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Write a critical appreciation of this passage exploring in particular the language used to depict Alec, and Tess's response to his 'transformation'.

By Amber Beckham

P.389 - 391. Penguin Pop Classics. First two pages of 'The Convert' section of 'Tess of the d'Urbervilles'.

The suspicion with which Tess, and Hardy, regard Alec is apparent almost immediately in this passage. Tess cannot help fearing Alec and mistrusting his current state owing to her foreknowledge of his character, and her initial instincts prove to be true later in the novel. From the first moment she sees him "stood there openly and palpably a converted man........ sorrowing for his past irregularities" she is struck by fear and suspicions of the validity of his conversion. His "paralyzing" effect on her is demonstrative of their relationship and the power and control which he had over her - whilst also inferring that that control still exists.

The "handsome unpleasantness" which Alec's countenance affords is reminiscent of his earlier - and as it is revealed later - true character, showing its unpleasant corruption. Alec seems to be an actor who is merely playing a part, with his 'transformation' being described as "less a reform than a transfiguration". This impression is also offered through a seeming change of "costume" on his part with the "sable moustache" having been swapped for "neatly trimmed, old-fashioned whiskers" and his former more luxurious clothing having changed to clothes which are "half-clerical". The effect is to "abstract the dandyism from his features" and make him appear less like a womaniser - but the impression given seems false. Alec's countenance is shown to be almost strained in the effort to maintain his new appearance, his "lineaments" being said to "complain" as they are being forced into expressions for which "nature did not intend them". The force of his transformation is emphasised by the phrase that "their very elevation was a misapplication, that to raise seemed to falsify" - describing the unnatural situation in which a man previously described as containing "barbarism in his contours" and who behaved in a lascivious manner now finds himself.

The language which Hardy uses to further describe Alec's "transformation" is in fact evidence which seems to negate this, rather implying that Alec has undergone a "transfiguration" as more plausible that his reformation. Hardy achieves this through his comparison of the earlier Alec with the "convert". He compares the "curves of sensuousness" to the current "lines of devotional passion" and his former "animalism" to the current "fanaticism". These comparisons coupled with his alliteration of "seductiveness" and "supplication", "riotousness" and "rhetoric" as well as "Paganism" and "Paulinism" suggest that rather than a transformation, Alec has merely transferred his energy and passion from Tess and lasciviousness to his new 'fad' of evangelism. Even his "bold rolling eye" which "flashed" at her still "beamed" with "rude energy". Tess's reaction emphasised the mistrust of Alec and causes a recognition of the potential danger which he poses to her. Her inability to believe his reformation is evident, through her language, her instant and instinctive reaction being to feel a "grim incongruity" that the mouth which before had bombarded her with "expressions of such divergent purpose" could now be preaching religion. Tess is quite aware of the irony of the situation with it causing her to become "quite sick" at his contrast of character and behaviour. She is also sensitive to the unnatural state which he is in and because of this she distrusts him and must fight her natural instincts in order to give him the benefit of the doubt but admitting his state to be "unnatural in him".

His power over her and her sense of tragedy is evident in that she is described as having a "sensitiveness to ocular beams" - being highly sensitised and aware of his gaze - even if it is purely imaginary. She is bitter that she must remain "unregenerate" whereas the perpetrator of sin was "now on the side of the spires". Her tragedy is emphasised by the resurrection of her past in an almost "physical sense" and her feeling that her suffering could only end with her death - which is realised at the end of the novel - when she is "bygone herself".