The Return of the Native
The Return of the Native is Thomas Hardy's sixth published novel. It first appeared in the magazine Belgravia, a publication known for its sensationalism, and was presented in twelve monthly installments from 9 January to 19 December 1878. Because of the novel's controversial themes, Hardy had some difficulty finding a publisher; reviews, however, though somewhat mixed, were generally positive. In the twentieth century, The Return of the Native became one of Hardy's most popular and highly regarded novels.[1]
Author
English
Novel
1878
United Kingdom
Hardback & Paperback
Plot summary[edit]
Book First: The Three Women[edit]
The novel takes place entirely in the environs of Egdon Heath, and, with the exception of the epilogue, Aftercourses, covers exactly a year and a day. The narrative begins on the evening of Guy Fawkes Night as Diggory Venn is slowly crossing the heath with his van, which is being drawn by ponies. In his van is a passenger. When darkness falls, the country folk light bonfires on the surrounding hills, emphasising the pagan spirit of the heath and its denizens.
Venn is a reddleman; he travels the country supplying farmers with a red mineral called reddle (dialect term for red ochre) that farmers use to mark their sheep. Although his trade has stained him red from head to foot, underneath his devilish colouring he is a handsome, shrewd, well-meaning young man. His passenger is a young woman named Thomasin Yeobright, whom Venn is taking home. Earlier that day, Thomasin had planned to marry Damon Wildeve, a local innkeeper known for his fickleness; however, an inconsistency in the marriage licence delayed the marriage. Thomasin, in distress, ran after the reddleman's van and asked him to take her home. Venn himself is in love with Thomasin, and unsuccessfully wooed her two years before. Now, although he believes Wildeve is unworthy of her love, he is so devoted to her that he is willing to help her secure the man of her choice.
At length, Venn reaches Bloom's End, the home of Thomasin's aunt, Mrs. Yeobright. She is a good woman, if somewhat proud and inflexible, and she wants the best for Thomasin. In former months she opposed her niece's choice of husband, and publicly forbade the banns; now, since Thomasin has compromised herself by leaving town with Wildeve and returning unmarried, the best outcome Mrs. Yeobright can envision is for the postponed marriage to be duly solemnised as soon as possible. She and Venn both begin working on Wildeve to make sure he keeps his promise to Thomasin.
Wildeve, however, is still preoccupied with Eustacia Vye, an exotically beautiful young woman living with her grandfather in a lonely house on Egdon Heath. Eustacia is a black-haired, queenly woman, whose Italian father came from Corfu, and who grew up in Budmouth, a fashionable seaside resort. She holds herself aloof from most of the heathfolk; they, in turn, consider her an oddity, and some even think she is a witch. She is nothing like Thomasin, who is sweet-natured. She loathes the heath, yet roams it constantly, carrying a spyglass and an hourglass. The previous year, she and Wildeve were lovers; however, even during the height of her passion for him, she knew she only loved him because there was no better object available. When Wildeve broke off the relationship to court Thomasin, Eustacia's interest in him briefly returned. The two meet on Guy Fawkes night, and Wildeve asks her to run off to America with him. She demurs.
Book Second: The Arrival[edit]
Eustacia drops Wildeve when Mrs. Yeobright's son Clym, a successful diamond merchant, returns from Paris to his native Egdon Heath. Although he has no plans to return to Paris or the diamond trade and is, in fact, planning to become a schoolmaster for the rural poor, Eustacia sees him as a way to escape the hated heath and begin a grander, richer existence in a glamorous new location. With some difficulty, she arranges to meet Clym, and the two soon fall in love. When Mrs. Yeobright objects, Clym quarrels with her; later, she quarrels with Eustacia as well.
Discussion[edit]
With its deeply flawed heroine and its (for the time) open acknowledgement of illicit sexual relationships, The Return of the Native raised some eyebrows when it first appeared as a serial in Victorian Britain. Although he intended to structure the novel into five books, thus mirroring the classical tragic format, Hardy submitted to the tastes of the serial-reading public sufficiently to tack on a happy ending for Diggory Venn and Thomasin in a sixth book, Aftercourses. In Hardy's original conception, Venn retains his weird reddleman's character, while Thomasin lives out her days as a widow.[3]
Hardy's choice of themes—sexual politics, thwarted desire, and the conflicting demands of nature and society—makes this a truly modern novel. Underlying these modern themes, however, is a classical sense of tragedy: Hardy scrupulously observes the three unities of time, place, and action and suggests that the struggles of those trying to escape their destinies will only hasten their destruction.[4] To emphasise this main part he uses as setting an ancient heath steeped in pre-Christian history and supplies a Chorus consisting of Grandfer Cantle, Timothy Fairway, and the rest of the heathfolk. Eustacia, who manipulates fate in hopes of leaving Egdon Heath for a larger existence in Paris, instead becomes an eternal resident when she drowns in Shadwater Weir; Wildeve shares not only Eustacia's dream of escape, but also her fate; and Clym, the would-be educational reformer, survives the Weir but lives on as a lonely, remorseful man.
Some critics—notably D. H. Lawrence—see the novel as a study of the way communities control their misfits. In Egdon Heath, most people (particularly the women) look askance at the proud, unconventional Eustacia. Mrs. Yeobright considers her too odd and unreliable to be a suitable bride for her son, and Susan Nunsuch, who frankly believes her to be a witch, tries to protect her children from Eustacia's supposedly baleful influence by stabbing her with a stocking pin and later burning her in effigy. Clym at first laughs at such superstitions, but later embraces the majority opinion when he rejects his wife as a murderer and adulteress. In this view, Eustacia dies because she has internalised the community's values to the extent that, unable to escape Egdon without confirming her status as a fallen woman, she chooses suicide. She thereby ends her sorrows while at the same time—by drowning in the weir like any woman instead of floating, witchlike—she proves her essential innocence to the community.[5]
Adaptations[edit]
The Return of the Native was filmed for Hallmark Hall of Fame and broadcast on television in 1994. It was filmed in Exmoor National Park. The film stars Catherine Zeta Jones as Eustacia Vye, Clive Owen as Damon Wildeve, Ray Stevenson as Clym Yeobright, and Joan Plowright as Mrs. Yeobright. Jack Gold directed.[7]
In 2010 an Americanised film adaptation of The Return of the Native was directed by Ben Westbrook. It is set in the Appalachian Mountains in the 1930s during The Great Depression.[8]
In 1956, a Bengali film starring Uttam Kumar and Mala Sinha titled Putrabadhu (trans:Daughter-in-Law) was released. The plot was based roughly on Hardy's novel, albeit with a happy ending. [9]
The novel has also been adapted for the stage several times. Dance on a Country Grave is a musical stage adaptation by Kelly Hamilton.
On June 15, 1948 a radio adaptation featuring Michael Redgrave aired on CBS's Studio One. [10]
