Character Is Fate Essay Example

conclusion that 'Character is fate'.

Introduction: The tragic fate of characters in their environment.

1.1 Thomas Hardy and His Novels

Thomas Hardy was born on June 2, 1840 in the village of Upper Bockhampton near Dorchester in southwestern England. He lived until 1928 and reached the age of 88. Although he lived well into the twentieth century, Hardy's career as a novelist was firmly rooted in the Victorian era. By completing all his major novels before the turn of the century, he established himself as the final significant novelist of that time period. Through his Wessex novels, Hardy accurately depicted the tragic lives of peasants in the late 19th century.

Hardy initially began his professional journey as an apprentice to architect John Hicks in Dorchester. This experience served as the inspiration for the creation of the fictional town of Casterbridge. Despite contemplating pursuing higher education and becoming a member of the clergy, Hardy's diminishing religious convictions and financial constraints steered him towards a career in writing. For almost twelve years, he dedicated himself entirely to writing and managed to achieve recognition as both a novelist and poet.

Far From the Madding Crowd, published in 1874, marked a turning point in Hardy's literary career as it brought him immense success. This novel allowed Hardy to sustain himself solely through writing and from 1878 to 1895 he gained great recognition as a novelist. During this period, he produced well-known works such as The Return of Native, The Mayor of Casterbridge, Tess of the D'urbervilles, and Jude the Obscure. These novels were experimental explorations of tragedy that reflected Hardy's enduring pessimism and his

belief in the inevitable tragic nature of human existence. What set his stories apart from those written by his English contemporaries was his choice to set them in familiar rural landscapes and use classical storytelling techniques while delving into profound human emotions.

Hardy deliberately incorporates disastrous coincidences into his work to align them with his perspective. This is evident in Tess's letter to Angel Clare, which tragically never reaches him. However, the stories of both Tess and Henchard in The Mayor of Casterbridge possess genuine tragic dignity. While there are parallels with Sophocles' Oedipus, the portrayal of Henchard's past serves a greater purpose. The villagers and townsfolk in Casterbridge serve as a commentary analogous to the chorus in Greek tragedies. Nevertheless, Hardy's extensive understanding of the Wessex countryside and rural life prevents these novels from being mere attempts at transplanting Greek tragedy into 19th century England.

1.2 Overview of Relevant Literature

The Mayor of Casterbridge, categorized as a "Novel of Character and Environment," has received both praise and criticism since its publication. In 1886, Hardy wrote in a letter to Stevenson that the Saturday publication did not approve of his book, consistently finding it dull. James Payne, reader for the publisher Smith, Elder and Co., conveyed that the absence of upper-class characters made the novel uninteresting. Even Hardy himself expressed uncertainty about this novel in his notebook, fearing it may not align with his original intentions. However, he believes that the authenticity of the characters is more important than unlikely events.

An anonymous reviewer from the Saturday Review on May 29, 1886 gives a slight criticism of the novel The

Mayor. The reviewer compares it to an earlier work by the same author, Far From the Madding Crowd, and states that The Mayor does not measure up to the author's previous rural romance. Therefore, seeing it as a disappointment. The reviewer goes on to say that the novel is too improbable and deems the opening scene unbelievable. However, William Dean Howells contradicts this claim and argues that Henchard's sale of his wife is not only possible but also has historical precedent.

Despite receiving criticism, The Mayor of Casterbridge is admired by some western writers. In response to Hardy's letter, Stevenson expresses his sincere admiration for the novel, stating that Henchard is a great character and that Dorchester is depicted skillfully. Additionally, Virginia Woolf counts this novel as her favorite, viewing it as an impression rather than an argument. She compares the death of the broken corn merchant in his cottage on Egdon Heath to the death of Ajax, Lord of Calamis, highlighting the greatness and pride in the contest. Critics hold differing views on the tragic fate of the mayor. The prevailing opinion is that Henchard's character determines his tragedy.

All of these critics are influenced by Hardy's title "The Story of a Man of Character" and his quote "Character is fate". Karl argues that Henchard's downfall is a result of the events that stem from his own character. Kramer further supports this by identifying at least four instances where this flaw is demonstrated.

The second perspective frequently employs the novel to showcase the parallels with Greek and Shakespearean tragedy. Thus, Henchard, the miserable corn merchant, consistently evokes comparisons with Oedipus, as

well as Shakespeare's Hamlet and King Lear. In Julian Moynalain's article "The Mayor of Casterbridge and the Old Testament's First Book of Samuel: A study of Some Literary Relationships," the author delves into the intricate connection between the mayor and Samuel's story.

The text highlights the similarities between Henchard and Saul, as well as between David and Farfrae, in their respective downfalls and rises. The author concludes that the central theme of "The Mayor" is not "character is fate" or "man against himself," but rather the conflict between generations. Julian Moynalan views Hardy as a melodist, someone who believes that the world can be improved through human efforts.

The third perspective sees this book as a narrative centered around Darwinism and the concept of jungle law. Numerous critics argue that Henchard and Farfrae symbolize the clash between the old and new worlds. Their rivalry becomes a fight for survival. "To some extent, it was Northern insight pitted against Southern determination - the dagger against the club."

