Return of the Native Summary

As the novel opens, the wild landscape of Edgon Heath broods alone, save for an old man walking

home. The old man, Captain Vye, passes a reddleman, Diggory Venn. Diggory is discreetly

transporting a distressed young woman. She is Thomasin Yeobright, humiliated that her wedding

to Damon Wildeve was halted due to an issue with the marriage licence in a nearby community.

The truth is more complicated, though. Wildeve is still infatuated with his former partner, the

passionate and mysteriousEustacia Vye, who lives on the heath by circumstance but wants nothing

more than to escape it. She lights a bonfire that evening to draw him to her. The fire attracts only

minimal attention, since there are bonfires all along the heath to commemorate November 5th.

Wildeve correctly interprets her signal, and meets her. When Diggory learns of their liaison, he

plans to intervene on Thomasins behalf. He has long loved her, and though she once rejected his proposal because of his lower status, he is dedicated to ensuring her happiness, even with another

man.

Just as Eustacias affection for Wildeve begins to wane, an exciting prospect returns to Egdon. Clym Yeobright is a local man who has made his way in the world as a diamond merchant

in Paris. His visit prompts Eustacia to facilitate a meeting between them, which eventually results

in a mutual attraction. Eustacia makes her disinterest known to Wildeve, and he finally marries

Thomasin.

She is disappointed, however, to discover that Clym has rejected his cosmopolitan lifestyle in

hopes of founding a school on the heath. Hopeful that she can change his mind, Eustacia agrees to

marry him. Clyms mother, Mrs. Yeobright, disapproves of both Thomasin's and Clym's weddings, and is further irked that her son Clym would refuse to exploit his intelligence and talent away from

the heath. She refuses to attend his wedding.

Clym's studies in schoolkeeping are so intense that his eyesight fails, and he is forced to take a job

as a furze cutter to generate an income. Eustacia is further disappointed in Clym's choice of a low

career, and realizes she might never escape the heath. Her feelings for Wildeve are reawakened,

however, when she learns that he has inherited a fortune, and plans to travel the world.

Wildeve visits the Yeobright house one day, but Clym is asleep. Eustacia is shaken by his visit,

and then confused when Mrs. Yeobrght suddenly arrives on her own unannounced visit. Eustacia

ignores her knocks, and, believing she has been spurned by her son, Mrs. Yeobright attempts the

long journey back to her home, but passes out and dies on the heath from a snakebite.

Clym holds first himself, then Eustacia, responsible for Mrs. Yeobrights death. Spurned by his grief and hatred, Eustacia returns to her grandfathers house, and Wildeve agrees to help her escape Egdon. She sets an evening for her escape, and does not cancel the plan even when that evening

proves to be impossibly stormy. That night, Thomasin, Diggory, Clym and Captain Vye search for

the missing couple, but discover only tragedy after Eustacia seems to drown herself and Wildeve

dies in the rescue attempt. Clym, too, is wounded in his rescue attempt, but survives.

Thomasin initially moves in with Clym and her daughter after the tragedy. Diggory Venn returns

as a wealthy and dependable farmer, and she agrees to marry him. Clym never transcends his guilt

and shame, and eventually turns to preaching to fill his solitude.

About Return of the Native

Though not one of Hardy's best-known novels, The Return of the Native remains firmly of his

canon, and is a dense summation of the preoccupations that run through all of his work.

The Return of the Native was first printed as serial fiction in Belgravia magazine, from January to

December 1878. Each installment featured a one page illustration by Arthur Hopkins, brother of

the poet Gerard Manley Hopkins. The two men corresponded extensively over the detail of the

illustrations, to ensure that they properly complemented Hardys intentions. The novel was also serialised in the U.S. in Harpers New Monthly Magazine, from February 1878 to January 1879.

The novel was first published as one volume in a print run of one thousand copies, in November

of 1878. It was not a big seller - over 100 copies of this original print run remained unsold five

years later. By the time it was published in this form, the story had gone through dramatic revisions,

and Hardy again revised the novels in 1895 and 1912. The Return of the Native was not as well

received as Hardys earlier works, but has remained a part of the literary canon.

Hardy initially encountered some controversy when he tried to get the novel published in the

magazine Cornhill. Its editor, Leslie Stephen, could obviously not pre-read the later segments

before agreeing to publish it, and was concerned from the early segments about the

inappropriateness of the suggestion of premarital sex between Eustacia and others. This is why

Hardy turned to Belgravia.

It is believed that Stephen was given an early draft of the novel, with several character and plot

ideas that Hardy later amended for the final serialisation and print run. Many of the characters had

different names in the early draft: Clym was called Hugh, and his surname varied between Britton

and Bretton. Wildeve had the name Toogood, and Eustacia was named Avice. Further, Hardy

significantly revised the relationships between the characters. Diggory Venn originally existed as

the grandchild of Grandfer Cantle and the nephew of Christian Cantle. Johnny Nunsuch was called

Johnny Orchard, and as a result was not directly related to Susan Nunsuch. Captain Vye was

Lieutenant Vye, Eustacias father rather than grandfather. Most controversial was the original idea that Thomasin and Clym would be siblings.

Eustacias character was also more heavily linked to the supernatural in the early drafts. References to lines spoken by the witches in William Shakespeares Macbeth were cut upon revision, and Eustacias soul went from being described as "lurid red" to "flame like." There still remained, however, supernatural elements which some readers may have found troubling; Susan Nunsuchs construction of Eustacia's effigy is an example. This episode is not directly linked to Eustacias death, nor is it mentioned again, but it does happen immediately before she dies. This implies that

Hardys revisions involved tempering the original implication of links with a mystical, even devilish, underworld.

Some of the revisions certainly affected the sincerity and motivations of various characters. Clym

Yeobright was originally envisioned as a country parson, and his travels took him to Budmouth

rather than to Paris. This idea is frankly more believable than the decision Hardy ultimately made,

that Clym had been a diamond salesman. This latter vocation is at odds with his scant

understanding of human wants and desires after returning to Egdon, but was likely given as added

explanation for Eustacia's fascination with him.

Similarly, Wildeve was made more respectable in the final draft. In earlier drafts, more attention

was paid to Wildeve's "lady-killing career," and Wildeves treatment of Thomasin at the beginning was only one of several times he had toyed with her affections (33). Further, his manipulation of

Christian in the gambling scene was also revised to seem more serendipitous than originally

planned.

The novel's original structure alluded to Greek tragedy by using a five act format and elevated

central characters, but revisions diminished the scale of this. Hardy reworked the five book

structure, and limited the extent to which the Vyes and Yeobrights were socially superior. The

final text is six books long, and these more affluent families are more integrated into the

community: Captain Vye drinks at the Quiet Woman Inn, and Mrs Yeobright throws a Christmas

celebration for the whole of Egdon.

Whatever challenges Hardy faced in revising to ensure publication while still retaining the integrity

of his original vision, The Return of the Native remains a compelling description of love and

passion, and presents the noble and unchanging Wessex landsape as a backdrop to these perennial

human dilemmas.

Character List

Eustacia The pretty raven-haired antagonist, Eustacia Vye is clearly out of place in Egdon. Daughter to a

musician from Corfu, Eustacia lives with her grandfather after moving to Egdon from Budmouth.

Town gossip suggests that Eustacia may be a witch. Eustacia loves passion rather than people, and

her desire for a dramatic life has fatal consequences once Clym, the "native," returns to Egdon.

Captain Vye A former seaman, Captain Vye lives with his granddaughter Eustacia on the heath, from which he

can still sea the sea. Captain Vye enjoys entertaining the locals with his embellished stories of his

life at sea. Though set in his ways in terms of tradition and education, he affords Eustacia a level

of freedom that ultimately allows for tragedy.

Wildeve Damon Wildeve, the pub owner of the Quiet Woman Inn, is a former engineer and lady's man who

has split affections for Thomasin and Eustacia. Though he shares Eustacia's contempt for the heath,

he is too fickle in his passions to make significant change in his life, and that vacillation is one of

the causes of ultimate tragedy.

Thomasin A innocent heath girl who nevertheless learns to think pragmatically, Thomasin Yeobright goes

against her aunt Mrs. Yeobrights wishes when she marries Wildeve. She is cousin to Clym Yeobright. Thomasin eventually finds happiness with her dedicated admirer, Diggory Venn.

Clym The protagonist of the novel, Clym Yeobright turns his back on a life in Paris to return to Egdon

to become a schoolteacher. His idealistic ambitions are at odds with those around him, and his

allure as a foreigner contrasted with his simple interests ultimately cause tragedy with Eustacia

and his mother.

Diggory Diggory Venn, or the reddleman, is a heroic figure. Spurned by Thomsin Yeobright, he becomes

an outcast, taking on the lonely role of reddleman. Forever loyal to Thomasin, he covertly guards

her welfare until he emerges back into her life as a wealthy farmer and finally finds happiness as

her husband.

