1755287
Descripción
Fichas por Magdalena Kolodziej, actualizado hace más de 1 año
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Creado por Magdalena Kolodziej
hace alrededor de 10 años
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| Pregunta | Respuesta |
| ‘Hardy … suggests that life is characterised by ethereality or abstract values and emphasises the daunting rigour of maintaining life.’ | Dale Kramer |
| ‘The novel’s concentration on Tess’s trapped existence becomes so intense and unremitting.’ | Dale Kramer |
| “A struggle between man on one hand, and an omnipotent and indifferent fate, on the other hand goes on and that is Hardy’s interpretation of the human situation.” | David Cecil |
| "Happiness is but an occasional episode in the general drama of life” | Thomas Hardy |
| ‘Her sexuality is above all provocative: she is a temptress to the convert Alec, an Eve to Angel Clare’ | Penny Boumelha |
| ‘Tess is an example of the destructive effect of society’s pressures and conventions upon a nature naturally pure and unstained’ | Simon Gatrell |
| ‘Nature seems to disdain, ignore or make mockery of the laws which social being impose on themselves. The fetish of chastity is a ludicrous aberration in a world which teems and spills with such promiscuous and far-flung fertility every year’ | Dorothy Van Ghent |
| “A century later, it is fascinating to consider the extent to which his [Hardy’s] views – radical enough at the time to scandalise the critics – have become almost conventional.” | Jane Shilling |
| "It’s superiority is largely due to a profound moral earnestness” | Clementina Black |
| “From the moment of the meeting in the garden the harmonious relations between Tess and her world begin to be repressed and displaced by certain abstractions mediated by Angel’s idealising vision.” | George Wotton |
| “…The passionate commitment to exhibiting Tess as the subject of her own experience evokes an unusually overt maleness in the narrative voice.” | Penny Boumelha |
| “He [Hardy] picked up and remarkably embodies one of the characteristic themes of the new social situation: that of mobility through education.” | Merryn and Raymond Williams |
| ‘Angel…finds it easier to love from afar an idealised humanity in the abstract than a flawed human being, close at hand, in the flesh.’ | Charlotte Thompson |
| “At least twice in the book Tess seems to Hardy and the surrounding characters larger than life, but in all such instances it is not to make her a goddess or a metaphor, it is to understand her embattled womanliness. ” | Irving Howe |
| “The female in her was indomitable, unchangeable, she was utterly constant to herself. But she was, by long breeding, intact from mankind. Though Alec d’Urberville was of no kin to her, yet, in the book, he has always a quality of kinship.” | D.H. Lawrence |
| “The narrators undeniably erotic fascination with her [Tess] takes the form of a visual preoccupation with her physical presence, and it has even been suggested that the narrator derives an almost sadistic pleasure from Tess’s suffering, that he shares in part the distorted views of her held by both Alec and Angel, and that he in some sense does himself violate her with his male voice and his male eye.” | Kristen Brady |
| ‘For an artist as visually sensitive as Hardy, colour is of the first importance and significance, and there is one colour which literary catches the eye, and is meant to catch it, throughout the book. This colour is red, the colour of blood, which is associated with Tess from first to last.' | Tony Tanner |
| “By placing a moral evaluation of Tess at the very beginning of the novel, Hardy invites his readers to judge and evaluate Tess as well.” | Lynn Parker |
| “The condition of women in the nineteenth century is a litmus test of the idea that society is self sustaining and inclusive entity, and consequently their condition rivets public attention.” | Elizabeth Ermath |
| “The ‘loss’ of a maids virginity implies carelessness, this carelessness is demonstrably that of society, and the maids parents. Ideally, parents provide a protective environment for their children, teaching them the skills they need to survive. Individually however, they are shown to chase political or economic gain at the cost of their child’s happiness.” | Michelle Chapman |
| ‘Cast out by a morally hypocritical society, Tess identifies most strongly with the natural world and it is here that Hardy’s textual lyricism comes into its own.’ | Elizabeth Day |
| ‘Deliberately or instinctively, Hardy is using Romantic values as a critical instrument against those of his own day’ | Robert B. Heilman |
| “Tess’s death is artistically as inevitable as Juliet’s…She is up against a social situation that she can do nothing to resolve except tragically, with drastic human loss” | Arnold Kettle |
