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It is now late October, and Tess is making her way back to her hometown. She has been away from home for four months. Alec catches up to her and chastises Tess for having slipped away in the early morning. He tells her to climb into his cart, and he will drive her and her luggage home. As they drive, Tess laments Alec’s mistreatment of her and rejects his offer to support her financially. Alec concedes that he has not behaved honorably towards Tess and tells her that if she ever needs help, she should reach out to him. He notes that he will likely go to London, as he does not enjoy staying with his mother.
Tess insists on getting out of the cart some distance from her home and going the rest of the way on foot. She parts sadly from Alec, telling him that she does not love him and will never be able to.
On her walk home, Tess encounters a man who offers to help her with the luggage she is carrying. They walk together for some time, but Tess becomes upset when she sees the man stopping to paint messages condemning sin and threatening damnation. When Tess gets home, Joan Durbeyfield is surprised to see her and asks if Tess is going to marry Alec. Tess confides that she and Alec have had a sexual relationship but explains that she is unhappy about what happened, blaming her mother for not having warned her; as she laments, “I never had the chance o’ learning in that way, and you did not help me” (94).
Many villagers find Tess’s return interesting and gossip about what might have happened while she was away. Tess tries to go to the local church, which she thinks she will find comforting, but becomes upset and ashamed when people gossip about her. She begins to isolate herself and only go out after dark so that no one will see her.
The narrative resumes almost a year later, in August. Tess is helping with the harvest near her village. When the laborers stop for lunch, Tess’s younger sister Liza-Lu arrives, carrying a young infant. Tess pauses to nurse the baby: It is the illegitimate son that has resulted from her encounter with Alec. The other laborers gossip about Tess and the baby, noting that she often laments her fate as an unwed mother but also seems to love her child. Many of them feel sympathy towards Tess.
When Tess gets home from working in the fields, she learns that her baby has fallen ill. She is very distressed because “her soul’s desire was to continue that offence by preserving the life of that child” (105); when she realizes that the baby is dying, Tess becomes determined that the baby be baptized. She asks her father to send for the minister, hoping that he will agree to baptize the baby, but her father feels ashamed and refuses. In desperation, Tess baptizes the baby herself, giving him the name Sorrow. Within a few hours, the baby dies.
The next day, Tess asks the minister if this baptism could be considered valid and if her child will go to heaven. The minister feels sorry for Tess and says yes, but when Tess asks if the baby can receive a Christian burial in the churchyard, he refuses. Tess is upset, but the minister reassures her that the burial location will not impact the baby’s soul. The baby is buried in a corner of the graveyard with unconsecrated ground.
Time passes, and Tess’s experiences contribute to her emotional maturation. She continues to dutifully help her family but also wonders what the future holds for her. In spite of everything that has happened, she has not given up: “Tess felt the pulse of hopeful life still warm within her; she might be happy in some nook with no memories” (112). In May, more than two years after the loss of her baby, Tess decides to go and work as a dairymaid at a dairy farm called Talbothays. It is quite a distance from her home, but it is also in the region where the ancient family of the d’Urbervilles (Tess’s ancestors) once lived.
Tess makes her way from her home village of Marlott towards Talbothays Dairy. The beautiful spring weather and the promise of a new beginning lifts Tess’s mood; “[T]hus her spirits, and her thankfulness, and her hopes, rose higher and higher” (119).
Tess arrives at the dairy, introduces herself to Richard (Dick) Crick, the dairy-master, and immediately sets to work. She quickly notices a young man who seems different from the other workers at the dairy; there is something about him that is “educated, reserved, subtle, sad, differing” (127), and he also seems familiar to Tess. That night, most of the workers go home since only Tess and a few other girls live at the dairy full-time. Some of these women explain to Tess that the man she noticed is Angel Clare, the son of a minister from a well-educated and affluent family. Nonetheless, Angel wants to establish an in-depth knowledge of farming and so is working at the dairy. Tess realizes that she recognizes Angel from when he came upon her and the other girls dancing at the Marlott May Day celebrations years ago.
Angel Clare is the youngest of three sons born to a stern and extremely religious father. Angel is intelligent but declined to go to university because he does not want to become a clergyman like his father and brothers. In fact, Angel horrifies his father by explaining that he is ambivalent about organized religion; he states that he “love[s] the Church as one loves a parent […] but [he] cannot honestly be ordained her minister, as [his] brothers are” (131). Adrift without an education and career, Angel spent time in London and had an affair with an older woman. Eventually, he became interested in farming and decided to gain as much practical experience as possible. Angel is currently living at the dairy and has begun to enjoy spending time with the other dairy workers. Over time, Angel notices that Tess is surprisingly introspective and articulate; she also seems familiar to him, although he can’t place why. Angel begins to seek Tess out to spend time with her.