Mrs. Yeobright Aunt of Thomasin and mother to Clym, she is disappointed in both of their marriage choices.

Though rather particular and snobbish, she loves her family very much, and they her. She dies

tragically, estranged from her son and consumed with bitterness.

Grandfer Cantle A sprightly but aged local who enjoys the social events in the parish. He is grandfather to Christian

Cantle.

Christian Cantle A superstitious young man used to add comic relief in the text. Christian is asked by Mrs.

Yeobright to transport her guineas to Clym and Thomasin.

Fairway One of the local labourers, Timothy Fairway cuts the mens hair on Sundays, which provides an important social ritual and a chance for local gossip.

Susan Nunsuch Mother of Johnny, Susan is a superstitious Christian who believes Eustacia Vye is a witch. She

pokes her with a needle in church, and makes a wax effigy of Eustacia right before the latter dies.

Johnny Nunsuch A young man believed by his mother to be bewitched by Eustacia Vye. He tends Eustacias signal fire to Wildeve, and carries Mrs. Yeobrights final words.

Charley A stable boy who is obsessed with Eustacia. He allow her his role in the mummer's play, and later

takes care of her after her estrangement from Clym.

Olly The local besom maker, Olly Dowden dances with Grandfer Cantle at the November 5th bonfire,

and escorts Mrs. Yeobright to meet the reddleman.

Humphrey One of the furze cutters. It is Humphrey's parents whom Timothy Fairway saw had signed the

marriage register just before he did.

Rachel Rachel is Thomasin's servant who loses her mistress's glove and thereby sets in motion the final

pairing of Thomasin and Diggory.

baby Eustacia The baby daughter to Thomasin and Wildeve.

Glossary of Terms

"from Nebuchadnezzar to the Swaffam tinker" a British idiom, referring to any phrase or situation that references or includes both the highest and

lowest classes of society

"make a round 'O'" a British expression meaning to write clearly

Ahasuerus the Jew Known as the "wandering Jew," Ahasuerus was condemned to wander the earth without rest.

barrow prehistoric burial mound

casque helmet

cima recta/cyma recta an architectural term referring to the curve formed by two arcs with parallel ends; also known as

ogee

faggot bundle of sticks or branches, bound together to use for fuel

furze very spiny and dense evergreen shrub with fragrant golden-yellow flower

heath croppers wild ponies

Lammas tide a harvest festival

mummer an actor involved in masked performances, especially of a type associated with Christmas and

popular in England in the 18th and early 19th centuries

ooser a Dorsetshire horned devil mask, often been linked to witchcraft

pattens wooden overshoes

pis aller a French idiom, meaning the last resort

Scyllaeo-Charybdian position an idiom derived from Greek mythology, indicating any situation in which both options spell

potential doom or loss

skimmity ride a public parade mean to mock or humiliate an unfaithful or nagging spouse

slittering maid a young woman of marriagable age

stays corset

Tartarean situation an expression meaning a dreadful or hellish predicament; refers to the place that Zeus imprisoned

the Titans in Greek mythology

twanky peevish, put out

Major Themes

The Heath

The heath is more than just a dramatic backdrop to the action; it is an integral part of the plot and

character development, and a constant thematic symbol. Hardy devotes the novel's entire first

chapter to describing the timeless landscape of Egdon heath. What defines it most of all is its

timelessness - it is much bigger than any human drama, and hence might its natural forces swallow

those humans.

The heath can also be viewed as an antagonist in the story, working against the key characters to

bring about their tragic fates. Mrs. Yeobright, exhausted by her long toil to Clyms house, collapses in the darkness on her return, and is bitten by a snake. Wildeve and Eustacia both drown as they

plan to flee the heath forever. Clym becomes a preacher, extolling the virtues of a world beyond

the heath. Only Thomasin and Diggory, who are truly at ease with their surroundings, endure. The

heath is a place for lasting sentiment, not fiery passion or intellectual ideals. Those who are able

to tune to its rhythms and pace remain. Those who feel they can live beyond its power are destroyed

by it. Eustacia views it as an explicit antagonist - "Tis my cross, my shame and will be my death" - and yet falls in attempting to defeat it (69). Most of all, the heath is an expression of Hardy's

tragic sense, which suggests that time and the world have little use for the squabbles of humans

and will thereby negate their efforts time and again.

Superstition

Superstition permeates the text, and is connected with the death of Eustacia and possibly Mrs.

Yeobright. In the most basic sense, superstition exists through the heath locals. So tied to nature,

they are naturally drawn more towards pagan rituals than towards the transcendent message of

Christianity. They judge their lives according to the cycles of the heath, and hence believe that

strange forces beyond their understanding rule the world.

Many locals, Susan Nunsuch most of all, believe Eustacia is a witch. Susan brings a fearful

dimension to their charge, both stabbing Eustacia with a pen and then later making a wax effigy

that she burns. Hardy was cautious to avoid being labelled immoral, and so he never extrapolates

on Susan's suspicions, which could be based in the possibility of Eustacia's sexuality. Both of

Susan's actions are based around witch-lore. A witch would supposedly not bleed if pricked, and

an effigy works akin to a voodoo doll, by transferring pain to another.

Eustacia's death also evokes witch-lore, since a suspected witch was thrown in water. If she floated,

she was vindicated, and if she drowned, she was proven witch. Tragically, Eustacia floats but it

brings her no benefit, since she dies. In surviving and dedicating himself to Christianity, Clym

suggests Hardy's dismissal of such lore, though the author never goes so far as to outright denounce

any of the ancient superstitions suggested in the text.

Tradition

One of the novel's inherent conflicts is that between the declining, traditional attitudes of Dorset

and the modern world that was replacing it. Hardys work often highlighted the waning traditions

and ideals of his age, and there are many examples where custom and folklore feature as central

to the narrative. Part of the novel's appeal is the way it records these dying customs.

For instance, Diggory Venns trade as a reddleman represents the dying skills of the region: He was one of a class rapidly becoming extinct in Wessex, filling at present in the rural world the

place which, during the last century, the dodo occupied in the world of animals. He is a curious,

interesting and nearly perished link between obsolete forms of life and those which generally

prevail.

(6)

Though Diggory does dismiss the traditional fears - that a reddleman stole children - he

nevertheless dedicates himself to this ancient trade.

Hardy also records the decline in church attendance in rural regions like Egdon, and discusses the

history and function of the mummers. In terms of the latter, he explains how repeated tradition can

lead to perfunctory execution and reception, as opposed to the true passion of a regenerated

custom.

There are some customs that Hardy connects to more ancient customs. Hardy believed the

November 5th bonfires were a continuance of Druid tradition more than a commemoration of Gay

Fawkes. Further, the May Day celebrations seems to have a primal draw, since it is those which

finally bring Thomasin and Diggory together.

Education

The Return of the Native presents a range of views on education without ever delivering a final

conclusion in the issue.

As an extraordinary resident of the heath whose intelligence allowed him to explore the greater

world, Clym is a strong proponent for education. In fact, he wants to explore a new type of

education with the residents of the heath, and is drawn home for that purpose. However, he

confronts both reticence and outright opposition to these noble plans, and ends up as a preacher -

a vocation more associated with tradition than modernity - than as a teacher. To some extent, Clym

is oblivious to the nature of those he wishes to educate. They are not only not ready for his ideas,

but are also fundamentally opposed to them. Captain Vye gives a reflective instance of their

skepticism when he describes education as valuable only towards encouraging the young to engage

in offensive graffiti.

In fact, Hardy explores how Clym's natural good-looks stand in opposition to these modern ideas

of education exemplified in his intellect:

He already showed that thought is a disease of flesh, and indirectly bore evidence that ideal

physical beauty is incompatible with emotional development and a full recognition of the coil of

things.

(109)

It is only really within the spiritual world that he is finally able to find solace. His ideal of "instilling

high knowledge into empty minds" is unrealistic to the point of arrogance, an indicator that his

learning has not helped him to connect with his fellow man (160). Even as preacher, his "moral

lectures" maintain a didactic air that repulse some listeners. He continues to speak but not to listen,

which gives an implicit criticism of the educational instinct.

Clyms most significant education is what he learns on the heath - that the world is controlled by large forces beyond our understanding.

Romantic love

The quest for romantic love amongst the nature-centered heath affects many characters, Eustacia

most of all. She is desperate to discover the passion of romantic love. Early in the text, she

expresses that she seeks, "A blaze of love, and extinction, [which] was better than a lantern

glimmer of the same which should last long years (56). She wants a quick burst of passion, rather

than the pragmatism of a sustaining respect and passion. This desire helps explain her tragic demise

- she is too quick to romanticize a situation, ignoring its reality. She ignores the fact that Wildeve

mostly repulses her, to twice become attracted to him, and ignores Clym's stated intentions to

justify her acceptance of his proposal. This conflict creates a sense of dissatisfaction that has tragic

consequences.

