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In what ways and by what means does Thomas Hardy use settings in 'Tess of the D'Urbervilles' to reveal characters and/or reflect on the events of the novel?

By Catriona Mackie

To illustrate my answer I have chosen Hardy's portrayal of the development of Angel and Tess' relationship through four of his settings. These show moments in the relationship where the characters are together, enabling one to compare and contrast Hardy's view of their progress. The novel's settings vary extensively and are very thematic in description. The selected settings are outdoors and include vivid images of love and growth between the couple. As A. Alvarez states, "the landscape is continually brought to life.......as a sounding board, in order to deepen and intensify whatever it is that Tess is experiencing."(pg.113-G.Handley) However, surroundings display not just Tess but Angel too, and their changing emotions - through positioning, temperature and other stylistic techniques. The settings are: Talbothays garden, summer at the dairy whose heat and sensuality contrast with the stormy night ride to the station, displaying the couple's genuine feelings and lastly Stonehenge, portraying a conclusion and finality in their love but also "the landscape that Hardy too often colours with his own greyness of spirit," (pg.156-B.Ford) seen not only here but in the majority of Hardy's works.

The use of seclusion and separation within the four settings and the whole novel, reveals both the characters, and their relationships with others. Separately, Tess and Angel stand out. At Marlott, Tess "stood apart" separating her from the background. She is shown as well-educated, having her "sixth standard in the National School" and a "pink" dress making her noticeable even in childhood, where "Tess already has that heightened legibility, that eye-taking prominence which suggests that she has in some mysterious way been singled out." (pg.409-I.Watt). Her separation from the background is often ironic, as with Car, the "soberer, richer note" of Tess' voice results in her being noticed and ultimately losing her chastity. Angel too is separated from his contemporaries both physically by stopping to dance at Marlott, and with regard to his beliefs. They are both spiritually different to their contemporaries and it is this superiority which often makes them so noticeable.

However Hardy uses this separation to attract them to each other; having Angel "sit in the yawning chimney corner" at mealtimes, apart from the others and Tess' "fluty voice," being heard above the other milkmaids. This difference continues in their relationship - initially they are isolated from each other. The dairy is warm, "stagnant" and appears relaxed, "oozing" and "enervating," demonstrating the restraint shown by the couple. Hardy portrays Clare as "oppressed" by his surroundings, but burning "inwardly" for Tess. Being set outdoors, "in the meads," allows the author to show them as part of the larger group, but also separate and "round the corner." This happens repeatedly as their love develops. Their first proper meeting in the garden sees Tess "alone," and meeting Angel "behind the hedge" separates them from the rest of Talbothays.

Hardy's portrayal of their social isolation continues this theme of seclusion. Being described as "one bundle" on the way to the station makes the dreamlike atmosphere of "gray miles" and "castles of enchantment" suggestive of "their secluded world." Their detachment from "modern life" shows devotion to each other with an increased spiritual and physical closeness. The setting's ethereal quality, the words "absolute seclusion" and the couple's lack of awareness displays their final involvement only with each other. Hardy places them in an empty mansion thus giving the reader a chance to see them completely alone and at ease.

Together Hardy has them stand out from the settings. Being early risers gives them an "Adam and Eve" view of an empty world, an idea which is important for one to understand Tess' involvement in the relationship and her representation of womankind. This overall outlook typifies Victorian society's desire for a form of escapism found in Hardy's couple. The "sunless part of the day" (pg.418-I.Watt) reveals their idolatry of each other and their increasing faith and devotion. The fateful night at the Honeymoon Manor, when they meet at the dairy, their first meeting at Marlott and lastly at Stonehenge all show them during periods of half light. The use of normally "empty" parts of the day emphasises the couple's responsiveness to their feelings and their developing relationship. Hardy creates physical seclusion within the settings not just as an indicator of their isolation or infatuation with one another, but to highlight their distinctiveness throughout the novel.

The author's use of elements and diverse temperatures enhances one's view of the lovers' development. The varying weather conditions allows one to see the constant strength of their feelings. Talbothays emits "warm ferments" and "enervating scents" leading the reader to anticipate the couple's passionate closeness. However, their reaction opposes this: discomfort is induced not so much by the weather but their close proximity. Emotionally, the heat is intense, but even the "delicate equilibrium" of the summer garden cannot influence physical contact.

The same effect is shown on the way to the station. The metallic imagery of the "quicksilvery glaze" or "lustreless sheets of lead" implies a coldness or unwelcoming atmosphere, yet the couple are "one bundle," physically and mentally close. Hardy's portrayal of the weather often leads one to expect the unexpected. At Stonehenge the "sky was dense," with a "stiff breeze." This expectancy of a storm is not shown in the characters, and spiritually they are complete. It is representative of Tess' final demise but the threatening weather stresses their strength of feeling, its steadiness demonstrated by the repetition of the word "silent."

