Thomas Hardy's representation of Gender and Class in A Pair of Blue Eyes

Facultad de Filosofía y Letras Grado en Estudios Ingleses Thomas Hardy's representation of Gender and Class in A Pair of Blue Eyes Nombre completo del alumno Lucía Merino Carpintero Tutor/Tutora: Sara Medina Calzada Departamento de Filología Inglesa Curso: 2023-2024 ABSTRACT The aim of this dissertation is to examine the extent to which Thomas Hardy subverts the social conventions of Victorian England through his novel A Pair of Blue Eyes (1873). The Victorian Era is characterized by strict moral conduct as well as profound changes. These departures from the prevailing social order caused great anxiety amongst the population, reinforcing the traditional values. Focusing on gender and class issues, it can be argued that Hardy, aware of the inequalities and incongruities of said norms, employs different techniques to challenge those ideals in his novel. The author realistically depicts Victorian society, while subjecting his characters to distressing situations caused by the pressure of acting upon social demands. Likewise, his challenging of these conventions is conducted in a wisely and subtle manner. Key Words: Gender, class, Thomas Hardy, social norms, Victorian society. El próposito de este Trabajo de Fin de Grado es examinar hasta qué punto Thomas Hardy subvierte las convenciones sociales de la Inglaterra victoriana a través de su novela Unos Ojos Azules (1873). La época victoriana está caracterizada por una estricta moral de conducta, así como por severos cambios. Estas desviaciones del orden social prevaleciente causaron inmensas preocupaciones entre la población. Centrándonos en las cuestiones de género y clase, se observa que Hardy, consciente de las desigualdades e incongruencias de dichas normas, emplea diferentes técnicas para desafiar esos ideales en su novela. El autor describe de manera realista la sociedad victoriana mientras somete a sus personajes a situaciones angustiantes causadas por la presión de actuar de acuerdo con las expectativas sociales. Asimismo, desafió estas convenciones de una forma hábil y sutil. Palabras clave: Género, clase, Thomas Hardy, normas sociales, Sociedad victoriana Table of Contents 1. INTRODUCTION……………………………….……………….. ........ 1 2. THE VICTORIAN ERA: A Time of Changes………………….……... 4 3. GENDER IN A PAIR OF BLUE EYES……………………………….. . 7 3.1 Domesticity and Submission…………………………… ........ 7 3.2 Power Relations……………………………………….. .......... 10 3.3 Masculinity………………………………………………… ... 13 4. CLASS IN A PAIR OF BLUE EYES……………………………. .......... 17 4.1 The Boundaries of Social Intercourse…………………........... 17 4.2 Challenging Class Norms………………… ……………… ..... 21 4.3 Social Mobility………………………………………… ......... 23 5. CONCLUSION……….………………………………………………...27 6. BIBLIOGRAPHY………………………………………………. .......... 29 1 1. INTRODUCTION This undergraduate dissertation focuses on Thomas Hardy’s depiction of gender and class issues during the 19th century in his novel A Pair of Blue Eyes (1873). This period is marked by strong conventions, as well as sharp contrasts, irregular changes, and double standards. Society was remarkably strict regarding how men and women should behave, along with the harsh expectations corresponding to each social class. However, during this period, significant events arose, such as the Woman Question, which prioritized women’s equality, or the Second Reform Act (1867), which improved the conditions of the proletariat by allowing working-class men to vote. Hence, it is not surprising to consider Hardy’s advocacy for the liberation of women and his criticism of social class stereotypes during a period when the foundations of society experienced such meaningful tremors. Likewise, several authors support the claim that he was in favor of progress. Bhattacharya claims that “though Hardy was not drawn to feminist movement of his day, he was deeply sympathetic towards it” (4), and Flynn declares that despite not knowing his political leaning, his work resembles “the numerous socialist and radical movements that were emerging, merging and dissolving during the final decades of Victoria’s reign” (58). Therefore, the characters in his novel would represent the struggles for equality and the dire consequences they face due to the strict ideals of their time. However, other authors disagree with these ideas, and as claimed by Boumelha: Many of the more recent critics have followed one of two paths: either they have accused Hardy of entrapment in conventional views of women’s character and sphere of action, or else they have remarked on his particular interest in and sympathy with women. It is perhaps not surprising that women predominate among the first group, and men among the second (2). That is to say, some argue that Hardy depicts reality as it was, reinforcing