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- Herausgeber: e-artnow Collections
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
Outcast Women, Judging Eyes – 3 Classic Victorian Novels offers a profound exploration of the marginalized female experience in the Victorian era, intertwining the narratives of three literary giants. This anthology captures the social tensions and restrictions faced by women during this period through a medley of rich storytelling and diverse styles. Readers are invited into the meticulously constructed worlds of these novels, showcasing a blend of social critique, psychological depth, and heartfelt emotion. Each work, distinct in its narrative techniques and thematic concerns, pushes against the boundaries of societal norms, daring to address the harsh realities and social injustices that women faced. The contributing authors, George Eliot, Thomas Hardy, and George Moore, have collectively shaped the landscape of literature with their incisive perspectives and compelling prose. Known for challenging established norms and probing into the societal issues of their time, these authors collectively reflect the transformative currents of the 19th century. Their works align with the burgeoning realist and naturalist movements, bringing forth stories that not only entertain but also provoke critical thought and empathy. The intricate examination of moral complexities and societal expectations are threads that unify this anthology, offering a comprehensive understanding of the period. Readers are invited to delve into this anthology for its rich tapestry of perspectives, delving into the female experiences that echo with relevance even today. Outcast Women, Judging Eyes – 3 Classic Victorian Novels is not just a collection of stories but a journey through multi-faceted lens, each novel striking a resonant chord with its poignant and incisive narratives. This collection is a treasure trove for anyone eager to appreciate the literary artistry and potent societal critiques embedded within classic Victorian literature. In this enriched edition, we have carefully created added value for your reading experience: - An Introduction draws the threads together, discussing why these diverse authors and texts belong in one collection. - Historical Context explores the cultural and intellectual currents that shaped these works, offering insight into the shared (or contrasting) eras that influenced each writer. - A collective Analysis highlights common themes, stylistic variations, and significant crossovers in tone and technique, tying together writers from different backgrounds. - Reflection questions encourage readers to compare the different voices and perspectives within the collection, fostering a richer understanding of the overarching conversation.
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Veröffentlichungsjahr: 2026
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Outcast Women, Judging Eyes – 3 Classic Victorian Novels
Table of Contents
Introduction
The strongest thread binding Tess of the d'Urbervilles: A Pure Woman, Esther Waters, and Adam Bede is their sustained attention to women whose lives are exposed to judgment. Each title places a woman in view not as a decorative presence but as a testing ground for a whole moral culture. The phrase "outcast women" names more than social exclusion: it suggests the ways reputation, vulnerability, labor, desire, and dependence can become public matters for communities eager to classify and condemn. Read together, these novels form a concentrated study of how Victorian fiction examines the distance between lived experience and the verdicts imposed upon it.
A second point of connection lies in the pressure each work brings to bear on the relation between inner worth and outward status. Tess of the d'Urbervilles: A Pure Woman announces this tension at the level of its title, setting moral language against inherited assumptions and social appearances. Esther Waters and Adam Bede likewise direct attention toward women whose value cannot be measured by the standards that surround them. Across the three novels, the reader is invited to observe how labels harden into destinies, while character, feeling, and endurance remain more complex than the categories used to contain them.
These works also converse through recurring motifs of work, dependency, and exposure. Their women are not abstract emblems but figures whose circumstances are shaped by practical necessities and by the unequal distribution of power. Questions of sustenance, respectability, and survival hover around them, making private feeling inseparable from material conditions. This shared grounding gives the collection a distinctive gravity. The novels do not treat judgment merely as a matter of opinion; they show it as something embedded in social arrangements, where the gaze of others can affect opportunity, belonging, and the very terms on which a life may be understood.
At the same time, the collection gains force from difference. Thomas Hardy, George Moore, and George Eliot are united by concern, yet they are not interchangeable in manner or outlook. Hardy's title suggests an especially charged contest between innocence and accusation, while Moore's points toward the plainness and dignity of a named individual life, and Eliot's joins a woman's story to a broader social world implied by Adam Bede. Such contrasts in emphasis create a productive variety of perspective. Together, the novels offer not a single thesis but a richer field in which sympathy, scrutiny, and moral inquiry take distinct literary forms.
Because of these variations, the books illuminate one another. A reader moving among them encounters repeated situations of vulnerability, but also changing proportions of intimacy and breadth, singular suffering and communal observation. The effect is cumulative. Each novel sharpens awareness of the others' preoccupations: how female experience becomes legible through rumor or convention, how compassion may coexist with censure, and how narrative can restore density to lives flattened by judgment. The collection therefore presents a conversation about the making of social outsiders, while refusing to reduce women to the identities that hostile or complacent observers assign to them.
The continuing resonance of these novels lies in their recognition that public judgment often claims moral clarity while concealing deep injustice. Modern readers still inhabit cultures in which women's conduct is watched, interpreted, and ranked according to shifting standards of purity, propriety, and credibility. For that reason, the dilemmas staged here remain legible beyond their original century. These works help articulate the emotional and social costs of being seen through suspicion rather than understanding. They also continue to shape artistic conversations about realism, ethical perception, and the capacity of fiction to challenge inherited ways of assigning blame.
Taken together, Tess of the d'Urbervilles: A Pure Woman, Esther Waters, and Adam Bede compose a powerful triptych of womanhood under pressure. Their common achievement is not merely to depict suffering, but to test the moral habits of the worlds that produce it and of the readers who witness it. In bringing these novels into relation, the collection highlights a central Victorian concern that remains urgent: the conflict between humane attention to individual lives and the harsh simplifications of collective opinion. What emerges is a sustained meditation on dignity under scrutiny, and on fiction's power to reopen cases that society assumes are settled.
Historical Context
Socio-Political Landscape
Victorian Britain was marked by entrenched class hierarchy, legal inequality, and a moral culture that judged women more harshly than men. In Adam Bede, Esther Waters, and Tess of the d'Urbervilles, authority is not only governmental but local and intimate, exercised through employers, clergy, landowners, and public opinion. These novels reflect a society in which reputation could determine livelihood, especially for servants and rural laborers. The period's debates over poverty, legitimacy, sexual conduct, and female dependence form the background of their plots, showing how social discipline operated through households, parish structures, and the constant scrutiny of neighbors.