The weather also contrasts them with their immediate surroundings offering another view of the couple. The garden is sensual, the heat making it "damp and rank," with vivid colours and a "profusion of growth," opposing the new shyness of Angel and Tess. The dairy is a "hiss of fertilisation" on the exterior, and within flies are "crawling," birds "crept about" - but in the relationship it is internal activity which is more prominent. He "burned inwardly" and she experiences a "rhythmic pulsation." Their emotional activity is extreme in comparison with those around them.

Hardy uses the weather`s hostility to show physical closeness and unity. The ride to the station invokes unemotional, cold imagery with "the rain driving against them," making the area hostile. Surprisingly it is this united front against the weather which allows one to see them together and for the first time as one. It also symbolises the many difficulties they combat within the novel. The use of the hard frost at Flintcombe Ash demonstrates great distance and endurance, whilst the heat at Talbothays and The Slopes, displays a rapport with nature and a passion which needs overcoming. This is emphasised in weather extremes too. "Brilliant sunshine" during the "Fulfilment" indicates achievement and complete happiness, contrasting with "driving rain" near the station portraying an obstacle or need to unite against something. Whilst temperature and weather vary, they are not directly indicative of the lovers relationship, but attract attention to Tess and Angel's reactions to it and thus to each other.

The four settings stress the importance of pressure in and around the relationship. For the pair time is constantly running out - to support her family, for Angel's return and the inevitability at Stonehenge. The pressures of guilt over Prince make her "more deferential than she might otherwise have been" and happiness pressurises her too, making her feel unworthy. "Tess is subjected to too many different pressures," (pg.427-I.Watt) ultimately leading to the downfall of herself and her relationship with Angel. Tension is also a concern - Hardy creates it sexually in the garden, being "damp and rank," "uncultivated" and "blooming"- their external shyness and restraint contrasting with nature exploding around them. The dairy's ambience, with "heavy scents" makes the scene heady, and the "cluster of berries" on the night ride suggests fullness and natural events. In this way the couple's self-control is noticeable alongside nature's maturity.

Hardy also uses the atmosphere of the scenes to change physical pressure into mental tension. The station train's "hissing" implies a build up of pressure and activity reflecting the relationship at that point. The contrast at Stonehenge suggests a shutting in, a portentous setting with the "sky closing in," and men standing in a circle moving closer, the "lid of a pot" closing also reflects the doomed relationship. The mental tension peaks when Tess "throws herself" on the altar to rest, the author's description making her appear sacrificial. These changes from pressure to tension again indicate a fullness about the relationship and the extent of its development.

Hardy uses three different types of setting to help one understand Angel and Tess' love, the first being natural. All their happiest moments are portrayed outdoors, meeting at Marlott and finding each other at Talbothays. The idea of things being ongoing and cyclical shows steady progress and here the relationship blossoms further. The scenery is full of hope and promise.

The second type of setting is modern, emphasising the "Ache of Modernism" and his characteristic "attitude of suspense between things ancient and modern" (pg.407-B.Ford.) Tess is out of place at the station, their "secluded world" is removed; but the author shows her returning to nature, hiding under a "holly bush." Sandbourne halts the growth again with their separation, but still links them with nature too; Angel looks for "cows" to be milked by Tess. He rescues her from modernisation both times and returns her to natural surroundings.

Modernisation signifies trouble within the relationship. Alec takes Tess' virginity thus causing her initial divide with Angel at the Honeymoon Manor. Hardy portrays modernism in the farming machinery at both Marlott and Flintcombe Ash, and through society. The idea that "But for the world's opinion those experiences would have been simply a liberal education" implies that society played a part in Tess' downfall. In the end her modern clothes make her stand out and endanger her. Hardy undoubtedly wished to portray modernism's negative effect on the couple.

The last type of setting is ancient and perhaps most important to the pair. At Stonehenge and the mansion they are shown at peace. The symbolism of the latter scene is essential as they should originally have consummated their marriage in an ancient setting, demonstrating Hardy's "preoccupation with ancient things and his tendency to use them as symbols." (pg.412-B.Ford). Tess' ancient name "D'Urberville" was to be an "appreciable difference" for Angel respectably linking her to himself and his family. She is also closer to her Mother's ancient roots than to her Father's family; and Angel's preference for "sermons in stone" adds to their compatibility and comfort in ancient things, seen best in "The Fulfilment."

