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Thomas HardyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Hardy establishes Egdon Heath as the setting. It is based upon Wessex, England, where he grew up. Wild and uncivilized, filled with rounds, hollows, thorns, moss, stumps, barrows, and furze, one can barely penetrate it except by following the road cutting through it. Untouched by the vicissitudes of life experienced by the villages, the people, and even the natural elements of field and river, Egdon Heath remains the same. The heath takes on a vitality of its own and becomes a character in the story, an animated but desolate expanse of terrain challenging its occupants, which Hardy calls “a face upon which time makes but little impression” (9).
An old man walks down the road, supported by his walking stick. A man of substance and authority, he might be a naval officer. He peers ahead and sees a peculiarly lurid red van. The driver, who walks beside the van, is himself red from top to toe, a “reddleman” who supplies reddle, a red ochre, used by farmers to mark their sheep. The narrator describes him as a “nearly perished link between obsolete forms of life and those which generally prevail” (13). Venn is young, well dressed in corduroy, fit in figure, and with “a certain well-to-do air” (14) that causes one to wonder why he has chosen this occupation.
The old man looks in the van and sees a woman inside. He asks if she might be the girl from Blooms-End about whom there is gossip. Venn does not wish to discuss it; he says he will end the conversation and rest for the night. The old man walks on. As Venn looks out into the darkness, he sees the figure of a woman illuminated against the sky. On top of a barrow, she stands out among the many people gathered there that evening. She captures Venn’s attention and imagination as she vanishes into the darkness.
A group of boys and men form sticks into a pyramid and set it alight, creating an immense bonfire. This is happening in parishes and hamlets throughout the region as part of an annual ceremony held on November 5, celebrating the Gunpowder Plot of 1605, when Guy Fawkes attempted to blow up Parliament and kill the king for suppression of Roman Catholics in England. The celebration’s origin is long forgotten, but the practice of lighting a fire to rebel against winter is now custom.
Locals are drawn to the bonfire: Master Fairway the turf cutter; Humphrey the furze cutter; old Olly Dowden; Susan Nunsuch, who believes in witches; and Granfer Cantle and his unmarried 31-year-old son, Christian, who is destined to a sad life because he was born at the dark of the moon. As their fire wanes, they observe a fire at the captain’s house at Mistover, so bright it seems near though far away.
The jovial group dances and sings. The conversation turns to the young couple who were supposed to be married at the church before Mrs. Yeobright, the aunt of the bride, forbade it. Her niece, Tamsin Yeobright, was marrying Wildeve, an engineer by education but the proprietor of the Quiet Woman inn by trade, a profession beneath him. They eloped in defiance of the aunt. The locals talk of gathering at the Quiet Woman after the bonfire to sing to the newly married couple and lament Tamsin didn’t wait for her cousin, Clym Yeobright, to return from Paris.
Venn approaches the fire to ask for directions. The sight of him, all red, frightens them, reminding them of a death’s head or devil. Soon after he leaves, a widow with a superior air comes to the fire. She announces she is crossing the heath to greet her niece in her new home. They say they are going to sing to them but will cut through the furze rather than follow the road.
Mrs. Yeobright and Olly leave the group and start down the road, discussing Tamsin’s marriage to Wildeve. Olly raises the issue of Wildeve’s worthiness, marked down from an engineer to an innkeeper, but Mrs. Yeobright expresses her acceptance of Tamsin’s wishes. They part with a reminder from Olly that Wildeve owes her husband a bottle of wine for the marriage. Mrs. Yeobright, about to enter the inn, recognizes Venn as Diggory Venn, son of a dairyman. He informs her that her niece is not inside with her new husband but rather in his van. Mrs. Yeobright looks in the van and sees the sleeping Thomasin, who awakens, begins to sob, and asks where she is. She says she will walk to the inn and asks Venn to stop the horses. Mrs. Yeobright asks Venn why he left his father’s business of dairy farming, and he replies, “Well, I did” (42). He departs, and Mrs. Yeobright sternly asks Thomasin for an explanation.
Thomasin explains there was a problem with the license, and they could not be married that day. She felt ill, decided to come back alone, and asked Venn to help her. They go inside the inn and find Wildeve there, an attractive young man, especially to women. Wildeve explains the mix-up with the marriage license and confirms his intention to marry Thomasin. The group from the bonfire arrives at the inn, and Wildeve goes out to greet them and gives them mead without telling them about the failed wedding. Granfer Cantle tells stories of Mr. Yeobright, his dexterity as a musician, their respect for him in the community, his falling ill, never recovering, and dying.
