还乡Feminist Approach

哈代作品中的生态女性主义思想摘要：哈代通过他的小说表达了对女性和自然的双重关注，揭示了女性和自然都是男性和文明社会的压迫对象，因而他是一位具有生态女性主义意识的作家，关键词：托马斯·哈代；生态女性主义思想；自然；工业文明；男权；女性Abstract: Hardy expressed the dual concern of women and nature through his novels, reveal women and nature are the oppression object of men and civilized society, and therefore he is a writer of the eco-feminist consciousness,Key words: Thomas Hardy; eco-feminist ideology; nature; industrial civilization; patriarchal; women生态女性主义是20世纪70年代女性主义和生态运动相结合的产物，其首要的内容就是认同自然和女性。

它试图探索普遍存在的贬低自然和贬低女性之间的关系，认为二者都被否定和边缘化了，在人类历史和文化中往往缺席。

同时，生态女性主义强烈反对父权制世界观和二元思维方式对女性和自然的压迫。

其主要代表人物之一瓦伦认为只有推翻主张控制自然和女性的父权制社会观，才能最终使人与自然，男性和女性和睦相处，协调发展。

托马斯·哈代的“性格与环境小说”的主题一直是自然和女性。

在他的小说中，他把自然和女性联系起来，同时他在小说中大量描写自然生态，通过批判文明与自然的关系来唤醒人们追求和谐的生态意识。

此外，他还在其作品中揭示了男性对女性的统治，因此可以说他的小说其实就是充满生态女性主义内涵的经典作品。

一、自然和女性生态女性主义思想认为，女性和自然都遭受着父权制文化的压迫和统治，因而二者有着共同的命运，成为处于弱势地位的“他者”。

还乡托马斯·哈代十一月里的一个星期六的后半天，越来越靠近暮色昏黄的时候了；那一片没有垣篱界断的广大旷野，提起来都管它叫爱敦荒原的，也一阵比一阵地凄迷苍茫。

抬头看来，弥漫长空的灰白浮云，遮断了青天，好像一座帐篷，把整个荒原当作了它的地席。

天上悬的既是这样灰白的帐幕，地上铺的又是那种最苍郁的灌莽，所以天边远处天地交接的界线，显得清清楚楚。

在这样的对衬下，那片荒原看起来就好像是夜的前驱，还没有正式入夜的时候就走上夜的岗位了；因为地上夜色已经很浓，天上却分明还是白昼。

一个斫常青棘的樵夫，如果往天上看去，就还想继续工作，如果往地下一看，他却又要决定束好柴捆回家去了。

那时候，天边远处，大地的轮廓和长空的轮廓，不但是物质的分界，而且是时间的分界。

荒原的表面，仅仅由于颜色这一端，就给暮夜增加了半点钟。

它能在同样的情形下，使曙色来得迟缓，使正午变得凄冷；狂风暴雨几乎还没踪影，它就预先显出风暴的阴沉面目；三更半夜，没有月光，它更加深那咫尺难辨的昏暗，以致使人害怕发抖。

事实上，爱敦荒原伟大而奇特的壮观，恰恰在它每晚由明入暗的那个过渡点上开始，凡是没有在那种时节到过那儿的人，就不能说他领会这片旷野。

正由于它在人的眼里看着朦胧迷离，它才让人在心里觉得恰到好处，因为它的力量和意义，完全表现在这个时候以及这个时候以后，第二天曙色以前的那几点钟里面，在这段时间里，也只有在这段时间里，它才露初它的真面目。

这块地方实在和夜是近亲属；只有夜一露面，就显然能看出在夜色的苍冥里和荒原的景物上有一种互相凑合的趋势：那一大片郁苍连绵的圆阜和空谷，好像以十二分的同情，起身迎接昏沉的暮色似的；因为荒原一把黑暗吐出，天空也就把黑暗倾下，两种动作都同样迅速。

这样一来，大气里的暝昧和大地上的冥昧，就各走一半路凑到了一起，仿佛同枝连理，结成一气氤氲。

现在这个地方全部都显出专心一志、聚精会神的样子来了，因为别的东西都两眼曚昽、昏昏入睡的时候，这片荒原才好像慢慢醒来，悄悄静听。

本科毕业论文（设计）题目：The Analysis of Homeland Complex in The Return ofthe Native of Thomas Hardy浅析托马斯·哈代《还乡》中的乡土情怀姓名：陈伟学号：1041054102专业班级：10英语本科特色班院系：外国语学院指导老师：徐瑞华职称学历：讲师／硕士完成时间：2014年5月教务处制The Analysis of Homeland Complex in The Return of the Native of Thomas HardyWritten by Chen WeiSupervised by Instructor Xu Rui HuaA Thesis Submitted in Partial Fulfillmentof the Requirements forThe Degree of Bachelor of Arts in English toThe School of Foreign StudiesAnhui Xinhua UniversityMay, 2014安徽新华学院本科毕业论文（设计）独创承诺书本人按照毕业论文（设计）进度计划积极开展实验（调查）研究活动，实事求是地做好实验（调查）记录，所呈交的毕业论文（设计）是我个人在导师指导下进行的研究工作及取得的研究成果。

