Tess of the D’UrbervillesTess of the D’UrbervillesPhase the Seventh: FulfillmentPhase the Seventh: Fulfillment

Chapters 53-59Chapters 53-59

Violence in Beauty, Beauty in Violence Violence in Beauty, Beauty in Violence

Hardy’s originalityHardy’s originality

British fiction (18British fiction (18thth – 19 – 19thth C.) tended to present C.) tended to present the sexually ruined woman as pitiful, shame-the sexually ruined woman as pitiful, shame-filled, mute, groveling, doomed and in some filled, mute, groveling, doomed and in some way blameworthy because she is the mythic way blameworthy because she is the mythic daughter of Eve.daughter of Eve.

However, unlike the submissive, passive victims However, unlike the submissive, passive victims of conventional ruined maiden novels, Hardy’s of conventional ruined maiden novels, Hardy’s Tess is Tess is willingwilling to oppose in doing violence to her to oppose in doing violence to her male oppressors and to herself. male oppressors and to herself.

Hardy is perhaps distinctive in aestheticizing Hardy is perhaps distinctive in aestheticizing violence in his portrayal of the sexual ruin of a violence in his portrayal of the sexual ruin of a woman (i.e. he weds beauty to the ugliness of woman (i.e. he weds beauty to the ugliness of Tess’s violence, along with her suffering & Tess’s violence, along with her suffering & agony). agony).

Why this aestheticization of violence?Why this aestheticization of violence?

To colour an impression of sexual To colour an impression of sexual pessimism pessimism To live is to suffer because to live is to To live is to suffer because to live is to know desire, which is to know the pain of know desire, which is to know the pain of its non-fulfilment.its non-fulfilment.Ironic that Phase the Seventh is entitled Ironic that Phase the Seventh is entitled “Fulfilment” “Fulfilment”

To sustain the ambivalent characterization of To sustain the ambivalent characterization of Tess as both virgin & whore, innocent & guiltyTess as both virgin & whore, innocent & guilty

Delicate act of presenting Tess’s violent Delicate act of presenting Tess’s violent retaliation (culminating in her murder of Alec) retaliation (culminating in her murder of Alec) without sacrificing the reader’s sympathy for a without sacrificing the reader’s sympathy for a gentle and good hearted girlgentle and good hearted girl

By what narrative methods? By what narrative methods?

Strategy of indirectionStrategy of indirectionMultiple perspectives Multiple perspectives

Mediated by an omniscient narrator who modulates btwn Mediated by an omniscient narrator who modulates btwn detachment and moral involvement detachment and moral involvement

Irony Irony

Imagery - pictorial & poetic use of language Imagery - pictorial & poetic use of language

Allusion Allusion

Murder of Alec Murder of Alec

Use of a minor character, Mrs BrooksUse of a minor character, Mrs Brooks

Filters the lurid and violent details of Tess’s Filters the lurid and violent details of Tess’s murderous act in the room at The Herons, murderous act in the room at The Herons, SandbourneSandbourne

Intensity of this dramatic act lies in the Intensity of this dramatic act lies in the suppression of pain, where Hardy counteracts the suppression of pain, where Hardy counteracts the horror of violence through a neutralizing, sanitizing horror of violence through a neutralizing, sanitizing or distancing irony or distancing irony

The reader is dispassionately positioned, alongside The reader is dispassionately positioned, alongside Mrs Brooks, as an onlooker & eavesdropper with no Mrs Brooks, as an onlooker & eavesdropper with no direct access to Tess’s mind.direct access to Tess’s mind.

We learn instead more about Mrs Brooks’ feelings, We learn instead more about Mrs Brooks’ feelings, which range from mild curiosity to horror and panic.which range from mild curiosity to horror and panic.

