The true female, on the other hand, will eternally hold herself superior to any idea, will hold full life in the body to be the real happiness. The male exists in doing, the female in being. The male lives in the satisfaction of some purpose achieved, the female in the satisfaction of some purpose contained.
In Aeschylus, in the Eumenides, there is Apollo, Loxias, the Sun Cod, the prophet, the male: there are the Erinyes, daughters of primeval Mother Night, representing here the female risen in retri bution for some crime against the flesh; and there is Pallas, unbe- gotten daughter of Zeus, who is as the Holy Spirit in the Christian religion, the spirit of wisdom.
Orestes is bidden by the male god, Apollo, to avenge the murder of his father, Agamemnon, by his mother: jhat is, the male, murdered by the female, must be avenged by the male. But Orestes is child of his mother. He is in himself female. So that in himself the conscience, the madness, the violated part of his own self, his own body, drives him to the Furies. On the male side, he is right; on the female, wrong. But peace is given at last by Pallas, the Arbitrator, the spirit of wisdom.
And although Aeschylus in his consciousness makes the Furies hideous, and Apollo supreme, yet, in his own self and in very fact, he makes the Furies wonderful and noble, with their tremendous hymns, and makes Apollo a trivial, sixth-form braggart and ranter. Clytemnestra also, wherever she appears, is wonderful and noble. Her sin is the sin of pride: she was the first to be injured. Agamemnon is a feeble thing beside her.
So Aeschylus adheres still to the Law, to Right, to the Creator who created man in His Own Image, and in His Law. What he has learned of Love, he does not yet quite believe.
Hardy has the same belief in the Law, but in conceipt of his own understanding, which cannot understand the Law, he says that the Law is nothing, a blind confusion.
And in conceipt of understanding, he deprecates and destroys both women and men who would represent the old primeval Law, the great Law of the Womb, the primeval Female principle. The Female shall not exist. Where it appears, it is a criminal tendency, to be stamped out.
This in Manston, Troy, Boldwood, Eustacia, Wildeve, Henchard, Tess, Jude, everybody. The women approved of are not Female in any real sense. They are passive subjects to the male, the re-echo from the male. As in the Christian religion, the Virgin worship is no real Female worship, but worship of the Female as she is passive and subjected to the male. Hence the sadness of Botticelli’s Virgins.
Thus Tess sets out, not as any positive thing, containing all purpose, but as the acquiescent complement to the male. The female in her has become inert. Then Alec d’Urberville comes along, and possesses her. From the man who takes her Tess expects her own consummation, the singling out of herself, the addition of the male complement. She is of an old line, and has the aristocratic quality of respect for the other being. She does not see the other person as an extension of herself, existing in a universe of which she is the centre and pivot. She knows that other people are outside her. Therein she is an aristocrat. And out of this attitude to the other person came her passivity. It is not the same as the passive quality in the other little heroines, such as the girl in The Woodlanders, who is passive because she is small.
Tess is passive out of self-acceptance, a true aristocratic quality, amounting almost to self-indifference. She knows she is herself in- controvertibly, and she knows that other people are not herself. This is a very rare quality, even in a woman. And in a civilization so unequal, it is almost a weakness.
Tess never tries to alter or to change anybody, neither to alter nor to change nor to divert. What another person decides, that is his decision. She respects utterly the other’s right to be. She is herself always.
But the others do not respect her right to be. Alec d’Urberville sees her as the embodied fulfilment of his own desire: something, that is, belonging to him. She cannot, in his conception, exist apart from him nor have any being apart from his being. For she is the embodiment of his desire.
This is very natural and common in men, this attitude to the world. But in Alec d’Urberville it applies only to the woman of his desire. He cares only for her. Such a man adheres to the female like a parasite.
It is a male quality to resolve a purpose to its fulfilment. It is the male quality, to seek the motive power in the female, and to convey this to a fulfilment; to receive some impulse into his senses, and to transmit it into expression.