据我所知，除文中特别加以标注引用参考文献资料外，论文（设计）中所有数据均为自己研究成果，不包含其他人已经发表或撰写过的研究成果。

与我一同工作的同志对本研究所做的工作已在论文中作了明确说明并表示谢意。

毕业论文（设计）作者签名：日期：AcknowledgementsAfter having worked for several months, I finished my thesis eventually. I would like to express my gratitude to all those who helped me during the writing of this thesis.First, I would like to express the deepest gratitude to my supervisor Ms. Xu Ruihua who has offered me so many valuable suggestions in the academic studies. Although she was in bad health, she still insisted on guiding my thesis. Without her careful guidance and active encouragement, the completion of this thesis would be impossible.Second, I’m particularly indebted to all the teachers who taught me during my undergraduate years. From their lectures, I benefited greatly, with their patient instruction and constant encouragement, I could finish this thesis easily.Last but not the least, I would like to express my love to my mom, without whose understanding, I can not finish this thesis. I also thank all of my good friends who have given me so much help for the completion of this thesis.The Analysis of Homeland Complex in The Return of the Native ofThomas HardyAbstractThe Homeland Complex is referred to a person who has deep love to his or her hometown, and he or she wants to try his or her best effort to return to his or her hometown. It is derived from the township of perceptual love feelings, but higher than this emotion. It is a kind of complex which is rooted into the culture of hometown. But it is different from other culture in essence. So it needs to analyze from the author’s birth environment to analyze such unique complex, the environment include the social environment and natural environment.The traditional culture of hometown, the unique experience and the deep love are the basement of Thomas Hardys’ works. It is also the main reason which his works have full embodied homeland complex. This thesis analyzes the Return of the Native by its natural environment and customs and the characters’fate. The homeland complex is one of the representations of Hardy’s novel. This thesis analyzes this feeling from Thomas Hardy’s experience and social change at that time.Key Words: Homeland Complex; Thomas Hardy; The Return of the Native浅析托马斯·哈代《还乡》中的乡土情怀摘要乡土情怀是指沉湎故土，深爱家乡，对故乡怀有一份浓浓的爱。

哈代《还乡》三译本语用效果对比分析关于《哈代《还乡》三译本语用效果对比分析》，是我们特意为大家整理的，希望对大家有所帮助。

摘要：语用学是语言学的一个分支学科，研究的是说话者如何使用语言实现成功交际的问题。

以语用学中的语域理论、言语行为理论及语境理论为视角，分析比较哈代小说《还乡》三个译本中的标题翻译、对话翻译及心理描写翻译，得出如下结论：在语域选择上，张谷若第二个译本的标题翻译更符合中国读者的阅读习惯；在言语行为方面，张谷若两个译本的对话翻译更好的再现了原作中人物的语气；从语境角度看，张谷若和王守仁的译本在心理描写翻译上各有可取之处，同时又都存在不足。

下载论文网关键词：《还乡》；语域；言语行为；语境；图式托马斯?哈代（1840~1928）是英国文学史上一位风格独特的小说家、诗人，其代表作小说《还乡》文笔细腻生动、语言优美，具有深刻的思想内容，以及戏剧化的情节结构。

