Tess of the D'Urbervilles, Phase the Second - Multifunctional Quotations

Maiden No More

Title of Phase the Second. This is significant as Tess has lost her virginity to Alec and she is no longer considered a 'pure woman', at least by society's standards.

The basket was heavy and the bundle was large...

Ch 12, pg 75

This quotation opens Phase the Second/Chapter 12 and has connotations of pregnancy. Hardy is saying that Tess now has a 'heavy' burden to carry, and it is alluded to that this is because she is pregnant.

She had learnt that the serpent hisses where the sweet birds sing. Life was totally changed for her forthwith.

Ch 12, pg 75

This quotation has Edenic connotations, which relate to the episode with Alec being the 'tempter' of Tess with the 'strawberries' in his garden. Here, it is alluded to that Alec is the snake/devil figure, and it appears as though Hardy is suggesting Tess is looking back on a lost paradise, a pre-lapsarian Eden where the 'snake' did not tempt her. Also, the 'serpent hisses where the sweet birds sing' is a reference to Shakespeare's Rape of Lucrece, and this might allude to the encounter in the Chase between Alec and Tess being rape rather than seduction. The final bit of the quotation is symbolic of Tess' 'fall' and shows how now, her life is changed; but this is ambiguous. Is it for the better or worse?

She obeyed the signal to wait for him with unspeculative repose...

She listlessly placed her basket and bundle within the dog-cart...

Broken unemotional conversation...

She sat now, like a puppet...

Ch 12, pg 76

These quotations further characterise Tess as passive and submissive. She acts like this particularly when she is around Alec. Tess is shown to have a lack of emotion through her 'unemotional conversation', her 'unspeculative response, and her 'listless' (lacking energy/enthusiasm) actions. The use of the noun 'puppet' to describe Tess' manner alludes to the idea that she is controlled and trapped by Alec, and is completely submissive to him.

"I wish I had never been born - there or anywhere else!"

Ch 12, pg 76

Tess says this to Alec when he asks why she is crying. This is the first example of Tess' suicidal ideation following the rape/seduction. Tess hasn't displayed any suicidal thoughts up to this point, and the fact that she now 'wish[es]' that she 'had never been born' marks a significant change in her personality, showing how deep an effect the encounter with Alec has had on her.

Sad October and her sadder self seemed the only two existences haunting that lane.

Ch 12, pg 79

This quotation both links Tess to the natural world and provides an anti-pastoral melancholy element. October being described as 'sad' suggests that it is not a very pleasant or happy time in the pastoral world, and it can be said that Hardy is using the seasons to reflect Tess' feelings as she, like October, is 'sad'. This links Tess further to her landscape. The adjective 'haunting' used to describe Tess' presence in the 'lane' suggests Tess is in a ghost-like state following what Alec did to her, and it gives a Gothic, supernatural element to this passage.

Vermilion words shone forth

Hideous defacement

The words entered Tess with accusatory horror. It was as if this man had known her recent history...

Said she tremulously, "suppose your sin was not of your own seeking"

A sudden flush

Ch 12, pg 80

These quotations relate to Tess' first encounter with the sign painter. He is painting bible quotations in 'vermillion' on fences. Hardy takes a condemning tone in this passage, saying Tess feels it is a 'hideous defacement' to paint with 'vermillion' on the natural surroundings. The colour red is used here with relation to the bible, as it was for Alec and is later used for the farming machinery. Tess clearly has strong emotions towards the bible quotations: she takes in the words with 'accusatory horror' (this could allude to the idea that she seduced Alec as she feels accused and guilty) and she speaks 'tremulously' (shaking). Saying that her 'sin was not of [her] own seeking' suggests that she didn't seduce Alec, and it was in fact rape. This episode continues the theme of religion, and furthers the ambiguity surrounding the encounter in The Chase between Alec and Tess.

"Pooh - I don't believe any of it!"

Ch 12, pg 81

This quotation shows Tess almost denouncing religion. Throughout the novel, Tess disagrees with and criticizes religion at points, while following and seeming to believe in it at others. This is a controversial line from Tess, as religion was a huge part of life in the Victorian Era. It appears as though because God did not bring Tess 'Providence' in The Chase, she feels like she doesn't believe in religion anymore.

"Why didn't ye think of doing some good for your family instead o' thinking only for yourself? See how I've got to teave and slave, and our poor weak father with his heart clogged like a dripping-pan."

Ch 12, pg 81

Joan Durbeyfield is accusing Tess of not 'doing some good' for the 'family' by coming back from Trantridge and not marrying Alec. This characterises Joan as being selfish and greedy, which has been shown previously with her drinking and sending Tess to Alec in the first place. She tries to evoke pity in Tess by saying she has to 'slave' calling Jack Tess' 'poor weak father'. Joan is being very unfair here, and this goes to further the idea that Tess' parents are greedy and irresponsible, especially as Tess left to help them in the first place.