The bonfire still burning at Captain Drew’s shows through the open window. All the rest of the bonfires have burned out, and they attribute its burning to his dark-eyed, haughty granddaughter, whom some consider a witch. When the group leaves, Wildeve spies a bottle of wine on the mantel and remembers Olly’s husband. On the way to deliver the bottle, he looks up, sees the bonfire still burning, and murmurs, “Still waiting, are you, my lady!” (53). He leaves the bottle on a table in the dark Dowden cottage and, instead of turning toward home, turns toward the bonfire.
The bonfire continues to burn brightly at Blackbarrow, revealing the woman Venn saw earlier against the sky. She has a telescope in her hand, turned toward the inn. A boy, Johnny, feeds the fire. An old man, her grandfather, who walked with Venn in the afternoon, approaches the fire. We finally learn the woman’s name: Eustacia. The grandfather laments using so much fuel, and she says it’s for Johnny, revealing her manipulative method with men as she tempts the young boy with the promise of a crooked sixpence.
Eustacia sends the boy away when he hears the noise of something falling in the pond, a hop-frog, a sign of rain. A second splash in the pond indicates a signal. Wildeve is there. Eustacia arranged this assignation with the bonfire, the anniversary of a meeting a year before on November 5. She already knows from her grandfather the marriage did not take place. Her grandfather learned about it earlier in the day on his walk. Wildeve, drawn by the bonfire, declares he came again, even though he meant to cut it off. She has shown her power. Wildeve has come meet to her. Although she refuses to allow him to kiss or even shake her hand, Eustacia loves him.
Eustacia Vye, with flowing raven hair and mysterious pagan air, is out of place in Egdon Heath. The untimely death of her father, a bandmaster in Budmouth, led to her refuge in her grandfather’s home in Egdon Heath. Her greatest desire is “to be loved to madness” (69). Fidelity for its own sake means nothing to her. She has no illusions about marriage or Wildeve. She idealizes Wildeve for want of anyone better.
Johnny Nunsuch, the boy who fed the bonfire, departs for his home. Frightened by the thorn bushes, imagining them to be full of madmen, giants, and cripples, he circles back to ask Eustacia to accompany him. He encounters two people, hides under a bank, overhears the conversation, and decides not to interrupt. He encounters a red van parked in a pit. He looks in and sees Venn darning a stocking. Venn hears the horses and leaves the van. Johnny tells him he is coming home from Miss Vye’s bonfire.
The boy has injured his hand, and Venn binds the wound. When Johnny becomes dizzy, he invites him to sit. Johnny asks if Venn will carry him away in one of his bags, and he replies that all reddlemen do is sell reddle. When Johnny asks if he was born that way, he replies that he could be white in six months. Venn comments that he observed the fire, and Johnny says he left when a frog jumped in the pond. Venn says frogs don’t jump at this time of year. The boy tells him about the conversation between Eustacia and the man, that the man didn’t marry the other woman, that he likes Eustacia best, and that he will come to see her at Blackbarrow again.
Venn, hearing the secret, slaps his hand against the van so hard that it scares Johnny. He asks how Eustacia responded, but the boy says he “can’t mind” (76) and wants to go home. Venn leads him out of the pit and toward the road home.
Superstitions surround reddlemen, who are suspected of being criminals. Mothers scare their children by saying Venn is coming for them. Venn lives like a gypsy but scorns gypsies and is “more decently born and brought up” than cattle-drovers or peddlers (77). He feels sadness as he darns the stocking, recalls his trip that afternoon, takes out a brown paper packet from his leather pouch, and reads a letter from Thomasin Yeobright in which she respectfully tells him why she cannot marry him, even though she places him in a category with her cousin Clym. Her aunt wants her to marry a professional man.
Until this day, Venn had not seen Thomasin since the arrival of the letter. He assumes from Johnny’s report that Wildeve didn’t go through with the marriage because of Eustacia. For the next five nights, he goes back to the same spot to see if they meet. One week after the bonfire assignation, he sees the outline of a female figure and a man and creeps along to get close enough to overhear their conversation.
Wildeve says he must marry Thomasin to save her reputation and claims the license was the reason the marriage didn’t take place. Eustacia asks whether she is the reason they didn’t marry. She asks if he loves her, and he cites her faults—too tall, too do-nothing, and too melancholy. Eustacia resumes her walk, and he follows. She tells him he will love her all his life. Wildeve asks if she will go with him to America. She says she needs time. They walk on. Venn decides to go see Eustacia for the sake of “My Tamsie” (85).
The next morning, Venn man traverses the heath toward Captain Drew’s cottage, at a social disadvantage to call on the gentleman. Drew recognizes him as his companion on the road and invites him inside. Eustacia is still asleep, so he goes outside to wait for her. When she appears, she assesses him and asks him to walk with her. Venn tells her Wildeve might not marry Thomasin, and Eustacia is the only person who can change that.
