AS 2019 - Explore the view that in Death of a
Salesman and Tess of DʼUrbervilleʼs there are
only tragic victims and no tragic villains.
2019
Explore the view that in Death of a Salesman and Tess of DʼUrbervilleʼs there are only tragic
victims and no tragic villains. Remember to include in your answer relevant comment on
dramatic methods. [25 marks]
The tragic villain being Angel and Alec.
The tragic villain being capitalism.
The tragic villain of Howard.
Typical to tragedy texts both ‘Death of a Salesmanʼ and ‘Tess of DʼUrbervilleʼsʼ have many
tragic victims to present the collateral damage which occurs due to the tragedy of the tragic
hero. However, Aristotle stated that the tragedy may possess a tragic villain who is held in
juxtaposition to the tragic hero so we can identify with their character more and the catharsis
evoked is even more intense. In this essay I will therefore discuss to what extent are there ‘only
tragic victims and no tragic villainsʼ in both tragedy texts.
The critic Kristen Bradley stated that “by giving increased prominence to the villainy of both
Alec and Angel, Hardy is able to suggest that Tess is more of a passive victim of male
aggression and idealisation” than an active participant in her fate. Through this interpretation
the tragedy of Tess appears to stem from her corruption from one man and abandonment of
another who act as the tragic villains in the novel. This links to Medieval Morality plays where
the ‘viceʼ (Alec) and ‘valourʼ (Angel) were two characters who competed, attempting to control
the soul of the protagonist. However, in Tess the tragedy stems from both menʼs misreading of
her.
As Tess is dressed up by her mother presenting her as her most idealised version for Alec to
take to Trantridge it is Alecʼs misunderstanding of Tess which leads to the “coarse pattern”
being traced upon her which marks her for the rest of the novel. Alec is presented as a
moustache twirling pantomime 19th villain whose appearance seems fit for a melodrama. His
use of a cigar which acts as a phallocentric symbol causing Tess to focus on his mouth is one of
his seductive techniques which upon close inspection of the novel seem to be littered
throughout Phase I. However, his actions in the novel are the least funny part of his character.
As stated by critics “to read Alec as a villain is to grossly underestimate him… like Satan he
seeks to not only imprison the body but consume the mind”. He states to Tess that she will be
his “creature” and throws out rash threats stating “you will regret that” which she attempts to
escape the unsafety of his violent horse riding. He paints the portrait of the 19th century noble
man who although has no ancient fine name (like Tess) is rich so is able to buy a fine character.
Salesman and Tess of DʼUrbervilleʼs there are
only tragic victims and no tragic villains.
2019
Explore the view that in Death of a Salesman and Tess of DʼUrbervilleʼs there are only tragic
victims and no tragic villains. Remember to include in your answer relevant comment on
dramatic methods. [25 marks]
The tragic villain being Angel and Alec.
The tragic villain being capitalism.
The tragic villain of Howard.
Typical to tragedy texts both ‘Death of a Salesmanʼ and ‘Tess of DʼUrbervilleʼsʼ have many
tragic victims to present the collateral damage which occurs due to the tragedy of the tragic
hero. However, Aristotle stated that the tragedy may possess a tragic villain who is held in
juxtaposition to the tragic hero so we can identify with their character more and the catharsis
evoked is even more intense. In this essay I will therefore discuss to what extent are there ‘only
tragic victims and no tragic villainsʼ in both tragedy texts.
The critic Kristen Bradley stated that “by giving increased prominence to the villainy of both
Alec and Angel, Hardy is able to suggest that Tess is more of a passive victim of male
aggression and idealisation” than an active participant in her fate. Through this interpretation
the tragedy of Tess appears to stem from her corruption from one man and abandonment of
another who act as the tragic villains in the novel. This links to Medieval Morality plays where
the ‘viceʼ (Alec) and ‘valourʼ (Angel) were two characters who competed, attempting to control
the soul of the protagonist. However, in Tess the tragedy stems from both menʼs misreading of
her.
As Tess is dressed up by her mother presenting her as her most idealised version for Alec to
take to Trantridge it is Alecʼs misunderstanding of Tess which leads to the “coarse pattern”
being traced upon her which marks her for the rest of the novel. Alec is presented as a
moustache twirling pantomime 19th villain whose appearance seems fit for a melodrama. His
use of a cigar which acts as a phallocentric symbol causing Tess to focus on his mouth is one of
his seductive techniques which upon close inspection of the novel seem to be littered
throughout Phase I. However, his actions in the novel are the least funny part of his character.
As stated by critics “to read Alec as a villain is to grossly underestimate him… like Satan he
seeks to not only imprison the body but consume the mind”. He states to Tess that she will be
his “creature” and throws out rash threats stating “you will regret that” which she attempts to
escape the unsafety of his violent horse riding. He paints the portrait of the 19th century noble
man who although has no ancient fine name (like Tess) is rich so is able to buy a fine character.