All three novels emerge from a century transformed by industrial capitalism, though they attend particularly to those left vulnerable by that transformation. Adam Bede looks back to an earlier rural order, while Tess of the d'Urbervilles and Esther Waters register the pressures of wage labor, migration, and precarious employment. Agricultural decline, domestic service, and unstable urban work exposed women to exploitation without granting real independence. The novels repeatedly show that economic necessity narrows moral choice. Their fallen or suspected women are judged as if freely acting, yet their circumstances are shaped by property relations, inheritance, and employers' power over shelter, wages, and respectability.
The books also reflect Victorian controversy over religion, law, and sexual ethics. Adam Bede places Methodist fervor beside established social authority, revealing both the consolation and the disciplinary power of religious culture. Esther Waters engages a world in which piety, gambling, and domestic labor coexist uneasily, exposing the fragility of moral ideals under material pressure. Tess of the d'Urbervilles is steeped in disputes about marriage, purity, and justice, asking whether legal and customary definitions of virtue correspond to lived experience. Together, the novels register a culture increasingly aware that formal morality often protected privilege while punishing female vulnerability.
Intellectual & Aesthetic Currents
These novels were shaped by realism, the dominant serious mode of much nineteenth-century fiction, with its attention to ordinary lives, social causation, and moral complexity. George Eliot helped define this aesthetic by insisting that fiction enlarge sympathy through precise observation of provincial existence. George Moore, writing later, intensified documentary plainness and social candor, while Hardy fused realist detail with a more lyrical, fatalistic sensibility. Across the anthology, realism becomes a means of contesting sentimental simplifications about feminine virtue. Each author asks readers to see women not as moral types but as persons formed by work, custom, desire, accident, and unequal power.
Intellectually, the novels belong to an age unsettled by challenges to inherited belief and by new ways of explaining human conduct. Eliot's fiction is informed by ethical seriousness without easy doctrinal certainty; Adam Bede studies conscience, sympathy, and judgment within a community rather than through simple reward and punishment. Hardy writes under the shadow of late-Victorian doubt, where institutions seem less credible and impersonal forces press heavily on individual lives. Moore brings a cooler social scrutiny shaped by modern skepticism. In all three, character is neither wholly autonomous nor wholly excused, but understood through circumstance, habit, and the limits imposed by class and gender.
Aesthetic innovation also appears in narrative voice and perspective. Adam Bede combines panoramic social observation with authorial reflection, asking readers to consider how communities construct blame. Tess of the d'Urbervilles uses symbolic landscapes, seasonal rhythms, and tonal shifts between tenderness and indictment to elevate rural experience into social tragedy. Esther Waters employs restrained, unsentimental narration that suits its subject of endurance under pressure. Though different in texture, the novels share an interest in exposing the gap between public labels and private reality. Their formal choices encourage a historical reading of shame itself, as something produced by language, institutions, and collective spectatorship.
Legacy & Reassessment Across Time
After publication, these novels became touchstones in debates about censorship, morality, and the novel's social function. Tess of the d'Urbervilles especially provoked controversy for its subtitle and its challenge to conventional sexual judgment, prompting discussion about whether fiction should reaffirm or interrogate dominant codes. Adam Bede was earlier received as a major achievement of serious realist art, admired for humane breadth even as its treatment of female transgression invited moral scrutiny. Esther Waters gained notice for its frankness about servant life and unmarried motherhood. Over time, all three were recognized as important studies of how respectability disciplines vulnerable women.
Twentieth- and twenty-first-century criticism has repeatedly returned to these works through feminist, historicist, and class-conscious frameworks. Scholars have examined how Tess, Esther, and Hetty Sorrel illuminate the regulation of female sexuality, the economics of care, and the social manufacture of disgrace. Adam Bede has been reassessed not only as a provincial novel but as a study of gendered judgment and communal surveillance. Esther Waters has drawn renewed attention for its labor history and its representation of motherhood without sentimentality. Tess of the d'Urbervilles remains central to discussions of victimization, agency, and the difficulty of naming injustice within inherited moral vocabularies.
Adaptations and classroom circulation have further reshaped the reputation of these novels, often emphasizing their enduring critique of double standards. Dramatizations of Tess of the d'Urbervilles have highlighted its visual contrasts between pastoral beauty and social cruelty, helping sustain Hardy's public prominence. Adam Bede has persisted as a key example of Victorian moral realism, while Esther Waters, though less continuously visible, has benefited from periodic revival as readers seek broader accounts of women's work and precarious respectability. Read together today, the three novels are often valued less as isolated stories of shame than as historically grounded analyses of who gets judged, by whom, and to whose advantage.
Outcast Women, Judging Eyes – 3 Classic Victorian Novels
Gender, Reputation, and Social Judgment
Rural Society, Class, and the Moral Economy
Thomas Hardy
Tess of the d'Urbervilles: A Pure Woman
Explanatory Note to the First Edition
The main portion of the following story appeared—with slight modifications—in the Graphic newspaper; other chapters, more especially addressed to adult readers, in the Fortnightly Review and the National Observer, as episodic sketches. My thanks are tendered to the editors and proprietors of those periodicals for enabling me now to piece the trunk and limbs of the novel together, and print it complete, as originally written two years ago.
I will just add that the story is sent out in all sincerity of purpose, as an attempt to give artistic form to a true sequence of things; and in respect of the book’s opinions and sentiments, I would ask any too genteel reader, who cannot endure to have said what everybody nowadays thinks and feels, to remember a well-worn sentence of St. Jerome’s: If an offense come out of the truth, better it is that the offense come than that the truth be concealed.
T.H.
November 1891.
Author’s Preface to the Fifth and Later Editions
This novel being one wherein the great campaign of the heroine begins after an event in her experience which has usually been treated as fatal to her part of protagonist, or at least as the virtual ending of her enterprises and hopes, it was quite contrary to avowed conventions that the public should welcome the book and agree with me in holding that there was something more to be said in fiction than had been said about the shaded side of a well-known catastrophe. But the responsive spirit in which Tess of the d’Urbervilles has been received by the readers of England and America would seem to prove that the plan of laying down a story on the lines of tacit opinion, instead of making it to square with the merely vocal formulae of society, is not altogether a wrong one, even when exemplified in so unequal and partial an achievement as the present. For this responsiveness I cannot refrain from expressing my thanks; and my regret is that, in a world where one so often hungers in vain for friendship, where even not to be wilfully misunderstood is felt as a kindness, I shall never meet in person these appreciative readers, male and female, and shake them by the hand.
