Tess of the

d'Urbervilles

Tess of the d'Urbervilles: A Pure Woman

Faithfully Presented is a novel by Thomas
Hardy. It initially appeared in a censored
and serialised version, published by the
British illustrated newspaper The Graphic
in 1891,[1] then in book form in three
volumes in 1891, and as a single volume in
1892. Though now considered a major
19th-century English novel, even Hardy's
fictional masterpiece,[2] Tess of the
d'Urbervilles received mixed reviews when
it first appeared, in part because it
challenged the sexual morals of late
Victorian England.
 Tess of the d'Urbervilles:
A Pure Woman Faithfully
Presented

The front cover of an 1892 edition of Tess of

the d'Urbervilles: A Pure Woman Faithfully
Presented, published by Harper & Bros, NY.

Author Thomas Hardy

Country United Kingdom

Language English

Published 1891
Publisher James R. Osgood,
McIlvaine & Co.
Pages 592

Summary

Tess of the d'Urbervilles, title page of the 1891 edition

Phase the First: The Maiden (1–11) …

The novel is set in an impoverished rural

England, Thomas Hardy's fictional Wessex,
during the Long Depression of the 1870s.
Tess is the oldest child of John and Joan
Durbeyfield, uneducated peasants.
However, John is given the impression by
Parson Tringham that he may have noble
blood, as "Durbeyfield" is a corruption of
"D'Urberville", the surname of an extinct
noble Norman family. Knowledge of this
immediately goes to John's head.

That same day, Tess participates in the

village May Dance, where she first sees
Angel Clare, youngest son of Reverend
James Clare. Angel is on a walking tour
with his two brothers, but stops to join the
dance and partners several other girls. He
notices Tess too late to dance with her, as
he is already late in returning to his
brothers. Tess feels slighted.

Tess's father gets too drunk to drive a load

of beehives to a neighbouring town that
night, and so Tess undertakes the journey
herself with her younger brother. However,
she falls asleep at the reins, and the
family's only horse, Prince, encounters a
speeding wagon and is fatally wounded.
Tess feels so guilty over Prince's death
and the economic consequences for the
family that she agrees, against her better
judgement, to visit Mrs. d'Urberville, a rich
widow in a rural mansion near the town of
Trantridge, and "claim kin". She is unaware
that in reality, Mrs. d'Urberville's husband
Simon Stoke adopted the surname, even
though he was unrelated to the real
d'Urbervilles.

Tess fails to meet Mrs. d'Urberville, but

chances on her libertine son, Alec, who
takes a fancy to Tess and secures her a
position as poultry keeper on the estate.
Although Tess tells her parents that she
fears he might try to seduce her, they
encourage her to accept the job, secretly
hoping Alec might marry her. Tess dislikes
Alec but endures his persistent unwanted
attentions while earning enough to replace
her family's horse. Despite his often cruel
and manipulative behaviour, the threat that
Alec presents to Tess's virtue is
sometimes obscured for Tess by her
inexperience and almost daily
commonplace interactions with him.

Late one night, walking home from town

with some other Trantridge villagers, Tess
inadvertently antagonizes Car Darch,
Alec's most recently discarded favourite,
and finds herself in physical danger. When
Alec rides up and offers to "rescue" her
from the situation, she accepts. Instead of
taking her home, however, he rides through
the fog until they reach an ancient grove in
a forest called "The Chase", where he
informs her that he is lost and leaves on
foot to get his bearings. Alec returns to
find Tess asleep, and it is implied that he
rapes her.[3]

Mary Jacobus, a commentator on Hardy's

works, speculates that the ambiguity may
have been forced on the author to meet
publisher requirements and the "Grundyist"
readership of his time.[4]
The Vale of Blackmore, the main setting for Tess.

Hambledon Hill towards Stourton Tower

Phase the Second: Maiden No More

(12–15)
…

Tess goes home to her father's cottage,

where she keeps almost entirely to her
room, apparently feeling both traumatized
and ashamed of having lost her virginity.
The following summer, she gives birth to a
sickly boy who lives only a few weeks. On
his last night alive, Tess baptises him
herself, as her father will not allow the
parson to visit, stating that he does not
want the parson to "pry into their affairs".