social stereotypes. However, it is essential to bear in mind the prevailing morals of the era. Regarding the strict norms, Yoshino claims that “he [Hardy] had no choice but to disguise his oppositional views while patiently negotiating the properties – avoiding unhealthy topics as best he may” (20). Therefore, Hardy employs subtle techniques to critique the system, in order to avoid censorship and engage the Victorian public. It is for this reason that it is important to study how Hardy decides to portray society. Hence, the aim of this 2 dissertation is to analyze the extent to which Hardy subverts the ideas and conventions regarding gender and class of 19th-century English society. One of the main reasons behind my decision to work with this novel is because, despite its remarkable quality, it has not received as much academic attention as some of the author’s other works. It is for that reason that I will provide a brief summary of the plot in order to offer context and facilitate the comprehension of the analysis. Likewise, it is worth noting that, according to Luebering, A Pair of Blue Eyes is inspired by Hardy’s own life (91). The novel is set in the outskirts of fictional Lower Wessex. The protagonist, Elfride Swancourt, is the daughter of the vicar of the town parish. Her fate changes the day her father requests an architect to renovate the church, and Stephen Smith is sent. Thereupon, Elfride and Smith fall in love. However, the problem arises when the young architect confesses that he comes from a working-class family, which led Elfride’s father to oppose the marriage. Nevertheless, Elfride fights against society’s conventions for her love but, eventually, gives up. Consequently, Smith decides to go to India to earn some wealth. During his absence, Mrs. Troyton, now married to Mr. Swancourt, hosts a distant relative of hers, Henry Knight. Knight, a man of letters, is also Smith’s former instructor. Elfride and Knight fall in love as well. However, Elfride’s heart is divided between the two men, whose personalities are utterly opposite. Further, Knight, upon learning that Elfride has had a lover before him, ends the courtship. Elfride is suffering the consequences of her actions, as society highly condemns the slightest deviation of conduct. In the end, both ex-lovers come back in a dispute for Elfride’s love, only to learn that she sorrowfully married Lord Luxellian, the most influential man in the town, and shortly afterwards she dies. Before analyzing the novel, it is essential to have a clear understanding of the historical context of Hardy and his work. It is for that reason that the discussion begins with an exposition of the main events of the Victorian era, regarding gender and class, as well as its consequences. The grasp of these circumstances sheds light on how and why the Victorians behaved like that and contributes to understanding their reasoning. Secondly, the discussion focuses on how Hardy confutes gender conventions, addressing three main topics, which were considered the most relevant to the analysis: Domesticity and Submission, Power Relations, and Masculinity. Subsequently, the analysis centers on the class question and the way Hardy criticizes the socioeconomic structure of the era, as 3 well as the stern demands that come with them. For this purpose, the chapter is divided into three subsections as well: The Boundaries of Social Intercourse, Challenging Class Norms and Social Mobility. It is noteworthy that gender and class, despite being two closely related issues, have been separated in the analysis to gain a clearer understanding of each matter. Finally, taking the previous aspects into consideration, a conclusion on how Hardy represents and refutes society norms will be presented. 10 society's harsh moral codes on women. Elfride is aware of the consequences of her behavior and, conscious of said norms, is forced to marry. Her weariness and resignation can be seen through her words when she states: “Yes; I’ll do anything for the benefit of my family, so as to turn my useless life to some practical account” (Hardy 400). Eventually, she dies, without having known happiness, a result of her conflicting actions with the strict social morals. Hardy depicts Elfride as a subordinate woman in an androcentric society. Elfride does not behave to breach the patriarchal norms, but rather she is forced to challenge those values owing to her own circumstances. However, she does not manage to accomplish it due to her internal disputes. Her dissenting behavior towards societal norms is her condemnation. Hardy, arguably, perceives the judgment of the misogynistic society and tries to liberate his protagonist from that yoke without success. 3. 