Alec d’Urberville does not do this. He is male enough, in his way; but only physically male. He is constitutionally an enemy of the principle of self-subordination, which principle is inherent in every man. It is this principle which makes a man, a true male, see his job through, at no matter what cost. A man is strictly only himself when he is fulfilling some purpose he has conceived: so that the principle is not of self-subordination, but of continuity, of development. Only when insisted on, as in Christianity, does it become self-sacrifice. And this resistance to self-sacrifice on Alec d’Urberville’s part does not make him an individualist, an egoist, but rather a non- individual, an incomplete, almost a fragmentary thing.
There seems to be in d’Urberville an inherent antagonism to any progression in himself. Yet he seeks with all his power for the source of stimulus in woman. He takes the deep impulse from the female. In this he is exceptional. No ordinary man could really have betrayed Tess. Even if she had had an illegitimate child to another man, to Angel Clare, for example, it would not have shattered her as did her connexion with Alec d’Urberville. For Alec d’Urberville could reach some of the real sources of the female in a woman, and draw from them. Troy could also do this. And, as a woman instinctively knows, such men are rare. Therefore they have a power over a woman. They draw from the depth of her being.
And what they draw, they betray. With a natural male, what he draws from the source of the female, the impulse he receives from the source he transmits through his own being into utterance, motion, action, expression. But Troy and Alec d’Urberville, what they received they knew only as gratification in the senses; some perverse will prevented them from submitting to it, from becoming instrumental to it.
Which was why Tess was shattered by Alec d’Urberville, and why she murdered him in the end. The murder is badly done, altogether the book is botched, owing to the way of thinking in the author, owing to the weak yet obstinate theory of being. Nevertheless, the murder is true, the whole book is true, in its conception.
Angel Clare has the very opposite qualities to those of Alec d’Urberville. To the latter, the female in himself is the only part of himself he will acknowledge: the body, the senses, that which he shares with the female, which the female shares with him. To Angel Clare, the female in himself is detestable, the body, the senses, that which he will share with a woman, is held degraded. What he wants really is to receive the female impulse other than through the body. But his thinking has made him criticize Christianity, his deeper instinct has forbidden him to deny his body any further, a deadlock in his own being, which denies him any purpose, so that he must take to hand, labour out of sheer impotence to resolve himself, drives him unwillingly to woman. But he must see her only as the Female Principle, he cannot bear to see her as the Woman in the Body. Her he thinks degraded. To marry her, to have a physical marriage with her, he must overcome all his ascetic revulsion, he must, in his own mind, put off his own divinity, his pure maleness, his singleness, his pure completeness, and descend to the heated welter of the flesh. It is objectionable to him. Yet his body, his life, is too strong for him.
Who is he, that he shall be pure male, and deny the existence of the female? This is the question the Creator asks of him. Is then the male the exclusive whole of life? — is he even the higher or supreme part of life? Angel Clare thinks so: as Christ thought.
Yet it is not so, as even Angel Clare must find out. Life, that is Two-in-One, Male and Female. Nor is either part greater than the other.
It is not Angel Clare’s fault that he cannot come to Tess when he fin
ds that she has, in his words, been defiled. It is the result of generations of ultra-Christian training, which had left in him an inherent aversion to the female, and to all in himself which pertained to the female. What he, in his Christian sense, conceived of as Woman, was only the servant and attendant and administering spirit to the male. He had no idea that there was such a thing as positive Woman, as the Female, another great living Principle counterbalancing his own male principle. He conceived of the world as consisting of the One, the Male Principle.
Which conception was already gendered in Botticelli, whence the melancholy of the Virgin. Which conception reached its fullest in Turner’s pictures, which were utterly bodiless; and also in the great scientists or thinkers of the last generation, even Darwin and Spencer and Huxley. For these last conceived of evolution, of one spirit or principle starting at the far end of time, and lonelily traversing Time. But there is not one principle, there are two, travelling always to meet, each step of each one lessening the distance between the two of them. And Space, which so frightened Herbert Spencer, is as a Bride to us. And the cry of Man does not ring out into the Void. It rings out to Woman, whom we know not.