The boy is given the name Sorrow, but

despite the baptism Tess can only arrange
his burial in a "shabby corner" of the
churchyard reserved for unbaptised
infants. Tess adds a home-made cross to
the grave with flowers in an empty
marmalade jar.

Phase the Third: The Rally (16–24) …

More than two years after the Trantridge
debacle, Tess, now nearly twenty, has
found employment outside the village,
where her past is unknown. She works as
a milkmaid for Mr. and Mrs. Crick at
Talbothays Dairy. There she befriends
three of fellow milkmaids, Izz, Retty, and
Marian, and meets again Angel Clare, now
an apprentice farmer who has come to
Talbothays to learn dairy management.
Although the other milkmaids are in love
with him, Angel singles out Tess and the
two fall in love.

Phase the Fourth: The

Consequence (25–34)
…
"He jumped up from his seat... and went quickly
toward the desire of his eyes." 1891 illustration by
Joseph Syddall

Angel spends a few days away from the

dairy, visiting his family at Emminster. His
brothers Felix and Cuthbert, both ordained
Church of England ministers, note Angel's
coarsened manners, while Angel considers
them staid and narrow-minded. The Clares
have long hoped that Angel will marry
Mercy Chant, a pious schoolmistress, but
Angel argues that a wife who knows farm
life would be a more practical choice. He
tells his parents about Tess and they agree
to meet her. His father, the Reverend
James Clare, tells Angel of his efforts to
convert the local populace, mentioning his
failure to tame a young miscreant named
Alec d'Urberville.

Angel returns to Talbothays Dairy and asks

Tess to marry him. This puts Tess in a
painful dilemma: Angel clearly thinks her a
virgin, and she shrinks from confessing
her past. Such is her love for him, though,
that she finally agrees to the marriage,
pretending she had only hesitated because
she had heard he hated old families and
thought he would not approve of her
d'Urberville ancestry. However, he is
pleased by the news, as he thinks it will
make their match more suitable in the
eyes of his family.

As the marriage approaches, Tess grows

increasingly troubled. She writes to her
mother for advice; Joan tells her to keep
silent about her past. Her anxiety
increases when a man from Trantridge,
named Groby, recognises her and crudely
alludes to her history. Angel overhears and
flies into an uncharacteristic rage. Tess,
deciding to tell Angel the truth, writes a
letter describing her dealings with
d'Urberville and slips it under his door.
When Angel greets her with the usual
affection the next morning, she thinks he
has forgiven her; later she discovers the
letter under his carpet and realises that he
has not seen it. She destroys it.

The wedding ceremony goes smoothly,

apart from the bad omen of a cock
crowing in the afternoon. Tess and Angel
spend their wedding night at an old
d'Urberville family mansion, where Angel
presents his bride with diamonds that
belonged to his godmother. When he
confesses that he once had a brief affair
with an older woman in London, Tess
finally feels able to tell Angel about Alec,
thinking he will understand and forgive.

Phase the Fifth: The Woman Pays

(35–44)
…

Angel is appalled by the revelation and

makes it clear that Tess is reduced in his
eyes. Although he admits that Tess was
"more sinned against" than sinning, he
feels that her "want of firmness" against
Alec may indicate a flaw in her character
and that she is no longer the woman he
thought she was. He spends the wedding
night on a sofa. After a few awkward days,
a devastated Tess suggests they separate,
saying that she will return to her parents.
Angel gives her some money and
promises to try to reconcile himself to her
past, but warns her not to try to join him
until he sends for her.

After a brief visit to his parents, Angel

takes a ship to Brazil to see if he can start
a new life there. Before he leaves, he
encounters Tess's milkmaid friend Izz and
impulsively asks her to come with him as
his mistress. She accepts, but when he
asks her how much she loves him, she
admits "Nobody could love 'ee more than
Tess did! She would have laid down her life
for 'ee. I could do no more!" Hearing this,
he abandons the whim, and Izz goes home
weeping bitterly.

