. She began to write in the age of nearly 40. In 1859, she published her first long novel Adam Bede. It became popular immediately.Eliot’s major thematic concern relates to individual choices. It is her belief that though people felt the manipulation of the forces out of their control, they still had room for free choice. Good choices do good to society and get rewarded, while bad ones do evil and get their due in the end. Eliot has a big heart. She can be ruthless in her criticism of human weakness, but she exhibits a high degree of tolerance and understanding. She has a faith in human nature and the goodness of a moral world. No character of hers is a total villain without any virtue. Eliot is noted for her masterly psychological descriptions. In fact she has been seen as the precursor of “the psychological novel”. She explains the inner lives of her characters and people’s relationship to their localized conditions. She reveals the motives of her characters and the moral lesson. Then she develops the heredity can affect a person’s life. Her works show superb conception and execution and include much favorable feminist criticism. Her subject matter is life in the countryside, because of her emotional attachment to traditional ways of village life. She believes that social stability and harmonious human relationship can only be found in the long-established traditions of village life. Eliot is also a pastoral novelist, a great moralist, a philosophical novelist and a conscious literary artist. She is in a high position in England novel, only the Bronte sisters can equal with her.Her masterpiece is Middlemarch. It is her finest novel. It has a multiple plot-the main plotline and four other complimentary storylines. The main plotline concerns Dorothea Brooke’s life, especially her marriage to the middle-aged scholar Mr. Casaubon. Four other storylines include the stories of young doctor Tertius Lydgate’s marriage with Rosmond Vincy; the tale of old Mr. Featherstone; that of Fred Vincy in love with Mary Garth; and that of a banker who is torn between his immoral business ethics and his religious spirit. The novel describes various characters’ inner world and depicts people’s lives with cinematic precision. The major character Dorothea is a woman who intends to do something for other people but whose inspiration is frustrated time and again. She is noble-hearted and courageous to challenge social conventions and not in full control of her own life.Thomas Hardy (1840-1928) is the last of the great Victorian novelist. Hardy was born in Dorset, southern England. Son of a builder, he became a builder himself. At the age of 22, he began to write poetry. He insisted in studying literature and philosophy by himself. Then in 1867, he began to write novels. While, for the last three decades of his life, he turned back to poetry and became one of the major Victorian poets. Hardy was the most pessimistic novelist of the Victorian Age. Life after 1870s became drastically different with drastic changes in mood and tenor. The age of Emile Zola’s naturalism had arrived. Hardy was apparently affected: the spirit of determinism characteristic of the naturalistic works of the period permeated his later novels as well. But Hardy is not a naturalistic writer. Hardy was a prolific writer. His Victorian novels were divided into 3 groups, novels of character and environment, romances and fantasies and novels of ingenuity. He also wrote short stories and post-Victorian poetry.Hardy’s writing features lie in his determinist stance on the nature of life and the cosmos, his sharp sense of the humorous and absurd and his love and observation of the natural world with strong symbolic effect. Hardy’s stories are always moving and bewitching. He deviates consciously from traditional Victorian realism that emphasizes plot more than characterization. It is definitely to his credit that he manages to bring back to fiction a high sense of tragedy, the Greek sense of fatality. What’s more, Hardy places emphasis on the deeper psychology of his characters. Hardy’s language possesses a silent power and charm. His prose is studded with rhetorical devices and poetic imagery, and is richly connotative. He is also famous for his uneven style. While there are some minor flaws in Hardy’s works-his ideas are not always clear, and his plots may occasionally jump and dislocate.Tess of the D’Urbervilles is the most famous novel of Hardy. The story is about the tragic fate of Tess. Tess is a beautiful and pure girl at first. Then tragedies happen to her constantly. Under the torment of the hate for Alec and the love for Angel, Tess falls into great despair and she stabs Alec and runs away with Angel. But she is finally arrested and hanged. The story reveals the spirit of determinist defeatism and enforces its shibboleth of predestination, and no amount of human effort can alter its design of darkness. Tess is a paragon of innocence. What she asks for life is simple enough: to be loved and happy. But she is not get it because she is at the mercies of the odds against her. (Two men must appear in her life to confuse and distract her. One is totally evil; the other apparently good. The two both serve as the instruments of Chance. So many coincidences occur in Tess’ life that the hand of Chance is in evidence wherever she goes.) This novel is a mirror for the spirit of the time. Hardy describes his critical attitude towards the unjust treatment of women and his denunciation of the hypocrisy of the social structures an moral codes of Victorian England.。
