The essay Tess of the d'Urbervilles-At the Center of Hardy's Achievement by Irving Howe, Thomas Hardy is seen as a feminist. This is articulated through the opening paragraph when Howe writes, "Thomas Hardy was endowed with a precious gift: he liked women" (Howe 406). The essay discusses Hardy's fascination with female characters; the power the held and the bias and injustices they faced. After discussing the feminist aspect of Hardy's novel, Howe states, "Only one 'character' is almost as important as Tess, and that is Hardy himself" (Howe 422). Howe states that Hardy is a father figure towards Tess, the only person who has compassion and hope for the character albeit articulating her destruction.

I agree with Howe that Hardy is a feminist through his recognition of the unfairness wrought upon women, and the power that they hold over men and themselves. However, I disagree with the statement that Hardy is a father figure towards Tess, due to her ultimate demise.

On January 9th, 1892, Clementina Black wrote an essay regarding Thomas Hardy's infamous Tess of the D'Urbervilles which was published in The Illustrated London News. Black argued that Hardy's novel is morally earnest and accurately articulates the injustice that women during the time faced. Black writes "Mr Hardy's story, like Diana of the Crossways, is founded on recognition of the ironic truth which we all know in our hearts, and are all forbidden to say aloud, that the richest kind of womanly nature, the most direct, sincere, and passionate, is the most liable to be caught in that sort of pitfall which social convention stamps as an irretrievable disgrace" (Black 383). Just a month after Black's essay was published, William Watson published an essay regarding the character of Angle, in The Academy. Watson argued that rather than Alec being the main antagonist in the narrative that Angel is the villain to do his inconsistencies regarding emotion and human nature. Watson writes "Her seducer, the spurious D'Urberville, is entirely detestable, but it often happens that one's fiercest indignation demands a nobler object than such a sorry animal as that; and there are probably many readers who, after Tess's marriage with Clare, her spontaneous disclosure to him of her soiled though guiltless past, and his consequent alienation and cruelty, will be conscious of a worse anger against this intellectual, virtuous, and unfortunate man than they could spare for the heartless and worthless liberating who had wrecked these two lives" (Watson 386).

I agree with Black's idea that Tess is an accurate portrayal of the isolation and alienation that sexually active or abused women faced during the Victorian Age and many years that followed. Through articulating such Hardy does indeed represent feminism and the wrongness that is wrought upon them. Watson also had a very interesting point concerning Angel. From the very beginning of the novel, the reader dislikes Alec and throughout is seen as creepy and menacing, when Angel's cruelty arises the reader is shocked and disappointed. There is so much hope for Tess when she falls in love with Angel, however his emotional inconsistencies and cruel nature make him more of a villain than Alec who albeit commits heinous actions is sincere and honest.

Originally appearing in 1982's George Eliot: A Century Tribute, Robert B. Helman's review "Stealthy Convergence," touched on the idea of convergence and parallels in Eliot's infamous novel. The definition of converging being when "(of several people or things) come together from different directions so as eventually to meet" (google). The idea of convergence is extremely prevalent in George Eliot's innovative novel Middlemarch with many characters with different aspirations, goals, and interests forming relationships and ultimately a sense of community. Helman writes "Actionally, of course, the parallel lines alter to convergent lines: as characters fall into unexpected relationships, the plots gradually blend in a massive dramatic movement that includes all participants, major and minor-Dorothea and Ladislaw, Lydgate and Rosamond, Vincys, Bulstrodes, Garths, Featherstone, Raffles. Perhaps no other novel so well symbolises, by its merging streams of narrative, the inevitability of linkages that forge an unanticipated community within, and involving much of, the literal community of Middlemarch" (Heilman 619). Through incorporating convergence Eliot ultimately creates an ingenious and remarkable historical novel about morality, humanity, and community.

In his 1982 review, Heilman introduces an idea that a multitude of prior critics failed to recognize, the idea of convergence in response to George Eliot's Middlemarch. Through exploring and applying this idea to the characters in Eliot's novel one is able to understand Eliot's flawlessness in taking a plethora of different and interesting (albeit at times frustrating) characters and melding them into a historical and beautiful novel about the human condition.

