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The Return of the Native (Barnes & Noble Classics)

Paperback |English |1593082207 | 9781593082208

The Return of the Native (Barnes & Noble Classics)

Paperback |English |1593082207 | 9781593082208
Overview
From Lauren Walsh’s Introduction toThe Return of the NativeWho is Eustacia Vye? The question is more loaded than it seems at first, for Hardy changed his vision of her partway through creation of the novel. Although the distinctions between the 1878, 1895, and 1912 editions were minor at best, Hardy did significantly rework the course of the narrative in 1877 (at which point in time fifteen to sixteen chapters had been written), after an initial submission toCornhill Magazineprovoked a letter from Leslie Stephen, the magazine’s editor. Stephen “feared that the relations between Eustacia, Wildeve, and Thomasin might develop into something ‘dangerous’ for a family magazine”2 (Maitland,The Life and Letters of Leslie Stephen, p. 276). Eustacia began as a character named Avice (easy to read as “a vice”), who was sinister to the utmost. She was, in fact, indisputably witch-like, if not a witch outright. John Paterson in his excellent piece, “The Making ofThe Return of the Native,” explores in detail this transformation of Eustacia, comparing the original manuscript to the version submitted for print. “In her initial appearance, indeed,” he writes, “she was to have suggested a satanic creature supernatural in origin” (p. 17). This is a far cry from the romantic individual one meets in any ofThe Return’s published versions. Yet while the overt diabolical tendencies have fallen away, there still remain ominous attributes and allusions.Indeed, Eustacia’s most striking epithet in the novel might be the reference to her as the “Queen of Night.” She both walks the nighttime heath and metaphorically embodies a “darkness” that predates the Christian culture of the Egdon peasantry. She appears initially as a regal silhouette standing upon the barrow as twilight sets along the heath. This fuses her from the first with a Celtic pagan history and with associations of death, the barrow being an ancient burial site. Behind those “Pagan eyes, full of nocturnal mysteries” lies a soul with a sometimes demoniacal nature. She is, of course, rumored by Susan Nunsuch to be a witch, but that charge never rises much above petty gossip. Yet as much as Hardy discredits Susan, he craftily presents to us a witch-like Eustacia nonetheless. On the opening night of the novel, she “conjures” Wildeve, metaphorically transforming him from a frog into a man. She beckons him to her fire, comparing herself to the Witch of Endor: “‘I determined you should come; and you have come! I have shown my power’.” This scene, it should be noted, presages its later, more fatalistically determined repetition: Wildeve, signaling to Eustacia, releases a moth, which incinerates itself in her candle flame. Such uncanny, occult recurrences are woven throughout the text, never overt enough to convict Eustacia of witchery nor ever rationalized enough to render her innocent.This beauty who possesses a “true Tartarean dignity,” whose flowing hair “a whole winter did not contain darkness enough to form its shadow,” is shrouded in language of opacity, not only in her remnant diabolical associations, but also in her unreadability. As a being of contradiction, her “night-side of sentiment” speaks as much to the “witchly” as to the pitiable. Indeed, her associations with the mournful night and with elements of morbidity are also clear indications of her role as a tragic figure. She is helplessly and hopelessly trapped on Egdon Heath, and referring to her inability to tolerate this land, she naively utters her own ominous fate when she states, “I cannot endure the heath.” To be sure, she cannot, and the heath will eventually kill her.More than anything, Eustacia desires to move away from this place. Bovary-like in her wants and demands, she has sculpted a fantasy world to which she aches to belong. She attaches the highest values to Paris, “the centre and vortex of the fashionable world”; she imagines that city as the epitome of freedom and happiness. When the cosmopolitan Clym returns from France’s capital, Eustacia drops Wildeve for her new and (temporarily) unswerving goal: “She had come out to see a man who might possibly have the power to deliver her soul from a most deadly oppression. What was Wildeve? Interesting, but inadequate. Perhaps she would see a sufficient hero [Clym] tonight.” She will, so she believes, affix herself to this worldly traveler and finally find her way out of the heath.It is this self-serving and changeable nature that has motivated many critics to view Eustacia as petulant and adolescent. Seemingly setting out to achieve tragic status, she pines for an inconstant lover: “‘I should hate it to be all smooth. Indeed, I think I like you [Wildeve] to desert me a little once now and then. Love is the dismallest thing where the lover is quite honest.’” But more than she desires such vicissitudes, she pines for an adequate lover at all: “‘[Wildeve] does not suffice for my desire! . . . And I have no money to go alone! And if I could, what comfort to me? I must drag on next year, as I have dragged on this year, and the year after that as before. How I have tried and tried to be a splendid woman, and how destiny has been against me! . . . I do not deserve my lot!’” And while the emotions are probably genuine for this young woman of unfulfilled passions, one cannot help but note the whiny tone of self-absorption with which she views herself and her situation. She is inexperienced and selfish, and her childish side comes to the fore at times such as these.