I include amongst them the reviewers—by far the majority—who have so generously welcomed the tale. Their words show that they, like the others, have only too largely repaired my defects of narration by their own imaginative intuition.
Nevertheless, though the novel was intended to be neither didactic nor aggressive, but in the scenic parts to be representative simply and in the contemplative to be oftener charged with impressions than with convictions, there have been objectors both to the matter and to the rendering.
The more austere of these maintain a conscientious difference of opinion concerning, among other things, subjects fit for art, and reveal an inability to associate the idea of the sub-title adjective with any but the artificial and derivative meaning which has resulted to it from the ordinances of civilization. They ignore the meaning of the word in Nature, together with all aesthetic claims upon it, not to mention the spiritual interpretation afforded by the finest side of their own Christianity. Others dissent on grounds which are intrinsically no more than an assertion that the novel embodies the views of life prevalent at the end of the nineteenth century, and not those of an earlier and simpler generation—an assertion which I can only hope may be well founded. Let me repeat that a novel is an impression, not an argument; and there the matter must rest; as one is reminded by a passage which occurs in the letters of Schiller to Goethe on judges of this class: “They are those who seek only their own ideas in a representation, and prize that which should be as higher than what is. The cause of the dispute, therefore, lies in the very first principles, and it would be utterly impossible to come to an understanding with them.” And again: “As soon as I observe that any one, when judging of poetical representations, considers anything more important than the inner Necessity and Truth, I have done with him.”
In the introductory words to the first edition I suggested the possible advent of the genteel person who would not be able to endure something or other in these pages. That person duly appeared among the aforesaid objectors. In one case he felt upset that it was not possible for him to read the book through three times, owing to my not having made that critical effort which “alone can prove the salvation of such an one.” In another, he objected to such vulgar articles as the Devil’s pitchfork, a lodging-house carving-knife, and a shame-bought parasol, appearing in a respectable story. In another place he was a gentleman who turned Christian for half-an-hour the better to express his grief that a disrespectful phrase about the Immortals should have been used; though the same innate gentility compelled him to excuse the author in words of pity that one cannot be too thankful for: “He does but give us of his best.” I can assure this great critic that to exclaim illogically against the gods, singular or plural, is not such an original sin of mine as he seems to imagine. True, it may have some local originality; though if Shakespeare were an authority on history, which perhaps he is not, I could show that the sin was introduced into Wessex as early as the Heptarchy itself. Says Glo’ster in Lear, otherwise Ina, king of that country:
As flies to wanton boys are we to the gods; They kill us for their sport.
The remaining two or three manipulators of Tess were of the predetermined sort whom most writers and readers would gladly forget; professed literary boxers, who put on their convictions for the occasion; modern “Hammers of Heretics”; sworn Discouragers, ever on the watch to prevent the tentative half-success from becoming the whole success later on; who pervert plain meanings, and grow personal under the name of practising the great historical method. However, they may have causes to advance, privileges to guard, traditions to keep going; some of which a mere tale-teller, who writes down how the things of the world strike him, without any ulterior intentions whatever, has overlooked, and may by pure inadvertence have run foul of when in the least aggressive mood. Perhaps some passing perception, the outcome of a dream hour, would, if generally acted on, cause such an assailant considerable inconvenience with respect to position, interests, family, servant, ox, ass, neighbour, or neighbour’s wife. He therefore valiantly hides his personality behind a publisher’s shutters, and cries “Shame!” So densely is the world with any shifting of positions, even the best warranted advance, galls somebody’s kibe. Such shiftings often begin in sentiment, and such sentiment sometimes begins in a novel.
July 1892.
The foregoing remarks were written during the early career of this story, when a spirited public and private criticism of its points was still fresh to the feelings. The pages are allowed to stand for what they are worth, as something once said; but probably they would not have been written now. Even in the first short time which has elapsed since the book was first published, some of the critics who have provoked the reply have “gone down into silence,” as if to remind one of the infinite unimportance of both their say and mine.
January 1895.
The present edition of this novel contains a few pages that have never appeared in any previous edition. When the detached episodes were collected as stated in the preface of 1891, these pages were overlooked, though they were in the original manuscript. They occur in Chapter X.
Respecting the sub-title, to which allusion was made above, I may add that it was appended at the last moment, after reading the final proofs, as being the estimate left in a candid mind of the heroine’s character—an estimate that nobody would be likely to dispute. It was disputed more than anything else in the book. Melius fuerat non scibere. But there it stands.
The novel was first published complete, in three volumes, in November, 1891.
T.H.
March 1912.
Phase the First: The Maiden
I
On an evening in the latter part of May a middle-aged man was walking homeward from Shaston to the village of Marlott, in the adjoining Vale of Blakemore, or Blackmoor. The pair of legs that carried him were rickety, and there was a bias in his gait which inclined him somewhat to the left of a straight line. He occasionally gave a smart nod, as if in confirmation of some opinion, though he was not thinking of anything in particular. An empty egg-basket was slung upon his arm, the nap of his hat was ruffled, a patch being quite worn away at its brim where his thumb came in taking it off. Presently he was met by an elderly parson astride on a gray mare, who, as he rode, hummed a wandering tune.
“Good night t’ee,” said the man with the basket.
“Good night, Sir John,” said the parson.
The pedestrian, after another pace or two, halted, and turned round.
“Now, sir, begging your pardon; we met last market-day on this road about this time, and I said ‘Good night,’ and you made reply ‘Good night, Sir John,’ as now.”
“I did,” said the parson.
“And once before that—near a month ago.”
“I may have.”
“Then what might your meaning be in calling me ‘Sir John’ these different times, when I be plain Jack Durbeyfield, the haggler?”
The parson rode a step or two nearer.
“It was only my whim,” he said; and, after a moment’s hesitation: “It was on account of a discovery I made some little time ago, whilst I was hunting up pedigrees for the new county history. I am Parson Tringham, the antiquary, of Stagfoot Lane. Don’t you really know, Durbeyfield, that you are the lineal representative of the ancient and knightly family of the d’Urbervilles, who derive their descent from Sir Pagan d’Urberville, that renowned knight who came from Normandy with William the Conqueror, as appears by Battle Abbey Roll?”