Progression from the banal situation of an inquisitive Progression from the banal situation of an inquisitive landlady eavesdropping on her guests to a comic landlady eavesdropping on her guests to a comic image of her becoming a “nerveless woman”, and to image of her becoming a “nerveless woman”, and to the melodramatic ‘Drip, drip, drip’the melodramatic ‘Drip, drip, drip’

No direct insight into Tess’s state of mind No direct insight into Tess’s state of mind

Emotions as she is driven to extremes can only Emotions as she is driven to extremes can only be conjecturedbe conjectured

Dramatic (rather than psychological) intensity Dramatic (rather than psychological) intensity sustained through a quick succession of audio & sustained through a quick succession of audio & visual occurrences linked loosely with commas visual occurrences linked loosely with commas and the coordinating conjunction ‘and’and the coordinating conjunction ‘and’

““she could now hear the floorboards slightly she could now hear the floorboards slightly creakcreak, , as if some one were walking about, as if some one were walking about, and and presently presently the movement was explained by the the movement was explained by the rustle rustle of of garments against the banisters, the opening and garments against the banisters, the opening and closing of the front door, closing of the front door, andand the form of Tess the form of Tess passing to the gate on her way into the street.” passing to the gate on her way into the street.” (p.381)(p.381)

Note the use of onomatopoeia (“creak”, “rustle”; also Note the use of onomatopoeia (“creak”, “rustle”; also “a low note of “a low note of moaningmoaning … ‘O-O-O’”; “Drip, drip, drip”) … ‘O-O-O’”; “Drip, drip, drip”)

Imagery - Colour & BloodImagery - Colour & Blood

Characteristic of Hardy’s dramatic method is the use of a Characteristic of Hardy’s dramatic method is the use of a striking visual imagestriking visual image

The “The “scarlet scarlet blot” on the “oblong blot” on the “oblong whitewhite ceiling” is startlingly ceiling” is startlingly realistic & symbolic, announcing silently but irresistibly realistic & symbolic, announcing silently but irresistibly Alec’s murder. Alec’s murder.

Transformation of the white ceiling into “a gigantic ace of Transformation of the white ceiling into “a gigantic ace of hearts” suggests that human fate (including that of Tess) hearts” suggests that human fate (including that of Tess) is subject to the blind laws of chance no less that a game is subject to the blind laws of chance no less that a game of cardsof cards

Scarlet blot – a culmination of a pattern of Scarlet blot – a culmination of a pattern of symbolic references to the colour red & symbolic references to the colour red & blood, ranging from the “red ribbon” worn blood, ranging from the “red ribbon” worn by Tess to the “crimson drops” of life-blood by Tess to the “crimson drops” of life-blood Prince splashed on her.Prince splashed on her.

Relates Tess’s violence to her family Relates Tess’s violence to her family history history

““he [Clare] he [Clare] looked looked at her as she lay upon his at her as she lay upon his shoulder, weeping with happiness, and shoulder, weeping with happiness, and wondered wondered what obscure strain in the D’Urberville blood had led what obscure strain in the D’Urberville blood had led to this aberration – if it were an aberrationto this aberration – if it were an aberration. There . There momentarily flashed through his mind that the family momentarily flashed through his mind that the family tradition tradition mightmight have arisen because the have arisen because the D’Urbervilles had been known to do these things … D’Urbervilles had been known to do these things … he he supposed supposed that in the moment of mad grief of that in the moment of mad grief of which she spoke her mind had lost its balance, and which she spoke her mind had lost its balance, and plunged her into this abyss.” (p.385) plunged her into this abyss.” (p.385)

The scarlet blot also marks the climax of a The scarlet blot also marks the climax of a culmination of earlier episodes of violenceculmination of earlier episodes of violence

a)a) Tess “tenderly” breaking the necks of the wounded Tess “tenderly” breaking the necks of the wounded “bleeding” pheasants to put them “out of their torture” in “bleeding” pheasants to put them “out of their torture” in Chap. 41Chap. 41

