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Passages from Tess of the d'Urbervilles

Pages from Tess of the d'Urbervilles that stand on their own, chosen for how they read today. The text is in the public domain.

The moment when the boundaries between sight, sound, and emotion collapse.

Tess was conscious of neither time nor space. The exaltation which she had described as being producible at will by gazing at a star came now without any determination of hers; she undulated upon the thin notes of the second-hand harp, and their harmonies passed like breezes through her, bringing tears into her eyes. The floating pollen seemed to be his notes made visible, and the dampness of the garden the weeping of the garden’s sensibility. Though near nightfall, the rank-smelling weed-flowers glowed as if they would not close for intentness, and the waves of colour mixed with the waves of sound.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The cold, solitary realization that a desperate life has reached its end.

At sight of her father’s chimney she asked herself how she could possibly enter the house? Inside that cottage her relations were calmly supposing her far away on a wedding-tour with a comparatively rich man, who was to conduct her to bouncing prosperity; while here she was, friendless, creeping up to the old door quite by herself, with no better place to go to in the world.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The physical remnants of a people's history, stripped bare by time and indifference.

Within the window under which the bedstead stood were the tombs of the family, covering in their dates several centuries. They were canopied, altar-shaped, and plain; their carvings being defaced and broken; their brasses torn from the matrices, the rivet-holes remaining like martin-holes in a sandcliff. Of all the reminders that she had ever received that her people were socially extinct, there was none so forcible as this spoliation.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The quiet power of a face shedding all the scars of suffering.

Her figure looked singularly tall and imposing as she stood in her long white nightgown, a thick cable of twisted dark hair hanging straight down her back to her waist. The kindly dimness of the weak candle abstracted from her form and features the little blemishes which sunlight might have revealed—the stubble scratches upon her wrists, and the weariness of her eyes—her high enthusiasm having a transfiguring effect upon the face which had been her undoing, showing it as a thing of immaculate beauty, with a touch of dignity which was almost regal. The little ones kneeling round, their sleepy eyes blinking and red, awaited her preparations full of a suspended wonder which their physical heaviness at that hour would not allow to become active.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The intimate moment when the deepest spiritual beauty becomes purely physical.

She had not heard him enter, and hardly realized his presence there. She was yawning, and he saw the red interior of her mouth as if it had been a snake’s. She had stretched one arm so high above her coiled-up cable of hair that he could see its satin delicacy above the sunburn; her face was flushed with sleep, and her eyelids hung heavy over their pupils. The brim-fulness of her nature breathed from her. It was a moment when a woman’s soul is more incarnate than at any other time; when the most spiritual beauty bespeaks itself flesh; and sex takes the outside place in the presentation.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

When the world becomes a living, transforming canvas of ice and growth.

There had not been such a winter for years. It came on in stealthy and measured glides, like the moves of a chess-player. One morning the few lonely trees and the thorns of the hedgerows appeared as if they had put off a vegetable for an animal integument. Every twig was covered with a white nap as of fur grown from the rind during the night, giving it four times its usual stoutness; the whole bush or tree forming a staring sketch in white lines on the mournful gray of the sky and horizon.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The shocking collision of natural cycles and sudden, bloody violence.

Directly the assuring and prosaic light of the world’s active hours had grown strong, she crept from under her hillock of leaves, and looked around boldly. Then she perceived what had been going on to disturb her. The plantation wherein she had taken shelter ran down at this spot into a peak, which ended it hitherward, outside the hedge being arable ground. Under the trees several pheasants lay about, their rich plumage dabbled with blood; some were dead, some feebly twitching a wing, some staring up at the sky, some pulsating quickly, some contorted, some stretched out—all of them writhing in agony, except the fortunate ones whose tortures had ended during the night by the inability of nature to bear more.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

When the intrusion of the modern world feels both alien and unnerving.

They crept along towards a point in the expanse of shade just at hand at which a feeble light was beginning to assert its presence, a spot where, by day, a fitful white streak of steam at intervals upon the dark green background denoted intermittent moments of contact between their secluded world and modern life. Modern life stretched out its steam feeler to this point three or four times a day, touched the native existences, and quickly withdrew its feeler again, as if what it touched had been uncongenial.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

The feeling of absolute loneliness in a season of deep melancholy.

Tess did not look after him, but slowly wound along the crooked lane. It was still early, and though the sun’s lower limb was just free of the hill, his rays, ungenial and peering, addressed the eye rather than the touch as yet. There was not a human soul near. Sad October and her sadder self seemed the only two existences haunting that lane.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

A radical redefinition of what truly constitutes a meaningful life.

During this time of absence he had mentally aged a dozen years. What arrested him now as of value in life was less its beauty than its pathos. Having long discredited the old systems of mysticism, he now began to discredit the old appraisements of morality. He thought they wanted readjusting. Who was the moral man? Still more pertinently, who was the moral woman? The beauty or ugliness of a character lay not only in its achievements, but in its aims and impulses; its true history lay, not among things done, but among things willed.
— Tess of the d'Urbervilles, Thomas Hardy (1892)

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