2 Power Relations Furthermore, one of the biggest problems that Victorian women faced was their lack of free will. Not only were they suppressed by the assumptions that would be made of them, but they depended upon a man's permission to attain their desires. Hardy, throughout the novel, displays a constant disparity between Elfride's desires and what the male figures impose on her. All the male characters maintain a paternalistic attitude towards Elfride, either by restricting her from her freedom or by treating her with haughtiness. Both behaviors are a mechanism to submerge women, restraining them from their independence. In the initial instance, her father forbids her from becoming espoused to Stephen Smith. Hardy unveils Elfride’s personality as not conforming with the social principles, not only via her behavior but also allowing the reader to comprehend her inner world through an omniscient narrator: “Indignation at parental inconsistency in first encouraging, then forbidding” (114). Elfride’s incapacity to contravene authority, or at least, consummate these attempted rebellions, suggests that Hardy is aware of the conflicts between women’s desires and societal expectations. Nonetheless, the fact that that defiance remains in simple feelings and abides by the rules, indicates that that is how the author depicts women’s passivity, resigned to do what they are expected to. Hardy, arguably, does not 11 intend to represent Elfride as a feminist icon insurrecting against her oppressor, neither he aims to portray her as the lady in distress from the collective imagery. Elfride is a young woman with unclear ideas who sometimes risks what her heart dictates and acts bravely, but who, however, concludes collapsing due to her lack of determination. Yoshino illustrates that it is her human nature, replete with contradictions, fears, and bravery, which makes the reader empathize with her, as she states: “She is brave and fearful, headstrong and vulnerable, and queenly and slavery, so she is utterly human, and we care for her” (21). Moreover, it is worth noting that society was experiencing reasonably substantial adjustments as a consequence of the rise of the Woman Question. It did not benefit the oppressor group to encourage the intelligence and independence of the opposite gender. Therefore, another form of violence and control towards women is the infantilization and ridicule of these. Elfride is a victim of this patriarchal behavior. The male gender was considered superior and was attributed qualities such as intelligence and temperance. A woman could not be as intelligent as a man since they were considered excessively emotional, and their mental state interfered with their judgment. And that is how Knight perceives Elfride: “Elfride was rather willful, by reason of his inattention, which she privately set down to his thinking her not worth talking to” (Hardy 175). Knight's continuous contempt towards Elfride exposes his egotistical nature and how he considers himself superior to her. By addressing her as a little girl, ridiculing and questioning her, he effectively unsettles Elfride, who resigns herself to being inferior to him. It can be argued that Hardy employs the chess passages to exemplify their personalities. In said passages, Elfride faces a game of chess on different occasions with each of her suitors, culminating in very different results. After the game against Knight, Elfride cries: “But I want to, papa! Honestly, I am restless at having been so ignominiously overcome” (Hardy 182). From her reaction, it can be assumed that she considers the defeat an insult to her intellect, causing a breach of decorum. Knight does not hesitate to inform her: “Though I am afraid it is not the plan adopted by women of the world after a defeat” (Hardy 182). In such a manner, Knight exerts power inducing a sense of guilt within her regarding her behavior and attitude. If women experience shame when they diverge from societal norms, the frequency of such instances is likely to diminish. Paradoxically, Elfride is attracted to the sense of inferiority with which Knight regards her, as the following passage illustrates: 12 Elfride’s docile devotion to Knight was now its own enemy. Clinging to him so dependently, she taught him in time to presume upon that devotion – a lesson men are not slow to learn. A slight rebelliousness occasionally would have done him no harm, and would have been a world of advantage to her. But she idolized him, and was proud to be his bond-servant (Hardy 323). Hardy is cognizant of the power abuse of this relationship. It is noteworthy the use of the word “bond-servant” to refer to Elfride. The master and slave dialectic represents what was expected in marriages of the time. Women, in a situation of subordination, were required to serve their husbands’ needs without any financial recompense. Furthermore, they were deprived of their freedom