Clym is attracted to Eustacia on so many levels, but ultimately chooses a respectable, simple life

with her. The passion and romanticism that defined him on his return is quickly traded for a more

pragmatic personality that disappoints Eustacia. His tragic flaw here is his blindness to what she

needs, and they both pay for it.

Finally, Thomasin begins with a romantic passion for Wildeve, but ultimately realizes the greater

wisdom of pragmatism. When they finally marry, she is no longer enamored with him, but rather

has matured to realize that she must protect her reputation over her romantic pride.

The Oedipus complex

Clym has an intense and turbulent relationship with his mother, which evokes the Oedipus

complex, so-named by Freud because of the ancient play Oedipus Rex. Simply put, the Oedipus

complex describes an unhealthy love-hate attraction between a mother and son.

Mrs. Yeobright has clearly had great ambitions for her son. We see her disappointment when he

reveals that he has left Paris to return to Egdon. She cannot appreciate his return to Egdon as a step

forward; instead, she vicariously considers it as sign of failure, asking him, "But it is right, too,

that I should try to lift you out of this life into something richer, and that you should not come back

again, and be as if I had never tried at all?" (140).

This vicarious association further explains her contempt for Eustacia. She cannot understand that

he is attracted to her instead of finer Parisian ladies. The relationship between Clym and his mother

starts to sour after he begins to court Eustacia. He chooses to give Eustacia a gift a charnel pot unearthed from the burial mound which was originally intended for his mother. Though all of these attitudes can be explained, they together suggest an intimate and intense connection.

Clym is aware of the challenges to his happiness, and refers to the competing areas of his life as

"antagonistic growths." Interestingly, his relationship with his mother is the first he lists, before

his wife and vocation. He is forced into making a choice between Eustacia and his mother, and the

regrets over this situation lead to a romantic demise for almost all involved.

Constancy

In the novel, characters who display constancy are rewarded. Like the unswerving firmness of the

Egdon landscape, those who remain true to their ideals endure. Diggory Venn, as example, is

unwavering in his love for Thomasin. He adapts his lifestyle and means of income to win her

affections, and patiently remains her faithful champion. Similarly, Charley the stable boy does not

waver in his affection for Eustacia. He gives her his mummers role, and later cares for her despite her attitudes towards him. Even the dim-sighted Clym can perceive Charley's love for his wife.

Similarly, the heath folk are characterized by their adherence to unchanging tradition and folklore.

They accept the heath as timeless and constant, and their kind perseveres for that reason.

The characters more defined by transient, changing passions - Wildeve, Eustacia, and Clym - all

suffer a tragic end. The heath, with its constancy, has little use for such dynamic human passions.

Quotes and Analysis

1. It was, at present, a place perfectly accordant with mans nature neither ghastly, hateful, nor ugly: neither commonplace, unmeaning, nor tame; but, like man, slighted and

enduring; and withal singularly colossal and mysterious in its swarthy monotony.

Page 4

Here and elsewhere, Hardy describes the heath as a living entity a character in itself. The fashion in which he introduces the landscape serves to both comment on and affect the

narrative. We see here that the heath tolerates its human residents, though it is unchanged by

the trivial exercises of man. The heath remains a brooding, omniscient presence in the story,

and seems to watch over the human events with a vegetable detachment. In many ways, it is

a reflection of the world's tragic forces, which cause great pain to humans while having no

interest in them.

2. "Well, and what did the last one say to ye? Nothing that cant be got over, perhaps, after all?"

"'Get out of my sight, you slack-twisted, slim-looking maphrotight fool,' was the womans words to me."

"Not encouraging, I own," said Fairway.

Page 19

Hardy frequently uses gentle humor to add depth to his characters and his narrative. Here,

Christian Cantle mourns the fact that he will never marry due to his misfortune of having been

born on a moonless night. Timothy Fairway tries to lift Christian from his depression, but the

cruel rejection which Christian recounts where the last girl he approached called him a lazy, thin, effeminate fool illustrates that Christian's dejected nature may be well-founded. This sense of a self-fulfilling prophecy also parallels the character traits in Clym and Eustacia that

facilitate their tragic ends. Finally, this passage employes a specific dialect, which compounds

the humor and adds to the effect of the bathos.

3. To be loved to madness - that was her great desire.

Page 56

This quote, the narrator's observation, exemplifies Eustacia. She is attracted by drama, passion

and intense emotion, but real love does not interest her. She does not understand the devotion

of Diggory Venn to Thomasin, and cannot grasp the depth of feeling Charley holds for her.

Eustacias love life is composed of madness, in that she vacillates between her desire for Wildeve and then for the enigmatic Clym. Her desire to "be loved to madness" but to never

be satisfied helps explain why she dies tragically. Eustacia wants to drive men mad with desire,

and to be loved back, but she prefers the emotions to the people who feel them.

4. "Ah, theres too much of that sending to school in these days! It only does harm. Every gatepost and barns door you come to is sure to have some bad word or other chalked upon it by the young rascals: a woman can hardly pass for shame some times. If theyd never been taught how to write they wouldnt have been able to scribble such villainy. Their fathers couldnt do it, and the country was all the better for it."

Captain Vye, Page 85

This is Captain Vyes view of education. It is evident that Eustacia is educated, as is Wildeve (a former engineer) and Clym (a former diamond merchant). However, locals like the Captain

fear that learning only serves to pollute the world, rather than enhance it. He fears that

education is changing those who live on the heath. The philosophy, while indicative of only

one character's perspective, touches on the conflict between traditional custom and modern

learning that Hardy explores through the novel. He never definitively presents his opinion, but

instead seems to relate to both sides of the argument.

5. A traditional pastime is to be distinguished from a mere revival in no more striking feature than in this, that while in the revival all is excitement and fervor, the survival is carried on

with a stolidity and absence of stir which sets one wondering why a thing that is done so

perfunctorily should be kept up at all. Like Balaam and other unwilling prophets, the agents

seem moved by an inner compulsion to say and do their allotted parts whether they will or

no. This unweeting manner of performance is the true ring by which, in this refurbishing

age, a fossilized survival may be known from a spurious reproduction.

Page 96

When Hardy describes the mummer play, he explores one downside of tradition. By noting

that an event carried on solely for the sake of tradition will prove mechanical and uninspiring,

he makes an implicit argument for liveliness and spontaneity, which necessarily requires new

ideas. His use of the archaic term "unweeting," meaning unwilling, complicates the matter,

since it shows his love of the traditional. This perspective is one of many contradictory ones

on the subject of tradition that Hardy explores both implicitly and explicitly through the novel.

6. He already showed that thought is a disease of flesh, and indirectly bore evidence that ideal physical beauty is incompatible with emotional development and a full recognition of the

coil of things.

Page 109

In this description of Clym Yeobright, Hardy illustrates that Clyms rugged good looks stand in opposition to his intellect and education. His determination to pursue further knowledge

will only further his physical decline, evidenced by both his near-blindness and by his

withdrawal from ordinary human emotions. He is so devoted to the ideas of his education that

he is blind to the way his wife and others are feeling, which hastens their tragic end. Yet again,

Hardy presents a complicated perspective on the conflict between nature and learning, here

suggesting that they cannot peacefully co-exist.

7. When Thomasin was tremblingly engaged in signing her name Wildeve had flung towards Eustacia a glance that said plainly, "I have punished you now." She replied in a low tone

and he little thought how truly "You mistake; it gives me sincerest pleasure to see her your wife to-day."

Page 131

Eustacia and Wildeve both use the wedding of Wildeve and Thomasin as a cruel way to hurt

each other. Only Thomasin is oblivious to the bitterness that pervades her wedding day.

Despite their attempts to torture each other, Eustacia and Wildeve remain bound until death,

and by death. Perhaps it is their interest in selfish, fleeting passions that requires they die

together. By polluting his wedding day, Wildeve ensures that he will not live the traditional

heath life, while Eustacia ensures the same by flouting tradition in giving Thomasin away, a

traditionally male role.

8. It was bitterly plain to Eustacia that he did not care much about social failure; and the proud fair woman bowed her head and wept in sick despair at the thought of the blasting

effect upon her own life of that mood and condition in him.

Page 199

This is the point at which Eustacia accepts that her dreams are not compatible with Clym's

simple desires. Though he was always honest about his plans, she was able to delude herself

into believing he wanted to return to Paris. Her sense of the heath as a captor allowed her to

believe that anyone would leave if they could break free. However, when she hears Clym

singing despite his physical ailment and the common activity of furze-cutting which he

undertakes, she realizes that he is too happily bound to the heath. In the quote, she mourns not

for the loss of her marriage, but for the loss of her potential happiness. She is destined by her

contradictions to be unhappy, and hence to die tragically.