“Never heard it before, sir!”
“Well it’s true. Throw up your chin a moment, so that I may catch the profile of your face better. Yes, that’s the d’Urberville nose and chin—a little debased. Your ancestor was one of the twelve knights who assisted the Lord of Estremavilla in Normandy in his conquest of Glamorganshire. Branches of your family held manors over all this part of England; their names appear in the Pipe Rolls in the time of King Stephen. In the reign of King John one of them was rich enough to give a manor to the Knights Hospitallers; and in Edward the Second’s time your forefather Brian was summoned to Westminster to attend the great Council there. You declined a little in Oliver Cromwell’s time, but to no serious extent, and in Charles the Second’s reign you were made Knights of the Royal Oak for your loyalty. Aye, there have been generations of Sir Johns among you, and if knighthood were hereditary, like a baronetcy, as it practically was in old times, when men were knighted from father to son, you would be Sir John now.”
“Ye don’t say so!”
“In short,” concluded the parson, decisively smacking his leg with his switch, “there’s hardly such another family in England.”
“Daze my eyes, and isn’t there?” said Durbeyfield. “And here have I been knocking about, year after year, from pillar to post, as if I was no more than the commonest feller in the parish.... And how long hev this news about me been knowed, Pa’son Tringham?”
The clergyman explained that, as far as he was aware, it had quite died out of knowledge, and could hardly be said to be known at all. His own investigations had begun on a day in the preceding spring when, having been engaged in tracing the vicissitudes of the d’Urberville family, he had observed Durbeyfield’s name on his waggon, and had thereupon been led to make inquiries about his father and grandfather till he had no doubt on the subject.
“At first I resolved not to disturb you with such a useless piece of information,” said he. “However, our impulses are too strong for our judgement sometimes. I thought you might perhaps know something of it all the while.”
“Well, I have heard once or twice, ’tis true, that my family had seen better days afore they came to Blackmoor. But I took no notice o’t, thinking it to mean that we had once kept two horses where we now keep only one. I’ve got a wold silver spoon, and a wold graven seal at home, too; but, Lord, what’s a spoon and seal?... And to think that I and these noble d’Urbervilles were one flesh all the time. ’Twas said that my gr’t-granfer had secrets, and didn’t care to talk of where he came from.... And where do we raise our smoke, now, parson, if I may make so bold; I mean, where do we d’Urbervilles live?”
“You don’t live anywhere. You are extinct—as a county family.”
“That’s bad.”
“Yes—what the mendacious family chronicles call extinct in the male line—that is, gone down—gone under.”
“Then where do we lie?”
“At Kingsbere-sub-Greenhill: rows and rows of you in your vaults, with your effigies under Purbeck-marble canopies.”
“And where be our family mansions and estates?”
“You haven’t any.”
“Oh? No lands neither?”
“None; though you once had ’em in abundance, as I said, for your family consisted of numerous branches. In this county there was a seat of yours at Kingsbere, and another at Sherton, and another in Millpond, and another at Lullstead, and another at Wellbridge.”
“And shall we ever come into our own again?”
“Ah—that I can’t tell!”
“And what had I better do about it, sir?” asked Durbeyfield, after a pause.
“Oh—nothing, nothing; except chasten yourself with the thought of ‘how are the mighty fallen.’ It is a fact of some interest to the local historian and genealogist, nothing more. There are several families among the cottagers of this county of almost equal lustre. Good night.”
“But you’ll turn back and have a quart of beer wi’ me on the strength o’t, Pa’son Tringham? There’s a very pretty brew in tap at The Pure Drop—though, to be sure, not so good as at Rolliver’s.”
“No, thank you—not this evening, Durbeyfield. You’ve had enough already.” Concluding thus, the parson rode on his way, with doubts as to his discretion in retailing this curious bit of lore.
When he was gone, Durbeyfield walked a few steps in a profound reverie, and then sat down upon the grassy bank by the roadside, depositing his basket before him. In a few minutes a youth appeared in the distance, walking in the same direction as that which had been pursued by Durbeyfield. The latter, on seeing him, held up his hand, and the lad quickened his pace and came near.
“Boy, take up that basket! I want ’ee to go on an errand for me.”
The lath-like stripling frowned. “Who be you, then, John Durbeyfield, to order me about and call me ‘boy’? You know my name as well as I know yours!”
“Do you, do you? That’s the secret—that’s the secret! Now obey my orders, and take the message I’m going to charge ’ee wi’... Well, Fred, I don’t mind telling you that the secret is that I’m one of a noble race—it has been just found out by me this present afternoon, p.m.” And as he made the announcement, Durbeyfield, declining from his sitting position, luxuriously stretched himself out upon the bank among the daisies.
The lad stood before Durbeyfield, and contemplated his length from crown to toe.
“Sir John d’Urberville—that’s who I am,” continued the prostrate man. “That is if knights were baronets—which they be. ’Tis recorded in history all about me. Dost know of such a place, lad, as Kingsbere-sub-Greenhill?”
“Ees. I’ve been there to Greenhill Fair.”
“Well, under the church of that city there lie—”
“’Tisn’t a city, the place I mean; leastwise ’twaddn’ when I was there—’twas a little one-eyed, blinking sort o’ place.”
“Never you mind the place, boy, that’s not the question before us. Under the church of that there parish lie my ancestors—hundreds of ’em—in coats of mail and jewels, in gr’t lead coffins weighing tons and tons. There’s not a man in the county o’ South-Wessex that’s got grander and nobler skillentons in his family than I.”
“Oh?”
“Now take up that basket, and goo on to Marlott, and when you’ve come to The Pure Drop Inn, tell ’em to send a horse and carriage to me immed’ately, to carry me hwome. And in the bottom o’ the carriage they be to put a noggin o’ rum in a small bottle, and chalk it up to my account. And when you’ve done that goo on to my house with the basket, and tell my wife to put away that washing, because she needn’t finish it, and wait till I come hwome, as I’ve news to tell her.”