Contemporary Reviews in Response to George Eliot's Middlemarch

Originally appearing in the December 7, 1872 edition's of The Saturday Review, a review amalgamating Middlemarch with a religious text was made known. The review states that "The carefully elaborated character of Bulstrode, no hypocrite of the common type, but one who sincerely hopes to flatter Divine Justice into condoning the wrong done, and permitting ill-gotten gains to prosper on condition of a certain amount of service done, is a leading instance; but the most of the selfish in Middlemarch shelters itself under an assumed appeal from conscience to religion." (The Saturday Review). The review then goes on to articulate the author characters in Eliot's infamous novel as strong religious figures who should be admired and modeled after event the notorious Rosamond. Published in the Galaxy a year later, Henry James' "George Eliot's Middlemarch" articulates that Eliot's character Dorothea, can be seen as a depiction of St. Theresa. Both contemporary reviews regard Eliot's Middlemarch as either a religious novel, or a novel in which religious characters and aspects are incorporated.

Upon reading Middlemarch, I did not connect the characters nor the plot to religion in any aspect. I understand the idea behind Dorothea representing what is considered to be morally good, in regards to religious ideals, however, with Dorothea not being the main character throughout the novel, and the other characters having aspects that religious ideals would look down upon I can't help but disagree. The Saturday Review uses the prominent characters of Bulstrode as  a religious ideals, when Bulstrode commits heinous deeds for the sake of material goods and wealth, albeit having good intentions. Despite good intentions, I fail to see his acts as something that religious advocates would support in any way shape or form. Therefore, the contemporary reviews that articulate the novel as a religious genre is confusing and far fetched when analyzed deeper.

George Eliot and Middelmarch

While in the process of constructing her infamous narrative Middlemarch, author George Eliot, wrote many letters seeking the opinions and advice given by her peers. Through reading these letter, one is able to gain insight into just how much work Eliot put in on perfecting her characters and writing volumes rather than one cohesive novel. In her letters to her editor John Blackwood, Eliot and Blackwood discuss the desired length of the novel, it's appearance, and her inspiration for the characters. The letter articulates Eliot's frustration at perfecting her novel as seen through the statement "The Spectator considers me the most melancholy of authors, it will perhaps be a welcome assurance to you that there is no unredeemed tragedy in the solution of the story" (Eliot 534). Eliot also writes to fellow female author Harriet Beecher Stowe in regards to the creation of her characters and how they seemingly differ vastly from Eliot's own personality along with her friends and acquaintances. Eliot writes "But do not for a moment imagine that Dorothea's marriage experience is drawn from my own. Impossible to conceive any creature less like Mr. Casaubon than my warm, enthusiastic husband, who cares much more for my doing than for his own, and is a miracle of freedom from all author's jealousy and all suspicion. I fear that the Casaubon-tints are not quite foreign to my own mental complexion. At any rate I am very sorry for him" (Eliot 535). Through reading Eliot's personal letters regarding her novel, one is able to gain a better understanding of the difficulties and creativity that comes with being an author, especially a female author during the Victorian Era. 

It was necessary for Eliot to break up her dauntingly long narrative up into volumes, as each volume would be a separate installment yet cohesive and complete work concerning two of the many characters. Through doing so and through creating many innovative and compelling characters, Eliot successfully creates an ingenious novel accurately focusing on the human condition and London during the time period; the 1870's. 

Mary Barton Part II

In April of 1849, W.R. Greg wrote a review of the Elizabeth Gaskell's novel Mary Barton for the Edinburgh Review. In the review Greg stated that Mary Barton is full of inaccuracies and exaggerations. Greg articulated "Notwithstanding the good sense and good feeling with which it abounds, it is calculated, we fear, in many places, to mislead the minds and confirm and exasperate the prejudices, of the general public on the one hand, and of the factory operatives on the other" (Greg 383). The review expresses that Elizabeth Gaskell in her writing is prejudiced and biased and Mary Barton is in a sense propaganda for the lower class. In Greg's opinion the working class was granted many opportunities to better themselves in life, especially young laborers and mechanics. Greg then went into a step by step process through which this was possible, concluding that in Mary Barton the lower class is pitied and made out as though they had no means in which to better themselves other than committing crime, or marrying up. On the other end of the spectrum, written on February 17th, 1849 and published in Prospective Review,  it is stated that through reading the novel "We rise from its pages with a deeper interest in all our fellow-beings; with a firmer trust in their great and glorious destiny; and with a strengthened desire to co-operate with its gifted authoress and with all of kindred spirit, in every effort to ennoble and bless them" (380). Despite several inconsistencies in the narrative, the review states that Mary Barton "represents the ideas and passions of a particular class, or rather of a certain portion of a particular class, during a crisis of strong local excitement, when the supposed interests of masters and men were brought into direct collision"(374).

