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Bloom's Literary Themes - ymerleksi - home

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234<br />

Thomas Hardy<br />

* * *<br />

Tess, then, is ironically enough Nature’s ‘holy plan’, though strictly<br />

speaking, if she could comment about novel-reading as cited, it is<br />

unlikely she would have been familiar with Wordsworth. ‘She was<br />

not an existence, an experience, a passion, a structure of sensations, to<br />

anybody but herself. She simply existed.’ It is a pity de Beauvoir did<br />

not study Hardy; and he, in turn, might have subscribed to much of<br />

what she wrote in The Second Sex, one passage of which could well be<br />

superscribed over much of Tess:<br />

‘Woman is the victim of no mysterious fatality; the<br />

peculiarities that identify her as specifically a woman get their<br />

importance from the significance placed upon them.’ 9<br />

The existential sanguine is there again when Hardy—once more<br />

somewhat spuriously—attaches a little Sully Prudhomme to his heroine’s<br />

reflections, and remarks that she could ‘hear a penal sentence in<br />

the fiat, “You shall be born”.’ Then after Tess has been betrayed—that<br />

is, after she has ‘fallen’—we are asked:<br />

‘In a desert island would she have been wretched at what had<br />

happened to her? Not greatly. If she could have been but just<br />

created, to discover herself as a spouseless mother, with no<br />

experience of life except as the parent of a nameless child,<br />

would the position have caused her to despair? No, she would<br />

have taken it calmly, and found pleasures therein.’<br />

It is something of a pity Hardy felt he had to make Tess an aristocrat<br />

by birth, for the book is really unconcerned with class, except inasmuch<br />

as that through Alec a rural West Country girl is betrayed by<br />

common trade turned pseudo-squireen. 10 It is a pity if only since it led<br />

D. H. Lawrence into some maddeningly self-indulgent passages on<br />

the novel, in which, however, genuine insights lie buried.<br />

Possibly not meant to be published, and only posthumously so<br />

(in the Phoenix collection edited by Edward D. McDonald), these<br />

pages are rendered almost unreadable by Lawrence’s assumption<br />

that we will all share his love ethic, together with its attendant and<br />

highly arbitrary terminology. Tess is an aristocrat and, for him, ‘has

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