To what extent do you agree that Hardy's attitude is not one of disapproval or disgust towards 'Melia.
Hardy's attitude to a large extent is not one of disapproval or disgust toward Melia, purveyed through
Hardy's proto feminist agenda as reflected in his other works (most notably 'Tess of the D'Urbervilles'). A
degree of disapproval or disgust may be interpreted through the main speaker's mocking tone and
personal feelings towards the maid and her supposed arrogance and propriety, however the general tone
of the poem appears positive and encouraging of 'The Ruined Maid'. This is shown through her witty and
satirical responses, confidence and the poem's overall playful rhyming structure.
Firstly, the repetition of ‘ruin[ed]’ in the final line of each of the six quatrains brings the readers focus onto
the significance of its meaning. In context, this adjective means someone who has had premarital sex, and
so the title of the poem immediately provides a contemporary audience with feelings of disapproval and
disgust towards the protagonist, as well as build concern for a modern audience of the knowledge that
‘impure’ women in the Victorian Era were shamed and outcast. Concomitantly existing in a misogynistic
society, it can be interpreted that Hardy was aiming to appeal to the prejudice of men. The harsh reality of
this is exacerbated through the more common definition of ‘ruined’, meaning ‘irreparably damaged or
harmed’. This hints at how virginity was glorified in young women, which feminists would argue is still the
case, and that a woman’s body, mind, innocence or morality is irreparably damaged once she has had sex.
It may even refer to the breaking of the hymen, which was seen to be the determiner of virginity; held to
such importance that many women at the time were subject to vaginal ‘inspections’. Alternatively, the
word may be used by Hardy to mock society’s standards and project an attitude that is far from
disapproval or disgust towards Melia, as it often addresses a place or building in a state of decay or
collapse. By selecting the word ‘ruined’, Hardy is iconiclastically characterising the concept of purity and
virginity as a decaying belief held by the institution (especially when premarital sex was largely shamed as
a result of religious ideology).
Primarily, Hardy’s attitude towards ‘Melia is not one of disapproval or disgust as displayed through her
individual and daring idiolect for the 19th century. The enigmatic second speaker’s idiolect is highlighted as
particularly proprietous by Hardy’s tactical placement, completing each quatrain and enclosing the unique
diction of both women within the same couplet; creating a stark and representative contrast between class
differences. Hardy seems to almost admire Melia’s confidence and eloquence by depicting her speech in a
way that refuses to conform to the rhyme scheme just as Melia refuses to conform to society’s sexist and
classist expectations. Resultantly, the refrain of ‘said she’ is used by Hardy as the voice of the speaker in
this dramatic dialogue to maintain its rhythmic form, symbolising the speaker’s conformity as well as
obedience by performing the act that Melia perhaps should’ve - she must continue a powerless life in
poverty while Melia has freedom to do as she pleases.
Furthermore, rather the opposite of disapproval and disgust from Hardy, is the playful contentedness
illustrated in the jogging rhythm of the poem. This regular and simple rhyme scheme is light-hearted and
mimics a children’s nursery rhyme; creating a starker contrast between this joyful tone and the dark,
fundamental signification of its lexis. Its simplicity and mock innocence is satirical, aiming to ridicule the
extent of which society valued women’s purity along with the rigid high standards they are held to.
By beginning the poem “O ‘Melia”, the assumption that Hardy (as a 19th century male poet) is trying to
portray ‘The Ruined Maid’ as disapproving or disgustful is immediately debunked. This is in contrast to the
other pre-19th century love poetry through the ages, as to name the woman in the poem is rare, and so the
use of ‘Melia’s name and assigns her an identity; not just an objectified prostitute. The name ‘Amelia’ itself
comes from the word ‘ameliorate’ meaning ‘to make a bad or unpleasant situation better’. This refers to
how ‘Melia’s social and economic situation has dramatically improved since her time as a maid, although
ironically this will be short term for as long as men are prepared to pay for her services. Irony is also found
in how her reputation and worth as a woman has in fact been tarnished by her employment. On the whole,
Hardy's attitude to a large extent is not one of disapproval or disgust toward Melia, purveyed through
Hardy's proto feminist agenda as reflected in his other works (most notably 'Tess of the D'Urbervilles'). A
degree of disapproval or disgust may be interpreted through the main speaker's mocking tone and
personal feelings towards the maid and her supposed arrogance and propriety, however the general tone
of the poem appears positive and encouraging of 'The Ruined Maid'. This is shown through her witty and
satirical responses, confidence and the poem's overall playful rhyming structure.