When Eustacia protests she doesn’t know Wildeve, Venn tells her he overheard her meeting with Wildeve the night before by Blackbarrow. Venn man pleads the case for Thomasin, but Eustacia states she will not be displaced by an inferior woman. Wildeve was hers first. Venn offers her an alternative. He knows she considers Egdon Heath a jail. He can get her a job in Budmouth as a companion to a lady. Eustacia spurns his offer. Venn leaves. Now Eustacia wants Wildeve more than ever. Gossip does not frighten her.
Venn, despondent because Eustacia is so determined to pursue Wildeve, sees Mrs. Yeobright walking toward the Quiet Woman. He senses her anxiety over Thomasin’s marriage, and he decides to tell her that he proposed to Thomasin offering himself as an alternative. Mrs. Yeobright confirms Thomasin was correct in rejecting him, but it gives her an idea for her confrontation with Wildeve. She tells him Thomasin has another proposal but refuses to name the suitor. Mrs. Yeobright presses him to do the right thing toward her family. Wildeve says he is willing to give Thomasin up and will give his decision about the marriage in a couple days. The conversation sends him back to Eustacia’s home that evening. He tells her Thomasin has another offer and asks Eustacia to come away with him. She says she needs more time to consider and wonders if she was only interested in Wildeve because he belonged to someone else. She thinks, “What was a man worth who a woman inferior to herself did not value?” (99). She acknowledges that recognizing Wildeve’s mediocrity is an admission of her folly in wanting him. She agrees to give Wildeve an answer “Monday week,” but her passion for him now fades. Her grandfather comes home with an alternative: Clym Yeobright will return home from Paris for Christmas.
Hardy chose Wessex, where he grew up in England, as the setting for The Return of the Native. Egdon Heath—an uncivilized and “vast tract of unenclosed wild” (9)—pervades the whole first chapter and becomes a character itself. Hardy personifies it by giving it a face, albeit a face unmoved by the people and the events that occur there. Nothing alters this face, which could “retard the dawn, sadden noon, anticipate the frowning of storms scarcely generated, and intensify the opacity of a moonless midnight to a cause of shaking and dread” (9). Hardy fills the atmosphere with apprehension and negativity with this deliberate choice of words: retard, sadden, frowning, shaking, dread.
One anticipates that this will be the setting for tragedy. The opening scenes occur in November, just one month before the harshest month of winter and twilight, between late afternoon and evening, just before the darkness falls. Fruit and flowers do not flourish here. It remains untouched by pickaxe, plow, or spade, filled with rounds, hollows, thorns, moss, stumps, barrows, and furze.
A road cuts through it, an aged highway the characters in this novel traverse many times, a road with which we become very familiar as we move from place to place. Egdon Heath is untouched by time: the “great inviolate place had an ancient permanence which the sea cannon claim” (12). Yet time touches the characters whose lives unfold here. The Heath reflects man’s nature. Hardy writes of it:
Neither ghastly, hateful, nor ugly: neither common place unmeaning, nor tame; but like man, slighted and enduring; and withal singularly colossal and mysterious in its swarthy monotony. As with some persons who have long lived apart, solitude seemed to look out of its countenance. It had a lonely face, suggesting tragical possibilities” (9).
Egdon Heath fills readers with foreboding. With November as the time of year and twilight as the time of day, Hardy creates a dark and dreary mood marked by apprehension.
The date, November 5, Guy Fawkes Day, is celebrated with bonfires to delay the coming of winter. As the fires are lighted and attended throughout the heath, the lives of the villagers unfold.
Part 1 is titled “The Three Women,” and Hardy introduces these women in the second chapter. The first, Thomasin Yeobright, sleeps in Venn’s van. Venn supplies reddle to sheep farmers, and he is a “nearly perished link between obsolete forms of life and those which generally prevail” (13). This particular reddleman seems out of place in his chosen vocation, for he has “a certain well-to-do air” (14), foreshadowing his attentiveness to the occupant of his van.
Thomasin, it turns out, is a subject of gossip in the village, and the old man picks up on it when he asks if she is from Blooms-End. Venn, quick to protect her, terminates the conversation. Although the narrator has yet to tell the reader the nature of Thomasin’s problems, we know Venn will be somehow involved.
When Venn looks up and sees the figure of a woman illuminated against the sky, Hardy introduces the second woman, Eustacia Vye, the granddaughter of the old captain on the road. He tells her Thomasin did not marry Wildeve on the designated date. This leads her to burn an especially bright bonfire, one fed by timber rather than furze, to send a message to Wildeve to return to her. Haughty, antisocial, beautiful, and admired, with the aura of a goddess and the attitude of royalty, she rules over Blackbarrow from her grandfather’s cottage. She wants Wildeve, who is beneath her, only when she can’t have him. She will lure him back.