Recalls her flirtation with suicide (by hanging) shortly Recalls her flirtation with suicide (by hanging) shortly after Angel has rejected herafter Angel has rejected her

When Tess victimizes the birds, however tenderly, she When Tess victimizes the birds, however tenderly, she could be said to be vengefully enacting her sense of her could be said to be vengefully enacting her sense of her

own victimization.own victimization.

b)b) At Flintcomb-Ash farm, upon Alec’s insult of Angel, Tess At Flintcomb-Ash farm, upon Alec’s insult of Angel, Tess retaliates by smashing her heavy leather glove against retaliates by smashing her heavy leather glove against his mouth and spilling his blood. his mouth and spilling his blood.

““A scarlet oozing appeared where her blow had alighted” A scarlet oozing appeared where her blow had alighted” (Ch.47, p.331)(Ch.47, p.331)

“ ‘ “ ‘Now punish me!’ she said, turning up her eyes to him Now punish me!’ she said, turning up her eyes to him with the with the hopeless defiancehopeless defiance of the of the sparrow’s gaze before sparrow’s gaze before its captor twists its neckits captor twists its neck.” (p.332).” (p.332)

Vengeance fulfilled by Tess’s murder of Alec, Vengeance fulfilled by Tess’s murder of Alec, which is also an act of justice undertaken reclaim which is also an act of justice undertaken reclaim her autonomy & personal happiness with Angelher autonomy & personal happiness with Angel

Yet, she is ironically arrested and hung by the Yet, she is ironically arrested and hung by the neck on a scaffold at Wintoncester as a criminal neck on a scaffold at Wintoncester as a criminal when she takes justice into her own hands. when she takes justice into her own hands.

Parallels earlier images of the pheasants & Parallels earlier images of the pheasants & sparrow sparrow

Imagery – Dressing Imagery – Dressing

Tess leaves the house “fully dressed … in the walking Tess leaves the house “fully dressed … in the walking costume of a well-to-do young lady”.costume of a well-to-do young lady”.Contrast with Tess’s earlier appearance as a scantily-Contrast with Tess’s earlier appearance as a scantily-clothed kept mistress before Angel: “loosely wrapped in clothed kept mistress before Angel: “loosely wrapped in a rich cashmere dressing- gown of gray-white, a rich cashmere dressing- gown of gray-white, embroidered in half-mourning tints.” (p.379) embroidered in half-mourning tints.” (p.379) Contrast suggests Tess’s transformation from a state of Contrast suggests Tess’s transformation from a state of vulnerability to self-possession.vulnerability to self-possession.Yet, even the “walking costume” is a garb that we do not Yet, even the “walking costume” is a garb that we do not naturally associate with Tess – ambivalence in her naturally associate with Tess – ambivalence in her characterizationcharacterization

““with the sole addition that over her hat and black with the sole addition that over her hat and black feathers a veil was drawn” (p.381)feathers a veil was drawn” (p.381)

The veil suggests stealth & secrecy linked to the criminal The veil suggests stealth & secrecy linked to the criminal act of murdering Alec. act of murdering Alec.

Yet, it also displays vagueness in concealment, as if to Yet, it also displays vagueness in concealment, as if to caution the reader not to simply misread Tess’s criminal caution the reader not to simply misread Tess’s criminal violence as a determination of her nature.violence as a determination of her nature.

The “black feathers” of Tess’s hat may remind a The “black feathers” of Tess’s hat may remind a Victorian reader of the black ostrich plumes used to Victorian reader of the black ostrich plumes used to decorate the horses pulling a hearse – echoes bird decorate the horses pulling a hearse – echoes bird

imagery, ominous D’Urberville coach & death imagery, ominous D’Urberville coach & death