Tess notices and comments on Angel subtly helping to make her work at the dairy easier. The two of them meet in the garden one evening after work and talk; Angel is surprised to hear Tess’s dark and largely bleak view of life. This perspective makes her more interesting to him, as he finds it “impressive, interesting, pathetic” (140). When Angel offers to teach Tess and help her advance her education, she declines. She considers telling him about the ancient aristocratic past of her family but decides against it, sensing that Angel likes and respects humble individuals with no family lineage.
Time passes, and Tess and Angel grow closer. They are “ever balanced on the edge of passion, yet apparently keeping out of it” (144). The beautiful country setting makes Tess at ease, and it also facilitates their attraction to one another.
One day, the dairy workers find it difficult to churn the butter and gossip about why this might be, relaying folklore that butter might refuse to form if someone in the dairy is in love or has been involved in an illicit sexual relationship. This gossip makes Tess uncomfortable, although no one knows about her past or the feelings that she is developing for Angel. Later that night, Tess overhears some of the other dairymaids talking about Angel; they are all infatuated with him and wish they could marry him.
Not knowing that Tess can hear them, they discuss how Angel clearly likes Tess the most. Overhearing this gossip confuses Tess; she does not think it is likely that Angel would marry a working-class woman like herself, but given his plan of making a future as a farmer, this type of match also doesn’t seem impossible. She acknowledges that Angel does like her more than the other women, because she is “more finely formed, better educated, […] and more woman” (152), but she is unsure whether there is any point pursuing the attraction between the two of them.
The next day, while Angel and Tess are working together, she points out several times how beautiful the other dairymaids are. Tess does this because she “had moodily decided that either of these maidens would make a good farmer’s wife, and that she ought to recommend them, and obscure her own wretched charms” (155). Tess then starts avoiding Angel. However, she notices that he treats all of the dairymaids with great respect and courtesy, and this makes her like him more.
One Sunday in July, Tess and her fellow dairymaids are trying to make their way to church, but the road has flooded, and they are not sure how to cross it. Angel comes upon the group and offers to carry the young women across one by one. When he carries Tess across, both are excited by being close to one another, and Angel confides, “I have undergone three-quarters of this labor entirely for the sake of the fourth quarter” (160). Afterwards, the other dairymaid’s comment on the attraction between Tess and Angel. Tess makes it clear to the others that she wouldn’t marry Angel even if he asked her to, and they all lament their unrequited love together. One of the dairymaids also explains that she has heard that Angel is going to marry a wealthy and well-educated woman whom his family approves of. This news upsets Tess a great deal, and she resigns herself to nothing but a casual flirtation with Angel.
As the summer continues, the attraction between Tess and Angel intensifies. One day, they happen to be alone together, milking cows side by side. Looking at Tess’s beauty, Angel is overcome by desire: “[R]esolutions, reticences, prudences, fear fell back like a defeated battalion” (166). He impulsively embraces Tess; she is both excited and confused and draws away from Angel. He apologizes for acting this way without her consent but confides that he is in love with her, saying that he can no longer hide it.
Whether or not Tess gave consent to Alec, the aftermath of their encounter makes it clear that it was traumatic for her. She lashes out against both Alec and her mother for taking advantage of her innocence: To Alec, she says, “How can you dare to use such words […] My God, I could knock you out of the gig!” (89). Tess’s anger and violence reveal that in extremity she does not passively accept violation and manipulation, foreshadowing how she will eventually take bloody revenge against Alec. Her anger contrasts with Alec’s sanguine and entitled perspective as he simply tells her, “I suppose I am a bad fellow—a damn bad fellow. I was born bad, and I have lived bad, and I shall die bad” (89). Alec can calmly and unrepentantly reflect on his behavior because he does not face the same social or biological consequences as Tess does.
Similarly, Tess accuses Joan Durbeyfield of failing to protect her: “‘O mother, my mother!’ cried the agonized girl, turning passionately upon her parent as if her poor heart would break. ‘How could I be expected to know? I was a child when I left this house four months ago’” (94). This quotation reflects another rare moment where, rather than accepting responsibility, Tess laments the injustice of her parents failing to live up to their obligations, thus leaving her unprotected.