According to Chinese critics, Henchard's tragedy in relation to Darwinism and social evolution is analyzed. Nie Zhenzhao's book highlights that Hardy portrays Casterbridge's downfall based on Darwinism principles. Hardy suggests that the old world being replaced by the new is inevitable in terms of social evolution. The transformation and destruction of Casterbridge are seen as unavoidable consequences of evolution.

Despite being a devoted reader of Darwinism, Hardy remains skeptical and hesitant to fully embrace it. His perspective on the evolutionary process is nuanced. In 1876, Hardy transcribed a passage from an article by Theodore Watts in which it is stated that survival in the struggle

for life does not necessarily depend on being the best organism in an ideal sense, but rather on being most harmonious with one's surroundings. Hu Baoping observes that although Hardy demonstrates a deep understanding of history in his works, his interpretation of change does not necessarily imply development and progress, but rather loss and sorrow. One could argue that deeming The Mayor of Casterbridge as a novel about Darwinism and jungle law is too extreme to be persuasive.

The argument has been made that Henchard's fate is based on the central assumption found in Christian literature that the gods are just and that ultimately, one receives what one deserves. Critics of this genre view Henchard's tragic ending as a form of retribution for his act of selling his wife. Therefore, they perceive characters like Newson and the furmity woman as representations of his troubled past, and believe that the heartless and inhumane sin of wife-sale leads to a chain of terrible consequences that ultimately result in his death. John Paterson subscribes to this perspective, stating that Henchard's wife-sale goes against accepted moral standards and should be condemned. Other critics who also acknowledge the cause and effect relationship between this wife-sale and Henchard's punishment may take a completely different modern theory into consideration. For example, Albert. J. Guerard asserts that Henchard's deep-seated guilt stemming from the sale of Susan is impossible to suppress, and that there exists an unconscious self-destructive tendency within Henchard, which consequently brings about his tragic fate.

According to Herbert Spencer, nature represents the history of the evolutionary movement of life, driven by the persistence of force. This movement progresses from

simplicity to complexity, from unspecialized to specialized, and from backwardness to progress. The town of Casterbridge is no exception to this pattern. As time passes, Casterbridge undergoes slow but gradual changes that lead to Henchard's complete misfit, bankruptcy, and political downfall. In contrast to Henchard, Donald Farfrae possesses qualities such as shrewdness, gentleness, thoughtfulness, coolness, flexibility, and prudence. He embodies the modern world's ideals and is therefore rewarded. However, Henchard, like all humans, is merely a powerless puppet on the stage of life. Despite his determined efforts, he is inevitably trapped. To compound matters, Henchard's ambition and pride resemble those of Greek heroes, sealing his fate of downfall which is both destined and unavoidable.

The text in the given paragraph delves into the analysis of Henchard, a tragic hero whose fate is determined by his character. It explores how the text showcases man's futile struggle against a harsh and incomprehensible destiny, ultimately concluding that Henchard possesses a noble spirit and deserves deep sympathy.

The difficult life journey of Henchard.

The view of Henchard as a tragic hero is divided among readers. Some consider him to be a Sophoclean hero, destined for his present misfortunes due to his past actions. Others liken him to Aeschylean or Euripidean heroes, as he endures suffering that seems disproportionate to his deeds. However, in my opinion, Henchard's behavior aligns more with that of an 'isolated' individual who constantly directs his affections towards people who are fundamentally different from him. He never feels truly at home anywhere and struggles to establish and maintain normal relationships with others. In April 1878, Hardy expressed that a plot or tragedy should arise from

the gradual culmination of situations resulting from ordinary human emotions, biases, and ambitions, when characters fail to prevent the disastrous consequences brought about by these emotions, biases, and ambitions.

The character of Henchard in The Mayor of Casterbridge cannot be easily categorized as entirely good or bad. He is a larger-than-life figure, surpassing ordinary individuals both positively and negatively. While he possesses qualities such as honesty, fairness, and courage that are important to him, they also make him inflexible and intolerant. Additionally, he displays notable flaws like pride, ambition, and impulsiveness that set him apart from others and ultimately lead to his downfall. With these traits, Henchard's actions and motives always lean towards extremes - whether performing acts of kindness or being cruel. Throughout the novel, Henchard remains a significant presence; his character resonates on every page like the deep notes of an approaching storm. As author Hardy stated in the Preface to The Mayor of Casterbridge, this story primarily focuses on studying one man's actions and character more than any other depicted in my Exhibition of Wessex life.

According to Virginia Woolf in 1928, Henchard is pitied and supported by others, despite his ambition and power. Even those he has wronged, such as Farfrae, Newson, and Elizabeth Jane, feel sympathy and even admire his resilience. He is seen as challenging fate and supporting the former mayor, who has faced ruin due to his own mistakes. The death of Henchard in his cottage on Egdon Heath can be compared to the death of Ajax, the ruler of Salamis.

In regards to Susan, Henchard's treatment was notable.

