A ‘Guided Ramble’ Through Wessex: Perception and Ecology in the Novels of Thomas Hardy

Navigating the literary landscapes of Thomas Hardy’s Wessex, this thesis attempts to unravel the intertwined layers of perception within his novels. By reframing Hardy’s novels as field guides to the Wessex region, I will reveal how Hardy captures the essence of place through fiction. This study focuses on four of Hardy’s most botanical novels from his collection titled Novels of Character and Environment: Tess of the D’Urbervilles (1891), Far From the Madding Crowd (1874), The Return of the Native (1878) and The Woodlanders (1887). This thesis will open with contextual analysis, delving into important influences and frameworks that inform Hardy’s work, such as his commitment to realism, the theories of Darwin and the roots of ecology and ecocriticism. Following this foundation, the thesis is organised into three chapters, each exploring a different level of perception – the character, the narrator and the reader. Through this framework, I will examine the diverse and layered perspectives Hardy utilises to capture Wessex as an ecosystem, demonstrating the complex and compelling ways in which his novels function as immersive guides to the region.

Chapter One discusses the perception at the character level, exploring the extent to which they are embedded in the Wessex landscape. This chapter explores the characters’ interactions with their natural surroundings, how they perceive the world around them, and how nature plays a part in shaping their identities and forming their destinies. Chapter Two dissects the narrator’s perception, revealing Hardy’s fluid narrative style that simultaneously contracts and expands: a multifaceted perception that employs scientific observation and empathetic insight to create a dynamic lens through which the landscape is portrayed. This demonstrates how the narrator guides and shapes our understanding and experience of the novel landscape. Chapter Three will explore the perception of the reader, analysing the oscillation between immersion and estrangement in their engagement with the novel. This reveals how readers are invited to enter the world of Wessex, navigate its topography, and contrive meaning from their reading experience.

Each chapter collectively forms an in-depth exploration of Wessex —its flora and fauna, ecological systems, social relationships, and human and non-human inhabitants. Hardy’s distinct narrative techniques and the shifting perceptions of character, narrator and reader collectively contribute to his portrayal of Wessex as a complex ecosystem that demands to be seen. Viewed through manifold lenses—by the labourer, the naturalist, the creatures, and the anonymous observer—Wessex emerges as a ‘series of seemings,’ offering readers a vivid impression of Wessex rather than a rigid and static portrayal. This approach attempts to frame Wessex as a living landscape, perceivable from all angles simultaneously —a testament to impressionism, capturing fleeting moments of radiance in its depiction of a world that once was.