since they were dependent on them. Likewise, a contradiction within Elfride exists anew. It could be posited that Hardy emphasized Elfride’s hesitant personality to display that she is not fully conscious of the level of subordination to which she is subjected. If this alienation did not exist and Elfride were more cognizant of gender issues, it may be feasible that she would reconsider certain attitudes. Hence, one may contend that Hardy attributes a level of responsibility to women for contributing to their incessant state of submission, considering the following quotation in which the narrator states: “Clinging to him so dependently, she taught him in time to presume upon that devotion” (323). Likewise, Prakrithi states that: “It’s probable that Hardy hints at woman’s flaw in allowing men to rule them, skillfully inquiring if man is solely responsible for women’s subjugation” (85). As it has been previously mentioned, marriage in the Victorian Era functioned as a contract in which women renounce to their persona in exchange of protection. Nonetheless, considerably prior to marriage, during the early stages of courtship, men already believed themselves in the right to own women. This is an instance of another form of paternalism. Neither of Elfride's suitors deviate from this pattern. Despite disparities in their personalities and backgrounds, their adherence to patriarchal norms remains largely consistent. At the end of the novel, when Knight and Smith encounter in the train, from their dialogues, it is possible to infer how they do not consider Elfride an individual with volition. This is reinforced by Smith’s statement: “I know this, she was MY darling before she was yours; and after too. If anybody has a right to call her its own, it is I” (Hardy 395). Elfride is similar to a manipulated figurine, torn by both parties until her resilience wanes and fractures. At no juncture do they contemplate the possibility that Elfride may autonomously decide her choice of a spouse. This insolence is significantly 13 attached to the idea of Victorian women’s passivity. Additionally, Hardy utilizes irony by revealing that Elfride passed away as a spouse of a third man. It became apparent that, even in her absence, the concern of her former suitors remained solely on their ownership. This notion strengthens when Knight states: “And if we find she died yours, I’ll say no more” (Hardy 396), manifesting their lack of empathy. Notwithstanding, Hardy does not reveal a fairy tale ending for the protagonist. It is unveiled via Unity’s narration that Elfride was devastated and the situation at her home was utterly distressing: “And she said to me she didn’t care what became of her and she wished she could die. When she was better, I said she would live to be married yet” (Hardy 400). The author reminds the reader that the only viable outcome for a Victorian woman is marriage. Possibly, what Hardy is aiming for, with this ending, is portraying all the hurdles and adversities that women faced to fulfill their happiness and freedom. He illustrates that, regardless of multiple attempts to demolish the patriarchal system, eventually, women are sentenced to comply with those norms as their existence revolves around them. 3. 3 Masculinity Likewise, the patriarchal system does not only affect women; men also had to meet certain social expectations as well, especially in the Victorian era. They were expected to satisfy the ideal of masculinity. Tosh illustrates that the primary meaning of ‘masculinity’ was “gender privilege, as in matters of inheritance” (qtd. in Hayes 12). It bears mentioning that the concept of masculinity is not and has not been an immutable concept, but rather varies depending on their historical and geographical context. Rutherford conveys that in Victorian society, “becoming an acceptably 'masculine' man meant 'adopting the values of male superiority', for one’s sexual identity involves both shaping and defending these values” (qtd. in Hayes 9). One of the values of masculinity was the man as gentleman. According to Hayes, “a gentleman lived according to a chivalric code which emphasized honor and respect, not only in his dealings with his fellow men, but in his treatment of women” (99). Nonetheless, Hardy, perhaps, in an attempt to condemn or seek reconsideration of these values, does not utterly construct his male characters according to these ideals. Stephen Smith is defined by his passivity, which is understood as a lack of masculinity. Hardy considers that “the emotional side of his constitution was built rather after a feminine than 14 a male model” (Hardy 374). In addition, Smith's physical description deviates from the ideals of masculinity: “His complexion was as fine as Elfride’s own; the pink of his cheeks as delicate … Neither whisker nor moustache, unless