Physical violence against Alec parallels the Physical violence against Alec parallels the emotional violence Tess directs at Angel through her emotional violence Tess directs at Angel through her letters that express increasing anger and sense of letters that express increasing anger and sense of injustice.injustice.““Think – think how it do hurt my heart not to see you Think – think how it do hurt my heart not to see you ever – ever! Ah, if I could only make your heart ache ever – ever! Ah, if I could only make your heart ache one little minute of each day of mine does every day one little minute of each day of mine does every day and all day long, it might lead you to show pity to and all day long, it might lead you to show pity to your poor lonely one.” (p.337)your poor lonely one.” (p.337)““O why have you treated me so monstrously, Angel! O why have you treated me so monstrously, Angel! I do not deserve it … You are cruel, cruel indeed!” I do not deserve it … You are cruel, cruel indeed!” (p.368)(p.368)Tess deflects her wish to make Angel’s heart ache Tess deflects her wish to make Angel’s heart ache by driving a knife into Alec’s heart.by driving a knife into Alec’s heart.

Recommended! Recommended!

Online Study Guide for Online Study Guide for Tess – Crossref-Tess – Crossref-it.info it.info

http://www.crossref-it.info/textguide/Tess-http://www.crossref-it.info/textguide/Tess-of-the-d'Urbervilles/11/0of-the-d'Urbervilles/11/0

By what narrative methods? By what narrative methods?

Strategy of indirectionStrategy of indirectionMultiple perspectives Multiple perspectives

Mediated by an omniscient narrator who modulates btwn Mediated by an omniscient narrator who modulates btwn detachment and moral involvement detachment and moral involvement

Irony Irony

Imagery - pictorial & poetic use of language Imagery - pictorial & poetic use of language

Allusion Allusion

The Execution The Execution

Similar strategy of narrative indirection – Tess’s Similar strategy of narrative indirection – Tess’s death is narrated by hints and implications rather death is narrated by hints and implications rather than by direct statement.than by direct statement.

Hardy’s narrator shifts btwn two voices: detached Hardy’s narrator shifts btwn two voices: detached guide & sympathetic onlooker guide & sympathetic onlooker

Prevents Angel’s & Liza-Lu’s sorrow from Prevents Angel’s & Liza-Lu’s sorrow from overpowering the reader’s perception of the overpowering the reader’s perception of the magnificence of Wintoncester magnificence of Wintoncester

Narrator as Detached GuideNarrator as Detached Guide

““The city of Wintoncester, the The city of Wintoncester, the fine old city, fine old city, aforesaidaforesaid capital of Wessex capital of Wessex, lay amidst its , lay amidst its convex and concaveconvex and concave downlands in all the downlands in all the brightness and warmth of a July morning brightness and warmth of a July morning […] In the valley beneath lay the city they […] In the valley beneath lay the city they had just left, its more prominent buildings had just left, its more prominent buildings showing as in an showing as in an isometricisometric drawing” drawing” (p.396-397) (p.396-397)

Narrator as Sympathetic Onlooker Narrator as Sympathetic Onlooker

““Though they were young they walked with Though they were young they walked with bowed heads, which bowed heads, which gait of gait of griefgrief the the sun’s sun’s rays rays smiledsmiled on on piteouslypiteously […] They moved […] They moved on hand in hand, and never spoke a word, on hand in hand, and never spoke a word, the the drooping of their heads being that of drooping of their heads being that of Giotto’s ‘Two ApostlesGiotto’s ‘Two Apostles’” (p.396-397) ’” (p.396-397)

Giotto’s ‘Two Apostles’ – now thought to be the Two Haloed Mourners from the Burial of St John the Baptist

Architectural imageryArchitectural imageryIronic contrast btwn the magnificent buildings of Ironic contrast btwn the magnificent buildings of past ages (e.g. the cathedral, ancient hospice) past ages (e.g. the cathedral, ancient hospice) and the stark utilitarian prison referred to as “the and the stark utilitarian prison referred to as “the one one blotblot onon the city’s beauty”. the city’s beauty”.

