テス — Thomas Hardy
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : Tess of the d'Urbervilles: A Pure Woman Author : Thomas Hardy Release date : February 1, 1994 [eBook #110] Most recently updated: November 22, 2024 Language : English Other information and formats : www.gutenberg.org/ebooks/110 Credits : Steve Menyhert, Meredith Ricker, John Hamm and Joseph E. Loewenstein *** START OF .. Poor wounded name! My bosom as a bed Shall lodge thee.—W. Shakespeare. Contents Phase the First: The Maiden Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter IX Chapter X Chapter XI Phase the Second: Maiden No More Chapter XII Chapter XIII Chapter XIV Chapter XV Phase the Third: The Rally Chapter XVI Chapter XVII Chapter XVIII Chapter XIX Chapter XX Chapter XXI Chapter XXII Chapter XXIII Chapter XXIV Phase the Fourth: The Consequence Chapter XXV Chapter XXVI Chapter XXVII Chapter XXVIII Chapter XXIX Chapter XXX Chapter XXXI Chapter XXXII Chapter XXXIII Chapter XXXIV Phase the Fifth: The Woman Pays Chapter XXXV Chapter XXXVI Chapter XXXVII Chapter XXXVIII Chapter XXXIX Chapter XL Chapter XLI Chapter XLII Chapter XLIII Chapter XLIV Phase the Sixth: The Convert Chapter XLV Chapter XLVI Chapter XLVII Chapter XLVIII Chapter XLIX Chapter L Chapter LI Chapter LII Phase the Seventh: Fulfilment Chapter LIII Chapter LIV Chapter LV Chapter LVI Chapter LVII Chapter LVIII Chapter LIX Explanatory Note to the First Edition The main portion of the following story appeared—with slight modifications—in the Graphic newspaper; other chapters, more especially addressed to adult readers, in the Fortnightly Review and the National Observer , as episodic sketches. My thanks are tendered to the editors and proprietors of those periodicals for enabling me now to piece the trunk and limbs of the novel together, and print it complete, as originally written two years ago. I will just add that the story is sent out in all sincerity of purpose, as an attempt to give artistic form to a true sequence of things; and in respect of the book’s opinions and sentiments, I would ask any too genteel reader, who cannot endure to have said what everybody nowadays thinks and feels, to remember a well-worn sentence of St. Jerome’s: If an offense come out of the truth, better it is that the offense come than that the truth be concealed. T.H. November 1891. Author’s Preface to the Fifth and Later Editions This novel being one wherein the great campaign of the heroine begins after an event in her experience which has usually been treated as fatal to her part of protagonist, or at least as the virtual ending of her enterprises and hopes, it was quite contrary to avowed conventions that the public should welcome the book and agree with me in holding that there was something more to be said in fiction than had been said about the shaded side of a well-known catastrophe. But the responsive spirit in which Tess of the d’Urbervilles has been received by the readers of England and America would seem to prove that the plan of laying down a story on the lines of tacit opinion, instead of making it to square with the merely vocal formulae of society, is not altogether a wrong one, even when exemplified in so unequal and partial an achievement as the present. For this responsiveness I cannot refrain from expressing my thanks; and my regret is that, in a world where one so often hungers in vain for friendship, where even not to be wilfully misunderstood is felt as a kindness, I shall never meet in person these appreciative readers, male and female, and shake them by the hand. I include amongst them the reviewers—by far the majority—who have so generously welcomed the tale. Their words show that they, like the others, have only too largely repaired my defects of narration by their own imaginative intuition. Nevertheless, though the novel was intended to be neither didactic nor aggressive, but in the scenic parts to be representative simply and in the contemplative to be oftener charged with impressions than with convictions, there have been objectors both to the matter and to the rendering. The more austere of these maintain a conscientious difference of opinion concerning, among other things, subjects fit for art, and reveal an inability to associate the idea of the sub-title adjective with any but the artificial and derivative meaning which has resulted to it from the ordinances of civilization. They ignore the meaning of the word in Nature, together with all aesthetic claims upon it, not to mention the spiritual interpretation afforded by the finest side of their own Christianity. Others dissent on grounds which are intrinsically no more than an assertion that the novel embodies the views of life prevalent at the end of the nineteenth century, and not those of an earlier and simpler generation—an assertion which I can only hope may be well founded. Let me repeat that a novel is an impression, not an argument; and there the matter must rest; as one is reminded by a passage which occurs in the letters of Schiller to Goethe on judges of this class: “They are those who seek only their own ideas in a representation, and prize that which should be as higher than what is. The cause of the dispute, therefore, lies in the very first principles, and it would be utterly impossible to come to an understanding with them.” And again: “As soon as I observe that any one, when judging of poetical representations, considers anything more important than the inner Necessity and Truth, I have done with him.” In the introductory words to the first edition I suggested the possible advent of the genteel person who would not be able to endure something or other in these pages. That person duly appeared among the a