Tess returns home for a time. However,

she soon runs out of money, having to help
out her parents more than once. Finding
her life with them unbearable, she decides
to join Marian at a starve-acre farm called
Flintcomb-Ash; they are later joined by Izz.
On the road, she is again recognised and
insulted by Groby, who later turns out to be
her new employer. At the farm, the three
former milkmaids perform hard physical
labour.
One winter day, Tess attempts to visit
Angel's family at the parsonage in
Emminster, hoping for practical
assistance. As she nears her destination,
she encounters Angel's older brothers,
with Mercy Chant. They do not recognise
her, but she overhears them discussing
Angel's unwise marriage and dares not
approach them. On the way home, she
overhears a wandering preacher and is
shocked to find that it is Alec d'Urberville,
who has been converted to Methodism
under the influence of the Reverend James
Clare.
Phase the Sixth: The Convert (45– …

52)

Alec and Tess are each shaken by their

encounter. Alec claims she has put a spell
on him and makes Tess swear never to
tempt him again as they stand beside an
ill-omened stone monument called the
Cross-in-Hand. However, Alec continues to
pursue her and soon comes to Flintcomb-
Ash to ask Tess to marry him, although
she tells him she is already married. He
begins stalking her, despite repeated
rebuffs, returning at Candlemas and again
in early spring, when Tess is hard at work
feeding a threshing machine. He tells her
he is no longer a preacher and wants her
to be with him. When he insults Angel, she
slaps him, drawing blood. Tess then learns
from her sister, Liza-Lu, that her father,
John, is ill and that her mother is dying.
Tess rushes home to look after them. Her
mother soon recovers, but her father
unexpectedly dies of a heart condition.

The impoverished family is now evicted

from their home, as Durbeyfield held only a
life lease on their cottage. Alec, having
followed her to her home village, tries to
persuade Tess that her husband is never
coming back and offers to house the
Durbeyfields on his estate. Tess refuses
his assistance several times. She had
earlier written Angel a psalm-like letter, full
of love, self-abasement, and pleas for
mercy, in which she begs him to help her
fight the temptation she faces. Now,
however, she finally begins to realize that
Angel has wronged her and scribbles a
hasty note saying she will do all she can to
forget him, since he has treated her so
unjustly.

The Durbeyfields plan to rent rooms in the

town of Kingsbere, ancestral home of the
d'Urbervilles, but arrive to find they have
already been rented to others. All but
destitute, they are forced to shelter in the
churchyard under the D'Urberville window.
Tess enters the church and in the
d'Urberville Aisle, Alec reappears and
importunes Tess again. The scene ends
with her desperately looking at the
entrance to the d'Urberville vault and
wishing herself dead.

In the meantime, Angel has been very ill in

Brazil and his farming venture has failed.
He heads home to England. On the way he
confides his troubles to a stranger, who
tells him he was wrong to leave his wife;
what she was in the past should matter
less than what she might become. Angel
begins to repent of his treatment of Tess.
Phase the Seventh: Fulfilment (53–
59)
…

Upon his return to his family home, Angel

has two letters waiting for him: Tess's
angry note and a few cryptic lines from
"two well-wishers" (Izz and Marian),
warning him to protect his wife from "an
enemy in the shape of a friend". He sets
out to find Tess and eventually locates
Joan, now well-dressed and living in a
pleasant cottage. After responding
evasively to his enquiries, she tells him
Tess has gone to live in Sandbourne, a
fashionable seaside resort. There, he finds
Tess living in an expensive boarding house
under the name "Mrs. d'Urberville".

When Angel asks for Tess, she appears in

startlingly elegant attire and stands aloof.
He tenderly asks her forgiveness, but Tess,
in anguish, tells him he has come too late.
Thinking he will never return, she has
yielded at last to Alec d'Urberville's
persuasion and become his mistress. She
gently asks Angel to leave and never
return. He departs and Tess goes back to
her bedroom, where she falls to her knees
and begins to lament. She blames Alec for
causing her to lose Angel's love a second
time, accusing him of lying when he said
that Angel would never return to her.