a little-light brown fur on his upper lip deserved that title” (Hardy 19). It is significant to mention this since, in Victorian times, beards were considered a symbol of superiority over women and other men: “Beards signified 'the natural superiority of men over women, and more vigorous men over their effete counterparts” (Oldstone-Moore qtd. in Hayes 97). Possibly with such description, ironically emphasizing Stephen Smith's lack of facial hair, Hardy pretends to inform us that, due to different aspects, such as immaturity, social class or personality Stephen Smith does not hold a position of superiority over Elfride. It is for this very reason that Elfride ceases to be enamored of him. It is notable that Hardy, as opposed to Smith’s description, characterizes Knight as “covered with furze as with a beard” (Hardy 166). Ergo, Hardy is implying that Knight is in a position of superiority above Stephen Smith. Furthermore, as opposed to the ideal of feminine passivity, men had to assume control of the circumstances. Hardy exemplifies this belief as the narrator, talking about Smith, states: “But decision, however suicidal, has more charm for a woman than the most unequivocal Fabian success” (136). It can be observed, owing to the narrator, that Smith does not fulfill society’s expectations. Elfride, despite also being a victim of this ideology and not satisfying the ideal of the perfect woman, imposes a certain form of punishment on her suitor for that same reason. Moreover, Knight converges closer to the ideal of masculinity; however, he does not fulfill it either. He differs from these ideals, firstly, considering his sexually withdrawn personality, and his little interest in women, concealed in an obsession for women’s purity, dissenting from what was expected from men. This is exemplified when he states: “I always meant to be the first comer in a woman’s heart, fresh lips or none for me” (Hardy 322). Likewise, he is characterized by more intellectual tasks such as writing, which was considered a lack of masculinity because "intellectual labor became associated with the feminine and the domestic” (Anand 113). It can be inferred from Elfride’s sentiments how internalized society's values were at that time. Elfride is aware that she prefers a man with a more ‘masculine’ attitude; however, she lacks an understanding of the underlying reasons. If she did contemplate her reasoning, perhaps, she would conclude that, in an androcentric society, women are taught from a young age that they are inferior to men and that they rely on them to 15 progress, since they are considered passive and fragile creatures. Elfride is, arguably, the victim and accomplice of a society that attempts to infantilize and control women. Likewise, as Gilmour aptly articulates: “It is the assumption, rather than the reality, of gentlemanly status that worked to satisfy middle class men and their desire to be accepted by the traditional hierarchy” (qtd. in Anand 6). Consequently, the chess scenes regain significance. In these passages, the social order of the three protagonists can be observed. The fact that Elfride lets Stephen win indicates that she is the one dominating the situation, something unusual that could even be considered inappropriate. Once again, Hardy displays that Stephen Smith is in a position of inferiority regarding Elfride: “The game had its value in helping on the development of their future” (55). As the narrator announces, that is the dynamic that rules their relationship throughout the novel, “exchanging” gender roles. Furthermore, taking the quote into account, this defeat or “non-victory” diminishes Elfride's perception of him. Conversely, when Knight beats her, that victory makes Elfride cherish him fonder: “That she looked up at and adored her new lover from below his pedestal, was even more perceptible than that she had smiled down upon Stephen from a height above him” (Hardy 258). Similarly, regarding the concept of masculinity and the gentlemanly role that men had to perform, a belief about men being responsible for saving women existed. This belief was probably reinforced by the implications that marriage entailed. Hardy evinces this ideal during the passage in which Elfride is teasing around the parapet and Knight bears her, preventing her from harming herself. In this sequence, Elfride is presented as childish and carefree, meanwhile Knight is depicted as the hero who rescues the damsel in distress. Nonetheless, afterward, Hardy introduces the cliff scene in which the roles are completely exchanged. During this passage, Knight finds himself in a difficult situation, as he chases after his hat, he falls and is left clinging to the edge of a cliff. His life depends upon Elfride, who saves his life. Elfride is no longer controlled by her passivity, instead, she