故事以爱敦荒原为背景，叙述了五个青年男女之间恋爱纠葛的故事。

红土贩子文恩未能赢得心上人的爱情，心甘情愿成为朵荪的暗中守护者，而朵荪的未婚夫韦狄却与游苔莎幽会。

朵荪的堂兄克林从巴黎回来，一心将自己献给荒原，而游苔莎却向往繁华的都市生活，梦想着让克林带她离开荒原，并凭借自己的美貌如愿地嫁给了克林。

韦狄娶了朵荪。

游苔莎与克林婚后不久出现裂痕，她与克林母亲姚伯太太之间的矛盾又间接导致了后者的死亡。

矛盾激化，游苔莎和韦狄相约逃离荒原，却双双死于意外。

最终，朵荪与文恩成为眷属。

哈代擅长的环境描写与心理描写，在描绘特殊环境下的爱情纠葛时发挥得淋漓尽致。

同时，小说的对话也极为生动，与心理描写相结合，使人物形象鲜活饱满。

著名翻译家张谷若曾两度翻译这部作品，王守仁也于1997年完成此书的翻译。

对文学研究和翻译研究来说，语言学是基础，而用语言学的理论解读文学作品译本，具有指导意义。

语用学是语言学的一个分支学科，研究的是说话者如何使用语言实现成功交际的问题。

在文学作品的翻译中如何再现原作的语用效果，是一个值得探讨的问题。

哈代《还乡》中的人物悲剧性格探究【摘要】《还乡》是哈代“性格与环境”小说的经典作品，也是一部成功的悲剧。

小说中大部分人物都经历了悲剧命运，这与他们自身性格的弱点有着不可忽视的关系。

本文试从人物的悲剧性格方面来揭示人物悲剧命运的成因。

【关键词】《还乡》；悲剧；性格托马斯·哈代是19世纪晚期英国最重要的批判现实主义作家，也是一位继承了英国传统文化，并且极具时代精神和现代性的作家。

哈代所生活的时代正是英国由自由资本主义向帝国主义过度的时期，资本主义在给英国社会创造了繁荣的经济的同时也加深了下层贫苦人民的困境。

一系列“性格与环境”小说正是对当时社会环境的展现，《还乡》是其中的代表作品，从《还乡》开始哈代看到威塞克斯社会的改善已无可能，悲剧不可避免地要发生。

本文就试从人物的性格方面探究《还乡》小说悲剧形成的原因。

一、叛逆女神——游苔莎女主人公游苔莎在荒原上登场，她美丽高傲、性情热烈、充满异教精神，是从“古老宗法制母体中经过长期的内部阵痛后分娩出来的第一个叛逆女性”。

【1】登场之时，她站在爱敦荒原最高点，犹如荒原上的美丽仙子。

可事实上对游苔莎来说来到荒原就如充军发配一样，她视荒原为自己的牢狱，与尚处于宗法制的荒原格格不入。

游苔沙不是荒原本地人，她出生在繁华的资本主义化的港口城市——蓓口，受过人类文明意义上的良好教育，她向往繁华和城市文明，期盼能去巴黎享受都市生活的快乐，过一种文明的浪漫生涯，所以对游苔莎来说，爱敦荒原就是与之抗争的命运的象征。

哈代精妙地描述了游苔莎与荒原的疏远和隔阂：“在荒原上居住却不研究荒原的意义，就仿佛嫁给一个外国人却不学他的语言一样。

本来爱敦荒原的景物，能叫一个乐天知足的女人咏歌吟啸，能叫一个受苦受罪的女人虔心礼拜，能叫一个笃诚贞洁的女人祝颂神明，甚至于能叫一个急躁浮嚣的女人沉思深念，现在却叫一个激愤不平的女人忧郁沉闷” 【2】。

游苔莎生性喜欢幻想、冒险，独立不羁，追求个性解放，蔑视传统道德，对于荒原的习俗，她不屑一顾甚至故意与其作对。

《还乡》中游苔莎的悲剧命运分析摘要19世纪英国著名的现实主义小说家托马斯·哈代创作的《还乡》是一部“性格与环境”的代表性悲剧小说。

被哈代称之为“夜之女王”的女主人公游苔莎，一直以来也被文学界所关注。

本文先从游苔莎在爱敦荒原的生活，与克林的婚姻，以及不可避免的死亡来展现其悲剧，再从三个方面对游苔莎的悲剧命运展开剖析：首先从她个人的性格因素着手，然后分析其当时生存的自然环境和社会环境，最后是推动情节发展的巧合因素。