Henchard stands out from other

laborers due to his unique way of walking and displays an indifferent personal attitude. Despite being young and ambitious, he feels discontented with his family life. This dissatisfaction becomes evident when he becomes intoxicated and talks about how marriages can ruin decent men. Surprisingly, he even goes as far as selling his wife, which onlookers find both extreme and ironic. They attribute his actions to unemployment fueling his anger towards the world, society, and even his own family.

According to Williiam Dean Howells, Henchard's choice to sell his wife has long-term consequences for both himself and others. Howells suggests that Henchard's misguided belief that he can't take ownership of his mistake hinders him from rectifying it. The tragedy of his atonement elicits more sympathy towards Henchard than anyone else, as the repercussions of his actions persistently haunt him until his demise.

As a young man, Henchard is impulsive and passionate. Even before Henchard gets angry in the furmity tent, Susan’s submissive behavior as she walks beside him ("She stays close to him without actually touching") indicates his volatile and potentially violent nature. The events that occur in the furmity tent at the fair illustrate a recurring pattern in Henchard's life. After finding himself in a shameful situation - this time, selling his wife and child - he takes full responsibility for his mistakes and works to correct them. In fact, his overwhelming desire to make amends drives him. He spends months searching for his wife and child to prove the sincerity of his remorse. This bold determination is a defining characteristic of Henchard, as he quickly transitions from ungrateful misogyny to genuine penitence.

Although Henchard’s search for his wife may appear to be a genuine expression of remorse, it is more likely driven by the desire to preserve his reputation. Rather than feeling morally responsible, Henchard's regret upon waking stems from the fear of being disdained. His concern for his good name plays a significant role in his decision to give up alcohol and seek out his wife. He blames his wife's "idiotic simplicity" for bringing disgrace upon him, not realizing his own contribution. Henchard's obsession with public opinion regarding his character is evident as he stands outside the fairgrounds at Weydon-priors, worrying about whether he revealed his name to anyone in the furmity tent. This preoccupation greatly influences his actions and personality. Initially irresponsible, Henchard's development suggests that the novel's subtitle may not accurately describe him, but in fact foreshadows his transformation into a man of character.

Henchard sets himself apart from regular people by bravely facing the consequences of his guilt. Even though he admits his mistake, when he meets Susan again after eighteen years, he symbolically gives back the money from their sale and remarries her as a way to make amends. Despite holding a high position at that time, Henchard chooses not to ignore Susan and instead welcomes her back into his life, providing her with a comfortable home. It appears that he is starting anew without foreseeing the upcoming disaster.

2.2 The connection between Henchard and Elizabeth-Jane

Henchard's regret for losing his love for Elizabeth-Jane in the novel is profound. Their relationship, which stems from within him rather than sexual attraction, presents challenges in forming a deep

connection and effective communication. Despite changes in his attitude towards her throughout the story, Henchard's love for Elizabeth-Jane remains the most sincere and intense emotion he has ever felt.

When Susan and Elizabeth-Jane arrive in Casterbridge, Henchard is more overjoyed to see the daughter than the mother. He eagerly offers his fatherly love to her. Henchard's wife was taken from him by death, while his friend and assistant Farfrae drifted apart from him, and Elizabeth-Jane left due to her ignorance. He believed that only one of them could be reunited with him, specifically the girl. Henchard was a man who needed someone as a target for his emotions, whether it be affection or anger.

After Susan’s death, Henchard's passionate nature compels him to express his emotions to someone else. When he loses his friend Farfrae, he can no longer contain himself and decides to confide in Elizabeth-Jane. He is eager to shower her with his possessive paternal feelings. However, he comes across a letter written by Susan before her death that is meant to be opened only on Elizabeth-Jane's wedding day. Despite the restriction, Henchard opens the letter without hesitation, resulting in a devastating blow. This incident reveals Henchard's self-centered nature as he disregards others' feelings and disrespects Susan's wishes. Discovering that Elizabeth-Jane is not his biological daughter, Henchard suppresses his emotions and treats her differently than before. His newfound coldness frustrates the unsuspecting girl, but she accepts it calmly albeit with suspicion.

When Henchard reaches his ultimate downfall and becomes physically and emotionally weakened, Elizabeth-Jane steps in to care for him. Her concern and nurturing become his only source of comfort,

as she appears to him as a beacon of hope. Henchard's feelings towards Elizabeth-Jane have drastically changed, and he envisions a future illuminated by her presence as a loving daughter, believing that happiness can only be found through her. However, when Newson arrives in search of Elizabeth-Jane's love, Henchard lies to him, claiming that his daughter is already deceased, out of fear of losing her affection. Henchard's selfish and deceitful actions towards Newson threaten to strip away his remaining self-esteem.

Despite his deception, pettiness, and rabid temper, Henchard remains essentially sympathetic. We understand his deceitful behavior due to his deep, newfound love for Elizabeth-Jane and his desperate desire for that love to be returned. Fooling Newson, like many of Henchard's decisions, is not calculated or manipulative. Instead, it is the frantic act of a scared, lonely, and highly pitiable man.