becomes the heroine of the now-defenseless man. The narrator states: “It was a novelty in the extreme to see Henry Knight, to whom Elfride was but a child … who mastered her and made her weep most bitterly at her own significance, thus thankful for a sight of her face” (Hardy 232). In this quote, the narrator articulates the irony that Knight, who throughout the novel has despised Elfride, is experiencing. However, at this moment, as a matter of fate, his life depends on her. Elfride’s personality is not as doubtful and hesitant as it had previously been. Instead of being overwhelmed by her feelings, she 16 is able to reach a decision and follow through with it for the first time. The perception of women being the ones who need saving is dismantled and Elfride becomes the heroine. Hardy, arguably, decided to include both the parapet and cliff scene, in the novel to establish a contrast to reflect on gender roles and their inequity and disparities. Additionally, the relationship between the male protagonists is worthy of consideration. The tie between Knight and Smith is that of teacher and student, and several authors have emphasized the homosocial nature of their bond. For instance, Hayes notices that “Mallett focuses upon Henry Knight's repressive tendencies and Stephen Smith's naivety and alludes to a discourse of homosociality evinced in the master/pupil relationship between the two men.” (83). As discussed earlier, Smith is described in a feminine manner, meaning that he lacks masculinity, which was usually associated with homosexuality. Similarly, Knight, sexually repressed and obsessed with Elfride's purity, seems as if he has no sexual interest in her in any way. Furthermore, Smith experiences an almost platonic admiration for Knight. Such is his admiration that Elfride is brimmed with jealousy. “I not only have never loved anybody but you … but I have not even formed a strong friendship, such as you have for Knight. I wish you didn’t. It diminishes me” (Hardy 84). It is deserving of mention that, despite the discussion revolving around romantic relationships, Elfride responded by referring to their friendship. It appears that Elfride occasionally assumes a secondary role, which Sedgwick claims is attributable to the fact that when two men contend for the fondness of the same woman, their concealed homoerotic desires are channeled through the woman, portraying her as pitiful or contemptible, as she is reduced to a mere symbol of desire between men (qtd. in Anand 111). To be specific, the dispute between Knight and Smith over Elfride’s ownership is nothing more than a way to redirect their feelings. They are both even more engrossed in the contest of her manhood than in genuinely loving her. Immediately after Elfride’s figure vanishes, signs of physical affection between the two men can be recognized for the first time in the novel: “Then Stephen put his hand upon Knight’s arm, and closed them round from the yellow glow” (Hardy 398); “Stephen then paused, and lightly put his hand within Knight’s arm” (Hardy 399). Elfride can be understood as the pretense that united them. Hence, it is not unusual to read a homosocial subtext in their relationship. 17 4. CLASS IN A PAIR OF BLUE EYES As discussed previously, the nineteenth century was a period of economic growth and technological development, which led to the rise of the middle class. This advancement was a consequence of the Industrial Revolution, which was a key factor in the development of England as a country, specifically during the 18th and 19th centuries. According to Steinbach, “most historians remain convinced that the changes industrialization wrought were dramatic, they also stress that the process occurred very gradually” (85). In addition, Victorians not only lived in an era marked by ongoing discoveries, advancements, and transformations, but they also had to deal with its aftermath. The adjustment to the continuing changes was not easy, as explained by Middekke and Pietrzak-Franger: “the human psyche was not able to bear up against this rapid change of society and experience” (3). Victorians found themselves with a major part of their beliefs challenged. Liaci explains that a method used to alleviate the anxieties provoked by these changes was to categorize things as either good or bad, with the aim of eliminating the wicked elements of society. Thus, a behavioral “standard” was established to identify deviations, in an attempt to maintain a sense of control amidst the rapid societal changes (4). An instance of such changes and the reactions they elicited was the transformations resulting from the rise of the middle class. This event diminished the influence of the landed gentry and the upper class, reshaping existing socioeconomic relationships. In response, “the aristocracy and landed gentry frequently embodied forms of tradition and continuity set against (for better or worse) the currents of social change” (Adams 54). In A Pair of Blue Eyes, it can be observed how Hardy portrays these changes and the responses they evoked. 