Growth is shown as an integral part of understanding Angel and Tess' relationship. Tess is more mature than Angel, portrayed as a "girl-mother," with images of a "lion rampant" and "strawberries" at The Slopes, indicating a development and level of awareness. Having her grow up quickly adds to her own "tragic sense, derived from intense personal experience" (pg.134-B.Ford). Angel is portrayed as the youngest of three brothers; whereas Tess is the eldest of her siblings. Hardy often shows Angel as immature and unrealistic, exemplified by his idolatry of Tess.

Externally, the early relationship has words such as "blooming" and "cluster" showing its fullness. Tess is womanly and Hardy portrays this ripeness through words such as "oozing" and "stagnant." "There is a certain erotic element in the description typical of Hardy's symbolic use of background. Sexuality permeates the Talbothays experience, Tess coming naturally into fullness of nature and Angel responding (at times) to her proximity." (pg.109-G.Handley) The night ride shows the lovers concentration whilst the weather is active with "driving" rain, so although Tess and Angel appear composed, around them much is happening. Stonehenge's ancient background and the ominous sky "dense" and grey, is more final, indicating a developed and mature relationship.

Hardy forms their relationship gradually, initial physical lust - shown by their internal activity at Talbothays. Secondly, mental growth - emphasised by the stillness on the way to the station, and lastly unity represented by their security in the "vast" surroundings at Stonehenge. The use of obstacles helps to show this growth. The garden in Summer is very physical, and they have to repress their lust. Later they have to face reality - symbolised by the "driving rain". Lastly they seek Tess' salvation and Hardy's use of "intercepting", "crossing" and "passing through" all in one paragraph makes the ease of crossing these obstacles symbolic of the progress made in their relationship.

Another stylistic trait Hardy uses to show development is colour, creating emotions through this medium. The garden's "reds and purples" are sensuous, representing passion and a lack of control. Talbothays features "green" signalling a fresher, calmer outlook, and the steady "grey" of Stonehenge indicates a firm relationship, blending with the ancient stone and directing attention towards the characters themselves.

The colours also portray the developments of the lovers throughout the novel. The fresh, vibrant "green" at the dairy is young, new and hopeful - the start of an innocent new love. The "dark green background" near the station shows maturity and foreboding. The metallic imagery is cold, representing an opposition to the lovers and a warning to the reader. The "grey" and "black" around Stonehenge is threatening and final, creating an inevitable sense of doom; but the greyness makes it calm and peaceful too. Thus the colours map out the changing outlook of the pair towards each other.

Another technique used is that of light and shade. At first, light is positive - Tess, and her 'countryfolk,' "are creatures of the sun, warmed and nourished by the source of all heat and life". (pg.416-I.Watt) Angel's name implies light, and the dairy scenes are set in sunshine. Then, as the settings darken, around the station and Stonehenge, light becomes negative. Darkness represents seclusion; on the way to the station light symbolises " intermittent moments of contact between their secluded world and modern life" and becomes something which pervades their own private world. At the mansion a "stream of morning light" signifies a lack of security and a need to move on. The occasional light in the town and the Wiltshire daylight also imply a threat posed by society.

Hardy shows Angel and Tess' true characters at night e.g.. Angel's sleepwalking, and keeping in the darkness of the streets in Melchester. Hardy's reference to the "black solitude" of Stonehenge directly suggests that it is darkness which offers the couple salvation. The changing representations of light and shade make this technique most effective in showing a definite developing relationship between the young lovers.

The last aspect of the portrayal of their growing love is the positioning of the characters. Tess constantly follows Angel, signifying her respect and worship of him. The distances between them reflect their love; close at first, distant when Angel leaves and finally their love is reunited and at its strongest.

In relation to other objects they are constantly placed close to nature, as milkers touching the animals, and becoming one as a "rhythmic pulsation". Touching is very sensual - in the garden Tess is "stained" with plants' juices. Hardy places Tess under a "holly tree" whilst Angel enters the station, and again at the "roadside inn" she remains outside. Their response to objects also highlights their differences. Tess' compassion for the birds who have been killed and her submission "to the momentum's of nature," (pg.413-I.Watt) separate her from Angel. He is reserved, his education and desire to be different brought him close to nature. Thus it proves unreliable when he feels let down by Tess, whereas she draws strength from the natural world. The characters' positioning helps one understand their feelings and true personalities and so their awareness of their relationship.

Hardy's use of these various methods within settings enables the reader to recall and predict events during the development of the lovers' relationship. "The atmosphere is personalised in Tess and Angel. The suggestive nature of the imagery carries the deepening sexual awareness, but it is also dangerous and subtly prefigurative on occasions." (pg.69-G.Handley). The overall importance of the settings to the developing relationship is as essential to the reader as it is to Angel and Tess.