onthomashardy(英语论文)_学位论文
On_Thomas_Hardy(英语论文)Ⅰ. Background of Thomas HardyThomas Hardy (1840-1928)is one of the greatest English poet and novelist between the 18th Century and the 20thcentury(Victorian period).Hardy is famous for his depictions of the imaginary county “Wessex”. Hardy is a cross-century literary giant. Success has masked the Wessex novels left a profound impression. Hardy’s work reflected his stoical pessimism and sense of tragedy in human life.(women especially),and of deep changes of social economy, politics, ethic and custom after the invasion of capitalism into the English countryside and towns. They exposed the hypocrisies of the capitalistic ethics, law and religion, which inherited the excellent tradition of realistic criticism as well as exploited a road for English literature in the 20th century. Hardy kept cracking tragedies of Greek and Shakespeare with all his life, and was influenced by the skepticism of neoteric scientific ideology, so that his opinion towards life was pessimistic and fated, and he thought that on matter what kind of degree human society had developed, human being were unable to get rid of the tricks, coincidences were everywhere, nature’s tinge suffused around, environment served as a foil to the roles, and the roles’ characters we re mixed up with the environment. These were ingenuities exerted by the writer, in addition, Hardy had worked as an architect in his early time, so his works were written with a style that could be relished again and again. The scenarios, characters and sc eneries of Hardy’s works were so fine, perfect, compact and harmonic that few writers could compete with him.Ⅱ.Thomas Hardy’s Religious Beliefs2.1 ProfileLike so many other major Victorian authors, on his early stage, Thomas Hardy had an important Evangelical phase that left a deep impress on his thought. Examining the text of a sermon clearly marked by “Evangelical style and theology” that the eighteen-year-old Hardy wrote, we can concludes that it provides convincing evidenceof Hardy’s already being sympathetic to Evangelicalism by October 1858,his taking sufficiently seriously his so-called “dream” of ordination to practice writing a sermon, and, most significantly, his having a personal faith that was both ardent and orthodox”. This new evidence proves important because it requires rewriting the history of the novelist’s religious belief or beliefs.Thomas Hardy used to be an architect’s apprentice in Dorchester. At this stage, Hardy studied intensively on the Bible and further inquired into Anglican doctrine on pedobaptism.2.2 Detailed ResearchAlthough one his oldest friends, Henry Bastow, an ardent Baptist who emigrated to Australia, long ago claimed that in Hardy had been an Evangelical, scholars have generally dismissed his remarks, largely on the basis of the autobiography.[] “the Hardy of Life and Work” presents his “youthful faith as gentlemanly and unimpassioned, more social that religious, and fundamentally different from the Evangelical—indeed evangelistic—zeal embodied in the sermon. This Hardy presumably never underwent a classic Victorian loss of faith because he never had a sustained, personal faith to lose”. The new evidence paints a very different picture.Citing Timothy Hand’s 1989 “notable book on Hardy and Christianity,” Dalziel lists the novelist’s lifelong connections to the orthodox Christianity he was soon to abandon:(1)His family’s associations with the established church;(2)His lifelong love of church music and the language of the Bible and the Book of Common Prayer;(3)His continued attending religious services;(4)His poetry’s occasional expression longing for belief (e.g. “The Oxen”);(5)His conviction that the Church was—and should remain—the social, ethical, and educational center of a community.Despite these lifelong connections with the Church of England—connections much firmer and more numerous than most Victorian authors who lost their belief —“Hardy repeatedly articulated both his conviction that the Cause of Things must be unconscious, ‘neither moral nor immoral, but unmoral,’ and his hope that this Unconscious, Will was evolving into consciousness would ultimately becomesympathetic”. Nonetheless, Dalziel argues that however far Hardy moved from his Evangelical sermon of 1858, its three main points remain the “central preoccupations” of his life: the emphasis” on the law as curse, on suffering, and on the saving force of love”. She therefore argues that Hardy the atheist remained” profoundly Christian” in many ways.However, there are some question remains. If one retains some of the cultural, emotional, and even ethical attitudes of Christianity, as so many Victorian non-believers did, but does not have any faith in