Firstly, the repetition of ‘ruin[ed]’ in the final line of each of the six quatrains brings the readers focus onto
the significance of its meaning. In context, this adjective means someone who has had premarital sex, and
so the title of the poem immediately provides a contemporary audience with feelings of disapproval and
disgust towards the protagonist, as well as build concern for a modern audience of the knowledge that
‘impure’ women in the Victorian Era were shamed and outcast. Concomitantly existing in a misogynistic
society, it can be interpreted that Hardy was aiming to appeal to the prejudice of men. The harsh reality of
this is exacerbated through the more common definition of ‘ruined’, meaning ‘irreparably damaged or
harmed’. This hints at how virginity was glorified in young women, which feminists would argue is still the
case, and that a woman’s body, mind, innocence or morality is irreparably damaged once she has had sex.
It may even refer to the breaking of the hymen, which was seen to be the determiner of virginity; held to
such importance that many women at the time were subject to vaginal ‘inspections’. Alternatively, the
word may be used by Hardy to mock society’s standards and project an attitude that is far from
disapproval or disgust towards Melia, as it often addresses a place or building in a state of decay or
collapse. By selecting the word ‘ruined’, Hardy is iconiclastically characterising the concept of purity and
virginity as a decaying belief held by the institution (especially when premarital sex was largely shamed as
a result of religious ideology).
Primarily, Hardy’s attitude towards ‘Melia is not one of disapproval or disgust as displayed through her
individual and daring idiolect for the 19th century. The enigmatic second speaker’s idiolect is highlighted as
particularly proprietous by Hardy’s tactical placement, completing each quatrain and enclosing the unique
diction of both women within the same couplet; creating a stark and representative contrast between class
differences. Hardy seems to almost admire Melia’s confidence and eloquence by depicting her speech in a
way that refuses to conform to the rhyme scheme just as Melia refuses to conform to society’s sexist and
classist expectations. Resultantly, the refrain of ‘said she’ is used by Hardy as the voice of the speaker in
this dramatic dialogue to maintain its rhythmic form, symbolising the speaker’s conformity as well as
obedience by performing the act that Melia perhaps should’ve - she must continue a powerless life in
poverty while Melia has freedom to do as she pleases.
Furthermore, rather the opposite of disapproval and disgust from Hardy, is the playful contentedness
illustrated in the jogging rhythm of the poem. This regular and simple rhyme scheme is light-hearted and
mimics a children’s nursery rhyme; creating a starker contrast between this joyful tone and the dark,
fundamental signification of its lexis. Its simplicity and mock innocence is satirical, aiming to ridicule the
extent of which society valued women’s purity along with the rigid high standards they are held to.
By beginning the poem “O ‘Melia”, the assumption that Hardy (as a 19th century male poet) is trying to
portray ‘The Ruined Maid’ as disapproving or disgustful is immediately debunked. This is in contrast to the
other pre-19th century love poetry through the ages, as to name the woman in the poem is rare, and so the
use of ‘Melia’s name and assigns her an identity; not just an objectified prostitute. The name ‘Amelia’ itself
comes from the word ‘ameliorate’ meaning ‘to make a bad or unpleasant situation better’. This refers to
how ‘Melia’s social and economic situation has dramatically improved since her time as a maid, although
ironically this will be short term for as long as men are prepared to pay for her services. Irony is also found
in how her reputation and worth as a woman has in fact been tarnished by her employment. On the whole,