4. 1 The Boundaries of Social Intercourse As mentioned before, during the Victorian era, the Industrial Revolution played a significant role in shaping English society. The middle class gained ground, shaking the values of the time. In reaction to the anxieties induced by change, some Victorians attempted to uphold the established and prevailing order of things. Hence, a reluctance to 18 the blend of social classes and praise of social segregation can be observed in A Pair of Blue Eyes. Adams claims that “as a marker of elite social status, the norm was traditionally associated principally with inherited rank, but also with a host of virtues derived ultimately from a martial ethos: independence, courage, fidelity, and above all, honor” (56). The idea that superiority is bestowed through inheritance is also embraced by Mr. Swancourt, Elfride's father. Mr. Swancourt's character epitomizes the influence of the values of the Victorian era on people's consciousness. His judgment of people is largely rooted in whether they conform to certain expectations and moral standards. Evidence of this is his treatment of Stephen at the beginning of the novel, which contrasts with how he regards him at a later point. It is important to bear in mind that according to Davidoff and Hall’s criteria, the Swancourt family belongs to the upper middle class (qtd. in Powell 39). Mr. Swancourt is the vicar of the town parish; hence they rejoice in social connections and prestige. Thus, his close relationship with Lord Luxillian, who owns most of Endelstow and eventually becomes Elfride’s husband. By contrast, the Smiths belong to the working class as their capital comes from manual labor. Mr. Swancourt is not reticent in expressing his admiration for Smith, as he utters: “I never was so much taken with anybody in my life as I am with that young fellow – never! I cannot understand it – can’t understand it anyhow” (Hardy 54). It is evident that, at this point, he holds Smith in high regard. This could be attributed to the fact that, previously, Mr. Swancourt had exhibited persistence in emphasizing the nobility of the young man’s lineage. He even congratulates him on, allegedly, belonging to a prestigious family: “And, Mr. Smith, I congratulate you upon your blood; blue blood, sir; and, upon my life, a very desirable colour, as the world goes” (Hardy 23). This reaction is logical if we consider the argument of Betensky, who states that “the ‘gentle-born’ were never regarded in the same way as the sons or daughters of a mill-worker” (320). Therefore, Stephen Smith's social status increased, thus enhancing his respectability and reputation. It is interesting to remark that Mr. Swancourt, to substantiate his argument, mentions the ‘Landed Gentry’ book (Hardy 23), since according to Mokrá, “all of the wealthy members of gentry used their property and respect coming from their position to enjoy a great amount of independence” (16). Consequently, Mr. Swancourt's regard for Smith could be attributable to his social status. He might perceive a self-serving opportunity in befriending Smith, conceiving it as a means to satisfy his personal interests. 19 Likewise, this idea is reinforced when Stephen Smith reveals his true ancestry. Previous to disclosing the truth, Hardy depicts Stephen Smith’s character with an almost crippling anxiety, since all his thoughts revolved around the consequences of his "dreadful" secret: Certain circumstances in connection with me make it undesirable. Not on my account, on yours (53). Suppose there is something connected with me which makes it almost impossible for you to agree to be my wife, or for your father to countenance such an idea? (66). You can hardly judge, dear, till you know what has to be judged. For that, we will stop till we get home. I believe in you, but I cannot feel bright (67). This proves not only that Smith is aware of the limits of social classes and the consequences of trying to overcome them, but it also demonstrates that the integration of different classes was considered a dishonor and insult to the upper classes. In addition, when Smith reveals who his family is, the narrator states: It required no further effort to perceive what, indeed, reasoning might have foretold as the natural colour of a mind whose pleasures were taken amid genealogies, good dinners, and patrician reminiscences, that Mr. Swancourt’s prejudices were too strong for his generosity, and that Stephen’s moments as his friend and equal were numbered or had even now ceased (Hardy 89). This quote reinforces the previous idea that