9. The instincts of Merry England lingered on here with exceptional vitality, and the symbolic customs which tradition has attached to each season of the year were yet a reality on Egdon.

Page 298

Hardy frequently uses the setting of Egdon Heath to illustrate the declining beliefs, lifestyles

and traditions of Wessex. His novel is as much a historical commentary on the south of

England in the late 1840s as it is a story of love, betrayal and loss. Here, Hardy stresses the energy and beauty of the time, employing a wistful tone that suggests even the greatest human

tragedies will be forgotten by the passage of time on the eternal heath. In particular, the

"tradition" he references is that of the Maypole, which promises new life and happiness with

the arrival of spring. Tellingly, Thomasin - who is glad to be tied to the heath - finds the

strength to explore a new love despite the grief that had gripped her for so long after Wildeve's

death. It is natural to move on.

10. Some believed him, and some believed not; some said that his words were commonplace, others complained of his want of theological doctrine, while others again remarked that it

was well enough for a man to take to preaching who could not see to do anything else. But

everywhere he was kindly received, for the story of his life had become generally known.

Page 315

As the novel concludes, it is evident that Clym has continued to be known and talked about

after the great tragedy. However, he is still unable to accept that certain forces are beyond his

control. Where Thomasin acknowledges the natural, eternal order and moves on from her

grief, Clym remains self-absorbed and unable to transcend it. Though there is courage in

taking the mantle of itinerant preacher, it reveals his desire to remain separated from the world,

and to not attempt rejoining it. He continues to relate moral lessons, as though those might

answer some of the eternal mysteries that have caused him so much pain. He will always

remain on the outside, someone to judge or guess about, but never again to know intimately.

Book First: The Three Women

Summary

Chapter 1- A Face on Which Time Makes but Little Impression

The first chapter gives a detailed description of Egdon heath as it appears on the afternoon of

November 5th. The landscape is magnificent and imposing, but nevertheless remains simple and

gentle. Hardy describes the heath as the enemy of civilisation, since it perseveres without ever

allowing significant change to itself. Hardy concludes that the heath is the most enduring of the

natural environments. The human presence remains apparent there, however, in the form of both

the ancient road and the burial mound, or barrow.

Chapter 2 Humanity Appears upon the Scene, Hand in Hand with Trouble

An old man - Captain Vye, though he is not identified until much later - walks along the heath

road. He sees a red, covered wagon led by a driver stained equally red, and recognizes it as

belonging to a

reddleman a purveyor of red ochre, which was used to mark sheep. Hardy suggests that, having chosen such a solitary, outcast profession, the reddleman is clearly hiding from something in his

life. The reddleman is Diggory, though he is not identified until later.

After hearing noises from inside Diggory's van, the old man questions him as to who or what is in

his van. The reddleman reveals that he is helping a woman who is currently asleep therein. He

preserves the womans integrity by not allowing the old man to look upon her, and he will reveal no details as to her identity or situation.

Diggory stops to rest his horses, and Captain Vye continues on. The reddleman observes the figure

of a woman standing at the top of the barrow. As another person approaches her location, she

quickly leaves, after which several other figures arrive. It is obvious that the woman does not wish

to be seen, and is unlikely to return to that spot.

Chapter 3 The Custom of the County

The scene shifts to the barrow summit that Diggory observed at the end of the previous chapter.

The Egdon heath locals arrive on the barrow carrying furze faggots, which are bundles of gorse

used as kindling. They are preparing to light a bonfire in celebration of Guy Fawkes Night, and

there are similar bonfires in sight all along the horizon, beyond Rainbarrow and across the

parishes. Grandfer Cantle, an old man, begins to sing, showing more enthusiasm than talent, while

the other locals discuss the particulars of a wedding that had happened earlier that day.

Details of the wedding - between Thomasin Yeobright and Damon Wildeve, yet to be introduced

- and those involved come quick. The bride's cousin Clym is set to return to Egdon at Christmas,

because Thomasin will be leaving her aunt and Clym's mother, Mrs. Yeobright, alone in the house

after the ceremony. The whole union was surrounded by some controversy - Mrs. Yeobright had

initially disapproved of Wildeve for her niece, and she announced as much one Sunday in church.

Each member of the group reveals how infrequently he now attends church, since the journey does

not seem worth the slim chance of redemption offered there

Olly Dowden, the besom maker, reflects how the controversy has passed, and how the couple had

only hours before wedded in a different parish. The group then considers Wildeves position. Though he currently runs the Quiet Woman inn and pub, he is a smart man who had once been an

engineer before circumstances lowered his prospects.

The group then briefly discusses the effect of learning on their community, and how education

proves of minimal value there. Fairway, the barber, recalls how he read the marriage register on

his own wedding day, only to discover the names of a couple whom he knew fought

constantly. Christian Cantle, Grander Cantle's timid grandson, bemoans his inability to find a

woman who will marry him. He believes this misfortune is an effect of having been born on a

moonless night. The other locals tease Christian, claiming he will be prey to ghosts because he

sleeps alone. They mention how a red ghost has recently been spotted on the heath.

The subject changes again, and the locals agree to Grandfer Cantles proposal that they sing together for the new bride and groom after they return from the ceremony. As they observe the

fires around the parish, they see one near Captain Vyes secluded home, and deduce it was lit by his granddaughter, Eustacia. Fairway and Susan Nunsuch dance noisily in the embers of the fire,

along with Grandfer Cantle and Olly Dowden.

The party is then startled by a visitor. It is the reddleman, looking for a shortcut to Mrs. Yeobrights house. He is guided on his way, but Mrs. Yeobright herself arrives at the bonfire ten minutes later.

They explain that Diggory was looking for her, and that she will be able to meet him on his return.

The remaining revellers set off to serenade the new couple, while Mrs. Yeobright leaves on her

journey, now escorted by Olly Dowden because it is growing dark.

Chapter 4 The Halt on the Turnpike Road

Olly and Mrs Yeobright descend from the barrow. Olly indiscreetly questions Mrs. Yeobright

about Thomasin's wedding, but Mrs. Yeobright dodges his questions. They reach Wildeves Patch, and part ways.

There, Mrs. Yeobright meets the reddleman, who is named for the first time as Diggory Venn. He

explains that Thomasin is asleep in his van, after having earlier approached him in distress,

claiming her wedding plans had gone awry. They wake Thomasin from her slumber, and she

prepares to walk home with her aunt.

Mrs. Yeobright recognises Venn, and asks why he has changed professions. He does not answer,

but rather looks to Thomasin, who blushes, and it is obvious that she understands the reason.

Chapter 5 Perplexity Among Honest People

Thomasin tells her aunt about the morning's events. She and Wildeve could not be married because

the marriage licence had accidentally been issued for another parish. Thomasin was embarrassed

by Wildeve's error, and did not wish to travel back with him unmarried. Soon after setting off

alone, she saw Diggory Venn and asked him for a lift.

The two women reach the Quiet Woman inn, which is owned and managed by Wildeve. Hardy

describes him as a man whose character repels men, but attracts women. They confront him there.

Mrs. Yeobright expresses skepticism over the license issue, and Thomasin explicitly asks him if

he intends to marry her. Wildeve sulkily reminds Thomasin that Mrs. Yeobright originally opposed

the union, but now demands it in order to avoid scandal. Thomasin insists that Wildeve is incapable

of causing pain, so she knows he will marry her.

As they talk, the locals arrive and sing for the couple. Thomasin is initially terrified of suffering

further humiliation through a "skimmity ride," which was used to punish a nagging or adulterous

spouse. As a result, she and her aunt escape through a back window. The locals, however, are

unaware that the marriage has not taken place, and so Wildeve gives them free drinks in support

of a toast for the couple.

Grandfer Cantle offers memories of Thomasin's father, and his musical talents. Christian Cantle

grows morose when he thinks of Mr. Yeobright's sudden death, and quickly confesses his

superstitious fears. The party notices a distant bonfire through the window of the inn, and Fairway

speculates that it has something to do with the witch-like creature who live on the hill.

The well-wishers leave, and Wildeve notices a bottle of mead which he had planned to give to one

of the locals. He leaves the inn on the pretext of delivering it, though he is actually attracted by the

sight of the fire, and an unspecified female whom he wishes to see there.

Chapter 6 The Figure against the Sky

On the barrow, Eustacia Vye waits alone. She is the figure Diggory had seen earlier. Hardy

describes her as mournful. She uses a telescope to look out over the heath, and an hourglass to

record time, strange because she also has a watch.

She walks along the foot track as she thinks. Her fire is composed of hard wood, so it burns longer

and brighter than the neighbouring furze fires. It is tended by a young boy,Johnny Nunsuch, whom

Eustacia has convinced to do her will. Captain Vye, her grandfather and guardian on the heath,

chastises his granddaughter for using their best wood, but she insists she did so to please Johnny,

who in his innocence contradicts her claim.