外部环境起到的只是推波助澜的作用，内在的性格弱点才是其悲剧命运的根源。

因此本文着重从三个方面对游苔莎的内在性格因素进行分析：酷似“女巫”的个性；游戏爱情与婚姻的态度；爱抱幻想的思维。

本文通过分析游苔莎的悲剧命运，尤其是她的性格弱点，旨在加深读者对这部作品的理解。

关键词：游苔莎；爱敦荒原；悲剧1．IntroductionThe Return of the Native is the representative tragic novel of Thomas Hardy, who is considered as the last great novelist of the Victorian period. In Hardy’ novels, he seems to be continuously complaining about an overwhelming, persuasive blind force, which he considers as Fate and Chance. D. H. Lawrence praised Hardy with ambivalence, and associated him with Tolstoy as a tragic writer in Study of Thomas Hardy he wrote. Hardy is outstanding for his tremendous power of producing tragedies comparable to classic tragedies.The Return of the Native is a tragic novel which analyzes the psychological paradox of the characters and the conflict between man and nature. When the novel was published in 1878, a great number of commentators praised Hardy for his vividdescriptions of the geographical landscapes—Edgon Heath, especially those in the first chapter. While, on the contrary, others thought that his portrayal of the local characters was shallow and unconvincing. A review in Athenaeum deemed it “distinctly inferior to anything of his novels we have yet read.”Jean R. Brooks commented that this fiction “strikes a harsher note than Far from the Madding Crowd”[1]269.Eustacia, the heroine of The Return of the Native,has attracted extensive attention from academic readers. For example, Albert J. Guerard holds the opinion that Eustacia is the first of Hardy’s irresponsible and mildly neurotic hedonists[2]127. Havelock Ellis believes that “superficially she was timid; it was beneath that timidity that her stronger and more rebellious spirit dwelt.”David Eggenschwiler sees Eustacia as the consequence of a dialectical struggle in Hardy with regard to his own Romanticism; while in Perry Meisel’s opinion, Eustacia and her story represent Hardy’s own return of the repressed. In a word, Eustacia received both appreciation and criticism, so did the causes of her tragic fate. In this paper, the author plans to analyze the tragic fate through three aspects: surroundings, inner characters and coincidental factors. On the basis of natural and social influence, the author is going to try to explore more inner characteristic elements that give rise to the tragedy.2. The author and the novelIn The Return of the Native, Hardy makes a deep contemplation of woman. On the one hand, he shows a great concern for the suffering of Eustacia. On the other hand, it is impossible for him to arrange a good fate for his heroine: the strong woman in his novel dies in the end. Observing Eustacia’s little power to fight against her fate, Hardy, the creator, can do nothing but stand silently.2.1 Thomas HardyThomas Hardy (1840-1928) , born and brought up in Dorset shire, where later became the famous “Wessex” in many of his novels, is considered as an English poet and regional novelist, and also a short story writer, essayist, playwright, and architect. He was keen on architecture, music, country folk-tables and literature, which appeared in his novels and his own life. When he was young, he always experienced the life of common people. He showed great sympathy to those poor traders, women and farmers, who led the miserable life under the influences of capitalistic development. His experiences of a simple rural life later became the plentiful materials of his novels.Hardy began to write poetry and novels from 1867, and he devoted the first part of his career to the novel. There were statistics that Hardy produced more than 20 long novels in his whole life. His novel writing can be classified into three stages. In the first stage, he has a strong interest in romanticism. The major works are: Under the Greenwood Tree (1872), and Far from the Madding Crowd (1874). Then he goes to another one, in which he mainly depicts the social tragedies in Wessex. The Return of the Native (1878) and The Mayor of Caster bridge (1886) are two typical novels in this stage. In the last stage, Hardy tries his effort to describe the tragic fate and the bankrupt peasants of Wessex, which we can learn through Tess of the d’Urbervilles (1891) and Jude the Obscure (1895). He also handed down many collections of poems, such as Wessex Poems, Poems Past and Present, The Laughing Stock of Time as well as Early and Late Lyrics. Hardy’works not only handed down the great tradition of England realism, but also led a bright way for British literature of 20th century. Until his death at 87, he remained there writing novels and later poetry, living simply and quietly in spite of his worldwide fame.2.2 The brief introduction to The Return of the NativeThe story begins with two women, Thomasin Yeobright and Eustaeia Vye, simultaneously falling in love with Damon Wildeve, whose marriage to Thomasin Yeobright is delayed by some errors in the marriage certificate. As a matter of fact, Wildeve, to some extent, uses Thomasin as a device to make Eustacia jealous,because he is infatuated with Eustacia Vye. Diggory Venn loves Thomasin. When Venn learns that Eustacia and Wildeve have an unusual relationship, his own love for Thomasin induces him to intervene with them, which he will go on doing throughout the novel. However, Venn's efforts to persuade Eustacia to consent Wildeve to marry Thomasin, just like his own marriage proposal to Thomasin, are failed.Eustacia finally marries Thomasin’s cousin Clym Yeobright, a native man who returns from Paris, despite the strong objections of Mrs. Yeobright. Eustacia sees urbane Clym as a chance to escape from the hated heath. But it is not long before she is thoroughly disillusioned with her husband. Eustacia's dreams of moving to Paris are rejected by Clym, who comes back to stay in the village because he is tired of city life. He has，on his return，the intention of running a school. When Wildeve hears of Eustacia's marriage with Clym, he begins to desire her again, although he is already married to Thomasin. He met Eustacia in a country dance, seen by the omnipresent observer Diggory Venn, and later when Wildeve visits Eustacia at her home while Clym is coincidentally sleeping. During this visit, Mrs. Yeobright knocks at the door. She has come hoping for reconciliation with the couple. Eustacia, however, in her confusion and fear at being discovered with Wildeve, does not allow Mrs. Yeobright to enter the house: heart-broken and feeling rejected by her son, she succumbs to heat and snakebite on her way home, and finally dies.When Clym finds out the truth of his mother’s death, he separates with Eustacia. After a fierce argument between the couple, Eustacia leaves Clym for her grandfather’s cottage. Soon, Wildeve offers to help her, hoping she will become his mistress and leave Egdon with him. Clym writes a letter to Eustacia to call her back. Meanwhile, Eustacia consents to leave with Wildeve at midnight without receiving it.A terrible storm begins to savage the heath as Eustacia slips out of the house to meet Wildeve. On the way, however, she realizes that escaping with him is