a personal god, much less in the divinity of Christ and salvation through him, can t hese attitudes still be considered Christian? Wouldn’t it be less tendentious and a lot more convincing simply to state that Thomas Hardy might have wished he could have remained a Christian, but that he didn’t, or that he always retained many ideas and attitudes associated with Christianity(and, of course, with other religions as well) but not the fundamental beliefs that grounded them. Such a characterization of Hardy would seem more true to the Victorian frame of mind that would overemphasizing Hardy’ s Christian-ness. For me the point remains not that, like so many other Victorians, he retained habits of mind associated with Christianity after he abandoned it but that he abandoned it for a belief in some Unconscious Will.Chapter2 Case Study(1): Take Jude the obscure as an example2.3 About the novelJude the Obscure was initially published in abridged form in Harper New Monthly under the title Hearts Insurgent between 1894 and 1895, and later published in full in the 1895 edition of Hardy’ s works. To s ay the very least it was poorly received. Perhaps due to such fierce criticism it was Hardy who last novel before he took to writing only poetry and drama. It is the story of various illicit unions that form themselves around the central character of Jude Fawley, the village mason. He is encouraged by Phillot son, a schoolmaster, to apply for Christminster (representing Oxford University), but as in every part of his life he is tormented by rejection. In this novel, Bridehead (married unhappily to Phillotson) and other chanters have an illicit relationship. However, her contradictory desires prevent their long-term contentedness since she seeks freedom to the cost of love. We learn of the death of Sue and Jude’s children at the hands of Jude’s only child by Arabella since the latter believes none of them have the right to live the novel concerns Jude’s ampition as it is thwarted repeatedly by the squalid nature of a life ruined by poverty and the indecision of others. Like The Mayor of Casterbridge,Tess of t he D’ rbervilles and others the novel ends with the protagonist miserable death that represents only the indecency of fate that causes suffering even or perhaps especially in the pure of heart []2.4 Religious sense in Jude the ObscureIn Jude the Obscure, Hardy shows his views on religion and commitment to the Church which were said to have declined in the latter years of his life. (Ingham, xxvii) Throughout the book Hardy displays his feeling that religion is something that people use in order to satisfy themselves by giving their lives’ meaning. One instance in which Hardy clearly displays this is when he writes, “It had been the yearning of his heart to find something to cling to.” (Ingham,94) In order to bring out this point Hardy choos es to create Jude as an orphan and has him come from obscure origins. By doing this, he creates a character who is looking for something to give him an identity. As a result of his relationship with Mr. Phillotson (who leaves for Christminster in order to become ordained), he finds religion and feels that ht can use it to help him gain an identity. Hardy feels that people should shy away from their old ways of thinking and begin to forma new one.In this novel, Jude, is a kind-hearted sentimental young man who fell guilty on every hurt of creatures even a earthworm. Ironically, every such a religious man like Jude failed to get the bless from God. Here, Hardy is telling a truth to readers: God is indifferent with human beings.Ⅲ Case Study: Take The Return of the Native as an example3.1 About the NovelAs one of the master pieces of Tomas Hardy, The Return of the Native(1878) is a story of extremes, of all-consuming passions and fierce ambitions, played out in the vast and overwhelming setting of Egdon Heath. It is a tragedy of ordinary lives: a family quarrel, romantic entanglements and the desire to escape are the elements which are brought together with a life-shattering intensity. Here, all life is a struggle for existence and the working of an apparently malign fate drives the story with a tragic inevitability. A foreboding atmosphere dominates most of the novel, and superstition and pagan rites contribute to the sense of the powerful forces which seem hostile to humanity, yet in control of human destiny.Like all of Hardy’s work, The Return of the Native is passionate and controversial, with themes and sympathies beyond what a good Victorian would ever admit. A modern and honest novel of chance and choice, faith and infidelities, this dark story asks what is free will and what is fate? What is the true nature of nature, and how do we fit together? Can we fit together?A tragedy set in the barren land of Edgon Heath. Our heroine, Eustacia, is proud, passionate, cruel, fickle, avaricious, and desperate. She burns every life she touches, never able to find the mad love and exotic world she dreams of. Our supposed hero, Clym, is modest, plain, moral, and dutiful. He is satisfied returning from Paris to the simple comfort of home.When they come together, the Heath