When Johnny asks for permission to leave, Eustacia offers him a crooked sixpence a traditional good luck charm as bribe to stay longer and tend the fire. She tells him to listen for the sound of

a hop-frog jumping in a nearby pond, which she says will signify rain and hence give him license

to return home. Finally, he hears the sound, and she gives him him reward and sends him off.

Wildeve comes out from the darkness. It is quickly apparent that they were once in a relationship.

Eustacia has heard that his marriage was not finalized, and believes this is sign that he remains

devoted to her rather than to Thomasin. He is surprised at her assertion, and they argue over who

was responsible for the end of their relationship.

Eustacia is angry, but recovers when she realizes that Wildeve remains attracted to her. He tries to

save face by insisting it is she who is still attracted to him, but she knows she is in control and so

is not bothered by his assertions.

Chapter 7 Queen of Night

Hardy describes Eustacia as having the passion and demeanor of a goddess. After describing her

singular beauty, he briefly tells her history. She was originally from Budmouth, a fashionable

seaside town. When her parents died, Eustacia moved in with her grandfather, Captain Vye, who

subesquently moved to Egdon upon his retirement. Eustacia, used to the flurry of life in Budmouth,

felt trapped in Egdon from the very beginning.

Hardy further describes her as a passonate woman, desperate for love and for attention. He also

notes that she is a contrary soul, who often sympathizes with figures that others despise, like the

Philistines or Pontious Pilate.

Bored and trapped by her surroundings, Eustacia does not appreciate the heath's beauty, but instead

spends her days longing for a hero to sweep her off her feet. The closest she came to finding such

a figure was with Wildeve, though she acknowledges that her passion for him came less from his

own virtue than from a lack of other suitable options.

Chapter 8 - Those Who are Found Where There Is Said to Be Nobody

Johnny Nunsuch is returning home after being dismissed by Eustacia. He sees an unusual shape in

the gloom, and, frightened, returns to Rainbarrow to ask Eustacia to send an escort home with him.

When he arrives back at the barrow, he sees Eustacia talking with Wildeve, and hides in the

shadows. Realizing it is imprudent to interrupt, Johnny attempts the journey again. This time, he

sees Diggory from afar, and slips from fear. When Diggory helps Johnny by bandaging his wounds

and finding his lost sixpence, they talk. Diggory dispels the common rumors about reddlemen, and

explains that their red color is just an occupational hazard, and not a sign of evil.

Johnny then tells Diggory about his time with Eustacia and about the meeting he observed, all of

which makes Diggory suspicious. When the boy adds that he overheard discussion of another

meeting, Diggory begins to understand that Wildeve is betraying Thomasin.

Chapter 9 Love Leads a Shrewd Man into Strategy

This chapter describes Diggory's unique and isolated position in society.

After Johnny leaves for home, Diggory Venn opens and reads an old letter. It is from Thomasin,

and reveals that he had once proposed marriage to her, but that she rejected him. She explains in

the letter that she cares for him, but only as a friend. She compares her affection for him to her

affection for her cousin Clym, whom her aunt had perhaps intended for her husband. Finally, she

believed that his position as a small dairy farmer would not meet her aunt, Mrs. Yeobright's,

approval.

After being spurned by Thomasin, Diggory quit his family farm and became a reddleman, a trade

in which he grew somewhat wealthy. Though the job requires much travel, he endeavors to stay

near Egdon and Thomasin.

He considers the news Johnny has told him. Initially, he believes Eustacia is attempting to steal

Wildeve from Thomasin, and so he begins to stake out their meeting place. A week later, he is

there to observe their meeting.

Wildeve asks Eustacia whether he should marry Thomasin, since Thomasin will be judged harshly

if the marriage does not take place. Eustacia is initially haughty, and insists that she has first claim

to Wildeve, whom she insists abandoned her for Thomasin. However, she soon realises how much

she enjoys the intrigue of the love triangle. Wildeve mourns his dilemma, and teases Eustacia that

his passions can alternate as frequently as hers if he pleases. Both agree that they would like to

leave Egdon Heath, and Wildeve asks Eustacia to escape to America with him. She asks for time

to consider the idea.

Chapter 10 A Desperate Atttempt at Persuasion

One week after the postponed wedding, Venn confronts Eustacia about the situation. He calls on

her at Captain Vye's home, and, intrigued by the strange invitation, she walks along the heath with

him. He is initially subtle in suggesting that Wildeve will never marry her. When she refuses to

confront his meaning, he admits he overheard their meeting. She insists that she will not give

Wildeve up.

Venn then offers to help Eustacia escape from Egdon, as he knows she hates it. He explains that a

lady in Budmouth is seeking a country-bred companion, but she is insulted by the idea of working

as a servant.

Once Diggory leaves, she realizes that she is again attracted to Wildeve now that he is in demand

and her pursuit of him will bring excitement.

Chapter 11 The Dishonesty of an Honest Woman

Diggory is disappointed about his failure with Eustacia, and sees Mrs. Yeobright approaching the

Quiet Woman inn. He intercepts her, and learns she plans to confront Wildeve about his intentions.

Diggory then offers to marry Thomasin himself, and explains the circumstances of his first

proposal. Mrs. Yeobright is unmoved, and insists Thomasin should marry Wildeve.

When Mrs. Yeobright speaks to Wildeve, however, she uses this other proposal as leverage.

Wildeve is surprised to learn of it, and asks for time to consider whether to renounce his claim to

her hand. She agrees, provided that Wildeve does not communicate with Thomasin in the

meantime.

That evening, Wildeve visits Eustacia, who keeps him waiting a while before meeting him outside.

He tells her of Thomasin's new suitor, and she accuses him of using her as a "stop gap" (82). They

agree to discuss the issue further on the following Monday, but once he leaves, Eustacia feels her

affection decreasing now that Wildeve is less in demand.

When she returns indoors, Captain Vye tells her the news from the inn: Clym Yeobright, who has

been living in Paris, is returning to Egdon. This news intrigues Eustacia.

Analysis

In many ways, the main character in The Return of the Native is the heath itself. It is a complicated

place, both empty and profound, and serves as both setting and symbol for the passions that drive

the plot. Hardy reveals the dominance of the heath from the opening of the novel. He uses

oxymoron and antonym to reveals the diversity and complex nature of this wild environment,

describing it as "majestic without severity, impressive without showiness, emphatic in its

admonitions, grand in its simplicity" (3).

His novel is about tragic emotions and large personalities, but he posits these as ultimately small

in contrast with the environment of the heath. He personifies the heath when he describes it as

wearing an "antique brown dress" that it has never traded for another (4). This stands in stark

contrast to the ever-changing fashions of humanity, to the point that the heath's constant "brown

dress" provides a "satire on human vanity in clothes" (4). Hardy is not writing a nature book,

however. Instead, the constancy of the heath provides a perspective on the emotional vacillations

of his characters. If they are wise enough to allow it, they can realize that their petty squabbles are

ultimately dwarfed by the greater forces in the world - time and death, both symbolized in the

heath.

Book 1 also introduces most of the main characters, as well as Hardy's omniscient point of view.

Consider the first characters he introduces - Captain Vye and Diggory Venn. The former is initially

compared to the mountain, which implies either that he is part of the landscape, or that the

landscape is a universal reference for all things. Regardless, we can sense the author's perspective

tightening onto a limited human tale from the larger canvas of time and nature. By establishing

this omniscient point of view, Hardy is free to both empathize with his characters and judge them

from a detached place.

Diggory Venn is initially introduced as a complicated character. He is representative of a dying

trade, one that necessarily ostracizes him both because of a nomadic existence and a debilitating

red color that stains his skin. Hardy gives us some indication that such solitude is a self-penance

for not having convincing Thomasin to marry him. Having been rejected by the woman he loves,

he chooses to live amongst nature instead of amongst humans. This decision in part explains the

nobility he continually shows in the novel. He is not corrupted by the selfishness and squabbling

of humanity, but instead remains purely devoted to the heath that he wanders. Though he does

have bitter feelings about Thomasin's refusal, he reveals a pure love through his attempts to secure

her social reputation even though it does not directly benefit him. His strange appearance is ironic,

because though it feeds superstition, it is a sign of his honesty, whereas Eustacia's beauty serves

as sign of her disloyalty.

Before introducing any other main characters, Hardy immerses the reader in the lifestyle of the

heath through its inhabitants. Near the bonfire, the heath residents serve as a type of Greek chorus,

who discuss backstory through a particular vernacular. They are lively, excitable, and prone to

gossip. Christian Cantle introduces the supernatural quality of the heath, which connects to the

ultimate power of the heath itself. Hardy will return to this group throughout the novel, usually to

add local color to life on the heath, and to give the reader insight into how his main plot is viewed

by the larger society. Here, they all know about the wedding that has (supposedly) taken place,

and discuss the history of Wildeve and Thomasin alike.