This Tess knew, unconsciously. An aristocrat she was, developed through generations to the belief in her own self-establishment. She could help, but she could not be helped. She could give, but she could not receive. She could attend to the wants of the other person, but no other person, save another aristocrat — and there is scarcely- such a thing as another aristocrat — could attend to her wants, her deepest wants.
So it is the aristocrat alone who has any real and vital sense of “the neighbour,” of the other person; who has the habit of submerging himself, putting himself entirely away before the other person: because he expects to receive nothing from the other person. So that now he has lost much of his initiative force, and exists almost isolated, detached, and without the surging ego of the ordinary man, because he has controlled his nature according to the other man, to exclude him.
AncL Tess, despising herself in the flesh, despising the deep Female she was, because Alec d’Urberville had betrayed her very source loved Angel Clare, who also despised and hated the flesh. She did not hate d’Urberville. What a man did, he did, and if he did it to her, it was her look-out. She did not conceive of him as having any human duty towards her.
The same with Angel Clare as with Alec d’Urberville. She was very grateful to him for saving her from her despair of contamination, and from her bewildered isolation. But when he accused her, she could not plead or answer. For she had no right to his goodness. She stood alone.
The female was strong in her. She was herself. But she was out of place, utterly out of her element and her times. Hence her utter bewilderment. This is the reason why she was so overcome. She was outwearied from the start, in her spirit. For it is only by receiving from all our fellows that we are kept fresh and vital. Tess was herself, female, intrinsically a woman.
The female in her was indomitable, unchangeable, she was utterly constant to herself. But she was, by long breeding, intact from mankind. Though Alec d’Urberville was of no kin to her, yet, in the book, he has always a quality of kinship. It was as if only a kinsman, an aristocrat, could approach her. And this to her undoing. Angel Clare would never have reached her. She would have abandoned herself to him, but he would never have reached her. It needed a physical aristocrat. She would have lived with her husband, Clare, in a state of abandon to him, like a coma. Alec d’Urberville forced her to realize him, and to realize herself. He came close to her, as Clare could never have done. So she murdered him. For she was herself.
And just as the aristocratic principle had isolated Tess, it had isolated Alec d’Urberville. For .though Hardy consciously made the young betrayer a plebeian and an impostor, unconsciously, with the supreme justice of the artist, he made him the same as de Stancy, a true aristocrat, or as Fitzpiers, or Troy. He did not give him the tiredness, the touch of exhaustion necessary, in Hardy’s mind, to an aristocrat. But he gave him the intrinsic qualities.
With the men as with the women of old descent: they have nothing to do with mankind in general, they are exceedingly personal.
For many generations they have been accustomed to regard their own desires as their own supreme laws. They have not been bound by the conventional morality: this they have transcended, being a code unto themselves. The other person has been always present to their imagination, in the spectacular sense. He has always existed to them. But he has always existed as something other than themselves.
Hence the inevitable isolation, detachment of the aristocrat. His one aim, during centuries, has been to keep himself detached. At last he finds himself, by his very nature, cut off.
Then either he must go his own way, or he must struggle towards reunion with the mass of mankind. Either he must be an incomplete individualist, like de Stancy, or like the famous Russian nobles, he must become a wild humanitarian and reformer.
For as all the governing power has gradually been taken from the nobleman, and as, by tradition, by inherent inclination, he does not occupy himself with profession other than government, how shall he use that power which is in him and which comes into him?
He is, by virtue of breed and long training, a perfect instrument. He knows, as every pure-bred thing knows, that his root and source is in his female. He seeks the motive power in the woman. And, having taken it, has nothing to do with it, can find, in this democratic, plebeian age, no means by which to transfer it into action, expression, utterance. So there is a continual gnawing of unsatisfac- tion, a constant seeking of another woman, still another woman. For each time the impulse comes fresh, everything seems all right.