ISBN: 1593082207
ISBN13: 9781593082208
Author: Thomas Hardy
Publisher: Sterling Publishing
Format: Paperback
PublicationDate: 2005-07-01
Language: English
PageCount: 464
Dimensions: 5.19 x 1.16 x 8.0 inches
Weight: 14.08 ounces
From Lauren Walsh’s Introduction toThe Return of the NativeWho is Eustacia Vye? The question is more loaded than it seems at first, for Hardy changed his vision of her partway through creation of the novel. Although the distinctions between the 1878, 1895, and 1912 editions were minor at best, Hardy did significantly rework the course of the narrative in 1877 (at which point in time fifteen to sixteen chapters had been written), after an initial submission toCornhill Magazineprovoked a letter from Leslie Stephen, the magazine’s editor. Stephen “feared that the relations between Eustacia, Wildeve, and Thomasin might develop into something ‘dangerous’ for a family magazine”2 (Maitland,The Life and Letters of Leslie Stephen, p. 276). Eustacia began as a character named Avice (easy to read as “a vice”), who was sinister to the utmost. She was, in fact, indisputably witch-like, if not a witch outright. John Paterson in his excellent piece, “The Making ofThe Return of the Native,” explores in detail this transformation of Eustacia, comparing the original manuscript to the version submitted for print. “In her initial appearance, indeed,” he writes, “she was to have suggested a satanic creature supernatural in origin” (p. 17). This is a far cry from the romantic individual one meets in any ofThe Return’s published versions. Yet while the overt diabolical tendencies have fallen away, there still remain ominous attributes and allusions.Indeed, Eustacia’s most striking epithet in the novel might be the reference to her as the “Queen of Night.” She both walks the nighttime heath and metaphorically embodies a “darkness” that predates the Christian culture of the Egdon peasantry. She appears initially as a regal silhouette standing upon the barrow as twilight sets along the heath. This fuses her from the first with a Celtic pagan history and with associations of death, the barrow being an ancient burial site. Behind those “Pagan eyes, full of nocturnal mysteries” lies a soul with a sometimes demoniacal nature. She is, of course, rumored by Susan Nunsuch to be a witch, but that charge never rises much above petty gossip. Yet as much as Hardy discredits Susan, he craftily presents to us a witch-like Eustacia nonetheless. On the opening night of the novel, she “conjures” Wildeve, metaphorically transforming him from a frog into a man. She beckons him to her fire, comparing herself to the Witch of Endor: “‘I determined you should come; and you have come! I have shown my power’.” This scene, it should be noted, presages its later, more fatalistically determined repetition: Wildeve, signaling to Eustacia, releases a moth, which incinerates itself in her candle flame. Such uncanny, occult recurrences are woven throughout the text, never overt enough to convict Eustacia of witchery nor ever rationalized enough to render her innocent.This beauty who possesses a “true Tartarean dignity,” whose flowing hair “a whole winter did not contain darkness enough to form its shadow,” is shrouded in language of opacity, not only in her remnant diabolical associations, but also in her unreadability. As a being of contradiction, her “night-side of sentiment” speaks as much to the “witchly” as to the pitiable. Indeed, her associations with the mournful night and with elements of morbidity are also clear indications of her role as a tragic figure. She is helplessly and hopelessly trapped on Egdon Heath, and referring to her inability to tolerate this land, she naively utters her own ominous fate when she states, “I cannot endure the heath.” To be sure, she cannot, and the heath will eventually kill her.More than anything, Eustacia desires to move away from this place. Bovary-like in her wants and demands, she has sculpted a fantasy world to which she aches to belong. She attaches the highest values to Paris, “the centre and vortex of the fashionable world”; she imagines that city as the epitome of freedom and happiness. When the cosmopolitan Clym returns from France’s capital, Eustacia drops Wildeve for her new and (temporarily) unswerving goal: “She had come out to see a man who might possibly have the power to deliver her soul from a most deadly oppression. What was Wildeve? Interesting, but inadequate. Perhaps she would see a sufficient hero [Clym] tonight.” She will, so she believes, affix herself to this worldly traveler and finally find her way out of the heath.It is this self-serving and changeable nature that has motivated many critics to view Eustacia as petulant and adolescent. Seemingly setting out to achieve tragic status, she pines for an inconstant lover: “‘I should hate it to be all smooth. Indeed, I think I like you [Wildeve] to desert me a little once now and then. Love is the dismallest thing where the lover is quite honest.’” But more than she desires such vicissitudes, she pines for an adequate lover at all: “‘[Wildeve] does not suffice for my desire! . . . And I have no money to go alone! And if I could, what comfort to me? I must drag on next year, as I have dragged on this year, and the year after that as before. How I have tried and tried to be a splendid woman, and how destiny has been against me! . . . I do not deserve my lot!’” And while the emotions are probably genuine for this young woman of unfulfilled passions, one cannot help but note the whiny tone of self-absorption with which she views herself and her situation. She is inexperienced and selfish, and her childish side comes to the fore at times such as these.