will come apart. Originally released as five books, in classic tragic form, a sixth, tacking on a ‘happy ending’, was added by editor and public pressure.3.2 About the Religious Sense in The Return of the NativeThomas Hardy’s characters in The Ret urn of the Native live in a world governed by a harsh and indifferent ironic God. Hardy sees the reigning power of the universe as being essentially unjust and morally blind, as in his poem “hap.” Instead of rewarding the good and punishing the evil, this entity presides over a universe in which suffering abounds in the form of a perverse irony. Irony is defined in the Oxford Dictionary of Current English as “a situation that appears opposite to what one expects” (480), and the critic Mary Caroline Richards elaborates by stating that “irony is the issue of an action which is intended to produce one effect (good for the agent) and ends by producing its contrary (disaster for the agent) “(part one Part One 272). Hardy uses this definition of irony in his works, but M. H. Abrams further delineates his style in A Glossary of Literary Terms by classifying his texts in the category of cosmic irony, wherein "a deity, or else fate, is represented as though deliberately manipulating events. So as to lead the protagonist to false hopes, only to frustrate or mock them" (I37). The ironic deity or guiding principle in Hardy's texts acts as "the mockery of potentiality, intention, and promise by un fulfillment" (Richards, Part Two, 28). Richards argues that Hardy follows various laws set up by the universe that act as the source for human ironies.It is the nature of Life to dangle pretty prospects before our eyes--inner and outer--and then to snatch them away; secondly, the indifference of the Will to justice; thirdly, the universe manifests not only indifferent but cruelty; fourthly, innerpotentiality and practical possibility are all out of step; and finally, a gross lack of correspondence between man's nature and the materials of his life results. (34-35) In Hardy’s fict ion and poetry, the "indisputable henchmen of this force [the ironic deity] against man's felicity are Change and Chance" (Richards, Part Two, 25). Hardy’s characters live in a world governed by these twin powers, whose influence all too often is for evil, not for good.Throughout The Return of the Native, bad things always happen to good people. There is a tragic heroine, Eustacia, is stifled by her environment in the heath and marries Clym Yeobright as an escape, despite his mother's disapproval. Her former lover, Damon Wildeve, spitefully mantes Clym's cousin Thomasin in revenge for Eustacia's rejections of his charms. None of these characters is evil, but much misfortune befalls them before the book concludes. There seems to be no justice for the good or mercy for the mistaken. The critic Albert Elliot describes Hardy as having "no desire to explain experience; he wishes only to present it" (12). Although Hardy is often considered a pessimist as a result of his negative view about the possibility for hopefulness in life, he believed that he was merely "treating mailers of life just as they were" (Elliot 13). In attempting to represent reality as he saw it, he wrote novels whose plots were heavily influenced by factors of chance and change, often leading to a negative. conclusion Hardy did not enjoy witnessing the suffering in the world around him, and "felt sympathy for almost all of his characters; the 'villain' has almost no place in his works" (Richards, Part Two,24) because to him all of humanity is guided by an outside agency and so have little responsibility for the painful outcomes that occur There is a "tight linking of incidents toward doom" (Elliot 62) and, although The Return of the Native concludes with the happier Sixth Book, the overall tone of the text is an ironic and tragic one. In The Return of the Native, Hardy proves a dismal view of life in which coincidence and accident conspire to produce the worst of circumstance due to the indifference of the Will to issues of equity and justice. Examples of the workings of this agency abound in The Return of the Native, but I have selected two major episodes from the novel to demonstrate the workings of chance and change upon Hardy' s characters. The first is the adventures of Mrs. Yeobright's guineas, and the s eco nd her journey across the heath to reunite with her son.A key episode in the novel that hinges upon the element of chance begins with Mrs. Yeobright’s decision to send a gift of guineas. Her son, Clym, is marrying Eustaciaagainst her wishes, and she hopes that, by offering this gift, she and her son can repair their relationship. The other half of the money is to go to her niece, Thomasin, who has recently married Damon Wildeve. Eustacia's former lover Unfortunately; Mrs. Yeobright selects as her messenger the inept Christian Cantle, the village simpleton. This ill-considered decision bas major ramifications, and ultimately deepens the rift between herself and her son instead of bridging it. Instead of hurrying to the wedding party, Christian attends a raffle with his fellow heath men and happens to win. To the simple man, this occurrence is evidence of newly discovered, infallible luck. He declares: "To think that I should have been born so lucky as this, and not have found it out until now? (Hardy175). The naive fellow is so sure of his mastery over chance. that he agrees to gamble with Damon Wildeve using Mrs. Yeobright’s guineas, However, nobody can antipate the actions of Hardy's ironic deity; here, its henchmen Chance and Change work against Christian's supposed "luck." he loses the guineas intended for Thomasin and recklessly continues the game, betting Clym's share in a desperate bid to regain his earlier "luck." He moans, '"I don't care-I don't care!' . . . 