Victimization Of Tess Of The D Essay

& # 8217 ; urbervilles Essay, Research Paper

Tellurium of the D & # 8217 ; Urbervilles

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Tess Durbeyfield is a victim of external and appreciated forces. Passive and giving up, unsuspecting and basically pure, she suffers a failing of will and ground, fighting against a destiny that is excessively strong for her. Tellurium is the easiest victim of circumstance, society, and male idealism, who fights the hardest battle, yet is destroyed by her harrying suicidal sense of guilt, life denial and the inhuman treatment of two work forces.

It is chiefly the decease of the Equus caballus, Prince, the Durbeyfield & # 8217 ; s chief beginning of support that commences the web of circumstance that will enfold Tess. Tess views herself as the cause of her household & # 8217 ; s economic ruin, nevertheless she besides believes that she is parallel to a murderess. The imagination at this point in the novel shows how overwrought and guilt ridden Tellurium is as she places her manus upon Prince & # 8217 ; s lesion in a ineffectual effort to forestall the blood loss that can non be prevented. This imagination is tantamount to a photographic cogent evidence & # 8211 ; a lead-up to the events that will determine Tess & # 8217 ; s life and the inevitable & # 8220 ; evil & # 8221 ; that besides, like the ruby blood that spouts from Prince & # 8217 ; s wound, can non be stopped. The symbolic fact that Tess perceives herself to be comparable to a murderess is an penetration into the slaying that she will finally perpetrate and is a mention to the degree of guilt that now consumes her. & # 8220 ; Nobody blamed Tess as she blamed herself & # 8230 ; she regarded herself in the visible radiation of a murderess. & # 8221 ;

Her parents, aware of her beauty, position Tess as an chance for future wealth and coupled with the unfortunate circumstance of Prince & # 8217 ; s decease impulse Tess to venture from the & # 8216 ; engirdled and secluded part & # 8217 ; of Marlott to seek fiscal aid from the D & # 8217 ; urberville & # 8217 ; s in nearby Trantridge. It is here that she foremost encounters the sexually ascendant and slightly diabolic Alec D & # 8217 ; urberville, whom she is subsequently to fall victim to. Alec & # 8217 ; s first words to Tess, & # 8220 ; Well, my Beauty, what can I make for you? & # 8221 ; bespeak that his first feeling of Tess is merely one of sexual magnetic attraction. Alec so proceeds to capture Tess by forcing strawberries into her oral cavity and pressure roses into her bosom. These fruits of love are an indicant of Alec & # 8217 ; s lecherousness and sexual desire for Tess as he preys upon her pureness and rural artlessness. Tess unwillingly becomes a victim to Alec & # 8217 ; s inhumane, violent and aggressive sexual progresss as Alec, ever the maestro of chances, takes advantage of her whilst entirely in the forests and rapes her. Tellurium has fallen capable to the barbarous side of human nature as Alec seizes upon her exposure.

After this sexual misdemeanor and corruptness of artlessness, Tess flees place and although she has escaped the trap of the sexually predatory Alec for the clip being, her circumstance is similar to that of a wounded animate being & # 8211 ; her blood of artlessness has been released. At this clip, Hardy gives mention to Shakespeare & # 8217 ; s & # 8216 ; The Rape of Lucrece & # 8217 ; – & # 8217 ; where the snake hisses the sweet birds sing & # 8217 ; proposing that Alec was tantamount to Satan alluring Eve. Tess is doubtless a victim and her deficiency of understanding over such affairs merely increases the guilt that already embodies her. To add farther to her shame she chances upon a holy adult male who paints exerts from the bible around the countryside. In ruddy accusatory letters she reads & # 8220 ; THY, DAMNATION, SLUMBERETH, NOT & # 8221 ; and is horrified to believe how relevant it is to her recent bad lucks. Tellurium at this phase is a victim to her ain ego & # 8211 ; scruples and she becomes a hermit trapped within her place & # 8211 ; off from the society that has unjustly condemned her whilst in world she has broken no jurisprudence of nature.

Returning to work in the field, Tess witnesses the coneies forced further to shelter as the cornrows in which they dwell are reaped and the reapers kill every one of them with sticks and rocks. This is symbolic of Tess & # 8217 ; s ain state of affairs as she is being separated small by small from household and friends and from her childhood artlessness, it is implicative of the solitariness she now feels. The babe she has baptized as Sorrow dies, his name being an indicant of the torment that has taken topographic point within Tess due to the fortunes of his construct and it besides epitomizes what is to follow through the events of her ain sorrowful life.

