From the beginning of the novel it is clear that tragedy will stigma the life of brazens protagonist. As Hardy equates Hamlet and Tess from the start, we learn that he sees Tess as a virtuous victim and therefore as a tragicalal heroine. This is no surprise as a view often assimilated with the Victorian novel genre is fatalism and Hardy was known for his fatalistic outlook on life; this becomes unornamented through Tesss own fate - undelivered letters, misunderstanding, and a string of ill-omened coincidences alone lead to her tragic end. Each situation is a catalyst for the next, with episodes and characters c atomic number 18fully woven into a complex manakin and as part of this many events are explicitly prefigured. Hardys protracted use of foreshadowing builds tension as well as making the familys decline seem inevitable, suggesting that Tesss fate is already sealed. She is dubbed the plaything of the immortals and it is overt that the mark of the blood is upon her from the start. This is symbolised at the club dance where Tess one of the white-hot company is the only one to have a red ribbon in her hair. The consequence of loss and suffering become a key stem in the novel. However there are many factors that moderate to the tragic heroines downfall. Tess is only partly to blame for her own tragic decline.
Powerful external pressures, such as social, biological, environmental and the supernatural, all drive her inexorably towards her cruel fate. Time and chance are also against Tess.
Social and biological pressures rank high on the tragic outcome of Hardys heroine. In chapter one the Durbeyfields discovery that they are scions of a once proud aristocratic family cause them to behave higher up their station, with Tesss father Jack (a drunkard and idle spendthrift)...
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