As the lad stood in a dubious attitude, Durbeyfield put his hand in his pocket, and produced a shilling, one of the chronically few that he possessed.
“Here’s for your labour, lad.”
This made a difference in the young man’s estimate of the position.
“Yes, Sir John. Thank ’ee. Anything else I can do for ’ee, Sir John?”
“Tell ’em at hwome that I should like for supper,—well, lamb’s fry if they can get it; and if they can’t, black-pot; and if they can’t get that, well chitterlings will do.”
“Yes, Sir John.”
The boy took up the basket, and as he set out the notes of a brass band were heard from the direction of the village.
“What’s that?” said Durbeyfield. “Not on account o’ I?”
“’Tis the women’s club-walking, Sir John. Why, your da’ter is one o’ the members.”
“To be sure—I’d quite forgot it in my thoughts of greater things! Well, vamp on to Marlott, will ye, and order that carriage, and maybe I’ll drive round and inspect the club.”
The lad departed, and Durbeyfield lay waiting on the grass and daisies in the evening sun. Not a soul passed that way for a long while, and the faint notes of the band were the only human sounds audible within the rim of blue hills.
II
The village of Marlott lay amid the north-eastern undulations of the beautiful Vale of Blakemore, or Blackmoor, aforesaid, an engirdled and secluded region, for the most part untrodden as yet by tourist or landscape-painter, though within a four hours’ journey from London.
It is a vale whose acquaintance is best made by viewing it from the summits of the hills that surround it—except perhaps during the droughts of summer. An unguided ramble into its recesses in bad weather is apt to engender dissatisfaction with its narrow, tortuous, and miry ways.
This fertile and sheltered tract of country, in which the fields are never brown and the springs never dry, is bounded on the south by the bold chalk ridge that embraces the prominences of Hambledon Hill, Bulbarrow, Nettlecombe-Tout, Dogbury, High Stoy, and Bubb Down. The traveller from the coast, who, after plodding northward for a score of miles over calcareous downs and corn-lands, suddenly reaches the verge of one of these escarpments, is surprised and delighted to behold, extended like a map beneath him, a country differing absolutely from that which he has passed through. Behind him the hills are open, the sun blazes down upon fields so large as to give an unenclosed character to the landscape, the lanes are white, the hedges low and plashed, the atmosphere colourless. Here, in the valley, the world seems to be constructed upon a smaller and more delicate scale; the fields are mere paddocks, so reduced that from this height their hedgerows appear a network of dark green threads overspreading the paler green of the grass. The atmosphere beneath is languorous, and is so tinged with azure that what artists call the middle distance partakes also of that hue, while the horizon beyond is of the deepest ultramarine. Arable lands are few and limited; with but slight exceptions the prospect is a broad rich mass of grass and trees, mantling minor hills and dales within the major. Such is the Vale of Blackmoor.
The district is of historic, no less than of topographical interest. The Vale was known in former times as the Forest of White Hart, from a curious legend of King Henry III’s reign, in which the killing by a certain Thomas de la Lynd of a beautiful white hart which the king had run down and spared, was made the occasion of a heavy fine. In those days, and till comparatively recent times, the country was densely wooded. Even now, traces of its earlier condition are to be found in the old oak copses and irregular belts of timber that yet survive upon its slopes, and the hollow-trunked trees that shade so many of its pastures.
The forests have departed, but some old customs of their shades remain. Many, however, linger only in a metamorphosed or disguised form. The May-Day dance, for instance, was to be discerned on the afternoon under notice, in the guise of the club revel, or “club-walking,” as it was there called.
It was an interesting event to the younger inhabitants of Marlott, though its real interest was not observed by the participators in the ceremony. Its singularity lay less in the retention of a custom of walking in procession and dancing on each anniversary than in the members being solely women. In men’s clubs such celebrations were, though expiring, less uncommon; but either the natural shyness of the softer sex, or a sarcastic attitude on the part of male relatives, had denuded such women’s clubs as remained (if any other did) or this their glory and consummation. The club of Marlott alone lived to uphold the local Cerealia. It had walked for hundreds of years, if not as benefit-club, as votive sisterhood of some sort; and it walked still.
The banded ones were all dressed in white gowns—a gay survival from Old Style days, when cheerfulness and May-time were synonyms—days before the habit of taking long views had reduced emotions to a monotonous average. Their first exhibition of themselves was in a processional march of two and two round the parish. Ideal and real clashed slightly as the sun lit up their figures against the green hedges and creeper-laced house-fronts; for, though the whole troop wore white garments, no two whites were alike among them. Some approached pure blanching; some had a bluish pallor; some worn by the older characters (which had possibly lain by folded for many a year) inclined to a cadaverous tint, and to a Georgian style.
In addition to the distinction of a white frock, every woman and girl carried in her right hand a peeled willow wand, and in her left a bunch of white flowers. The peeling of the former, and the selection of the latter, had been an operation of personal care.
There were a few middle-aged and even elderly women in the train, their silver-wiry hair and wrinkled faces, scourged by time and trouble, having almost a grotesque, certainly a pathetic, appearance in such a jaunty situation. In a true view, perhaps, there was more to be gathered and told of each anxious and experienced one, to whom the years were drawing nigh when she should say, “I have no pleasure in them,” than of her juvenile comrades. But let the elder be passed over here for those under whose bodices the life throbbed quick and warm.
The young girls formed, indeed, the majority of the band, and their heads of luxuriant hair reflected in the sunshine every tone of gold, and black, and brown. Some had beautiful eyes, others a beautiful nose, others a beautiful mouth and figure: few, if any, had all. A difficulty of arranging their lips in this crude exposure to public scrutiny, an inability to balance their heads, and to dissociate self-consciousness from their features, was apparent in them, and showed that they were genuine country girls, unaccustomed to many eyes.
And as each and all of them were warmed without by the sun, so each had a private little sun for her soul to bask in; some dream, some affection, some hobby, at least some remote and distant hope which, though perhaps starving to nothing, still lived on, as hopes will. They were all cheerful, and many of them merry.
They came round by The Pure Drop Inn, and were turning out of the high road to pass through a wicket-gate into the meadows, when one of the women said—
“The Load-a-Lord! Why, Tess Durbeyfield, if there isn’t thy father riding hwome in a carriage!”