The following events are narrated from the

perspective of the landlady, Mrs. Brooks.
The latter tries to listen in at the keyhole,
but withdraws hastily when the argument
between Tess and Alec becomes heated.
She later sees Tess leave the house, then
notices a spreading red spot – a
bloodstain – on the ceiling. She summons
help, and Alec is found stabbed to death in
his bed.

Angel, quite disheartened, is leaving

Sandbourne; Tess hurries after and tells
him she has killed Alec, saying that she
hopes she has won his forgiveness by
murdering the man who ruined both their
lives. Angel does not believe her at first,
but grants her his forgiveness and tells her
he loves her. Rather than heading for the
coast, they walk inland, vaguely planning
to hide somewhere until the search for
Tess is ended and they can escape abroad
from a port. They find an empty mansion
and stay there for five days in blissful
happiness, until their presence is
discovered one day by the cleaning
woman.
They continue walking, and in the middle
of the night stumble upon Stonehenge,
where Tess lies down to rest on an ancient
altar. Before she falls asleep, she asks
Angel to look after her younger sister, Liza-
Lu, saying she hopes Angel will marry her
after she is dead. At dawn, Angel sees they
are surrounded by police. He finally
realises that Tess really has committed
murder and asks the men in a whisper to
let her awaken naturally before they arrest
her. When she opens her eyes and sees
the police, she tells Angel she is "almost
glad", because "now I shall not live for you
to despise me". Her parting words are, "I
am ready."
Tess is escorted to Wintoncester
(Winchester) prison. The novel closes with
Angel and Liza-Lu watching from a nearby
hill as the black flag signalling Tess's
execution is raised over the prison. Angel
and Liza-Lu then join hands and go on
their way.

Symbolism and themes

Sunset at Stonehenge

Hardy's writing often explores what he

called the "ache of modernism", and this
theme is notable in Tess, which as one
critic noted,[5] portrays "the energy of
traditional ways and the strength of the
forces that are destroying them". In
depicting this Hardy uses imagery
associated with hell when describing
modern farm machinery, as well as
suggesting the effete nature of city life as
the milk sent there must be watered down
because townspeople cannot stomach
whole milk. Angel's middle-class
fastidiousness makes him reject Tess, a
woman whom Hardy presents as a sort of
Wessex Eve, in harmony with the natural
world. When he parts from her and goes to
Brazil, the handsome young man gets so ill
that he is reduced to a "mere yellow
skeleton". All these instances have been
interpreted as signs of the negative results
of humanity's separation from nature, both
in creating destructive machinery and in
failing to rejoice in pure and unadulterated
nature.

On the other hand, Marxist critic Raymond

Williams in The English Novel from Dickens
to Lawrence questions the identification of
Tess with a peasantry destroyed by
industrialization. Williams sees Tess not
as a peasant, but as an educated member
of the rural working class, who suffers a
tragedy through being thwarted in her
aspirations to rise socially and her desire
for a good life (which includes love and
sex), not by industrialism, but by the
landed bourgeoisie (Alec), liberal idealism
(Angel) and Christian moralism in her
family's village (see Chapter LI). Earlier
commentators were not always
appreciative. Henry James and Robert
Louis Stevenson in Bournemouth "loved to
talk of books and bookmen: Stevenson,
unlike James, was an admirer of Thomas
Hardy, but agreed that Tess of the
D'Urbervilles was 'vile'."[6]

Another role of Tess's only true friend and

advocate, pointedly subtitling the book "a
pure woman faithfully presented" and
prefacing it with Shakespeare's words
from The Two Gentlemen of Verona: "Poor
wounded name! My bosom as a bed/Shall
lodge thee." However, although Hardy
clearly means to criticize Victorian notions
of female purity, the double standard also
makes the heroine's tragedy possible, and
thus serves as a mechanism of Tess's
broader fate. Hardy variously hints that
Tess must suffer either to atone for the
misdeeds of her ancestors, or to provide
temporary amusement for the gods, or
because she possesses some small but
lethal character flaw inherited from her
ancestors.