'The devil will toss me into the flame on his three-pronged fader for this night's work, I know! But perhaps I shall win yet" (Hardy 179). Instead of withdrawing after losing only Thomasin's money to her husband, the chance of Christian's earlier win at the raffle which goaded him into enter the game prods him to believe that he may yet prevail. The element of coincidence at work in this scene is clear to the reader as the two men are playing with dice, symbols of chance and luck. According to the laws of probability, each man has an equal chance of winning with each fresh roll of the die, but chance favours Damon and he wins all of Mrs. Yeobright’s precious guineas.After Christian has sorrowfully left, Diggory Venn, a former suitor of Thomasin and Damon Wildeve's rival, reveals that he has been observing the dice game from a nearby hiding place. He has overhead the gamblers, and had watched the drama unfold. He challenges Wildeve to extend his winning streak, and the two men play. At first, "The game fluctuated, now in favor of one, now in the favor of tile other, without ,any great advantage on either side" (Hardy 182). However, Lady Luck soon deserts Wildeve. 1% eventually loses all the coins to Diggory Venn. Venn is unaware that they were to be divided between Clym and Thomasin, and so presents all the guineas to Thomasin. As she did not know the amount of the gift, she does not think to question the precise number of guineas. Through this convoluted chain of events Mrs. Yeobright’s hopes forreconciliation are dashed. An examination of the evening's proceedings reveals multiple incidents of change, chance and coincidence. For instance, on all of the great heath Diggory Venn happens upon the two men quietly playing their game. When their lamp runs out, there are convenient glow worms nearby to light the game. Ac Christian won the earlier raffle and asked if he could keep the winning dice, he provided the materials for his downfall. Christian success in winning the raffle at all is perhaps the greatest example of chance. Thomas Hardy's characters are manipulated though links of unfortunate events towards the worst possible outcome. Even when chance appears to favor someone, such as Christian winning the raffle prize, it really is a two-fold cruelty on the part of the universe. The prize is a woman's dress, which the bashfully, socially inept man has no use for as no woman Mil have him, and his naive belief in his luck causes him to fail at carrying out Mrs. Yeobright's instructions.The second set of proceedings that 1 shall examine for the influence of chance and change is set into motion by Christian Cantle's failure to deliver Mrs. Yeobright's wedding gift of guineas to her son or to tell her of his mistake. This situation drives mother and son father apart as she believes Clym received the gift but made no gesture of thanks. Eventually, she decides once more to attempt a reconciliation with her son and his new wife, and again Hardy's philosophy of how change and chance conspire to cause human suffering comes into play. The day Mrs. Yeobright chooses to make her journey is unseasonably warm, resulting in a difficult expedition. In cool, fresh weather Mrs. Yeobright would have found no inconvenience in walking to Alderworth, but the present torrid attack made the journey a heavy undertaking for a woman past middle age. (Hardy 215)As she approaches her son’s home, she sees a furze-cutter up ahead on the path and reflects that "'His walk is almost exactly as my husband's used to be'" (Hardy 217). In a burst of understanding, she discovers Clym's current state. Since he has been married incessant studying has caused him to become partially blind, and to bring in an income he has turned to the physical labour of furze cutting her beloved, welt-educated son who was formerly a prosperous businessman is now an incapacitated common laborer. A difference of minutes could have delayed her discovery and disappointment but to be true to Hardy's vision of life, she must witness her son and see him enter his home.After resting outside his house (just long enough for her tired son to fall deeply asleep), she sees a man enter her son's house. It is Damon Wildeve. Eustacia's formerlover, and when Mrs. Yeobright knocks on the door she interrupts their discussion. Afraid of incurring her mother-in-law's wrath, Eustacia decides to withdraw to the back of the house with Damon, assuming her sleeping husband will wake and allow his mother to enter. As they