A young member of the band turned her head at the exclamation. She was a fine and handsome girl—not handsomer than some others, possibly—but her mobile peony mouth and large innocent eyes added eloquence to colour and shape. She wore a red ribbon in her hair, and was the only one of the white company who could boast of such a pronounced adornment. As she looked round Durbeyfield was seen moving along the road in a chaise belonging to The Pure Drop, driven by a frizzle-headed brawny damsel with her gown-sleeves rolled above her elbows. This was the cheerful servant of that establishment, who, in her part of factotum, turned groom and ostler at times. Durbeyfield, leaning back, and with his eyes closed luxuriously, was waving his hand above his head, and singing in a slow recitative—
“I’ve-got-a-gr’t-family-vault-at-Kingsbere—and knighted-forefathers-in-lead-coffins-there!”
The clubbists tittered, except the girl called Tess—in whom a slow heat seemed to rise at the sense that her father was making himself foolish in their eyes.
“He’s tired, that’s all,” she said hastily, “and he has got a lift home, because our own horse has to rest to-day.”
“Bless thy simplicity, Tess,” said her companions. “He’s got his market-nitch. Haw-haw!”
“Look here; I won’t walk another inch with you, if you say any jokes about him!” Tess cried, and the colour upon her cheeks spread over her face and neck. In a moment her eyes grew moist, and her glance drooped to the ground. Perceiving that they had really pained her they said no more, and order again prevailed. Tess’s pride would not allow her to turn her head again, to learn what her father’s meaning was, if he had any; and thus she moved on with the whole body to the enclosure where there was to be dancing on the green. By the time the spot was reached she had recovered her equanimity, and tapped her neighbour with her wand and talked as usual.
Tess Durbeyfield at this time of her life was a mere vessel of emotion untinctured by experience. The dialect was on her tongue to some extent, despite the village school: the characteristic intonation of that dialect for this district being the voicing approximately rendered by the syllable UR, probably as rich an utterance as any to be found in human speech. The pouted-up deep red mouth to which this syllable was native had hardly as yet settled into its definite shape, and her lower lip had a way of thrusting the middle of her top one upward, when they closed together after a word.
Phases of her childhood lurked in her aspect still. As she walked along to-day, for all her bouncing handsome womanliness, you could sometimes see her twelfth year in her cheeks, or her ninth sparkling from her eyes; and even her fifth would flit over the curves of her mouth now and then.
Yet few knew, and still fewer considered this. A small minority, mainly strangers, would look long at her in casually passing by, and grow momentarily fascinated by her freshness, and wonder if they would ever see her again: but to almost everybody she was a fine and picturesque country girl, and no more.
Nothing was seen or heard further of Durbeyfield in his triumphal chariot under the conduct of the ostleress, and the club having entered the allotted space, dancing began. As there were no men in the company, the girls danced at first with each other, but when the hour for the close of labour drew on, the masculine inhabitants of the village, together with other idlers and pedestrians, gathered round the spot, and appeared inclined to negotiate for a partner.
Among these on-lookers were three young men of a superior class, carrying small knapsacks strapped to their shoulders, and stout sticks in their hands. Their general likeness to each other, and their consecutive ages, would almost have suggested that they might be, what in fact they were, brothers. The eldest wore the white tie, high waistcoat, and thin-brimmed hat of the regulation curate; the second was the normal undergraduate; the appearance of the third and youngest would hardly have been sufficient to characterize him; there was an uncribbed, uncabined aspect in his eyes and attire, implying that he had hardly as yet found the entrance to his professional groove. That he was a desultory tentative student of something and everything might only have been predicted of him.
These three brethren told casual acquaintance that they were spending their Whitsun holidays in a walking tour through the Vale of Blackmoor, their course being south-westerly from the town of Shaston on the north-east.
They leant over the gate by the highway, and inquired as to the meaning of the dance and the white-frocked maids. The two elder of the brothers were plainly not intending to linger more than a moment, but the spectacle of a bevy of girls dancing without male partners seemed to amuse the third, and make him in no hurry to move on. He unstrapped his knapsack, put it, with his stick, on the hedge-bank, and opened the gate.
“What are you going to do, Angel?” asked the eldest.
“I am inclined to go and have a fling with them. Why not all of us—just for a minute or two—it will not detain us long?”
“No—no; nonsense!” said the first. “Dancing in public with a troop of country hoydens—suppose we should be seen! Come along, or it will be dark before we get to Stourcastle, and there’s no place we can sleep at nearer than that; besides, we must get through another chapter of A Counterblast to Agnosticism before we turn in, now I have taken the trouble to bring the book.”
“All right—I’ll overtake you and Cuthbert in five minutes; don’t stop; I give my word that I will, Felix.”
The two elder reluctantly left him and walked on, taking their brother’s knapsack to relieve him in following, and the youngest entered the field.
“This is a thousand pities,” he said gallantly, to two or three of the girls nearest him, as soon as there was a pause in the dance. “Where are your partners, my dears?”
“They’ve not left off work yet,” answered one of the boldest. “They’ll be here by and by. Till then, will you be one, sir?”
“Certainly. But what’s one among so many!”
“Better than none. ’Tis melancholy work facing and footing it to one of your own sort, and no clipsing and colling at all. Now, pick and choose.”
“’Ssh—don’t be so for’ard!” said a shyer girl.
The young man, thus invited, glanced them over, and attempted some discrimination; but, as the group were all so new to him, he could not very well exercise it. He took almost the first that came to hand, which was not the speaker, as she had expected; nor did it happen to be Tess Durbeyfield. Pedigree, ancestral skeletons, monumental record, the d’Urberville lineaments, did not help Tess in her life’s battle as yet, even to the extent of attracting to her a dancing-partner over the heads of the commonest peasantry. So much for Norman blood unaided by Victorian lucre.
The name of the eclipsing girl, whatever it was, has not been handed down; but she was envied by all as the first who enjoyed the luxury of a masculine partner that evening. Yet such was the force of example that the village young men, who had not hastened to enter the gate while no intruder was in the way, now dropped in quickly, and soon the couples became leavened with rustic youth to a marked extent, till at length the plainest woman in the club was no longer compelled to foot it on the masculine side of the figure.