not a solution. Losing all hope and being frustrated, she drowns herself to death.3. The embodiment of the tragic fate of EustaciaEustacia’s tragic fate is so obvious in this novel, such as her life in Egdon Heath;marriage with Clym and her inevitable death. The Heath survives by endurance and submission, so does it require of its dwellers, Eustacia realizes this, but feels it rather ashamed. She wants to realize her dream depending on her future husband and wishes he would help take her escape Egdon Heath. Instead of meeting her desires, marriage shatters her life dream. Losing all hope, she drowns herself to death.3.1 Life in Egdon HeathTragedy arises out of the gap between what the character is—his true self—and what he does—the identity he presents to the outside world [3]59. Eustacia is portrayed as a prisoner on Edgon Heath by the author, which frustrates not only her passion, her sexuality, her consciousness of time, but also all her escaping attempts.Egdon Heath is a primitive, primal Heath, where the instinctive life heaves up. “Paradoxically, the heath is not only a metaphor for the cosmos, but it mirrors mankind’s common internal chaos” [4]37. It is serious, and its indifference to human feelings and complete ignorance of the effect of time are hated by Eustacia, whose greatest desire is “to be loved to madness” and to live a life filled with “music, poetry, passion, war, and all the beating and pulsing that is going on in the great arteries of the world”. Rather than living in harmony with Egdon Heath, Eustacia is contradictory to it in all its related meanings. Egdon is stoic, but she is tragic; Edgon accommodates, but she violates; Edgon approves solemnity and self-restraint, but she aspires to burn out with a great passion; Edgon ignores time, but she likes to stare at the sand running out in her small hourglass. [9]88She enjoys protruding herself by mocking its conventions: “On Saturday nights she would frequently sing a psalm and it was always on a weekday that she read the Bible, that she might be oppressed with a sense of doing her duty” [5]179.On Egdon Heath, it appears that only Eustacia, equipped with her grandfather’s telescope and her grandmother’s hour-glass, which are metaphors of “transience”, is especially concerned with the passing of time. Watching the sand running out in her small hour-glass, she feels that “any love she might win would sink simultaneously with the sand in the glass”[5]92.Eustacia’s desire to enjoy the present moment, according to Brooks, Jean R, is the universal thrust of life to grow out of the primal stage of blind, self-absorbed groping towards the sun to a state of being where light, form, and meaning are imposed on matter [1]62.However, Eustacia’s consciousness of time is threatened by timeless Egdon. Instead of doing any good to her, it makes hermiserable, strengthening her escaping wish. We are told that she once lived for a while in Budmouth, a world of art and fashion, in which she had been addicted. That is why she becomes more and more dissatisfied with her role in the natural region. She has become a reluctant nature goddess. Unable to meet her satisfaction or fulfill her enthusiasm, Eutacia cries anguished cries on Egdon: “O if I could live in Budmouth as a lady should, and go my own ways, and do my own things, I would give the wrinkled half of my life” [5]128. Seeking and attempting, Eustacia can never realize her dream of escaping. All her efforts grow aborted. On the night of her last escape, Egdon with heavy storm becomes in Eustacia’s mind most intensely her enemy. Helpless and despaired, Eustacia is found drowned in the weir. And eventually, Egdon becomes her “death”.3.2 Marriage with ClymIn nineteenth century, in everyone’s heart, men were the superior sex. “The purpose of women’s lives was marriage, and their proper sphere was home, while men had all the rest of the world to exercise their talents”. [6]37 The privileges occupied by men in economic status and social life made women inferior to men. It was unable to realize their self-fulfillment for women.Eustacia, together with all her “romantic dreams of Heroic love and social brilliance” marries Clym under the dream that he will be her gateway to Paris. In the nineteenth century, when a woman married in church she promised to obey her husband, and from then on her husband is in the first place in her heart. “Marital closeness implied that a wife should be able to share her husband’s interests, which she could only do if she had received at least some education.” [6]49Clym’s words verified this view when he talks to his mother that Eustacia “is excellently educated, and would make a good matron in a boarding-school.”[5]158However Clym and Eustacia belong to two different kinds of people: one has rejected the worldly vanity of Paris and the other is eager to leave for this prosperous city. Their purposes are on the completely contrary. Clym plans to start a school on the heath and teach the rural people there. He wishes to carry out the plan without any delay, so he works day and night. But after his marriage, his eyesight is greatly weakened because of excessive reading, and he becomes a furze-and-turf cutter. Certainly, Eustacia cannot bear Clym’s furze-cutting; her life dream gets shattered. Regarding to her marriage withClym, she tells passionately to Wildeve: “But do I desire unreasonably much in wanting what is called life—music, poetry, war and all the beating and pulsing that is going on in the great arteries of the world? That was the shape of my youthful dream; but I did not get it. Yet I thought I saw the way to it in my Clym.” [5]256 Wildeve does not deserve her, nor is Clym Yeobright. The confined and confining world deprives her of any enjoyable experience and she is therefore “constantly restless, perpetually on the move, endlessly roaming”.Marriage for Eustacia is a life gambling and she loses. She comes to realize the meaning of it until she has been caught. She has intended to escape from its confinement, but with “no money”, she “can’t go”. Without economic power, she has to be deprived of all her desires and ambitions. Eustacia is reluctant to give up her desire and finally she died.3.3 Inevitable deathWhen Clym finds out the truth of his mother’s death, he said; “If there is any justice in God, let Him kill me now. He has nearly blinded me, but that is not enough. If He would only strike me with more pain I would believe in Him forever!” [5]316 After a fierce quarrel between the couple, Eustacia leaves Clym for her grandfather’s cottage. Soon, Wildeve gives a hand to her, hoping that she will become his mistress and leave Egdon with him. Meanwhile, Clym writes a letter to Eustacia to call her back. However, Eustacia consents to leave with Wildeve at midnight without receiving it. A terrible storm begins to attack the heath when Eustacia goes out of the house to meet Wildeve. On the way, however, she understands that escaping with him is not a solution. Losing all hope, she drowns herself to death. In order to save Eutacia, Wildeve also drowns to