It may be, also, that in the aristocrat a certain weariness makes him purposeless, vicious, like a form of death. But that is not necessary. One feels that in Manston, and Troy, and Fitzpiers, and Alec d’Urberville, there is good stuff gone wrong. Just as in Angel Clare, there is good stuff gone wrong in the other direction.
There can never be one extreme of wrong, without the other extreme. If there had never been the extravagant Puritan idea, that the Female Principle was to be denied, cast out by man from his soul, that only the Male Principle, of Abstraction, of Good, of Public Good, of the Community, embodied in “Thou shalt love thy neighbour as thyself,” really existed, there would never have been produced the extreme Cavalier type, which says that only the Female Principle endures in man, that all the Abstraction, the Good, the Public Elevation, the Community, was a grovelling cowardice, and that man lived by enjoyment, through his senses, enjoyment which ended in his senses. Or perhaps better, if the extreme Cavalier type had never been produced, we should not have had the Puritan, the extreme correction.
The one extreme produces the other. It is inevitable for Angel Clare and for Alec d’Urberville mutually to destroy the woman they both loved. Each does her the extreme of wrong, so she is destroyed.
The book is handled with very uncertain skill, botched and bungled. But it contains the elements of the greatest tragedy: Alec d’Urberville, who has killed the male in himself, as Clytemnestra symbolically for Orestes killed Agamemnon; Angel Clare, who has killed the female in himself, as Orestes killed Clytemnestra: and Tess, the Woman, the Life, destroyed by a mechanical fate, in the communal law.
There is no reconciliation. Tess, Angel Clare, Alec d’Urberville, they are all as good as dead. For Angel Clare, though still apparently alive, is in reality no more than a mouth, a piece of paper, like Clym left preaching.
There is no reconciliation, only death. And so Hardy really states his case, which is not his consciously stated metaphysic, by any means, but a statement how man has gone wrong and brought death on himself: how man has violated the Law, how he has superero- gated himself, gone so far in his male conceit as to supersede the Creator, and win death as a reward. Indeed, the works of supererogation of our male assiduity help us to a better salvation.
Jude is only Tess turned rou
nd about. Instead of the heroine containing the two principles, male and female, at strife within her one being, it is Jude who contains them both, whilst the two women with him take the place of the two men to Tess. Arabella is Alec d’Urberville, Sue is Angel Clare. These represent the same pair of principles.
But, first, let it be said again that Hardy is a bad artist. Because he must condemn Alec d’Urberville, according to his own personal creed, therefore he shows him a vulgar intriguer of coarse lasses, and as ridiculous convert to evangelism. But Alec d’Urberville, by the artist’s account, is neither of these. It is, in actual life, a rare man who seeks and seeks among women for one of such character and intrinsic female being as Tess. The ordinary sensualist avoids such characters. They implicate him too deeply. An ordinary sensualist would have been much too common, much too afraid, to turn to Tess. In a way, d’Urberville was her mate. And his subsequent passion for her is in its way noble enough. But whatever his passion, as a male, he must be a betrayer, even if he had been the most faithful husband on earth. He betrayed the female in a woman, by taking her, and by responding with no male impulse from himself. He roused her, but never satisfied her. He could never satisfy her. It was like a soul-disease in him: he was, in the strict though not the technical sense, impotent. But he must have wanted, later on, not to be so. But he could not help himself. He was spiritually impotent in love.
Arabella was the same. She, like d’Urberville, was converted by an evangelical’preacher. It is significant in both of them. They were not just shallow, as Hardy would have made them out.
He is, however, more contemptuous in his personal attitude to the woman than to the man. “He insists that she is a pig-killer’s daughter; he insists that she drag Jude into pig-killing; he lays stress on her false tail of hair. That is not the point at all. This is only Hardy’s bad art. He himself, as an artist, manages in the whole picture of Arabella almost to make insignificant in her these pigsticking, false-hair crudities. But he must have his personal revenge on her for her coarseness, which offends him, because he is something of an Angel Clare.
Complete Works of D.H. Lawrence Page 887