““AgainstAgainst these far stretches of country rose … a these far stretches of country rose … a large red-brick building … large red-brick building … contrasting contrasting greatly by greatly by its its formalismformalism with the with the quaint irregularitiesquaint irregularities of the of the Gothic erections.” (p.397) Gothic erections.” (p.397)

Hardy blocks emotional response by attending to Hardy blocks emotional response by attending to the architectural beauty of the spectacle that the architectural beauty of the spectacle that frames Tess’s death.frames Tess’s death.

Christian charity juxtaposed against the Christian charity juxtaposed against the repressive heartlessness of a penal system that repressive heartlessness of a penal system that can execute a young woman can execute a young woman

Superimposing one visual image upon another – Superimposing one visual image upon another – as if to blur the line btwn beauty and the ugliness as if to blur the line btwn beauty and the ugliness of her execution, loss and grief of her execution, loss and grief

Tess’s death by execution laconically announced, first as Tess’s death by execution laconically announced, first as a “something” then as a “black flag” in a short simple a “something” then as a “black flag” in a short simple sentence. sentence. The first compound sentence of the closing paragraph The first compound sentence of the closing paragraph moves from an indictment of human justice to an attack moves from an indictment of human justice to an attack of the Christian faith: of the Christian faith: ‘‘Justice’ was done, and the President of the Immortals Justice’ was done, and the President of the Immortals (in Aeschylean phrase) had ended his sport with Tess. (in Aeschylean phrase) had ended his sport with Tess. (p.397)(p.397)Concept of justice ironicized with the word in quotes, and Concept of justice ironicized with the word in quotes, and counterpoised to ‘sport’ counterpoised to ‘sport’ ‘‘President of the Immortals’ – incongruent juxtaposition President of the Immortals’ – incongruent juxtaposition of a political term such as ‘President’ of an Athenian of a political term such as ‘President’ of an Athenian council with a traditional term for the gods (‘Immortals’) council with a traditional term for the gods (‘Immortals’) undermines the whole notion of deity and immortality undermines the whole notion of deity and immortality

Closure Closure Disturbing ending that deprives the reader Disturbing ending that deprives the reader of cathartic closureof cathartic closure

Catharsis – an Aristotelian notion that Catharsis – an Aristotelian notion that refers to the act of being purged of refers to the act of being purged of feelings of pity in response to a tragedyfeelings of pity in response to a tragedy

Indirect narration of Tess’s execution Indirect narration of Tess’s execution denies us an outlet for deep emotional denies us an outlet for deep emotional involvement, whilst preserving her dignity. involvement, whilst preserving her dignity.

Ironic allusion to Milton’s Ironic allusion to Milton’s Paradise Lost Paradise Lost

““As soon as they had strength they arose, joined hands As soon as they had strength they arose, joined hands again, and went on.” [Closing sentence]again, and went on.” [Closing sentence]

In Milton’s epic, at least, Adam & Eve have fallen but In Milton’s epic, at least, Adam & Eve have fallen but depart “hand in hand” holding a “paradise within”.depart “hand in hand” holding a “paradise within”.

Here, the real Eve (who is Tess) is dead and Adam joins Here, the real Eve (who is Tess) is dead and Adam joins hands with a lesser Eve (Liza Lu), and there is no hands with a lesser Eve (Liza Lu), and there is no paradise within for them. paradise within for them.

Angel & Liza Lu appear as half frozen, stylized artifacts Angel & Liza Lu appear as half frozen, stylized artifacts rather than living beings rather than living beings “Giotto’s ‘Two Disciples’” “Giotto’s ‘Two Disciples’”

The closing para. that invokes the dead D’Urberville The closing para. that invokes the dead D’Urberville knights and dames and ends with a biblical & Miltonic knights and dames and ends with a biblical & Miltonic ref. to Angel and Liza Lu as Adam & Eve, conjoins:ref. to Angel and Liza Lu as Adam & Eve, conjoins:

- pagan & Christian - pagan & Christian

- political & religious- political & religious

- gaming & ethics- gaming & ethics

- aristocratic and middle classes- aristocratic and middle classes

- the speechless living & muted dead- the speechless living & muted dead

Profusion of references resembles the layering of Profusion of references resembles the layering of multiple forces that have sealed Tess’s death. multiple forces that have sealed Tess’s death.