death. Her last words are very grievous: “How I have tried and tried to be a splendid woman, and how destiny has been against me... I do not deserve my lot! O the cruelty of putting me into this imperfect, ill-conceived world! I was capable of much; but I have been injured and blighted and crushed by things beyond my control! O how hard it is of Heaven to devise such tortures for me, who have done no harm to Heaven at all! ” [5]304Eustacia is a soul in search of herself on Heath. But unfortunately, her attempt fails. In her eyes, there is nothing but the subjective reflection on her own. Even her desperate search for love is nothing but the self-reflective quest for the confrontation of her own being [6]29. Dissatisfied and depressed with her life, Eustacia begins tomake a decision. She seeks a way to flee from the Heath, only to be drowned. However, no matter whether her decision is right or wrong, Eustacia finds her new self in death. “To Eustacia the situation seemed such a mockery of her hopes that death appeared the only door of relief if the satire of Heaven should go much further.”[7]71 It is a tragic result; while from another aspect, it is a victory to her too.4. The analysis of the tragic fate of EustaciaThe reasons of the tragic fate of Eustacia lie on three perspectives: the social and natural background Eustacia lives in, the weaknesses deep inside her characters, and the coincidental factors throughout the paper. In spite of the surroundings Eustacia lives in, the essential reason which leads to her tragic fate is her inner weaknesses.4.1 The factors of Eustacia’s inner charactersThe life of Eustacia in Heath makes us think of her as a beautiful and tragic woman whose mind and aspiration are those of a romantic schoolgirl. She is misunderstood by the inhabitants in the heath, unwilling to be accustomed to and rebels against the surroundings, customs and misfortunes on the Heath. She is also repressed by the simple and lonely life on the Heath and eager to pursue a romantic and passionate love. Eustacia’s weaknesses of her inner characters make her tragedy inevitable.4.1.1 Characters of “witch”Eustacia’s rebellious behavior destroys her fame and makes her become a witch in the eyes of the inhabitants on the heath. She is “an integral part of the universe she inhabits---at one with the body of the Heath.” Both Heath and woman are stern and unforgiving, desolate and empty, interchangeable with each other [14]46.She is hated by Susan Nunsuch, who blames her son’s illness on her and injures her physically on purpose in the church. Susan even makes a portrayal of her and then burns it, which is a superstition way to punish witches at that time. Besides the resentment of Susan, Eustacia is also hated by Mrs. Yeobright, her mother-in-law, who never has a goodimpression on her. In Mrs. Yeobright’s eyes, Eustacia is far from a good woman but “a voluptuous idle woman”, “too idle to be charming”, useless “to herself or to other people”[5]182. Therefore, she resists completely Clym’s marriage with Eustacia, declaring “If she had been a good girl it would have been bad enough”and “If she makes you a good wife there has never been a bad one” [5] Her objective opinion of Eutacia results in a series of misleading, which in turn leads to her tragic death as well as Eustacia’s tragedy. Her bad impression of Eustacia and suspicion about her unusual relationship with Wildeve irritate her badly, when she was shut outside her son’s house after knocking the door for a long time with no results, because Eustacia was dating with Wildeve. In spite of the fact that she terribly needs to take a rest after a long walk on a hot day, she goes back with no further investigation and finally dies from exhaustion and the bite of an adder on her way back home. Discovering how his mother is shut outside his door, Clym utters such bitter words: “How bewitched I was! How could there be any good in a woman that everyone spoke ill of?” [5]284 Believing she had done nothing wrong, Eustacia won’t submit but declare that she will leave her husband forever. Her reproachful words are bitter: “But I cannot enter into my defense—it is not worth doing. You are nothing to me in future and the other side of the story may as well remain untold. Your blunders and misfortunes may have been a sorrow to you; but they have been a wrong to me. All person of refinement have been scared away from me since I sank into the mire of marriage. Is this your cherishing—to put me into a hut like this, and keep me like the wife of a hind? You deceived me—not by words, nut by appearances, which are less seen through than words.”[5]216 Her characters of "witch" and rebellion to her husband irritate Clym and result in their separation4.1.2 Nonserious attitude to love and marriageEustacia always feels lonely, desiring and pining for the realization of her dreams and wishes. She wants love and her concept of love is quite different. She does not consider love as a god to whom she must surrender her freedom on religious devotion, but “To be loved to madness was her great desire. Love was to her the one cordial that could drive away the eating loneliness of her days. And she seemed to long for the abstraction called passionate love more than for any particular love” [5]176 she holds an unconventional view on love that “Fidelity in love for fidelity’s sake had less attraction for her than for most women: fidelity because of love’s grip had much. A blaze of love, and extinction, was better than a lantern glimmer of the same whichshould last long years.” [5]91 With such an attitude Eustacia is far from the value of the medieval traditions.Woman is declared made for family, not for politics; for domestic cares and not for public function[12]29. Marriage for Eustacica is a life gambling and she loses. Instead of fulfilling her desires, marriage shatters her dreams. Eustacia is not a docile woman, nor is she a docile wife. She never forgets her willingness to escape from Egdon and live a modern life in Paris, nor even a moment. Her decision to marry Clym is based on such an illusion that Clym might go back to Paris and take her away from Egdon. Clym is a scholar, not a singer. Sobriety in all things has been his discipline. But it seems as if, by resigning himself to his fate, he has developed a kind of joy that was foreign to him: "a quiet firmness, and even cheerfulness, took possession of him." [13]48 When their marriage becomes a failure, Eustacia feels so depressed that she has no intension to control her rage. Rather than accustomed herself to her husband’s simple way of rural life, she begs her husband to go back to Paris, saying “must I not have a voice in the matter, now I am your wife, the shares of your doom?”