In an effort to get down her life anew, Tess decides to travel off from the privacy of Marlott to Talbothays

– where no 1 will cognize of her yesteryear. Although filled with natural optimism, Tess’s yesteryear has already begun to weave the fatalistic web that will pin down her like a fly and from which the famished spider of helter-skelter day of reckoning will pull all of her life’s life out. Talbothay’s Dairy is the stage of Tess’s life in which she experiences her lone period of sheer felicity, although at times this is tinctured by mental vacillations as to her pureness and righteousness. Here we can see in an absent signifier the manner society has entrapped Tess by its averments of what is purportedly morally right.

& # 8216 ; Like a hypnotized bird & # 8217 ; Tess is drawn into the wild and overgrown garden by the sound of Angel Clare & # 8217 ; s dwell & # 8211 ; playing. We gain here, a sense of Tess & # 8217 ; s affinity within the natural environment as she proceeds every bit stealthily as a cat through this profuseness of growing. Hardy has likened Tess to an animate being and this is symbolic of the high catastrophe to follow. Tess is trapped one time once more & # 8211 ; although on this juncture she is bound to Angel by ideological hobbles. Tess is transformed in Angel & # 8217 ; s sight & # 8216 ; & # 8230 ; a airy kernel of adult female & # 8211 ; a whole sex condensed into one typical signifier & # 8217 ; . Tess & # 8217 ; s stuff, physical relationship with Alec has been replaced by a religious, idealised one with Angel. She has now become a victim of Angel & # 8217 ; s idealisation as her individualism is going further suppressed by his inventive and aeriform logical thinking. As the spring season progresses so, does Angel and Tess & # 8217 ; s love affair and finally she succumbs to Angel & # 8217 ; s appeals.

After neglecting to state Angel of her yesteryear, she writes him a missive, which is placed beneath his door. In a barbarous turn of destiny, the missive slides beneath the mat and there it remains & # 8211 ; unread. Tellurium and Angel & # 8217 ; s matrimony is marred by ailment & # 8211 ; portents. Hardy gives mention to the gnats that know nil of their brief glory & # 8211 ; as Tess herself can non penetrate the powerful fatalism that will do her such sorrow. Hardy & # 8217 ; s continual usage of sick -omen gives the feeling of the extent of Tess & # 8217 ; s victimization to destine, the D & # 8217 ; urberville manager and the crow of the prick typifying the decease of their relationship.

On their honeymoon, traditionally a joyous juncture, Tess confides in Angel the nature of her yesteryear. Before this confession, Tess is horrified by the portrayals she sees hanging on the walls. Angel beholds a similar quality within Tess & # 8211 ; an haughtiness and fierceness which is the truth linked to her yesteryear. On hearing of Tess & # 8217 ; s unfortunate yesteryear, Angel withdraws from world by declining to acknowledge that she is the adult female that he loved. & # 8216 ; You were one individual ; now you are another & # 8217 ;

Angel & # 8217 ; s going to Brazil leaves Tess about as a widow. Angel & # 8216 ; s physical rejection of Tess has subjected her to the inhuman treatment of love, a victim one time once more & # 8211 ; she is broken both spiritually and emotionally. It is at this point in the novel that she begins to understand that her beauty is portion of the cause of her devastation. In reply to this, she dons her oldest field gown, covers half her face with a hankie, and snips off her superciliums to & # 8220 ; maintain off these insouciant lovers. & # 8221 ; Tess has realized that portion of the victimization she has undergone is because of her beauty, although this realisation has come excessively late to salvage her from Alec & # 8217 ; s lubricious actions and Angel & # 8217 ; s idealised 1s. Tess seeks shelter one dark beneath some shrubs to conceal from a lubricious adult male and awakens to happen pheasants left half & # 8211 ; dead by a hiting party. All of these birds are wrestling in agony apart from those, which have been unable to bear any more and have died through the dark. Tess reprimands herself for experiencing self-pity ; & # 8216 ; I be non mangled, and I be non shed blooding & # 8217 ; & # 8211 ; and although she is non physically marred by the events that have so irrevocably altered her life, emotionally and spiritually she is exhausted.

The powerful calamity of Tess & # 8217 ; s life is that her determinations have ever been made with good and pure purposes but have resulted in detrimental effects. Tess is doubtless a victim as wretchedness punctuates her life. She is a victim of circumstance in that her individualism makes small difference to her destiny, she is a victim of society in the sense that she is a whipping boy of narrow & # 8211 ; mindedness and she is a victim of male political orientation on the evidences that her powers of will and ground are undermined by her sensualness. Tess herself sums up her ain spoilt life best: & # 8216 ; Once a victim, ever a victim & # 8211 ; that & # 8217 ; s the jurisprudence! & # 8217 ;