left, "they could hear Clym moving in the other room, as if disturbed by the knocking, and be uttered the word 'Mother'" (Hardy 222). However, the conjuncture' that Clym will awake and let in his mother, as Hardy labels it in his chapter title, is incorrect, and Mrs. Yeobright sorrowfully leaves her son's sleep-if Wildeve had not come to the house-then the tragedy could have been avoided. However, all of these events did occur, proving to the reader that human "potentialities for happiness, satisfactions, [and] Good are seldom fully exercised" (Richards, Part Two, 270) by the universe's guiding force. The "shocking discrepancy between what happens and what should happen if Right prevailed in the world"(Richards, Part Two, 274) is brutally prevailed in Hardy's texts. When Clym discovers the part Eustacia played in his mother's, the two have a horrific fight and she eventually decides to fly to Paris, where she has always hoped to live, with her old lover Damon Wildeve. They will each abandon their spouses and live together. Their flight, however, is interrupted by a horrific storm and Eustacia plunges into the weir, whether by suicide or accident. Damon and Clym leap into the water to save her, but both Damon and Eustacia perish.The Will is "blind and distributes good or bad without regard to merit"(Chapman 146) in Hardy's novels. Eustacia and Wildeve, Clym and Thomasin are all good people without evil intent. It is through misunderstanding and unfortunate coincidence that events drive Eustacia to her death and Wildeve to follow her. Clym's promising life has completely changed direction at the conclusion of the text, and he is now a roaming preacher on the heath. Of the principle characters in the book, only Diggory Venn and Thomasin find happiness. But because of some incredible coincidence, events could have unfolded in a completely different manner. Hardy would insist that his vision is true to life because the higher power does indeed influence humanity's life for the worse, using its agents of chance, change and coincidence. Unlike many other novels, The Return of the Native shows the workings of higher deity but does not offer the "assurance of a continuing restored stability or an explanation of why things are as they are." (Chapman 153). Other Victorian authors often preferred to end their novels with a happy coincidence, restoring right to the world and humanity's faith in providential justice. Hardy did not see that justice in the word around him, and so it is absent in thistext. The ironic contradiction between what is and what ought to be reverberates The Return of the Native, marbling the characters' lives with 'if only's'. Various instruments of fate influence his characters' lives as he believed influenced all of humanity's, and this tragic novel lends great insight into Hardy's philosophy of the workings of our own world.Ⅳ ConclusionTherefore, a perspective can be concluded: the unique religious sense influenced Thomas Hardy's work heavily. Check out the literary experience of Thomas Hardy, the author was changed to the suspicion from firmly believing on God, and turned in the irony and satire in the end. The house. Having seen him enter and Eustacia look from a window at her, she is convinced that her son's new wife has poisoned her son's mind against her and comments, "'If they only showed signs of meeting my advances halfway how well it might have been done!"' (Hardy 224)The readers know that Mrs. Yeobright’s belief is unfounded--although Eustacia did make tile faulty assumption that Clym would answer the door, she did not act with malicious forethought. However, Hardy's powerful chance denies Mrs. Yeobright and Clym a reunion, and the distraught mother begins the long and hot journey home. She randomly encounters a young village boy on the heath and confides to him that she is '"a broken-hearted woman cast off by her son'" (Hardy225). Mrs. Yeobright soon collapses on the heath from exhaustion, the heat, and disappointment.Meanwhile, Clym wakes with no knowledge of what has occurred. While Eustacia is sorry and apprehensive of Clym's anger when she realizes that she has unwittingly turned away his mother, she decides not to tell him of his mother's visit. Once again, irony intrudes when Clym decides that he ought to attempt a reconciliation with his mother lf he had only made this decision a day earlier, then the entire incident could have been avoided. Mrs. Yeobright would not have undergone her trial in the eat or experienced what she thought was a rejection at the hands of her son and his merciless new wife. As Clym journeys to his mother's home, he discovers her prostrate body on the heath. Although he does prevent her from dying alone, she has been bitten by an adder and expires during the night without regaining full consciousness and being reunited with Clym. Even worse, her young companion arrives on the scene to inform Clym of his mother's last words.After Mrs, Yeobright's death, Clym becomes iii as "Despair had been added to his original grief by the unfortunate disclosure of the boy who had received the last words of Mrs. Yeobright(Hardy 239), Clym's ramblings