Because of the numerous pagan and neo-

Biblical references made about her, Tess
has been viewed variously as an Earth
goddess or as a sacrificial victim.[7] For
example, early in the novel, she
participates in a festival for Ceres, the
goddess of the harvest, and when she
baptises her dead child she chooses a
passage from Genesis, the book of
creation, rather than the more traditional
New Testament verses. Then when Tess
and Angel come to Stonehenge, which was
commonly believed in Hardy's time to be a
pagan temple, she willingly lies on a stone
supposedly associated with human
sacrifice.

Tess has been seen as a personification of

nature, an idea supported by her
association with animals throughout the
novel. Tess's misfortunes begin when she
falls asleep while driving Prince to market
and causes the horse's death; at
Trantridge, she becomes a poultry-keeper;
she and Angel fall in love amid cows in the
fertile Froom valley; and on the road to
Flintcomb-Ash, she kills some wounded
pheasants to end their suffering.[8]

Yet Tess emerges as a powerful character

not through this symbolism but because
"Hardy's feelings for her were strong,
perhaps stronger than for any of his other
invented personages".[9]

When he was 16 years old, Hardy saw the

hanging of Elizabeth Martha Brown, who
had murdered a violent husband. This
fascinating, yet repellent experience
contributed to the writing of Tess.[10][11]

The moral commentary running through

the novel insists that Tess is not at fault in
imposing mythological, biblical and folk
imagery over a story of a young girl
seduced and abandoned to create a
"challenging contemporaneity". It was
controversial and polarizing, setting these
elements within a context of 19th-century
English society, including disputes within
the Church, the National School
movement, and the overall class structure
of English society and changing
circumstances of rural labour. During the
era of first-wave feminism, civil divorce
was introduced and campaigns were
waged against child prostitution, moving
gender and sexuality issues to the
forefront of public discussion. Hardy's
work was criticized as vulgar, though by
the late 19th century other experimental
fiction works were released such as
Florence Dixie's depiction of feminist
utopia, The Story of an African Farm by
Olive Schreiner, and Sarah Grand's work
The Heavenly Twins, raising awareness
about syphilis and advocating sensitivity
rather than condemnation for young
women infected with the disease.[12][13]

Adaptations

Theatre …
Mrs. Fiske in Lorimer Stoddard's stage adaptation of
Tess of the d'Urbervilles (1897)

The novel was first adapted for the stage

in 1897. This production by Lorimer
Stoddard proved a great Broadway triumph
for actress Minnie Maddern Fiske, was
revived in 1902, and subsequently made
into a motion picture by Adolph Zukor in
1913, starring Mrs. Fiske; no copies
remain.
In 1924 Hardy himself wrote the script for
the first British theatrical adaptation and
chose Gertrude Bugler, a Dorchester girl
from the original Hardy Players, to play
Tess.[14] The Hardy Players (re-formed in
2005) was an amateur group from
Dorchester which re-enacted Hardy's
novels. Bugler was highly acclaimed,[15]
but prevented from taking the London
stage part by Hardy's wife, Florence, who
was jealous of her; Hardy had said that
young Gertrude was the true incarnation of
the Tess he had imagined. Years before
writing the novel, Hardy had been inspired
by the beauty of her mother Augusta Way,
then an 18-year-old milkmaid, when he
visited Augusta's father's farm in
Bockhampton. When Hardy saw Bugler (he
rehearsed The Hardy Players at the hotel
run by her parents), he immediately
recognised her as the young image of the
now older Augusta.[14]

The novel was successfully adapted for

the stage several other times:

1946: An adaptation by playwright

Ronald Gow became a triumph on the
West End starring Wendy Hiller.
1999: Tess of the d'Urbervilles, a new
West End musical with music by
Stephen Edwards and lyrics by Justin
Fleming opens in London at the Savoy
Theatre.
2007: Tess, The New Musical (a rock
opera) with lyrics, music and libretto by
Annie Pasqua and Jenna Pasqua
premieres in NYC.
2009: Tess of the d'Urbervilles, a new
adaptation for the stage with five actors
was produced in London by Myriad
Theatre & Film.
2010: Tess, a new rock opera is an
official Next Link Selection at the New
York Musical Theatre Festival with
music, lyrics, and libretto by Annie
Pasqua and Jenna Pasqua.
2011: Tess of the d’Urbervilles, adapted
from the original 1924 script by Devina
Symes for Norrie Woodhall, of the last
surviving member of Hardy’s own
theatrical group, the Hardy Players.
Three extra scenes were included at
Woodhall’s request, including the final
scene[16], staged as Woodhall described
it from her own appearance in Hardy’s
original adaptation: “Tess, accompanied
by Angel Clare, is arrested by a phalanx
of constables for the murder of her
other suitor Alec d’Urberville at sunrise,
following a night spent within the
bluestone towers of a lonely henge on
the bleak and wind swept expanse of
Salisbury Plain”.
2012: Tess of the d'Urbervilles was
produced into a piece of musical theatre
by Youth Music Theatre UK as part of
their summer season, and further
developed, edited, and performed in
2017 at the Theatre Royal, Winchester,
and at The Other Palace, London in
2018.
2019: Tess - The Musical,[17] a new
British musical by composer Michael
Blore and playwright Michael Davies,[18]
received a workshop production at The
Other Place, the Royal Shakespeare
 Company's studio theatre in Stratford-
upon-Avon, in February 2019.

Opera …

1906: An Italian operatic version written by

Frederic d'Erlanger was first performed in
Naples, but the run was cut short by an
eruption of Mount Vesuvius. When the
opera came to London three years later,
Hardy, then 69, attended the premiere.

Film …

The story has also been filmed at least

eight times, including three for general
release through cinemas and four
television productions.

Cinema:
1913: The "lost" silent version,
mentioned above (under Theatre),
starring Minnie Maddern Fiske as
Tess and Scots-born David
Torrence as Alec.[19]
1924: Another lost silent version
made with Blanche Sweet (Tess),
Stuart Holmes (Alec), and Conrad
Nagel (Angel).[20]
1967: Hindi film "Dulhan Ek Raat Ki"
starring Nutan, Dharmendra and
Rehman.[21]
1979: Roman Polanski's film Tess
with Nastassja Kinski (Tess), Leigh
Lawson (Alec), and Peter Firth
(Angel).[22]
2000: Assamese filmmaker Bidyut
Chakrabarty's film Nishiddha Nadi
starring Trisha Saikia, Bina
Baruwoti, Dhritiman Phukan and a
host of others was based on the
novel. The film was produced by the
Assam State Film (Finance and
Development) Corporation and was
released on 18 February 2000.
Cinematography, Editing and Music
Direction were done by National
Award Winners, Mrinal Kanti Das, A.
 Sreekar Prasad and Sher Choudhury
respectively.
2011: Michael Winterbottom 21st-
century Indian set film Trishna with
Freida Pinto and Riz Ahmed.[23]
2013: The Maiden 21st century set
film starring Brittany Ashworth,[24]
Matt Maltby and Jonah Hauer-King,
directed by Daisy Bard, written and
produced by Jessica Benhamou.[25]
Television:
1952: BBC TV, directed by Michael
Henderson, and starring Barbara
Jefford (Tess), Michael Aldridge
(Alec), and Donald Eccles
(Angel).[26]
1960: ITV, ITV Play of the Week,
"Tess", directed by Michael Currer-
Briggs, and starring Geraldine
McEwan (Tess), Maurice Kaufmann
(Alec), and Jeremy Brett (Angel).[27]
1998: London Weekend Television's
three-hour mini-series Tess of the
D'Urbervilles, directed by Ian Sharp,
and starring Justine Waddell (Tess),
Jason Flemyng (Alec), and Oliver
Milburn (Angel), the latter himself
Dorset-born.[28]
 2008: A four-hour BBC adaptation,
written by David Nicholls, aired in
the United Kingdom in September
and October 2008 (in four parts),[29]
and in the United States on the PBS
series Masterpiece Classic in
January 2009 (in two parts).[30] The
cast included Gemma Arterton
(Tess), Hans Matheson (Alec),
Eddie Redmayne (Angel), Ruth
Jones (Joan), Anna Massey (Mrs
d'Urberville), and Kenneth Cranham
(Reverend James Clare).[31][32]

Music …
American metalcore band Ice Nine Kills
has a song called "Tess-Timony" inspired
by this novel on their 2015 album Every
Trick in the Book.