The church clock struck, when suddenly the student said that he must leave—he had been forgetting himself—he had to join his companions. As he fell out of the dance his eyes lighted on Tess Durbeyfield, whose own large orbs wore, to tell the truth, the faintest aspect of reproach that he had not chosen her. He, too, was sorry then that, owing to her backwardness, he had not observed her; and with that in his mind he left the pasture.
On account of his long delay he started in a flying-run down the lane westward, and had soon passed the hollow and mounted the next rise. He had not yet overtaken his brothers, but he paused to get breath, and looked back. He could see the white figures of the girls in the green enclosure whirling about as they had whirled when he was among them. They seemed to have quite forgotten him already.
All of them, except, perhaps, one. This white shape stood apart by the hedge alone. From her position he knew it to be the pretty maiden with whom he had not danced. Trifling as the matter was, he yet instinctively felt that she was hurt by his oversight. He wished that he had asked her; he wished that he had inquired her name. She was so modest, so expressive, she had looked so soft in her thin white gown that he felt he had acted stupidly.
However, it could not be helped, and turning, and bending himself to a rapid walk, he dismissed the subject from his mind.
III
As for Tess Durbeyfield, she did not so easily dislodge the incident from her consideration. She had no spirit to dance again for a long time, though she might have had plenty of partners; but ah! they did not speak so nicely as the strange young man had done. It was not till the rays of the sun had absorbed the young stranger’s retreating figure on the hill that she shook off her temporary sadness and answered her would-be partner in the affirmative.
She remained with her comrades till dusk, and participated with a certain zest in the dancing; though, being heart-whole as yet, she enjoyed treading a measure purely for its own sake; little divining when she saw “the soft torments, the bitter sweets, the pleasing pains, and the agreeable distresses” of those girls who had been wooed and won, what she herself was capable of in that kind. The struggles and wrangles of the lads for her hand in a jig were an amusement to her—no more; and when they became fierce she rebuked them.
She might have stayed even later, but the incident of her father’s odd appearance and manner returned upon the girl’s mind to make her anxious, and wondering what had become of him she dropped away from the dancers and bent her steps towards the end of the village at which the parental cottage lay.
While yet many score yards off, other rhythmic sounds than those she had quitted became audible to her; sounds that she knew well—so well. They were a regular series of thumpings from the interior of the house, occasioned by the violent rocking of a cradle upon a stone floor, to which movement a feminine voice kept time by singing, in a vigorous gallopade, the favourite ditty of “The Spotted Cow”—
I saw her lie do′-own in yon′-der green gro′-ove; Come, love!′ and I'll tell′ you where!′
The cradle-rocking and the song would cease simultaneously for a moment, and an exclamation at highest vocal pitch would take the place of the melody.
“God bless thy diment eyes! And thy waxen cheeks! And thy cherry mouth! And thy Cubit’s thighs! And every bit o’ thy blessed body!”
After this invocation the rocking and the singing would recommence, and the “Spotted Cow” proceed as before. So matters stood when Tess opened the door and paused upon the mat within it, surveying the scene.
The interior, in spite of the melody, struck upon the girl’s senses with an unspeakable dreariness. From the holiday gaieties of the field—the white gowns, the nosegays, the willow-wands, the whirling movements on the green, the flash of gentle sentiment towards the stranger—to the yellow melancholy of this one-candled spectacle, what a step! Besides the jar of contrast there came to her a chill self-reproach that she had not returned sooner, to help her mother in these domesticities, instead of indulging herself out-of-doors.
There stood her mother amid the group of children, as Tess had left her, hanging over the Monday washing-tub, which had now, as always, lingered on to the end of the week. Out of that tub had come the day before—Tess felt it with a dreadful sting of remorse—the very white frock upon her back which she had so carelessly greened about the skirt on the damping grass—which had been wrung up and ironed by her mother’s own hands.
As usual, Mrs Durbeyfield was balanced on one foot beside the tub, the other being engaged in the aforesaid business of rocking her youngest child. The cradle-rockers had done hard duty for so many years, under the weight of so many children, on that flagstone floor, that they were worn nearly flat, in consequence of which a huge jerk accompanied each swing of the cot, flinging the baby from side to side like a weaver’s shuttle, as Mrs Durbeyfield, excited by her song, trod the rocker with all the spring that was left in her after a long day’s seething in the suds.
Nick-knock, nick-knock, went the cradle; the candle-flame stretched itself tall, and began jigging up and down; the water dribbled from the matron’s elbows, and the song galloped on to the end of the verse, Mrs Durbeyfield regarding her daughter the while. Even now, when burdened with a young family, Joan Durbeyfield was a passionate lover of tune. No ditty floated into Blackmoor Vale from the outer world but Tess’s mother caught up its notation in a week.
There still faintly beamed from the woman’s features something of the freshness, and even the prettiness, of her youth; rendering it probable that the personal charms which Tess could boast of were in main part her mother’s gift, and therefore unknightly, unhistorical.
“I’ll rock the cradle for ’ee, mother,” said the daughter gently. “Or I’ll take off my best frock and help you wring up? I thought you had finished long ago.”
Her mother bore Tess no ill-will for leaving the housework to her single-handed efforts for so long; indeed, Joan seldom upbraided her thereon at any time, feeling but slightly the lack of Tess’s assistance whilst her instinctive plan for relieving herself of her labours lay in postponing them. To-night, however, she was even in a blither mood than usual. There was a dreaminess, a pre-occupation, an exaltation, in the maternal look which the girl could not understand.
“Well, I’m glad you’ve come,” her mother said, as soon as the last note had passed out of her. “I want to go and fetch your father; but what’s more’n that, I want to tell ’ee what have happened. Y’ll be fess enough, my poppet, when th’st know!” (Mrs Durbeyfield habitually spoke the dialect; her daughter, who had passed the Sixth Standard in the National School under a London-trained mistress, spoke two languages: the dialect at home, more or less; ordinary English abroad and to persons of quality.)
“Since I’ve been away?” Tess asked.
“Ay!”
“Had it anything to do with father’s making such a mommet of himself in thik carriage this afternoon? Why did ’er? I felt inclined to sink into the ground with shame!”