dramatically illustrate his tortured state of mind:"I cannot help feeling l did my best to kill her... My conduct to her was too hideous--I made no advances; and she could not bring herself to forgive me. Now she is dead! If l had only shown myself wilting to make il up to her sooner". (Hardy 239) Clym blames himself for her death and their failure at reconciliation. To Eustacia, who knows herself truly guilty for not letting in Mrs. Yeobright and therefore avoiding her death and facilitating a reconciliation, listening to Clym's self-denouncing speeches are agony. After monologues such as these, "There escaped from Eustacia one of those shivering sighs which used to shake her like a pestilent blast" (Hardy 239), but she cannot bring herself to tell the truth. Elliott describes Hardy's female heroines by saying, "They are undecided about telling it [their secret], and usually wait until confession only leads to disaster (96). Eustacia's death and downfall could still have been avoided if she had immediately confessed to Clym alter he woke on the day of his mother's visit and begged forgiveness. However, she stays proud and silent and Clym discovers the truth on his own, causing an irreparable breach between them due to her deceit.All these events are guided by chance and chance to the worst possible outcome-death, and no reconciliation. If Mrs. Yeobright were not as elderly--if Clym had not fallen into such a deep hardness and bitterness of common people make Hardy realized that the common people can never be rescued by the "Almighty God', not to say of getting rid of the miserable real life they have. As a result, Hardy put all his desire and will not to current life but the future lone, not to God but to human beings. And in the late years, Hardy also shows a rebellion on God. He Declared that God not help him to complete his career, he would not make his dream come true unless by his own sweat-taking struggles.。
哈代作品中的生态女性主义思想
哈代作品中的生态女性主义思想摘要：哈代通过他的小说表达了对女性和自然的双重关注，揭示了女性和自然都是男性和文明社会的压迫对象，因而他是一位具有生态女性主义意识的作家，关键词：托马斯·哈代；生态女性主义思想；自然；工业文明；男权；女性Abstract: Hardy expressed the dual concern of women and nature through his novels, reveal women and nature are the oppression object of men and civilized society, and therefore he is a writer of the eco-feminist consciousness,Key words: Thomas Hardy; eco-feminist ideology; nature; industrial civilization; patriarchal; women生态女性主义是20世纪70年代女性主义和生态运动相结合的产物，其首要的内容就是认同自然和女性。
它试图探索普遍存在的贬低自然和贬低女性之间的关系，认为二者都被否定和边缘化了，在人类历史和文化中往往缺席。
同时，生态女性主义强烈反对父权制世界观和二元思维方式对女性和自然的压迫。
其主要代表人物之一瓦伦认为只有推翻主张控制自然和女性的父权制社会观，才能最终使人与自然，男性和女性和睦相处，协调发展。
托马斯·哈代的“性格与环境小说”的主题一直是自然和女性。
在他的小说中，他把自然和女性联系起来，同时他在小说中大量描写自然生态，通过批判文明与自然的关系来唤醒人们追求和谐的生态意识。
此外，他还在其作品中揭示了男性对女性的统治，因此可以说他的小说其实就是充满生态女性主义内涵的经典作品。
一、自然和女性生态女性主义思想认为，女性和自然都遭受着父权制文化的压迫和统治，因而二者有着共同的命运，成为处于弱势地位的“他者”。
tess
Biography Part 2
• Wrote about his imaginary Wessex, but he also stirred up controversy with "Tess of the D'Urbervilles" and "Jude the Obscure." • After the uproar over these novels, Hardy said he would never write another novel.
托马斯·哈代
Thomas Hardy 1840-1928
Biography
• Was born on June 2, 1840 in Dorset, England and died on January 11, 1928 • Hardy's mother, provided for his education. • Hardy was apprenticed to an architect. He worked in an office, which specialized in restoration of churches. • In 1874 Hardy married Emma Lavinia Gifford. Who then died in 1912 • In 1914 he married his secretary, Florence Emily Dugdale.
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Dorchester, County Town of Dorset
Thomas Hardy was born in Dorset, a rural region of southwestern England that was to become the focus of his fiction. Hardy created a world of Wessex which was based on his hometown—Dorset.
德伯家的苔丝_presentation
Thomas Hardy (1840~1928)
Thomas Hardy
• Life • Works • Theme & Style • Position & Evaluation
Life
Thomas Hardy was an English novelist, short writer and poet.
ቤተ መጻሕፍቲ ባይዱ
Position & Evaluation
His poetry marks the transition from the Victorian Age to the modernist movement of the 20th century.
Analysis on Characters
• Tess Durbeyfield • Alec d’Urberville • Angel Clare
Works
• 1867 The Poor Man and The Lady • 1871 Desperate Remedies • 1872 Under the Greenwood Tree • 1873 A Pair of Blue Eyes • 1874 Far From the Madding Crowd • 1878 The Return of the Native • 1886 The Mayor of Casterbridge • 1887 The Woodlanders • 1891 Tess of the D' Urebevilles • 1895 Jude the Obscure
托马斯.哈代
“ The sudden disappointment of a hope leaves a scar which the ultimate fulfillment of that hope never entirely removes.” 一个希望的突然失落会留下一处伤痕， 即使那希望最终会实现，也决不能完全平 复。
1874 Far from the Madding Crowd 《远离尘嚣》
Other popular novels followed in quick succession: 1878 The Return of the Native《还乡》 1886 The Mayor of Casterbridge 《卡斯特桥市长》
——Tomas Hardy
Mankind is subjected to the rule of some hostile and mysterious fate, which brings misfortune to human life.
Fatalism（宿命论）：chance and
fate, nature, the final disintegration of peasantry in England, Hypocritical morality.
The Return of the Native (1878)
Short Stories
Wessex Tales(1888)（威赛克斯诗集） 境的讽刺） … Poetry
(1904-1908) The Dynasts 《列王》是以拿破仑战 争为题材的三卷本诗剧，除此之外还有近千首短小 的抒情诗.
1910 he was awarded the Order of Merit.