Perhaps the character who most exemplifies the complications of the heath is Eustacia Vye. Venn

considers an apt similie when he compares her to the tiger beetle, which can appear dull but is

actually splendid when viewed in the correct light. Her beauty is singular, and her character is only

magnificent when understood. Otherwise, she can seem dour and mean.

However, what most complicates Eustacia - and will partially lead to her tragic downfall - is her

unique perspective as a woman. Venn assumes she is driven by the same desires that drive other

women - the desire for a good husband, social standing, etc. However, Eustacia is fiercely

independent, and willfully contrary. She wants a dynamic life full of excitement, but her options

are limited because of her femininity. These two forces are clear in this first Book. Though she

pretends to be a maiden in search of love with Wildeve, she is actually playing a power game. It

is clear that she does not love him, but rather is intrigued by the excitement flirtation can bring.

Hardy does tell us that she ultimately wants love, but she has been hardened by a life where finding

love and contentment seems impossible. Her reputation - a woman's most valuable asset in finding

a husband in this period - is far less important to her than her happiness is. While a modern reader

might find this easy to understand, it is far stranger given the historical context.

In fact, Hardy gives Eustacia an almost supernatural air that will continue to resonate throughout

the novel. She is first seen in silhouette, which establishes her as otherworldly. Her power over

Johnny Nunsuch, her grandfather, and Wildeve paints her as bewitching. His comparisons, which

link Eustacia to both a contemporary actress and an ancient Greek writer, emphasize her timeless

qualities. Further, her use of a telescope is symbolic - she is forever looking to the distance, the

world beyond. Similarly, her use of an hourglass (even though she has a watch) connect her to the

ancient passage of time. The fact that both items came from her grandfather's seafaring days

suggest a connection to life in the distance. She is far greater than her physical being; she is instead

defined by her almost otherworldly passion.

Eustacias physical and psychological descriptions further emphasize her mystical qualities. She is said to have a flame-like soul, if such a thing were visible." Her "queenly" appearance belies the passion which lies beneath. Eustacia desires to be "loved to madness", and she is looking for a

blaze of passion rather than a constant steady flame (55). This flame explains her behavior in Book

1, in which she is more interested in temporary, powerful feelings than in the steady attraction of

a long-term commitment. These intense emotions both distinguish Eustacia, and lead to her tragic

downfall. Ironically, while she embodies the most contradictions and is therefore emblematic of

the heath, she is bored by it and wants most of all to escape it.

Wildeve is also a complicated character, though he is clearly self-involved. When the reader first

learns that Mrs. Yeobright opposed his marriage with Thomasin, it makes her seem too strict, but

details later suggest that her disapproval showed wisdom. One symbol that helps understand

Wildeve is Wildeve's Path, which Olly Dowden explains is land that was tamed and cultivated by

others before Wildeve came, but was given his name once he arrived and took credit for it. This

image suggests he is one who usurps and uses, rather than labors and conquers. Wildeve is already

cast in a negative light before he has even been officially introduced to the reader. His vacillations

with Eustacia - atop his very clear acknowledgment of how his decisions can hurt Thomasin's

reputation - illustrate his concern with self-image over nobility. In many ways, he is a good match

for Eustacia because of his vacillations and desire to escape, but he lacks her fiery emotional

quality.

Thomasin, in contrast to Wildeve, is beautiful, simple, and pure. However her distress is clear in

Hardy's initial description, which contrasts her hopeful air with a "film of anxiety and grief" (30).

She offers a more traditional depiction of a lady in this time period, and as such stands in contrast

to Eustacia. Thomasin merely wants a good husband and a strong reputation, and as such has far

less agency in the novel. She rather quickly becomes a tool towards judging the nobility and

goodness of other characters, rather than a strong, complicated personality in her own right. Her

greatest fears are that she will be shamed (by something like a "skimmity-ride," which would never

happen because neither of them are in a position to commit adultery).

It is useful to understand the historical nature of the bonfires. While they were ostensibly burnt in

celebration of Guy Fawkes Day, which commemorates a 1606 plot to blow up the Houses of

Parliament, Hardy insists they are grander, and imitate ancient funeral pyres and offerings to the

gods Thor and Woden. His desire to place them in a more ancient context conforms to his tragic

sense, which tries to see his plot in its larger context of time.

Finally, the conflict between a traditional and modern world is introduced here. Eustacia embodies

it, but only in terms of herself. The local Chorus considers it more fully in discussing education

and church. They admire education, but do not believe it holds the keys to life that modern thought

claims. Further, the benefit of church is open to doubt, since they do not believe it impacts their

lives as workers. In terms of both, they would rather put their present before an uncertain future.

Book Second: The Arrival

Summary

Chapter 1 Tidings of the Comer

From inside Captain Vye's home, Eustacia hears laborers discuss Clym's impending return. They

discuss how he has been working in Paris as a diamond merchant, and Captain Vye criticizes the

choice to avoid a family vocation. He bemoans the curse of education, which he says teaches the

young solely to write offensive graffiti. The laborers discuss what a good couple Eustacia and

Clym might make.

Eustacia is excited by their conjecture, and begins to daydream about a romantic match with Clym.

While she daydreams, she walks towards his birthplace of Blooms-End, and considers how Paris

must be the center of the fashionable world.

Chapter 2 The People at BloomsEnd Make Ready

Meanwhile, at Blooms-End, Thomasin andMrs. Yeobright prepare for Clym's return. Thomasin

laments her own fate in regard to the delayed marriage, and the shame it could bring to her.

Mrs. Yeobright asks Thomasin whether her feelings for Wildeve have changed, and she admits

that she used Diggory's information as leverage. They agree not to tell Clym about the situation,

and then leave to gather holly to further decorate the cottage.

Chapter 3 How a Little Sound Produced a Great Dream

As Eustacia looks over Blooms-End, she sees Clym arriving with his mother and cousin. She

overhears him speak favorably of the heath, and is surprised. Hardy explains that Clym was born

to the environment, whereas Eustacia was an unwilling immigrant to it, so that the land remains

alien to her. Eustacia clearly does not understand how an educated and cultured man would

appreciate such roughness.

Eustacia returns to her grandfather, and questions him about their relationship with the Yeobright

family. He claims that she would consider them too countrified for her social tastes, and says he

has not socialized with them since Mr. Yeobright died.

That night, Eustacia dreams of dancing with a man in silver armor. The dream ends when he

removes his helmet to kiss her. She is frustrated at not seeing the face of this hero.

Eustacia begins to take frequent walks through the hills, hoping to see Clym. However, after

several fruitless forays, she abandons the pursuit.

Chapter 4 - Eustacia is Led on to an Adventure

It is now December 23rd.

Eustacia is upset to learn that Clym plans to leave Egdon the following week, since she has not yet

been able to meet him. Hardy explains that it would have been easy to meet him had Egdon been

a churchgoing community, but this was not the case.

One day, the mummers, a group of locals who perform annual amateur plays, ask Eustacia if they

can rehearse in Captain Vye's fuel house. They are preparing to perform the story of St. George

and the dragon at a party being thrown by Mrs. Yeobright at her home.

Hardy gives a brief description of their work as more tradition than entertainment, since audiences

and actors see the play as a duty. He further explains that the mummer company is comprised

solely of male members whose costumes are adorned by the females. Because the women are more

interested in flamboyance than in character purpose, the adornments often confuse audiences

because the choices do not conform to the personalities.

Eustacia concocts a scheme to infiltrate the party and hopefully meet Clym. She

convinces Charley, whom she knows is infatuated with her, to let her play his part of the Turkish

knight. In exchange, she allows him to hold and kiss her hand for fifteen minutes.

Her plan is to tell the other mummers that she is Charley's cousin who has to take his place because

Charley was suddenly called to return two heath croppers to the Vye residence. He agrees to the

conditions, and then holds her hand until his allotted time is up.

Chapter 5 Through the Moonlight

Hardy explains how time is measured differently throughout the heath, because there are several

differing sources of it: the Quiet Woman inn, Blooms End and Grandfer Cantles watch. The mummers thus arrive to rehearsal on a relaxed and varied schedule. Eustacia slips in carefully, and

tells them her planned lie about being Clym's cousin.

She had quickly memorized his part, and the other mummers are pleased with her performance.

After they finish, they head together towards the Vye residence. They notice that the partygoers

are still dancing, and so wait outside until it is appropriate for them to enter. As they wait, Eustacia

asks the other mummers why the Yeobrights hold such large parties, and they explain that the

parties are meant to involve the whole community. While she talks, the mummers realize who she

is, but promise they will keep her secret.

Finally, they are able to force their way into the cottage and perform the play. Eustacia performs

well, and retains her dignity by playing her death scene slowly and gradually, rather than as a

sudden, dramatic collapse. As she lies on the floor, pretending to be dead, she looks around for

Clym.

