苔丝的性格Characters of Tess

苔丝的特征来自于苔丝是这本书的核心人物，所以她的信息比任何其他人都更丰富。从她的故事中发展出小说的主题;从读者的认同与她的痛苦来到最强烈的情感。因此，如果不重述关于这本书的几乎所有内容，就很难写出她的角色，尽管她的角色基本上是一个简单的角色。它包括：>（1）她的身体吸引力。 >（2）在她的个性中混合了显然矛盾的精神骄傲和独立的品质与对他人和她的命运的消极和顺从。 >（3）她与感情和情感的自然世界的本能认同，被传统的道德所覆盖。 >（1）当她从一个看似成熟的女孩成长为一个二十岁左右的年轻女人时，她的美丽不断受到压力。哈迪特别强调她的眼睛的吸引力（这会折磨亚力克）和她在第39章中的表现。她的美丽成为她的负担，她自愿毁容的场景尤其令人痛苦（第42章）。对于读者而言，苔丝在物理上为生命带来的生命比任何其他角色都要大得多。 >（2）苔丝能够自豪，独立在整本书中反复出现;在离开亚力克的决心中，她不愿意告诉她的父母关于她的婚姻的真相，或者通过举办情感场景来接近天使。哈迪也将这种骄傲联系起来，进入她的提交 - 这可能是在整个德贝维尔家族中显而易见的鲁莽默许的症状（第37章）。Characters of Tess As Tess is the book’s central character there is a greater richness of information about her than any other. From her story are developed the novel’s main themes; from the reader’s identification with her suffering come the strongest emotions. It is therefore difficult to write about her character without recounting virtually everything about the book, though her character is basically a simple one. It consists of: > (1) Her physical attractiveness. > (2) The mixing in her personality of the apparently contradictory qualities of pride and independence of spirit with a passivity and submissiveness towards other people and her fate. > (3) Her instinctive identity with the natural world of feelings and emotions, which is overlaid by a conventional morality. > (1) Her beauty as she grows from a deceptively mature girl to a young woman of twenty or so is continually stressed. Hardy emphasizes especially the attractiveness of her eyes (which so torment Alec), and her in Chapter 39).Her beauty becomes a burden to her, an the scene of her voluntary disfigurement is especially poignant (Chapter 42). Tess is brought physically to life for the reader to a much greater extent than any other character. > (2) That Tess is capable of pride and independence is shown repeatedly throughout the book; in her determination in leaving Alec, her unwillingness to tell her parents the truth about her marriage or to approach Angel back by staging an emotional scene. Hardy links this pride too, entered into her submission-which perhaps was a symptom of that reckless acquiescence in chance, too apparent in the whole d’Urberville family’ (Chapter 37).