德伯家的苔丝作者生平人物关系个性背景,情节
returns home, gives birth to a son, but died for
illness.
精选ppt
17
• Tess makes another journey away from home, and she meets and falls in love with Angel Clare. After the wedding, Tess and Angel confess their pasts to each other. Tess told Clare that she was raped by another man, but Clare cannot forgive Tess .Clare going to Brazil for a year and Tess
• Tess is a good, beautiful and strong country girl.
• The rural life（乡村生活）
created a good-natured of the noble soul.
• She should have a bright future and the future well-being.
direction
Major characters
• Angel Clare — The son of a clergyman; Tess's husband and true love.
• He considers himself as freethinker, but his notions of morality turn out to be fairly conventional.
1)Novels of Character & Environment 2)Novels of Romances & Fantasies 3)Novels of Ingenuity
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• The symbolic interpretation of the cock crowing is strengthened by Mrs. Crick's fervent denial that" 'It only means a change in the weather. . . not what you think: 'tis impossible!' "(p. 275).
while floating across the Marlott landscape at dusk
• while singing herself along the road to Talbothays Dairy, • while wading through the garden towards the sounds of Angel's plucked harp, • while harvesting frozen turnips and feeding the wheat-thresher at Flintcomb-Ash farm.
Thomas Hardy
(1840- 1928)
• • • • • •
Under The Greenwood Tree (1872) Far from the Madding Crowd (1874) The Return of the Native (1878) The Mayor of Casterbridge (1886) Tess of the d’Urbervilles (1891) Jude of the Obscure (1898)
colonial enclosure or male scopic desire
• Yet such reverie-in-nature-the fieldwoman's losing of "her own margin"-may be a form of spirit-work, a legitimate mode of defense, a variety of religious experience struggling against .
Tess as Dreamer
Tess as Dreamer
• by night and day. "Tess is asleep, or in reverie," "at almost every crucial turn of the plot:
• at Prince's death, • at the time of her seduction by Alec, • when the sleepwalking Angel Clare buries his image of her, • at his return to find her at the Herons, • when the police take her at Stonehenge."
• The color symbolism of the cock also emphasizes Tess's stain, and nature combined with folk wisdom identifies Tess as "fallen."
• Nature's attempt to mark Tess as a fallen woman is further evident during Tess and Angel's wedding night.
• In the ballad which Hardy employs, the "fallen" maiden is probably able to stab her seducer, returning and employing the symbolic knife, because she has gained access to sexual power through her fall.
"charm[ing]" field-woman
• were the most interesting of this company of binders, by reason of the charm which is acquired by woman when she becomes part and parcel of outdoor nature, and is not merely an object set down therein as at ordinary times. A field-man is a personality afield; • a field-woman is a portion of the field; she has somehow lost her own margin, imbibed the essence of her surrounding, and assimilated herself with it (p. 8).
• The value of societal law is suspect , since it exists apart from the reality of the natural world. Woman's nature and nature itself, however, are connected in Tess's world. • As part of nature then, fieldwomen, like Tess, are exempt from social conditions or expectations of sexual conduct.
Mythic allusions
Mythic allusions
• Through this allusion, Hardy prefigures Tess's encounter with Alec in what is appropriately titled "The Chase," and the mythic quality of the description emphasizes the eternality of the conflict.
• Hardy claims that rather than judging Tess correctly by her character, the critics "drag in, as a vital point, the acts of a woman in her last days of desperation, when all her doings lie outside her normal character."
Point of View
Tess Durbeyfield
• two extraordinarily welldeveloped pairs of body parts: • lips and legs.
"passive“?
• has walked so many miles, milked so many cows, threshed so much wheat, harvested so many frozen beets, labored so hardagainst the curse of spectacular good looks.
subtitle as a thematic center or touchstone for reading the novel
• Tess's final actions are not those of a "pure woman": "She rises through seduction to adultery, murder, and the gallows." • judges her movement from apparently excusable seduction, the "early stain," to adultery and murder as unfitting for a "pure woman."
the divergence of social and natural law in discussions of sexuality.
• After the seduction/rape in the Chase, Tess compares her "sin" to the innocence of the natural world, but Hardy as narrator intrudes to assert that she "had been made to break an accepted social law, but no law known to the environment in which she fancied herself such an anomaly" (p. 108).
• the curious mixture of folk mythology and natural particularity in Tess. • The narrative contradictions between Hardy's persistent attempt to claim Tess's purity and her actions as heroine within the tragedy are perhaps an inevitable result of attempting to utilize the narrative power of myth, without accepting the moral system which it transmits.