Critical IssuesCritical Issues

Does the inevitable tragic fate of Tess imply that Does the inevitable tragic fate of Tess imply that Victorian women cannot really have agency?Victorian women cannot really have agency?

Or should Tess’s struggle against existing social Or should Tess’s struggle against existing social representations of women to recover her representations of women to recover her individuality matter more the outcome?individuality matter more the outcome?

Tess’s death – part of Hardy’s artistic design to Tess’s death – part of Hardy’s artistic design to free her heroine from constructions put on her by free her heroine from constructions put on her by society and by individuals? society and by individuals?

““Tess’s strongest appeal is not as a Tess’s strongest appeal is not as a virtuous victim – the good person trampled virtuous victim – the good person trampled on by circumstances and fate. Tess’s on by circumstances and fate. Tess’s unique appeal is the beauty of her defeat.” unique appeal is the beauty of her defeat.” (Peter J. Casagrande) (Peter J. Casagrande)

Comparison with WL Comparison with WL

In contrast to Hardy’s delicate narrative strategy of In contrast to Hardy’s delicate narrative strategy of indirection, Lawrence’s presentation of violence in indirection, Lawrence’s presentation of violence in relationships (physical, mental & verbal) possesses relationships (physical, mental & verbal) possesses a certain raw brutality that is discomforting, direct & a certain raw brutality that is discomforting, direct & obscene, pulsating & urgent.obscene, pulsating & urgent.

WL as a war novel – even though its society is WL as a war novel – even though its society is apparently at peace and its date left deliberately apparently at peace and its date left deliberately vague, violence wells up within most of its vague, violence wells up within most of its characters.characters.

Language of war in the battle of the sexes & the Language of war in the battle of the sexes & the warring selves within warring selves within

Violence is more deeply psychologized.Violence is more deeply psychologized.

Murderous impulse that perhaps lies in Murderous impulse that perhaps lies in unconscious. unconscious.

Springs from an inner hollowness, lack of centre, Springs from an inner hollowness, lack of centre, dependency, rejection until the Other is perceived dependency, rejection until the Other is perceived as a lethal threat as a lethal threat

E.g. Hermione & Birkin; Gerald & Gudrun E.g. Hermione & Birkin; Gerald & Gudrun

Unlike Tess’s violent behaviour, though speculated Unlike Tess’s violent behaviour, though speculated to be a trait inherited from the d’Urbervilles, is to be a trait inherited from the d’Urbervilles, is mainly catalyzed by her external circumstances mainly catalyzed by her external circumstances

“… “… and without the slightest and without the slightest warning she warning she passionately passionately swung the glove by the swung the glove by the gauntlet directly in his face. It gauntlet directly in his face. It was was heavy and thick as a heavy and thick as a warrior’swarrior’s, and it struck him flat , and it struck him flat on the mouth. on the mouth. Fancy might Fancy might have regarded the act as the have regarded the act as the recrudescence of a trick in recrudescence of a trick in which her mailed progenitors which her mailed progenitors were not unpractisedwere not unpractised … A … A scarlet oozing appeared scarlet oozing appeared where her blow had where her blow had alightedalighted.” .” ((Tess, Phase VI, p.331)