[5]116 Her rebellious attitude and disobedience to her husband irritates Clym and leads to their separation.4.1.3 Fantastic thoughtsEustacia is so different from the other girls on the Heath. She uses a thin fillet of black velvet across the upper part of her head, which is different from the neighboring girls who wear colored ribbon. She takes a rest, when the other people work. But on Sundays, she does some housework while singing a poem. She hates the traditional religion, the persons she admires are those who are tough, fierce or do not believe in God. “Her high gods were William the conqueror, Strafford, and Napoleon Buonaparte.” [5]152.She desires greatness, but doesn’t really understand what greatness is. She burns with love, while painfully aware of the inadequacies of her lover. This emotion drives her to distraction. It is this gap between her imagination and the reality that is the source of her tragedy [11]65.All women were brought up from the very youngest years in the Victorian period with the idea that they were inferior to men, and they were born to be dependent, obedient members of society. The freak woman, like Eustacia, was the woman who rejects to be selfless, behaved on her own initiative, and rejected the obedient role. She breaks the rules imposed on women, and becomes the intruder upon the Heath, the danger to the community.4.2 The factors of the surroundingsIn Hardy’s mind, human beings are the products of evolutionary and environmental forces which they factually cannot control, and people’s happiness and success mainly depend on the indifferent, even hostile environment. Eustacia, a “queen of solitude”, an ambitious and enthusiastic woman, is unable to explain why her destiny is thrown on the area of Egdon Heath, which appears to destroy her forever.4.2.1 The environment in Egdon HeathAs D. H. Lawrence points out in the Study of Thomas Hardy: “What is the great tragic in the book? It is the Heath. It is the primitive, primal Heath, where the instinctive life heaves up.”[8]37Egdon Heath is vast, isolated, primitive, uncultivated and mysterious. It is “neither so steep as to be destructible by weather, nor so flat as to be the victims of floods and deposits”. Because “the storm was its lover; nor the wind was its friend”[5]26. Weather cannot have effect on it, nor can it be affected by man. Any attempt of man to alter it is in vain and becomes disastrous. Man’s activity can never change the Heath and his relationship with it can only be “a symbiosis, not domination.”The comparison of the peculiar wildness of the Heath with the short human life can further reflect the ancient conflict between man and nature: “The Sea changed, the fields changed, the rivers, the villages, and the people changed, yet Egdon remained.” [5]32 “The Heath cannot be dominated; it can only be cooperated with”.Moreover, Egdon Heath has “a lonely face, suggesting tragical possibilities.” It has a mysterious power which is closely related to the fate of the protagonists: only people complying with the Heath can survive, otherwise they will encounter terrible disasters. However, “Eustacia is established as a genuine antithesis to the Heath in all its related meanings. Eustacia Vye’s tragedy is presented through her sharp clash with her existential place---Egdon Heath，whose primitiveness and severity fulfill neither her passion for love nor her desire for a luxurious life and thereby it becomes her "misery”[10]63.Eustacia is a very desirable and passionate woman, however, on Egdon Heath---the enemy of civilization, she is really a prisoner in the world of nature. Her aspirations, so out of tune with her surroundings, are doomed to failure.4.2.2 Social backgroundThe nineteenth century was a period in which the capitalist society wasexperiencing a series of enormous changes in politics, economy, of further industrial growth, and of freedom in the field of ideas. However, the status of women is always followed by a “shadow” image of their subjective confinement.The prevalent Victorian ideology that women are the inferior sex is deeply rooted on the Egdon Heath. Here the workfolk represent the safeguard for the traditional thinking world. Eustacia is not understood by the inhabitants. According to Sam, the turf-cutter, “Her notion is different. I should rather say her thoughts were far away from here, with lords and ladies she’ll never know, and mansions she will never see again.”[3]58 Standing against the tradition, “coarse”world of common people and objecting it, Eustacia is isolated. She acts contrarily to the religion, customs and conventional rules at that time. Although only several people really know her, they do not hesitate to bring about their own ideas about her based on their “intuition”. She is “the beauty on the hill”to most men, “a proud girl from Budmouth”and a “voluptuous, idle woman”to Mrs.Yeobright, a disreputable rival to Thomasin and Diggory, and an evil witch to Susan [9]73 No matter how different the impressions may be, they all have one point in common that Eustacia appears to be neither one of them nor a model woman by any standard. Although she is desirable and ambitious and eager to make herself a big woman in the world, finally, all her attempts are failed and she has to accept the realities.4.3 The factors of coincidenceA variety of coincidental factors drive the s t tory into the depth of the development. Eustacia hears of Clym from people in Heath when they are talking about him, who comes back from Paris. She is eager to meet him, but the chance is not coming. Coincidentally, Mrs. Yeobright invites the Timeworn Drama to welcome the back of her son. Eustacia make herself up as a man in Timeworn Drama, so as to meet Clym. They get married by chance, too. Learning Christian has lost her one hundred guineas to Wildeve when gambling and Clym has got no money, Mrs. Yeobright’s first impression is that Wildeve had given money to Eustacia. Instead of looking into the whole event, she goes to Eustacia and urges her to admit that she has received money from Wildeve, which leads to a severe argument and the addition of their misunderstanding. On a hot summer day, Mrs. Yeobright decides to walk over to her son’s cottage to make reconciliation. However, she is prevented out of the door,because Clym is in deep sleep after his hard work and Eustacia is afraid of being found to be together with Wildeve. On her way home, Mrs. Yeobright is bit by a snake and poisoned to death. All these events are led by chance and chance to the worst place turned out death, and no reconciliation. If Mrs. Yeobright were not so old; if Eustacia had not dated with Wildeve in her house; if Clym had not fallen into such a deep sleep, then the tragedy could have been avoided. However, all of these events do occur. When Clym find the role Eustacia played in his mother's death, the couple has a fierce quarrel and she eventually decides to fly to Paris with her old lover Damon Wildeve, where she has always eagered to live. They will each abandon their spouses and live together. However, their flight is interrupted by a horrific storm and Eustacia plunges into the weir, whether by suicide or accident. Wildeve leapes into the water to save her, but both Wildeve and Eustacia die.5．ConclusionIn The Return of the Native, Hardy gives great sympathy on the subjection of Eustacia, who is beautiful, proud, full of imagination and rebellious. As a matter of。

