Explore Hardy's presentation of Alec's desire in Tess of the D'Urbervilles

ardy broadly presents desire as a negative, disruptive force within the novel. This disruption emerges firstly from Alec's desire for Tess, which leads to her being raped in the section Maiden no More, as he takes advantage of her after they spend a night in the woods. Desire is also about Tess' inability to control her own destiny, and we see that Hardy highlights the negative impact that Alec's desire will have on Tess. Hardy describes Alec as a 'blood-red ray in the spectrum of her young life'. The visceral imagery of 'blood' and 'ray' suggests that Alec's desire will tarnish Tess for the rest of her life, with Hardy also saying 'he who was to be'. The use of the infinitive 'to be' suggests that Hardy presents Alec's desire for Tess as a tragic, unavoidable part of her trajectory. Desire becomes a stain on her, with Hardy emphasising this through images of red and white. White represents chastity, and Tess is frequently seen in white clothing that then becomes marred with red, whether that be Prince's 'crimson drops' or the red ribbon in her hair at the start of the novel: '[she was the] only one of the white company who could boast of such a pronounced adornment'. These colours signal a sexuality which will stain or mar Tess' life - aligning it with blood and death in the first instance, and marking her out from the 'white company' of other girls in the second. Therefore, Hardy broadly presents desire as something that will mark Tess, and he does this through foreshadowing and imagery. The reader, when confronted with Alec, then understands that he will function as the corruptive presence of red on Tess' white purity. Desire, then, is presented as something that is out of Tess' control, but that will mar her life and corrupt her.

Alec's desire takes the form of manipulation, preying on Tess in the chase episode, where she is in a vulnerable position due to accidentally antagonising Car Darch, Alec's recently discarded conquest. Alec seizes control of the 'rescue' and thereby seizes control of Tess, realising his violent desires as he puts her in a vulnerable position. Hardy presents desire as a force that removes Tess' control of her own life, as he places the blame at her feet. He accuses her of leading him on, saying that 'for near three mortal months you have trifled with my feelings (...) and I won't stand it!' Alec, in accusing Tess,manipulates her and overpowers her so she is unable to refute his advances. Hecomplies with the broader nineteenth century understanding of women as presented in a binary of 'whores and virgins', whereby their 'fall' — that is their sexuality — is understood to be a result of the woman's behaviour. Alec claims power over Tess due to their physical intimacy in the carriage,which again he has control over, as Tess asks him: 'put me down, I beg you.' Alec's desire is intwined with his physical power over Tess, and he is able to realise his desire through taking control of the situation. This physical power is alluded to as Alec takes Tess and 'touch[es] her with his fingers, which sank into her as a billow'. Tess is vulnerable in a 'puffy' summer dress, andas Alec sinks his fingers into her we are aware of the physical nature of his desire, and the vulnerable position that Tess is in. He can directly touch her, and the manipulative aspect of his desire means that Tess is unable to run away from him, as she is alone in the woods in an area that she does not know. Alec's desire disarms her in this aspect too and strips her of her autonomy. As he 'sinks' into her, he leaves an imprint on her naked skin, suggesting not only the physicality of his desire, but also suggesting that desire leaves a mark on Tess for the rest of the story. Desire becomes about a male ability to exercise power and control over a woman, and Hardy draws on this in his presentation of Tess and Alec's relations.