The third woman, Mrs. Yeobright, aunt of Thomasin, opposed the marriage to Wildeve but accepted it as complete when the couple eloped. Class as a theme emerges with the introduction of the three women. All three rank in a class above the Wildeve, an engineer by profession reduced to an innkeeper. Thomasin stoops to marry beneath herself. Eustacia stoops when she passionately, madly loves Wildeve because she thinks she can’t have him. Mrs. Yeobright stoops when she accepts Thomasin’s marriage to Wildeve. Olly, on her walk to the Quiet Woman with Mrs. Yeobright, brings up Clym, Thomasin’s cousin, as more appropriate for her, foreshadowing him as the right man for all the women involved.
The three women also outrank the members of the community who dance and sing to celebrate their bonfire, and who then gather at the Quiet Woman, assuming the married couple has returned. Readers become aware of their lower class through their dialect, their stories, their songs, their commentary, and their superstition. They provide an essential cast of characters as the novel unfolds: Susan Nunsuch, who considers Eustacia a witch; Humphrey, the furze cutter who helps Thomasin’s cousin, Clym, learn a new vocation; and Olly Dowden, whose sick husband’s expectation for a bottle of wine after the marriage leads Wildeve to deliver it and then see Eustacia’s beckoning bonfire.
The bonfires themselves reflect the class separation. The furze fires burn out, leaving only embers, but the fire at the captain’s cottage, fueled by timber and the attentive Johnny, continues to light up the sky and beckon Wildeve.
Venn links the classes together. The letter from Thomasin rejects him for his vocation. When he goes to Eustacia to request that she free Wildeve to marry Thomasin, she tells him Thomasin is beneath her and that she “will not be beaten down by an inferior woman like her” (90). Venn attempts to lure Eustacia away from the heath with the promise of work in Budmouth, the city where Eustacia was raised and where she longs to be, tempting her with the gay life she would lead and the gentleman she would marry. She responds: “What can a poor man like you offer me indeed?” (92).
Chance dominates these early chapters. It is by chance that the old man meets Venn on the road and inquires about the occupant of his van. He then tells Eustacia the marriage did not take place, leading her to stoke up the bonfire to lure Wildeve back. By chance, Thomasin and Wildeve had a marriage license for Budmouth but went instead to Southerton. By chance, Wildeve sees the wine bottle on the mantel, takes it to Olly’s husband, and sees Eustacia’s bonfire. By chance, Johnny comes back to ask Eustacia to walk him home and overhears her conversation with Wildeve. By chance, Johnny stops at Venn’s van and tells him what he heard.
The “aged highway” moves the plot forward. It traverses the lower levels of the heath, and on the evening of November 5, “though the gloom had increased sufficiently to confuse the minor features of the heath, the white surface of the road remained almost as clear as ever” (12). The captain encounters Venn on the road and looks in his van to see a woman. Venn looks up from the road to see a woman’s figure against the sky. He stops by the fire of the locals to ask if there is a cart track to Blooms-End as he takes Thomasin home. Mrs. Yeobright and Olly walk down the road to the Quiet Woman. Venn encounters Mrs. Yeobright on the road. Thomasin chooses to leave and walk the road rather than be carried. Her aunt sternly asks for an explanation from Thomasin before they together walk down the road to the Quiet Woman to confront Wildeve.
The locals of lower station, by contrast, cut through the furze rather than take the road. The events surrounding wild and unpredictable Eustacia occur off-road as well, with people sneaking around Blackbarrow. Wildeve comes to her bonfire, throwing a stone in the pond as a signal. Johnny circles back around to overhear their conversation. Venn has parked his van in a pit where Johnny stops by with his wounded hand and tells his story. Eustacia asks both Wildeve and Venn to walk with her not on the road but on the unbeaten path.
Part 1 presents marriage as the only alternative for a woman. Hardy limits Thomasin’s choices to her cousin, Clym, who is away; Wildeve, who is beneath her; and Venn, whom she has rejected because her aunt would not approve of his profession. The choice of Wildeve proves to be problematic from the start, what with the aunt forbidding it, the mix-up with the license, and the competition with Eustacia. Mrs. Yeobright’s station in the community is established by the man she married, and she casts her judgment on others based on that station. When she and Olly walk toward the Quiet Woman, Olly brings up Wildeve’s inferiority. Mrs. Yeobright violated her standard in accepting Wildeve for Thomasin. It brings only grief to all parties. Eustacia’s way out of Egdon Heath will be through marriage. Wildeve offers her America. She will think about it, but her mind so far travels no further than Budmouth. Her choice of husband will hinge upon the potential for escape.
By Thomas Hardy
Appearance Versus Reality
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British Literature
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Class
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Class
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Fate
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Marriage
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Romance
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Valentine's Day Reads: The Theme of Love
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Victorian Literature
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Victorian Literature / Period
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