From the beginning of the novel it is clear that tragedy will grunge the life of brazens protagonist. As Hardy equates Hamlet and Tess from the start, we learn that he sees Tess as a virtuous victim and therefore as a tragicalal heroine. This is no surprise as a visual sense often assimilated with the Victorian novel genre is fatalism and Hardy was cognize for his fatalistic outlook on life; this becomes unornamented by means of Tesss profess fate - undelivered letters, misunderstanding, and a string of ill-omened coincidences solo lead to her tragic end. Each situation is a gun for the next, with episodes and characters c atomic number 18 widey woven into a interwoven manakin and as part of this many an(prenominal) events are explicitly prefigured. Hardys protracted use of foreshadowing builds tension as closely as making the familys decline seem inevitable, suggesting that Tesss fate is already sealed. She is dubbed the plaything of the immortals and it is overt t hat the mark of the blood is upon her from the start. This is symbolised at the club spring where Tess one of the white-hot company is the only one to have a red ribbon in her hair. The consequence of loss and suffering become a anchor stem in the novel. However there are many factors that moderate to the tragic heroines downfall. Tess is only partly to blame for her own tragic decline.
Powerful external pressures, such as social, biological, environmental and the supernatural, all drive her inexorably towards her cruel fate. Time and detect are also against Tess. Social and biological pressures rank mellowed on the t ragic outcome of Hardys heroine. In chapter ! one the Durbeyfields uncovering that they are scions of a once proud aristocratic family pose them to behave higher up their station, with Tesss father Jack (a rum and idle spendthrift)... If you want to stick around a full essay, order it on our website:
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