The social stigma that Tess is subjected to compounds the trauma of her violation. Although she initially tries to reintegrate into village society, her sensitivity makes this impossible: “[S]he knew what their whispers were about, grew sick at heart, and felt that she could come to church no more” (97). The quote introduces Hardy’s ironic critique of Christianity, as supposedly devout individuals fail to show the compassion they should extend to Tess and instead focus on moralizing and shaming her. The villagers’ judgmental response also provides an opportunity for Hardy to develop the theme of contrasting nature and society. Hardy describes how, after returning to her family home, Tess “had no fear of the shadows; her sole idea seemed to be to shun mankind—or rather that cold accretion of the world” (97). Tess feels safe when she is alone in the natural world; it is other human beings who make her feel badly about herself. Even more bluntly, Hardy writes that “it was they that were out of harmony with the actual world, not she” (97). By enforcing arbitrary social rules and confining natural processes of sexuality and reproduction to the social construct of marriage, society shames Tess for something that should be completely unremarkable.
The juxtaposition between social conventions and natural processes deepens with Tess’s pregnancy and the social stigma that results. Within the world of plants and animals, new life results from reproduction without any distinction about whether that reproduction was consensual or whether it was legitimized by laws and ceremonies. Hardy describes Tess’s baby as “that bastard gift of shameless Nature who respects not the social law” (108), making the point that Tess’s body simply performed a natural biological function by conceiving and birthing a child. However, society insists on distinctions that cause shame and suffering, leaving Tess haunted by the fear that her child might have gone to hell due to having been born out of wedlock and not having received a legitimate baptism.
Tess’s pregnancy represents a kind of biological resilience, and in the aftermath of losing her child, she also displays emotional resilience and hopefulness for the future. Amidst all of her suffering, Tess concludes that “the past was past; whatever it had been it was no more at hand. Whatever its consequences, time would close over them; they would all in a few years be as if they had never been, and she herself grassed down and forgotten” (103). Tess sees herself as part of the regular and transitory cycles of nature; like most things in nature, she will live, reproduce, and die while other organisms cycle through those same steps around her.
While this fatalism leaves Tess resigned, it also allows her to hope that she can start a new life for herself and even find happiness: “[S]ome spirit within her rose automatically as the sap in the twigs. It was unexpended youth, surging up anew after its temporary check, and bringing with it hope, and the invincible instinct towards self-delight” (113). The simile comparing Tess’s spirit to the sap in trees shows that she is part of nature and therefore shares its tendency towards renewal and resilience. The vitality of youth becomes even clearer when Tess moves to Talbothays Dairy and falls in love with Angel Clare. The lush and fertile farmland and the abundance of summertime provide an ideal setting for Tess’s desire and hopes to reawaken. This desire to reclaim the possibility of happiness distinguishes Tess from many other Victorian examples of female characters who experience sexual falls or transgressions: The traditional narrative is of an inexorable downward slide, often culminating in death.
Angel Clare becomes the primary love interest in the novel, which juxtaposes him against Alec d’Urberville. Angel’s family is financially comfortable but not nearly as wealthy or elite as the d’Urbervilles; moreover, Angel grows up in a setting where morality, intelligence, and religious devotion are prized characteristics. Not unlike Tess herself, Angel occupies an ambiguous class position; he is far better educated, more sophisticated, and more moneyed than anyone else working on the dairy farm, but he chooses to surround himself with laborers rather than pursue higher education and a comfortable life as a clergyman.
Hardy argues that Angel benefits from stepping outside of his prescribed social station: “He grew away from old associations, and saw something new in life and humanity. Secondarily, he made close acquaintance with phenomena which he had before known but darkly—the seasons in their moods […] trees, waters and mists” (134). By suggesting that Angel is better off with closer ties to nature (and the working-class people who still live according to the rhythms of nature), Hardy builds on his critique of industrialization and modernity. However, Angel is also a dangerously naive presence; he romanticizes and idealizes Tess because he has no real notions of what poverty and hard work look like, and he imagines that the two of them are more similar to one another than they actually are. The dairy farm functions as a kind of secluded and Edenic setting in which Tess and Angel can pretend that they are “the first persons up of all the world” (145). This isolation nurtures their mutual attraction to one another but also shields them from the reality of social conventions.
Much like Alec before him, Angel experiences powerful sexual attraction to Tess; he lingers over imagery of her body, including reflecting that “to a young man with the least fire in him that little upward lift in the middle of her red top lip [is] distracting, infatuating, maddening” (165). To make the juxtaposition with Alec effective, it needs to be clear that Angel also desires Tess rather than merely experiencing chaste regard for her. In contrast with Alec, however, Angel is interested in Tess’s insights and ideas about the world around her. Angel also shows respect and care for Tess; when he impulsively seizes Tess, he stops before kissing her and apologizes: “I ought to have asked. I—did not know what I was doing. I do not mean it as a liberty” (166). This quotation reveals that Angel is much more caring and respectful towards Tess and does not want to make her uncomfortable with his advances. Ironically, Angel’s gentle and solicitous approach to courtship will create greater problems since it makes him all the more alluring to Tess.
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