哈代《还乡》中次要人物分析孔令林【摘要】小说中的次要人物往往不像主要人物那样受到关注,但在故事发展过程中次要人物也起着侧面衬托、渲染气氛、衔接并推动情节发展的作用.通过分析《还乡》中几个次要人物所作所为酿成的过错类型及成因,解读他们对本部悲剧作品所起的作用.【期刊名称】《黔南民族师范学院学报》【年(卷),期】2016(036)004【总页数】4页(P39-42)【关键词】次要人物;过错;《还乡》;分析【作者】孔令林【作者单位】黔南民族师范学院外国语学院,贵州都匀558000【正文语种】中文【中图分类】I561.074小说中的次要人物，是一篇小说总体构思的有机组成部分，它通过一定的结构和小说中的主要人物、故事情节、生活环境组成和谐统一的有机整体[1]。

他们在侧面衬托、渲染气氛、衔接并推动情节发展等各方面都具有重要的作用[2]。

在小说中，次要人物不如主要人物或者主人公重要，作家着墨也不多，但他们就像链条中的各个环节一样不可或缺。

对于英国著名作家、诗人托马斯·哈代的代表作《还乡》来说，这部小说是哈代“性格和环境小说”之一，哈代继承了索福克勒斯的核心思想：性格决定命运。

……游苔莎、克林都无法克服自身性格的缺陷，也就无法避免悲剧的宿命[3]。

从这个角度来说，悲剧的基调在小说的写作之初就已经定下来了，是不可避免的。

在这部小说中，克里斯廷、文恩、费韦、查利等次要人物在故事发展的后半段的所作所为酿成了一些过错，造成了严重的后果。

他们起到了推波助澜的作用，加速了悲剧结局的发展进程，事实上起到了坑害主角的作用。

笔者拟对这些次要人物进行分析解读，阐述他们在故事发展中的作用。

在这部小说的后半段，几个次要人物的所做的一些事情是无可挽回的过错，对男女主人公造成了很大的影响，而这些影响不可逆转，导致了主人公悲剧的产生。

(一)克里斯廷：赌博输钱酿祸端克里斯廷是受雇于约布莱特家干活的一个荒原小伙，他不聋不哑不瞎，走路摇摇晃晃，长着细细头发，瘦得像个骷髅，年龄不小(三十一岁)，出生时没有月亮(表明没有好运气)，胆小怕鬼，有些傻气，是一个没有一个女人会嫁的男人。

论《还乡》中的二元对立作者：伍圆圆来源：《青年文学家》2014年第06期摘要：《还乡》主要描写了五个青年男女在英国西南部威塞克斯埃格顿荒原上的不同的命运。

小说中存在着大量的二元对立现象，本文主要探讨人物形象塑造的对立、环境描写上的对立以及理想与现实的对立，从而揭示其在彰显人物、深化主题上的作用。

关键词：哈代；还乡；二元对立作者简介：伍圆圆，女，湖南师范大学硕士研究生，主攻方向为英美文学。

[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2014）-06-0-01哈代是英国19世纪后期批判现实主义小说的重要作家之一，二元对立是其作品中的一个典型的叙事风格。

这一叙事风格很好地体现在《还乡》中。

一.人物形象塑造的对立首先是游苔莎和托玛沁性格塑造上的对立，她们体现着背离环境与适应环境、自私与善良、叛逆与温顺的鲜明对立。

游苔莎感情热烈，性格叛逆，一直都在寻找刺激。

爱情只是打发时间的一种方式。

她时时都在为自己的快乐寻求途径，追求她所向往的都市生活。

她的自私与叛逆让她遭到了荒原的报复：溺水而亡。

相比之下，托玛沁的性格很简单：温顺。

她对埃格顿荒原忠诚热爱，拒绝去城里居住。

在她和韦狄的婚事搁置时，她选择逃走。

约布赖特伯母批评她时，她不会反驳。

结婚后，虽然怀疑韦狄有外遇，她依旧是忍受。

她从来不会对自己的生活有不满或是怀疑，只是接受生活赐予她的。

她的这种隐忍的性格迎合了荒原的特性，最后她和维恩过上了幸福的生活。

另外，韦狄和维恩一个自私，一个无私，一个憎恶荒原，一个热爱荒原。

韦狄是个聪明伶俐、有学问有教养的人，但他多愁善感，爱耍计谋，时刻都只是为了自己活着。

而维恩对荒原是赤诚和热爱的，他和荒原是一体的。

他一心一意地爱着托玛沁，知道她决心嫁给韦狄，他就想要为她扫除游苔莎这个障碍。

最终，他也获得了自己的幸福。

这两组人物形象的对立体现了哈代小说中“性格决定命运”的主题。

那些可以适应他们环境的人都会得到它的祝福，而违逆环境并逃离它的人只能得到最严厉的惩罚。