The Ninth Symphony of Ralph Vaughan

Williams has a slow second movement
based on Tess and depicts the
Stonehenge scene underscored by the
eight-bell strokes that signify her
execution at the traditional hour of 8 A.M.

Notes
1. Tess of the d'Urbervilles, Graphic, XLIV,
July–December 1891
2. "Review: Tess of the d'Urbervilles: a
Pure Woman Faithfully Presented by
Thomas Hardy" . The Athenaeum
(3350): 49–50. 9 January 1892.
3. Watts, Cedric (2007). Thomas Hardy
'Tess of the d'Urbervilles'. Penrith:
Humanities-Ebooks. pp. 32–3.
ISBN 9781847600455.
4. Jacobus, Mary (1976). "Tess's Purity".
Essays in Criticism. XXVI (4): 318–
338. doi:10.1093/eic/XXVI.4.318 .
5. Dale Kramer, Tess, p. 14
. "Bournemouth. Andrew O'Hagan on
Robert Louis Stevenson and His
 Friends", London Review of Books, 21
May 2020, pp. 7–9.
7. Radford, Thomas Hardy and the
Survivals of Time, p. 183
. Hardy, Thomas (1991). Tess of the
D'Urbervilles. New York: W.W. Norton &
Company Inc. pp. 218–219. ISBN 978-
0-393-95903-1.
9. J.Hillis Miller, Fiction and Repetition,
p.119
10. Morrison, Blake (2 August 2008).
"Proposed changes to murder laws
could end patriarchal double
standards. 'What a fine figure she
showed as she hung in the misty
 rain' " . The Guardian. Retrieved
12 April 2018.
11. "Elizabeth Martha Brown. The
inspiration for Thomas Hardy's "Tess
of the D'Urbervilles" " . Capital
Punishment UK. Retrieved 12 April
2018.
12. Hardy, Thomas (14 August 2008).
Tess of the D'Urbervilles . Oxford
University Press. p. 13.
ISBN 9780199537051. Retrieved
8 September 2019.
13. Kennedy, Meegan (2004). "Syphilis and
the hysterical female: the limits of
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19. Tess of the D'Urbervilles (1913) . –
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20. Tess of the D'Urbervilles (1924) . –
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21. "Dulhan Ek Raat Ki (1967)" . 3 March
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23. Trishna . – IMDb.
24. "Brittany Ashworth" .
25. Brook, Rachel (10 February 2013).
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Secondary sources
William A. Davis Jr., "Hardy and the
'Deserted Wife' Question: The Failure of
the Law in Tess of the D'urbervilles."
Colby Quarterly 29.1 (1993): 5–19
Pamela Gossin, Thomas Hardy's Novel
Universe: Astronomy, Cosmology, and
Gender in the Post-Darwinian World.
Aldershot, England : Ashgate, 2007
James A. W. Heffernan, "'Cruel
Persuasion': Seduction, Temptation and
Agency in Hardy's Tess." Thomas Hardy
Yearbook 35 (2005): 5–18
L. R. Leavis, "Marriage, Murder, and
Morality: The Secret Agent and Tess."
Neophilologus 80.1 (1996): 161–69
Oliver Lovesey, "Reconstructing Tess."
SEL: Studies in English Literature 1500–
1900 43.4 (2003): 913–38
 Adrian Poole, "'Men's Words' and Hardy's
Women." Essays in Criticism: A Quarterly
Journal of Literary Criticism 31.4 (1981):
328–345
Vladimir Tumanov, "Under the Hood of
Tess: Conflicting Reproductive
Strategies in Thomas Hardy’s Tess of
the D’Urbervilles." Neophilologus 97.1
(2013): 245-259

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