“That wer all a part of the larry! We’ve been found to be the greatest gentlefolk in the whole county—reaching all back long before Oliver Grumble’s time—to the days of the Pagan Turks—with monuments, and vaults, and crests, and ’scutcheons, and the Lord knows what all. In Saint Charles’s days we was made Knights o’ the Royal Oak, our real name being d’Urberville!... Don’t that make your bosom plim? ’Twas on this account that your father rode home in the vlee; not because he’d been drinking, as people supposed.”
“I’m glad of that. Will it do us any good, mother?”
“O yes! ’Tis thoughted that great things may come o’t. No doubt a mampus of volk of our own rank will be down here in their carriages as soon as ’tis known. Your father learnt it on his way hwome from Shaston, and he has been telling me the whole pedigree of the matter.”
“Where is father now?” asked Tess suddenly.
Her mother gave irrelevant information by way of answer: “He called to see the doctor to-day in Shaston. It is not consumption at all, it seems. It is fat round his heart, ’a says. There, it is like this.” Joan Durbeyfield, as she spoke, curved a sodden thumb and forefinger to the shape of the letter C, and used the other forefinger as a pointer. “‘At the present moment,’ he says to your father, ‘your heart is enclosed all round there, and all round there; this space is still open,’ ’a says. ‘As soon as it do meet, so,’”—Mrs Durbeyfield closed her fingers into a circle complete—“‘off you will go like a shadder, Mr Durbeyfield,’ ’a says. ‘You mid last ten years; you mid go off in ten months, or ten days.’”
Tess looked alarmed. Her father possibly to go behind the eternal cloud so soon, notwithstanding this sudden greatness!
“But where is father?” she asked again.
Her mother put on a deprecating look. “Now don’t you be bursting out angry! The poor man—he felt so rafted after his uplifting by the pa’son’s news—that he went up to Rolliver’s half an hour ago. He do want to get up his strength for his journey to-morrow with that load of beehives, which must be delivered, family or no. He’ll have to start shortly after twelve to-night, as the distance is so long.”
“Get up his strength!” said Tess impetuously, the tears welling to her eyes. “O my God! Go to a public-house to get up his strength! And you as well agreed as he, mother!”
Her rebuke and her mood seemed to fill the whole room, and to impart a cowed look to the furniture, and candle, and children playing about, and to her mother’s face.
“No,” said the latter touchily, “I be not agreed. I have been waiting for ’ee to bide and keep house while I go fetch him.”
“I’ll go.”
“O no, Tess. You see, it would be no use.”
Tess did not expostulate. She knew what her mother’s objection meant. Mrs Durbeyfield’s jacket and bonnet were already hanging slily upon a chair by her side, in readiness for this contemplated jaunt, the reason for which the matron deplored more than its necessity.
“And take the Compleat Fortune-Teller to the outhouse,” Joan continued, rapidly wiping her hands, and donning the garments.
The Compleat Fortune-Teller was an old thick volume, which lay on a table at her elbow, so worn by pocketing that the margins had reached the edge of the type. Tess took it up, and her mother started.
This going to hunt up her shiftless husband at the inn was one of Mrs Durbeyfield’s still extant enjoyments in the muck and muddle of rearing children. To discover him at Rolliver’s, to sit there for an hour or two by his side and dismiss all thought and care of the children during the interval, made her happy. A sort of halo, an occidental glow, came over life then. Troubles and other realities took on themselves a metaphysical impalpability, sinking to mere mental phenomena for serene contemplation, and no longer stood as pressing concretions which chafed body and soul. The youngsters, not immediately within sight, seemed rather bright and desirable appurtenances than otherwise; the incidents of daily life were not without humorousness and jollity in their aspect there. She felt a little as she had used to feel when she sat by her now wedded husband in the same spot during his wooing, shutting her eyes to his defects of character, and regarding him only in his ideal presentation as lover.
Tess, being left alone with the younger children, went first to the outhouse with the fortune-telling book, and stuffed it into the thatch. A curious fetishistic fear of this grimy volume on the part of her mother prevented her ever allowing it to stay in the house all night, and hither it was brought back whenever it had been consulted. Between the mother, with her fast-perishing lumber of superstitions, folk-lore, dialect, and orally transmitted ballads, and the daughter, with her trained National teachings and Standard knowledge under an infinitely Revised Code, there was a gap of two hundred years as ordinarily understood. When they were together the Jacobean and the Victorian ages were juxtaposed.
Returning along the garden path Tess mused on what the mother could have wished to ascertain from the book on this particular day. She guessed the recent ancestral discovery to bear upon it, but did not divine that it solely concerned herself. Dismissing this, however, she busied herself with sprinkling the linen dried during the day-time, in company with her nine-year-old brother Abraham, and her sister Eliza-Louisa of twelve and a half, called “’Liza-Lu,” the youngest ones being put to bed. There was an interval of four years and more between Tess and the next of the family, the two who had filled the gap having died in their infancy, and this lent her a deputy-maternal attitude when she was alone with her juniors. Next in juvenility to Abraham came two more girls, Hope and Modesty; then a boy of three, and then the baby, who had just completed his first year.
All these young souls were passengers in the Durbeyfield ship—entirely dependent on the judgement of the two Durbeyfield adults for their pleasures, their necessities, their health, even their existence. If the heads of the Durbeyfield household chose to sail into difficulty, disaster, starvation, disease, degradation, death, thither were these half-dozen little captives under hatches compelled to sail with them—six helpless creatures, who had never been asked if they wished for life on any terms, much less if they wished for it on such hard conditions as were involved in being of the shiftless house of Durbeyfield. Some people would like to know whence the poet whose philosophy is in these days deemed as profound and trustworthy as his song is breezy and pure, gets his authority for speaking of “Nature’s holy plan.”
It grew later, and neither father nor mother reappeared. Tess looked out of the door, and took a mental journey through Marlott. The village was shutting its eyes. Candles and lamps were being put out everywhere: she could inwardly behold the extinguisher and the extended hand.
Her mother’s fetching simply meant one more to fetch. Tess began to perceive that a man in indifferent health, who proposed to start on a journey before one in the morning, ought not to be at an inn at this late hour celebrating his ancient blood.
“Abraham,” she said to her little brother, “do you put on your hat—you bain’t afraid?—and go up to Rolliver’s, and see what has gone wi’ father and mother.”
