Catching up with Thomas Hardy's 'The Woodlanders'

Finally got round to seeing the film version of 'The Woodlanders' recently, and enjoyed it so much that I watched it three times.

Read 'The Woodlanders' about two years ago, and view it as one of Hardy's five best novels alongside 'Tess of the d'Urbervilles'; 'Jude the Obscure'; 'The Mayor of Casterbridge'; and 'The Return of the Native'.

While watching 'The Woodlanders' three times, I was inevitably forced to recall some of the deeper meanings of the novel:

First, I think that the characters of the novel may be viewed as being divided into three main 'types':  the 'authentic natives' of the woodland habitat (exemplified by Giles Winterbourne and Marty South):

 the 'semi-natives' (represented by Grace Melbury and, to some degree, her timber merchant father):

 and the 'outsiders' (of course, exemplified by Dr. Fitzpiers and Mrs Charmond):

Besides this, the 'natives' type may be (sub-) divided into honourable/heroic, morally upright 'types' (Giles and Marty South) and 'sex-in-the-hedgerow/wood' types (e.g. Suke Damson).  Here, I can see a parallel between Suke Damson and Arabella Donn from 'Jude the Obscure' as both appear to be more straightforward, less complicated, 'sex-in-the-hedgerow/wood' types.

Second, I sense that there are definite parallels between some of the characters from 'The Woodlanders' and Hardy's great heathland novel, 'The Return of the Native'.  For instance, Grace Melbury and Clym Yeobright both have the same roles of returning to their rustic Wessex homelands as 'semi-natives' after having gone out to see the wider world for some considerable period of time.  Besides this, Mrs Charmond and Dr. Fitzspiers may be viewed as parallel characters to Eustacia Vye and Damon Wildeve, as both pairs of illicit lovers create mayhem in the agricultural habitats (woodland and heathland) that they invade as 'outsiders' from the great beyond (as representatives of a growing modern, urban world who disturb the equipoise and harmony of traditional rural worlds). 

Third, it seems obvious that stoic self-sacrifice is a major (possibly the central) theme of the novel, especially regarding the characters of Giles (in relation to Grace) and Marty South (in relation to Giles).  If only Giles had realised that it was him and Marty who were perfectly matched  . . .  If only Marty hadn't sacrificed her hair to Mrs Charmond (via a barber) early on, maybe Giles would've viewed her as a potential lover rather than loyal friend.  Perhaps the essence of the (semi-) tragedy of the novel is that both Marty and Giles are too innocent to adapt to a changing 19th century agricultural landscape that is becoming more and more influenced by the vice of the outside (urban) world.  Anyway, it is debatable who is the biggest 'hero' (sacrificial victim) of the novel, Giles or Marty South?  In the end, before his death, at least Giles seems to be finally desired and wanted by Grace Melbury, while poor Marty doesn't get past a friendship stage with Giles.  Indeed, poor Marty only appears to gain possession of Giles after his death, as she becomes an ever-present figure at his graveside.  In contrast, with a big struggle, Grace can somewhat move on from Giles' death through halfheartedly agreeing to try a second time with Fitzspiers (something not shown in the film version).  Perhaps at the novel's conclusion, Grace realises that Marty loved Giles more and was thus more deserving of this deeply honourable and self-sacrificial man.

Fourth, the story of 'The Woodlanders' seems to raise many interesting social issues including pointing out that when a woman is manipulated and 'soiled' by a man, for the rest of the (19th century) society she inhabits, she loses her innocence, and thus, her value.  In other words, Hardy may be highlighting that as highly sentient beings, (19th century) women were controlled and abused by harsh social conventions, rules and regulations.  Of course, this theme is magnified and more extreme in 'Tess of the d'Urbervilles'.  Like his successor in dealing with a complex male-female polarity theme, D.H. Lawrence, Hardy had an incredible empathy for and understanding of women.  Correspondingly, I sense that in 'The Woodlanders', Hardy is raising a three-way contrast between Mrs Charmond representing a mysterious, 'fallen' (albeit still sensitive) level of womanhood; Grace being a fully sentient woman trapped by personal circumstance and social convention; and Marty South being an almost ethereal (Christ-like) creature who is simply too good for this world.  Here, Giles' death is full of self-sacrifice, as he would rather risk himself being killed (sleeping outside in a storm fully at the mercy of the harshness of Nature which is indifferent to human suffering and noble endeavour) than have Grace (further) reduced to the status of being a 'fallen woman'.

Other major social issues raised in 'The Woodlanders' seem to include the incompatibility of marriage (deep male-female relationship) between different social classes, which contrasts with his more optimistic vision of this (with Dick Dewy and Fancy Day) in 'Under the Greenwood Tree'; the abject cruelty of landowners making leaseholders homeless (the start of Giles' tragic plight); and the industrious integrity of the travelling, woodland cider-maker (personified by Giles after he loses his home) and other traditional woodland professions which were sadly destined to become obsolete with modern, scientific progress.

Finally, I must say that I thought the acting in 'The Woodlanders' film was absolutely fantastic with Polly Walker (Mrs Charmond); Rufus Sewell (Giles Winterburn); Emily Woof (Grace Melbury); Jodhi May (Marty South); Carl MacAninch (Dr. Fitzspiers); Tony Haygarth (Mr. Melbury); Amanda Ryan (Suke Damson) etc. all playing roles that much more fully visualised and enhanced the image of the characters from 'The Woodlanders' for me.  Of course, Tony Haygarth plays a great role as Reuben Dewy in the film version of Hardy's 'Under the Greenwood Tree' too.