““Her whole mind was a Her whole mind was a chaoschaos, , darknessdarkness breakingbreaking upon it, upon it, and herself struggling to gain and herself struggling to gain controlcontrol with her with her willwill, , as a as a swimmer struggles with the swimmer struggles with the swirling waterswirling water. […] And then . […] And then she realised that his she realised that his presencepresence was was the wallthe wall, his , his presence presence was destroying her. Unless was destroying her. Unless she could she could breakbreak out, she must out, she must die most fearfully, die most fearfully, walled upwalled up in in horror. And he was horror. And he was the wallthe wall. . She She must break downmust break down the wall. the wall. She She must break him downmust break him down before her, the awful before her, the awful obstructionobstruction of him who of him who obstructobstructed her life to the last.” ed her life to the last.” (WL, Ch.8, p.107-108) (WL, Ch.8, p.107-108)

Lawrence’s prose techniques:Lawrence’s prose techniques:Repetition – insistent, orgiastic build-up of Repetition – insistent, orgiastic build-up of violence within Hermioneviolence within HermioneIncremental cumulative build-up of sensations Incremental cumulative build-up of sensations through long sentencesthrough long sentencesUndulating rhythm – intoxicating & incantatory, Undulating rhythm – intoxicating & incantatory, forceful & pulsatingforceful & pulsatingRhapsodic, flushed with a strange, abstract Rhapsodic, flushed with a strange, abstract intensity – contrived or radical?intensity – contrived or radical?

From Hardy to Lawrence From Hardy to Lawrence

Lawrence said to move increasingly away from the idea Lawrence said to move increasingly away from the idea of Literature as “picture-making” esp. during the yrs of Literature as “picture-making” esp. during the yrs 1913-16 1913-16

Increasingly turned from the visual to the tactile & aural Increasingly turned from the visual to the tactile & aural senses, from the static quality of visual representation to senses, from the static quality of visual representation to the immediate & dynamic qualities of rhythm & touchthe immediate & dynamic qualities of rhythm & touch

Turned from pictures to music, an approach which Turned from pictures to music, an approach which seemed to have taken form during the writing of the seemed to have taken form during the writing of the ‘Study of Thomas Hardy’‘Study of Thomas Hardy’

Sexualization of violence in Sexualization of violence in WLWL that is not obviously that is not obviously detailed in detailed in TessTessE.g. In ‘Coal-Dust’, Gudrun transposes Gerald’s brutal E.g. In ‘Coal-Dust’, Gudrun transposes Gerald’s brutal taming of the Arab mare into a sexual experience, taming of the Arab mare into a sexual experience, imagining herself to be the mare sensing the “indomitable imagining herself to be the mare sensing the “indomitable soft weight of the man”.soft weight of the man”.Gudrun subverts her imagined “soft-blood subordination” Gudrun subverts her imagined “soft-blood subordination” with sadomasochistic pleasure perversely derived.with sadomasochistic pleasure perversely derived.Terrible attraction and destructive danger of violence btwn Terrible attraction and destructive danger of violence btwn M/F that is potentially inherent in the sexual act itselfM/F that is potentially inherent in the sexual act itself

Yet, this violence may be creative and necessary in Yet, this violence may be creative and necessary in achieving a state of equilibrium btwn the sexes (ref. achieving a state of equilibrium btwn the sexes (ref. Birkin’s theory of male taming in ‘Mino’, symbolic sig. of Birkin’s theory of male taming in ‘Mino’, symbolic sig. of

‘Moony’)‘Moony’)

Violence in both novels display the possibilities of female Violence in both novels display the possibilities of female subjugation subjugation and and resistance.

In In Tess: Tess: Sexual violence in Alec’s violation of Tess Sexual violence in Alec’s violation of Tess Tess’s murder of Alec Tess’s murder of Alec Tess’s execution [passivity Tess’s execution [passivity despite courageous struggle to determine her own fate by despite courageous struggle to determine her own fate by the single act of murder]the single act of murder]

In In WLWL, violence and sex more graphically presented and , violence and sex more graphically presented and Lawrence explores how excessive power given to women Lawrence explores how excessive power given to women to determine their own “self-sufficiency” is (self)-to determine their own “self-sufficiency” is (self)-destructivedestructive

Woman Power – By what means? To what end? Woman Power – By what means? To what end?