Mr. Swancourt is governed by the conventions of the time, refusing to entertain the idea of class mingling, and despising deceit as it undermines one’s integrity. Likewise, it also emphasizes the words of Adams, who claims that “class … entails a complex mediation between social orders, which depends on recognition across a wide social spectrum” (49). Therefore, it can be inferred that in the 19th century, although individuals had the opportunity to attain their own fortune, this alone did not warrant the respect and privileges bestowed upon the upper class. In contrast, a method to maintain or increment the socioeconomic status was convenient marriage. This was a common practice as Conca and Abe state: 26 in Victorian Britain depended not only on economic status, but also at least as much on how one came about one’s wealth or earned one’s living and whether one had to earn one’s living” (Betensky 320). Smith is still considered inferior due to his origins and way of earning a living. He will never achieve the same level of respectability in the eyes of his master. Another instance in which this is confirmed is when Mr. Swancourt is advising Elfride against marrying him, as he pronounces: “We must look at what he is, not what an improbable degree of success in his profession may make him” (Hardy 93-4). Perhaps, by contrasting these two different attitudes towards Smith’s social mobility, Hardy is portraying having been born in the lower class as a condemnation, from which it is almost impossible to fully escape. 27 5. CONCLUSION A Pair of Blue Eyes is a novel written in the context of Victorian society. Hardy’s descriptions reveal the societal values prevailing during that era and the response to the socioeconomic changes that society underwent. Furthermore, the novel does not simply describe Hardy’s contemporary society, as simultaneously, there exists a discreet yet persistent criticism of Victorian conventions. Hence, considering the previous analysis, it can be concluded that Hardy succeeds in subverting Victorian ideals regarding gender and class in A Pair of Blue Eyes. Hardy, aware of the hurdles women face in an androcentric society and inequality regarding social classes, employs different mechanisms to criticize the systematic oppression exerted on both groups. However, it is essential to bear in mind that due to the strong conventions of the era, his critique is not overt, but instead, it is delicate and sagacious. Hardy’s female protagonists are a key element in achieving social criticism, and that is Elfride’s case. Hardy depicts Elfride as a woman trapped between her heart and social expectations. He depicts the societal judgment that women struggle with daily. However, by allowing the reader to be aware of her inner world, he is encouraging them to engage in a reflective process, prompting them to contemplate their role in public scrutiny and its fairness. Likewise, through Elfride, Hardy reveals that none of the paths she could possibly choose from would offer true happiness, as it is compromised by societal norms, ultimately, leading to her death. By representing Elfride’s destiny as a dead end, he is letting the readers be aware of the suffocating nature of Victorian values. Similarly, Hardy criticizes the prevalent class system of the era and the social codes that derive from it. To achieve this, he continuously juxtaposes two different backgrounds, the working class and the middle-upper class. By representing the adversities Smith endures, Hardy hints at the discriminatory pretenses of the social classes. However, by allowing Smith to overcome some of those challenges, he refutes the argument that upper class people are superior in all senses. He also emphasizes how biased and bigoted societal norms are, as he, wittily, comments on how differently people from different classes are judged. Namely, he portrays being born into the lower classes as a social injustice from which it is nearly impossible to attain complete freedom. 28 Hardy’s A Pair of Blue Eyes serves as an excellent portrayal of Victorian society and the challenges its individuals faced due to the rigid moral standards imposed within. Thus, Hardy succeeds in representing Victorian society faithfully while also criticizing and subverting societal norms in a canny and prudent manner. 29 Works Cited “Custody Rights and Domestic Violence” UK Parliament. https://www.parliament.uk//overview/custodyrights/. “Poor Law Reform” UK Parliament. www.parliament.uk/19thcentury/overview/poorlaw/. Adams, James Eli. “The Boundaries of Social Intercourse: Class in the Victorian Novel.” A Concise Companion to the Victorian Novel, edited by Francis O’Gorman, Blackwell Publishing. Wiley Online Library, https://doi.org/10.1002/9780470757574.ch3. 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