Chapter 6 - The Two Stand Face to Face

As Eustacia sees Clym, Hardy describes him for the first time. His intellectual ruminations stands

at odds to his physical attractiveness, and it is hinted that his scholarly nature could diminish his

physical beauty.

Eustacia keeps her disguise on, though it prohibits her from eating at the party. She does, however,

accept Clyms offer of elder wine. She is, as she expected, captivated by him. However, Hardy adds that this passion was partially pre-decided, and derived from her desire to replace her waning

passion for Wildeve.

Eustacia overhears Clym talking with Thomasin, who is avoiding the party, and realizes that he

knows nothing about her situation with Wildeve. Eustacia grows jealous of Thomasin, and the

latter's proximity to Clym. Absorbed in a tumult of emotions, she walks outside, and Clym follows

her. He asks whether she is actually a woman, and why she has taken the mummers part. She explains that she engineered to ruse to bring herself some excitement.

Eustacia remembers that she was supposed to meet Wildeve that evening an arrangement she herself set up. Realizing that Thomasin now stands as potential rival for Clym, she considers that

she could manipulate Wildeve to her advantage.

Chapter 7 A Coalition between Beauty and Oddness

The next day, Captain Vye asks Eustacia what kept her out so late, and she confesses that she acted

in the mummer's play. She then walks along the heath, where she meets Diggory, and decides to

use him to help secure a marriage between Wildeve and Thomasin. Diggory tells her that he saw

Wildeve awaiting her the night before, and then promises to carry a letter to him from Eustacia, in

which she will tell him to marry Thomasin.

Diggory has mixed emotions about the plan. He wants to marry Thomasin himself, but if she does

not want him, he is resolved to facilitate her happiness. Venn takes Eustacia's letter to Wildeve,

who tells him that Mrs. Yeobright had promised to let Thomasin marry the reddleman. Diggory

does not trust Wildeve, so he decides to confront Mrs. Yeobright himself about the possibility.

However, as he arrives at the Yeobright house, Wildeve exits, having just claimed Thomasin's

hand for himself.

Chapter 8 Firmness is Discovered in a Gentle Heart

The perspective shifts to Thomasin, who has just agreed to marry Wildeve two days later. Clym

had recently heard the rumors about his cousin's shame, but had left on a short journey to visit

friends. Thomasin hopes to be married by the time he returns, to save him further concern.

Mrs. Yeobright tells her that Diggory had also arrived to ask for her hand, but that she had told

him he was too late.

The women prepare for the wedding. Thomasin styles her hair in an elaborate seven-stranded braid,

and wears the blue silk dress she had set aside for the occasion. Mrs. Yeobright promises she has

forgiven Wildeve, and then throws a slipper at Thomasin in observance of an old superstition.

Thomasin then leaves alone for the church in an adjoining parish for the ceremony, insisting her

aunt should not accompany her.

Clym returns, concerned that he was never told of the situation with Thomasin. Diggory arrives to

tell them that the ceremony has now been completed. He also tells them that Eustacia, who

happened to be nearby when the ceremony took place, was the one who gave Thomasin away.

Clym is not familiar with Eustacia. He asks his mother about her. Mrs Yeobright clearly does not

like Eustacia. She describes her as proud, but dismisses the rumor that Eustacia is a witch.

Analysis

Eustacia, described in the first book as a passionate girl in search of a place to direct that passion,

finds one in Clym, although it is in less in him than in her idea of him. From the first mention she

hears, she equates him with Paris, which she considers the epitome of culture, civilization, and

fashion. The fact that the laborers consider her in his league seems to stroke her ego by stressing

her distinctness from everyone else on the heath. There is certainly an irony in how she takes their

assessment as accurate while instinctively considering them below her, but she is not a position to

consider such irony, as she is so desperate for passion and escape.

Hardy, who was always interested in the workings of fate and tragedy, begins to establish the

presence of these forces in the burgeoning relationship between Eustacia and Clym. When she

initially walks to Blooms-End to spy on him, there is some significant foreshadowing of their later

difficulties. For instance, Clym is flanked by his sister and his cousin, which symbolizes the

attachments Eustacia will later resent to the point of her destruction. Further, his comment about

the heath confuses her - she does not understand how he could appreciate its roughness. However,

her ideas of him are already so well-founded that she ignores this facet of his personality. She will

continue to ignore it, which will cause her significant trouble later.

Eustacias dream is highly symbolic, in that the knights identity is not revealed. Later in the story, we realize that the knight is not Clym, but Eustacia herself. It suggests that Eustacia loves the ideal

of love, not the individuals whom she believes she loves. When she pursues and achieves the role

of the Turkish knight, it symbolizes her willfulness and perseverance, but also her perpetual

seclusion from others. The scheme reveals her need to be in control - she will learn about Clym

without making herself vulnerable, but this type of seclusion and emotional defense has emotional

consequences. Nobody ever lives up to her expectations - and this will certainly be true of Clym -

and so she is forced to turn always to herself for solace.

In fact, Eustacia lacks much perspective on herself, ironic because she is so precise in her schemes

that concern others. Because she is so independent, she does not realize her connection or duty to

anyone else. When she grows jealous of Thomasin, she does not consider her emotions, but instead

schemes to unite Thomasin and Wildeve, not recognizing that she herself was the primary obstacle

towards that union in the first place. This blindness is a large part of what leaves Eustacia alone

later, and leads her to her tragic end.

Eustacia's use of the disguise to meet Clym also serves as an allusion to Romeo and Juliet's first

encounter in Shakespeare's play. The allusion is profound, especially because at that point

in Romeo and Juliet, Romeo is pining for the loss of a lover, whose memory is quickly banished

in favor the young Juliet. Similarly, Wildeve is swiftly obliterated from Eustacias thoughts once she has contact with Clym, so much so she forgets their meeting which she had engineered.

Thomasin remains a personification of innocence in this book. When she and her aunt prepare for

Clym's arrival, Hardy uses much imagery to stress that innocence. The way she gathers apples

from the loft is a particularly strong example of this imagery. She is so innocent that she cannot

fathom the possibility of telling Clym about her situation. Even though it is highly unlikely that he

would not learn the rumors in such a small community, she is unable to confront the truth of her

situation; it is too far divorced from the simplicity of the life she lives and wants.

Venn's chivalry stands in stark contrast to Wildeve's self-interested machinations. However, fate

does not necessarily favor virtue, as we see when he loses Thomasin, in large part simply because

Wildeve arrives at the house first. Thomasin's impulse in marrying Wildeve no longer derives from

great affection for him, but rather from a desire to avoid subjecting Clym to any shame on her part.

Therefore, she would likely have made the practical decision to marry Diggory had he arrived first.

She is most aware of the pressures placed on a woman.

Hardy's ability for plot is also apparent here. For instance, he establishes Charley's affection for

Eustacia quite efficiently, and this will prove an important detail later in the story. His love is a

steady one, the type of love Eustacia dislikes, though it will prove valuable to her later.

Finally, Hardy continues to explore the conflict between the old world of the heath and the modern

world of education. His description of Clym poses a dichotomy between physical beauty and

intellectualism. He suggests that Clym will lose his rugged and natural good looks if he chooses

to live a life of study and academics. We cannot have both aspects. However, he does not blindly

sing the praises of tradition either. Instead, he discusses the mummer play as an instance of a

custom that has lost its emotional power, but persists nevertheless. Likewise, he continues to

express an ambivalence about religion. While the lack of churchgoing in Egdon is not attacked in

itself, it is implied that this lack of Christian faith leads to a prevailing superstition. Considering

that these superstitions will play a part in the novel's tragic end, it is possible to think Hardy is not

fully in support of such ancient belief systems.

One tradition Hardy describes in great detail is that of marriage. Thomasin decides to wear a blue

silk dress, the color of which denotes true love from the other party. Wildeve may exhibit true

love, but Thomasin is not the recipient of it. Thomasin chooses to braid her hair elaborately, to

show that she is committed to making it a special day. The tradition of throwing a shoe is a

precursor to the contemporary tradition of tying shoes to the car of a wedded couple. It might refer

to the ancient tradition of a bride being carried off, which indicates that the bride is not taken

without a fight. This interpretation certainly conforms to Thomasin's case, since her aunt originally

opposed the wedding. It is sad that this tradition is followed through before Thomasin has met up

with her groom. This implies that she is given up by her aunt, but not truly taken on by her new

husband.

The tradition of giving a bride away occurs perversely in this case. When Eustacia stands in that

position, it suggests a power struggle between her and Wildeve. In many ways, he marries

Thomasin to maintain some dignity and ego after being rejected by Eustacia, but she arrives and

shows herself unconcerned with his decision. Again, Eustacia is only aware of her own desires, to

the point that she does not consider the sacredness of the occasion.