She had dreaded him, winced before him, succumbed to him, and that was all...he was dust and ashes to her.

Ch 12, pg 82

This quotation characterises Tess and Alec's relationship. It appears a very negative one, where Tess is presented as a 'hunted animal', 'dreading', 'wincing' and 'succumbing' to Alec. Hardy's comment that Alec is 'dust and ashes' to Tess comes from funeral services, and it continues the Gothic themes of death and darkness which have dominated following the night in The Chase. It also shows how Tess has no affection or care for Alec, and this quotation also possibly adds to the argument that Tess was raped.

Her depression was then terrible, and she could have hidden herself in a tomb.

Ch 13, pg 84

Another example of Tess' suicidal ideation. This is not something she felt pre-Alec, before the encounter in the Chase. Shows how Alec has changed her life and personality, and caused her to fall into a 'terrible' 'depression. Reference to Tess wanting to be 'hidden' in a 'tomb' has allusions of the D'Urberville 'Vault at Kingsbere' which has been mentioned before.

She knew what their whispers were about, grew sick at heart, and felt that she could come to church no more.

Ch 13, pg 85

An example of Tess isolating herself from her community. Of course the villagers are whispering and looking at her, but this isn't necessarily in a malicious way and doesn't mean Tess has to leave the church. This demonstrates Tess' pride and how she is responsible for her own isolation at points because of it.

And it was then, when out in the woods, that she seemed least solitary.

That moment of evening when the light and darkness are so evenly balanced that the constraint of day and the suspense of night neutralise each other, leaving absolute mental liberty.

That cold accretion called the world...

On these lonely hills and dales her quiescent glide was of a piece with the element she moved in. Her flexuous and stealthy figure became an integral part of the scene.

At times her whimsical fancy would intensify natural processes around her till they seemed part of her story...the world is only a psychological phenomenon...

Ch 13, pg 85

These quotations are really useful for showing how Tess is at one with nature. The 'woods' make Tess feel comforted and not alone, and they give her 'absolute mental liberty'. The 'liberty' Tess feels suggests that nature provides a sanctuary and frees Tess from the oppressive restrictions of society, and, of course, Alec. Hardy also shows the world as being 'blighted' again, by calling it a 'cold accretion', suggesting it is cruel and unforgiving. Tess being a 'piece of the element she moved in' and being an 'integral part of the scene' furthers Tess' connections to the natural world, showing she really is a 'daughter of nature'. She appears more at home and free here in the woods than in any human society, and Hardy implies nature is sympathetic towards human struggles/Tess' struggles. This links to the pheasant episode in Chapter 41. Hardy's focus on her 'whimsical fantasy' personifying the natural world to take on her emotion suggests that nature maybe isn't really sympathetic, just indifferent, and humans simply project how they feel onto nature. This provides juxtaposition.

She had been made to break a necessary social law, but no law known to the environment in which she fancies herself such an anomaly.

Ch 13, pg 86

The last line of Chapter 13 shows the contrast between social and natural laws, and how Hardy sees that Tess has contradicted social law, but not contradicted anything in the natural world. This alludes to the idea that despite being pregnant out of wedlock, Hardy still sees Tess as 'a pure woman'. The choice of the adjective 'made' to describe the encounter between Tess and Alec is suggestive of rape, as it implies Tess was forced into it unwillingly.

The paint with which they were smeared, intensified in hue by the sunlight, imparted to them a look of having been dipped in liquid fire.

Ch 14, pg 86

This is a description of the 'reaping-machine'. The machine is painted red and looks like it is 'dipped in liquid fire', which creates hellish imagery/connotations. This begins the theme of negativity surrounding the mechanisation of farming. It links to the description of the threshing machine and the 'rick' at Flintcombe-Ash. It presents the machinery as a destructive force against nature, showing the sun as bright, but the machinery as brighter, overtaking the natural world.

The charm which is acquired by woman when she becomes part and parcel of outdoor nature...

A field-man is a personality afield; a field-woman is a portion of the field...

Imbibed the essence of her surrounding, and assimilated herself with it.

Ch 14, pg 87-88

These descriptions of the 'field-women' tie women to nature. Hardy suggests that a woman is a part of nature, being a 'portion of the field' and 'assimilated' with her surroundings, taking in the 'essence' of them. This contrasts to the men in the fields, who are just onlookers and things placed in the landscape, rather than something which is a part of it. Hardy is thus suggesting that women are more natural beings closer to the pastoral world, including Tess herself.

Her binding proceeds with clock-like monotony...feminine smoothness becomes scarified by the stubble, and bleeds.