| “It seems impossible to read the novel with a complete disregard of the idea that Tess is somehow responsible for her fate…The narration is everywhere buttressed by words such as ‘doomed’, ‘destined’, and ‘fated.’ But the critical linking is never made and one remains uncertain about why Tess’s fate is inevitable” | Leon Waldoff |
| (talking about the country people)- “between custom and education, between work and ideas, between love of place and experience of change” | Raymond Williams |
| ‘From the time of the book’s publication, the question of whether Tess was raped or seduced has divided critics’ | Kristen Brady |
| ‘Tess is an example of the destructive effect of society’s pressure and conventions upon a nature naturally pure and unstained’ | Simon Gatrell |
| “His bleak and open treatment of sexuality and marriage caused such an outrage among the puritanical Victorian public” | Esther Lombardi |
| 'From the clash between a person’s ideal destiny and the reality of his or her life to the tensions between theology, philosophy and the natural world, Hardy sets all the things that make us human on a collision course in his tragic heroine’s story.’ | Ann Morgan |
| ‘He [Hardy] insisted on writing about society as it was, making no ornament of it as those blindly optimist writers were doing.’ | Zeng Jia |
| ‘…Hardy’s feelings for Tess were strong, perhaps stronger than for any of his other invented personages. | J. Miller |
| “Tess was a woman who stabbed her husband. Then, as now, in the eyes of most judges, there is one law for men who kill their wives, and quite another for women who kill their husbands.” | Martin Seymour-Smith |
| “Tess is curiously ‘absent’ from most of the key events in the novel; from the death of Prince, to the strawberry scene, the night in the Chase, Angel’s return and her capture at Stonehenge, she is asleep or in a trance” | Kaja Silverman |
| “Even Tess, considered so modern in its day, has a story which, when peeled of its realistic trappings, reveals itself as a regular folk-tale tragedy” | David Cecil |
| “The scene of sexual violence, Tess and the female subject all appear as radically unreadable figures” | Ellen Rooney |
| “What goes on here is the idea that Tess might have given in to Alec, that the distress she suffers is shame rather than the trauma of a victim.” | Robert Hanks |
| "Hardy shows things as they are" | Matthew Arnold |
| 'Hardy is never sure whether the Pathetic Fallacy is a fallacy or not.' | David Lodge |
| "She was an ideal of the peasant girl, the sort of girl who in his earlier novels would have been regarded sympathetically but without personal sentiment" | John Bayley |
| It is structured entirely by the sexual and marital history of Tess Durbeyfield | Penny Boumelha |
| According to the Preface, Hardy represented in his novel "what everybody nowadays thinks and feels" | Thomas Hardy |
| The incarnate state of Tess’s soul appears to be as close to sleep – to unconsciousness – as it is compatible with going about her work | Mary Jacobus |
| Tess is asleep or in reverie at almost every crucial turn of the plot | Penny Boumelha |
| Tess herself is the less a personality than a beautiful portion of nature violated by human selfishness | Kathleen Rogers |
| Her sexuality is above all provocative: she is a temptress to the convert Alec, an Eve to Angel Clare. | Penny Boumelha |
| Angel is ‘the ‘god-like’ Adam to Tess’s Eve | J.R.Brooke |
| She is doomed by her ‘exceptional physical nature’ and by inevitability of an erotic response from men. | Penny Boumelha |
| All the first part therefore is a sort of prologue to the girl’s seduction which is hardly ever and can hardly ever be out of the reader’s mind | Michael Millgate |
| Tess embodies ‘the agricultural community in the moment of its ruin’ | Douglas Brown |
| At the centre of critical debate is the correlation of two discourses, that of 'nature' and that of 'gender' | John Goode |
| A tangle of inconsistencies | Lionel Johnson |
| It is as if Hardy were not quite aware of what he did, as if his consciousness held more than he could produce. | Virginia Woolf |
| If she be faithfully presents, she was not at all faithful to her own sense of duty in the course of the story. | The Spectator 1892 |
| A story with a moral. | Andrew Lang |
| Powerful and valuable as a contribution to the ethical education of the world. | The Speaker 1891 |
| It is as if the possibility that Tess is raped protects her from the position of having engaged in 'liberated' sex, as if the idea of free choice might sully her important purity. | Laura Claridge |
| Tess chooses her sexual initiation, this makes her highly erotic. | Laura Claridge |
| We understand Tess as the Eve who rather too quickly yields to the temptation of the snake in the grass. | Laura Claridge |
| I have not been able to put on paper all she was or is to me. | Thomas Hardy |
| Tess is not the victim here, as the narrative line suggests, but the victimiser. | Laura Claridge |
| ‘Her speech, decision making… and even her sense of self are characterised by a curious absence’ | Oliver Lovesey |
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