It is arguable that Greg is correct in the sense that Gaskell's narrative consists of a wide variety of inconsistencies, however, stating that the main inconsistency is that the characters are unable to better themselves is a difficult argument to support. In a time period where the lower class was many times unable to attain any form of education, disease was prevalent, and those who worked in factories were many times severely injured or killed simply working one's way up the ladder of success seems not only unbelievable but ridiculous. The Prospective Review is a lot more logical and easy to support, the review states that despite the narrative containing several inconsistencies that overall the narrative was very well written and sheds light onto the human condition during this time period. The characters are very relatable in the novel, especially Mary who as a teenager and eventually young woman holds all the hopes and fantasies in the world, and despite facing horrible tragedies and unfortunate circumstances she endeavors on and eventually discovers herself but what it is that she truly desires, Jem.

Mary Barton (Review Analysis and Summary)

In February of 1849 "British Quarterly" published a review of the historic novel Mary Barton. In the review it was stated that "It is a long time since there has existed, in the working men of Manchester, such a state of feeling as would have manifested itself in the tragic manner depicted in the work before us. Time has been, however, when murders were committed by member of trades'-unions, in order to terrify the masters into compliance" (Recchio 369). It is therefore inferred, that through reading the novel one is able to better understand the tragic circumstances that existed during the time the novel was published. The novel also sheds light on what encouraged the lower and working class to commit such heinous crimes and acts of desperation. This is seen in the novel, with John Barton murdering the wealthy mill-owner son Harry Carson when the working class is consumed with utter hopelessness and despair and feel as though they have no other choice. A year prior to this review, Henry Fothergill Chorley, articulated that Elizabeth Gaskell "is excellent in the anatomy of feelings and motives, in the display of character, in the lifelike and simple use of dialogue: and the result is, a painful interest very rare in our experience" (Recchio 365). Chorley then supports his analysis of Gaskell through summarization stating "Mary, being admitted as a milliner's workwoman, becomes the object of pursuit to a rich manufacturer's son; and her head is turned for a passing moment by his flatteries, to the point of making her reject the love of a young engine-maker, Jem Wilson, who has courted her honestly and long. For this fit of coquetry she is doomed to suffer deeply" (Recchio 365). Through immersing oneself into Gaskell's famous Mary Barton one is presented a realistic and engaging character consumed in tragedy and transported back to a time where tragedy was abundant and hopelessness was prevalent. The novel paints a vivid description of the time period, a first hand account of impoverished Manchester London, and the tale of a fantastical girl who eventually discovers love and contentment.

"British Quarterly" argues that despite Mary Barton accurately describing how the lower class would riot and commit crimes to pressure their employers into compliance, that the novel itself is inaccurate in its descriptions of everyday life as a factory worker, stating "the writer of 'Mary Barton' seems still under the influence of very common misapprehensions entertained respecting the laboriousness of occupation in the factories" (Recchio 370). Despite the novel incorporating tragedy throughout, it is arguable that life in mills and factories was much more difficult and tragic then what is portrayed in the narrative. Another instance in which the narrative comes off as inaccurate is the ending in which Mary has married Jem and happily moved to Canada, and faced with the destruction of his mill and the death of his son Mr. Carson works to make life in the factories more humane. Albeit a cynical remark, the review enforces this through inadvertently stating that happy endings during this time was extremely rare especially with the prevalence of death and disease. Chorley, who is more interested in Gaskell as an author than the narrative as a whole reminds the audience that even if there are inaccuracies in the novel the work is aesthetically pleasing, empathetic, and leaves us with a sense of understanding and satisfaction.