Ch 14, pg 88

This shows the 'monotony' (boringness) and harshness of rural life through the damage the work does the the women's 'feminine smoothness', which is caused to 'bleed' by the 'stubble'. Work is presented in pastoral life as difficult by Hardy in this episode, and the 'feminine smoothness' bleeding can also be seen as a sexual metaphor/sexual language.

The familiar surroundings had not darkened because of her grief, nor sickened because of her pain.

Ch 14, pg 91

Hardy is suggestive of nature's indifference to human suffering here. The 'surroundings' do not 'darken' or 'sicken' because of Tess' 'grief' or 'pain', alluding to the fact that despite what Tess is going through, nature carries on as usual and doesn't take any notice of her.

Most of the misery had been generated by her conventional aspect, and not by her innate sensations.

Ch 14, pg 91

Hardy is once again bringing in the conflict between natural and social laws. Tess is made to feel guilty for what happened by her 'conventional aspect', the way she has been socialised/taught by society, but not by her 'innate sensations', her natural instincts. Hardy's tone is condemning of societal standards for making Tess feel such 'misery'.

She had borne herself with dignity, and had looked people calmly in the face at times, even when holding the baby in her arms.

Ch 14, pg 91

Showing Tess' pride and dignity despite everything that has happened. She is shown to love the child despite everything, 'holding' it in her arms apparently with dignity and care even though people may be looking down on her for it.

But now that her moral sorrows were passing away a fresh one arose on the natural side of her which knew no social law.

The baby's offence against society in coming into the world was forgotten by the girl-mother; her soul's desire was to continue that offence by preserving the life of her child.

Her baby had not been baptized.

Ch 14, pg 92

Hardy once again brings up the contradiction between natural and societal laws. He states that the 'offence' of the baby was being born, and the focus on Tess being a 'girl-mother' reminds the reader of her youth and innocence, and how Alec used and 'ruined' her. Despite her child being illegitimate, Tess is shown to be caring and loving, wishing to 'preserve' it's life. She worries that the baby hasn't been baptized as then it will not go to heaven, and this 'plunged Tess into a misery which transcended that of the child's simple loss'. This adherence to religion presents a contrast to the way she denied it when she met the sign-painter.

In the blue of the morning that fragile soldier and servant breathed his last, and when the other children awoke they cried bitterly, and begged Sissy to have another pretty baby.

Ch 14, pg 95

This is demonstrating how the children are innocent to societal sins. They have no apparent concept of societal standards, and are just mournful for the loss of such a 'pretty' and innocent life. This ties the children closer to nature, as they do not appear to yet be governed by societal laws as they don't understand them. This demonstrates childish happiness and innocence in country life.

All unbaptized infants, notorious drunkards, suicides, and others of the conjecturally damned are laid.

Ch 14, pg 97

Hardy is scathing and sarcastic about organised religion. The adjective 'conjecturally', which means speculatively, suggests that religion simply disregards those they believe to have sinned without much thought. Societal standards are emphasised here, and so is the importance of religion in the rural Victorian world.

A particularly fine spring came round, and the stir of germination was almost audible in the buds; it moved her, as it moved the wild animals, and made her passionate to go.

Ch 15, pg 99

Spring is symbolic of new life; a new start and opportunity for Tess. The focus on the 'almost audible' 'germination' of the 'buds' is very positive, suggesting that there is a new chance arising for Tess because of the 'particularly fine spring'. Tess is compared once again to 'wild animals', putting her at one with nature, and her being 'passionate to go' presents a great contrast to the depression she had when Sorrow was born and died, and the mechanical 'puppet' like way she acted around Alec earlier in Phase the Second.

It was not quite so far off as could have been wished; but it was probably far enough, her radius of movement and repute having been so small.

Ch 15, pg 99-100

This quotation demonstrates the seclusion of the pastoral world. Tess is able to get away from her village enough that people don't know her without travelling a massive distance.

The dairy called Thalbothays, for which she was bound, stood not remotely from some of the former estates of the D'Urbervilles, near the great family vaults of her granddames and their powerful husbands.

Ch 15, pg 100

There is a motif throughout the novel of Tess' past and family heritage haunting her. Even when Tess is leaving Marlott to begin a new life, and it looks as if everything will be positive for her, she is still heading in the direction of the 'former estates of the D'Urbervilles' and the 'great family vaults. Tess' past follows her everywhere.

Some spirit within her rose automatically as the sap in the twigs.

Ch 15, pg 100

Hardy uses natural metaphors to describe Tess' emotions. Here, her 'spirit' is compared to the 'sap in the twigs', and this suggests that Tess is at one with nature. The ending of Phase the Second is rather positive, with Tess feeling more happy and positive for her future than before. The end of the chapter is also preparing the reader for Tess' journey leaving Marlott. This is the second significant journey in Tess (the first being that to and from Trantridge) and, like the first, this journey holds hope and prospects of a better future. This time, however, it is way less ominous than the journey to Alec's house.