Book Third: The Fascination

Summary

Chapter 1 My Mind to Me a Kingdom Is

Hardy gives a more comprehensive description of Clym Yeobright. His physical appearance

reflects what Hardy believes will be the common aspect of the future. Hardy believes that along

with education, man's physical beauty - in the classical sense - will be phased out. He further

believes this will eventually happen to women, too.

From his early years, Clym inspired great hopes from his family and community. After his father's

death, a gentleman in Budmouth supported Clym by offering the young man an apprenticeship.

Clym then went to London, then Paris, as his career blossomed.

On the Sunday after Thomasins marriage, Clym joins the Egdon men in the traditional Sunday hair cutting session, in which Fairway cuts hair while the men gossip. Clym reveals to the locals

that he has become disenchanted with his life abroad. He says that he has returned to start a school

close to Egdon. The locals are skeptical of his plan.

Chapter 2 The New Course Causes Disappointment

As Hardy explains, Clym is keen to serve his community, but his educational philosophies are

ahead of their time. He is hoping to educate a long-established community that is not yet ripe for

change.

Clym tells Mrs. Yeobright of his plan, but she disapproves of it as a step backwards. She wants

more for him. He insists that his definition of success is far different from her own.

Their discussion is interrupted by Christian Cantle, who recounts the morning's dramatic events.

He had attended church a rare occurrence and witnessed Susan Nunsuchstabbing Eustacia Vye in the arm with a stocking needle. Susan believes that Eustacia is a witch who had bewitched her

children, and this was Susan's attempt to stop the evil process. Clym is concerned to hear that Miss

Vye fainted as a result of the attack.

Clym and Mrs. Yeobright continue their discussion. She understands his altruistic motives, but

believes his life experiences require him to move forward, not backwards, in life. They discuss

Eustacia, and Mrs. Yeobright reacts negatively to Clyms questions, saying that a good person would not find herself accused of such dark ideas as witchcraft.

Clyms first interest in Eustacia is cerebral; he wonders if she might be interested in teaching. He then begins to wonder whether she was the woman who dressed as the Turkish knight in the

mummer's play.

Chapter 3 The First Act in a Timeworn Drama

Clym is intrigued to finally meet Eustacia. One day, he encounters some locals who are working

to recover a bucket that had fallen down Captain Vye's well. Though they are able to retrieve the

bucket, the well-tacke is removed in the process, meaning the well will not keep water.

Clym offers to bring water to Eustacia for that night, as she refuses to drink from the pool by the

house. They talk of the events at church, and she admits her bewilderment over such superstitions.

Clym asks her if she would like to teach with him. Her response that she sometimes hates the locals makes it clear she wants no part in this plan.

They discuss the heath. Eustacia admits that she hates it, except for when it is flowering. Clym

counters that he would rather be on the heath than anywhere else in the world.

Despite Eustacia's rejection of the idea, Clym is further inspired towards his teaching plan because

of her presence. Mrs. Yeobright is concerned to observe how Eustacia has affected Clym. She is

further upset when Clym gives Eustacia a charnel pot, an artifact found in a dig of the ancient

barrow, that was originally intended for Mrs. Yeobright. Angry, she calls Clym's scheme for the

school, and his attraction to Eustacia, foolish.

Chapter 4 - An Hour of Bliss and Many Hours of Sadness

The narrative jumps forward three months, during which time Clym and Eustacia have developed

a love affair. On the night of a lunar eclipse, they rendezvous outside. She is passionate and excited

to be with him. Clym admits he loves her, but that his mother disapproves. He proposes marriage

nevertheless. She asks for time to think on the proposal, and then asks him to talk to her of Paris.

He dislikes the subject and tries to discuss their future, but she is persistent in her request. Finally,

she promises to marry him if he promises that they can return to Paris.

Clym subtly suggests that it is only the possibility of Paris that attracts Eustacia to him. She denies

his claim, and insists she would gladly spend her days in a hermitage, so long as they were together.

Clym realizes that both his mother and Eustacia want him to return to Paris. He is aware of the

challenge that will come in trying to please the three primary people in his life: his mother, his

wife-to-be, and himself.

Chapter 5 Sharp Words are Spoken and a Crisis Ensues

Mrs. Yeobright is unhappy to hear from the gossips at the Quiet Woman Inn that Clym and

Eustacia are to be married. She confronts him, and he explains his plan to "instil high knowledge

in to empty minds" (160). They have an emotional argument, and Clym leaves the house.

He had intended to broker a meeting between Mrs. Yeobright and Eustacia in an attempt to

improve their relationship. Instead, Clym meets Eustacia and repeats his proposal, promising they

will live in a small cottage on the heath for only six months, after which time they will move to

Budmouth to start a school. Eustacia agrees. As she leaves him, he reflects on how he no longer

sees her as a goddess but as an actual woman for whose welfare he is now responsible.

Chapter 6 Yeobright Goes and the Breach is Complete

Clym officially leaves his mothers house on the next morning, a wet June day. He has found an empty cottage on the heath, where he will live alone until he and Eustacia are married. The

wedding day is set for June 25th. Mrs. Yeobright tell him she will not likely attend.

After Clym leaves, Mrs. Yeobright sits alone. Thomasin arrives, to ask her aunt for money. She

does not want Wildeve to know of the request, however. He does not allow her much money, and

she is afraid to broach the subject with him. Mrs. Yeobright is not pleased with what this suggests

about their marriage, but she tells Thomasin how she has saved 100 guineas, 50 for Thomasin and

50 for Clym. However, she insists Thomasin discuss the subject with Wildeve before accepting

the money.

Meanwhile, Wildeve hears of Eustacias impending nuptuals. He finds that his old feelings for her are somewhat rekindled.

Chapter 7 The Morning and Evening of a Day

Clym and Eustacias wedding day arrives. Mrs. Yeobright does not attend. Instead, she waits at home for Thomasin, who has written to ask for money again. Wildeve arrives, having been sent

by Thomasin to fetch the gift. Mrs. Yeobright correctly intuits that Thomasin has not told him

what he is fetching, and so she refuses to give it to him. He is annoyed but suspicious, and leaves.

Mrs. Yeobright contemplates her decision not to hand over the guineas. She decides that she will

ask Christian Cantle to bring the money to Thomasin and Clym his will serve as a wedding gift. Christian is told not hand the guineas to anyone other than to Thomasin or Clym.

Christian sets off on his mission, but is diverted by a raffle for a gown-piece, decided through dice.

He wins the piece, but is captivated by the power of the dice. He admits to Wildeve, who is also

there, that he holds a significant sum of money from Mrs. Yeobright, intended for Thomasin.

Christian is too simple to consider that Thomasin's husband is meant to be kept oblivious. Wildeve

is angry that his mother-in-law would trust Christian, but not him. From the

shadows, Diggory overhears their conversation.

Wildeve challenges Cantle to play dice with the money, arguing that even if he wins, the money

will still be in the hands of the proper family. Christian quickly loses Thomasin's fifty guineas, and

plays on with Clym's share. Just as he loses everything, Diggory enters from the shadows.

Chapter 8 A New Force Disturbs the Current

Diggory Venn challenges Wildeve to play on, having won all the money in Christian's possession.

After a tense match, Venn wins all the money. As he gathers it up, a carriage passes, bring Eustacia

and Clym from their wedding to their cottage.

Diggory gives all of the guineas to Thomasin, not knowing that half of them were intended for

Clym. Hardy prophecies that this innocent error will have significant consequences.

Analysis

In this third book, the forces that will engender a tragic end are established. These forces

particularly reside in Clym's ambition, which will be at odds with the ambition of the woman he

loves. The tragedy will result from an irreconcilable truth: he and Eustacia love one another

because of their personalities and desires, and yet those personalities and desires are not

compatible.

This facet is communicated through the title of the book's first chapter - "My Mind to Me a

Kingdom Is" - which is taken from a sixteenth century poem by Sir Edward Dyer. The poem

celebrates the depth of the human mind, its vastness in terms of imagination and refuge for the

human spirit. However, the allusion is used ironically, since Clym cannot see beyond his own mind

in terms of his place in the world. He has had great success and opportunity abroad, and wishes

now to educate the people of Egdon in what he deems important for their development. However,

the reader knows from their discussion near the bonfire in Book 1 that this is a foolish and

impossible plan. They are not only uninterested in such education, but also contemptuous of it.

Clym, a native of the heath, should know this, but he is deluded by his enlightenment, rather than

made wise by it. This plan is one of the many factors that lead to a tragic end.

Clyms ascendancy can be compared to that of Charles Dickenss character Pip, from the 1860 novel Great Expectations. Although Clym was not an orphan, he had been removed outside his

surroundings in a effort to improve his prospects, and he is both improved and compromised by

this greater education. Clym eventually sees his life