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Several types of goods are exempt from being returned. Perishable goods such as food, flowers, newspapers or magazines cannot be returned. We also do not accept products that are intimate or sanitary goods, hazardous materials, or flammable liquids or gases.

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We'll pay the return shipping costs if the return is a result of our error (you received an incorrect or defective item, etc.). In other cases, you will be responsible for paying for your own shipping costs for returning your item. Shipping costs are non-refundable. If you receive a refund, the cost of return shipping will be deducted from your refund.

Depending on where you live, the time it may take for your exchanged product to reach you, may vary.

If you are shipping an item over $75, you should consider using a trackable shipping service or purchasing shipping insurance. We don’t guarantee that we will receive your returned item.

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Overview
From Lauren Walsh’s Introduction toThe Return of the NativeWho is Eustacia Vye? The question is more loaded than it seems at first, for Hardy changed his vision of her partway through creation of the novel. Although the distinctions between the 1878, 1895, and 1912 editions were minor at best, Hardy did significantly rework the course of the narrative in 1877 (at which point in time fifteen to sixteen chapters had been written), after an initial submission toCornhill Magazineprovoked a letter from Leslie Stephen, the magazine’s editor. Stephen “feared that the relations between Eustacia, Wildeve, and Thomasin might develop into something ‘dangerous’ for a family magazine”2 (Maitland,The Life and Letters of Leslie Stephen, p. 276). Eustacia began as a character named Avice (easy to read as “a vice”), who was sinister to the utmost. She was, in fact, indisputably witch-like, if not a witch outright. John Paterson in his excellent piece, “The Making ofThe Return of the Native,” explores in detail this transformation of Eustacia, comparing the original manuscript to the version submitted for print. “In her initial appearance, indeed,” he writes, “she was to have suggested a satanic creature supernatural in origin” (p. 17). This is a far cry from the romantic individual one meets in any ofThe Return’s published versions. Yet while the overt diabolical tendencies have fallen away, there still remain ominous attributes and allusions.Indeed, Eustacia’s most striking epithet in the novel might be the reference to her as the “Queen of Night.” She both walks the nighttime heath and metaphorically embodies a “darkness” that predates the Christian culture of the Egdon peasantry. She appears initially as a regal silhouette standing upon the barrow as twilight sets along the heath. This fuses her from the first with a Celtic pagan history and with associations of death, the barrow being an ancient burial site. Behind those “Pagan eyes, full of nocturnal mysteries” lies a soul with a sometimes demoniacal nature. She is, of course, rumored by Susan Nunsuch to be a witch, but that charge never rises much above petty gossip. Yet as much as Hardy discredits Susan, he craftily presents to us a witch-like Eustacia nonetheless. On the opening night of the novel, she “conjures” Wildeve, metaphorically transforming him from a frog into a man. She beckons him to her fire, comparing herself to the Witch of Endor: “‘I determined you should come; and you have come! I have shown my power’.” This scene, it should be noted, presages its later, more fatalistically determined repetition: Wildeve, signaling to Eustacia, releases a moth, which incinerates itself in her candle flame. Such uncanny, occult recurrences are woven throughout the text, never overt enough to convict Eustacia of witchery nor ever rationalized enough to render her innocent.This beauty who possesses a “true Tartarean dignity,” whose flowing hair “a whole winter did not contain darkness enough to form its shadow,” is shrouded in language of opacity, not only in her remnant diabolical associations, but also in her unreadability. As a being of contradiction, her “night-side of sentiment” speaks as much to the “witchly” as to the pitiable. Indeed, her associations with the mournful night and with elements of morbidity are also clear indications of her role as a tragic figure. She is helplessly and hopelessly trapped on Egdon Heath, and referring to her inability to tolerate this land, she naively utters her own ominous fate when she states, “I cannot endure the heath.” To be sure, she cannot, and the heath will eventually kill her.More than anything, Eustacia desires to move away from this place. Bovary-like in her wants and demands, she has sculpted a fantasy world to which she aches to belong. She attaches the highest values to Paris, “the centre and vortex of the fashionable world”; she imagines that city as the epitome of freedom and happiness. When the cosmopolitan Clym returns from France’s capital, Eustacia drops Wildeve for her new and (temporarily) unswerving goal: “She had come out to see a man who might possibly have the power to deliver her soul from a most deadly oppression. What was Wildeve? Interesting, but inadequate. Perhaps she would see a sufficient hero [Clym] tonight.” She will, so she believes, affix herself to this worldly traveler and finally find her way out of the heath.It is this self-serving and changeable nature that has motivated many critics to view Eustacia as petulant and adolescent. Seemingly setting out to achieve tragic status, she pines for an inconstant lover: “‘I should hate it to be all smooth. Indeed, I think I like you [Wildeve] to desert me a little once now and then. Love is the dismallest thing where the lover is quite honest.’” But more than she desires such vicissitudes, she pines for an adequate lover at all: “‘[Wildeve] does not suffice for my desire! . . . And I have no money to go alone! And if I could, what comfort to me? I must drag on next year, as I have dragged on this year, and the year after that as before. How I have tried and tried to be a splendid woman, and how destiny has been against me! . . . I do not deserve my lot!’” And while the emotions are probably genuine for this young woman of unfulfilled passions, one cannot help but note the whiny tone of self-absorption with which she views herself and her situation. She is inexperienced and selfish, and her childish side comes to the fore at times such as these.
ISBN: 1593082207
ISBN13: 9781593082208
Author: Thomas Hardy
Publisher: Sterling Publishing
Format: Paperback
PublicationDate: 2005-07-01
Language: English
PageCount: 464
Dimensions: 5.19 x 1.16 x 8.0 inches
Weight: 14.08 ounces
From Lauren Walsh’s Introduction toThe Return of the NativeWho is Eustacia Vye? The question is more loaded than it seems at first, for Hardy changed his vision of her partway through creation of the novel. Although the distinctions between the 1878, 1895, and 1912 editions were minor at best, Hardy did significantly rework the course of the narrative in 1877 (at which point in time fifteen to sixteen chapters had been written), after an initial submission toCornhill Magazineprovoked a letter from Leslie Stephen, the magazine’s editor. Stephen “feared that the relations between Eustacia, Wildeve, and Thomasin might develop into something ‘dangerous’ for a family magazine”2 (Maitland,The Life and Letters of Leslie Stephen, p. 276). Eustacia began as a character named Avice (easy to read as “a vice”), who was sinister to the utmost. She was, in fact, indisputably witch-like, if not a witch outright. John Paterson in his excellent piece, “The Making ofThe Return of the Native,” explores in detail this transformation of Eustacia, comparing the original manuscript to the version submitted for print. “In her initial appearance, indeed,” he writes, “she was to have suggested a satanic creature supernatural in origin” (p. 17). This is a far cry from the romantic individual one meets in any ofThe Return’s published versions. Yet while the overt diabolical tendencies have fallen away, there still remain ominous attributes and allusions.Indeed, Eustacia’s most striking epithet in the novel might be the reference to her as the “Queen of Night.” She both walks the nighttime heath and metaphorically embodies a “darkness” that predates the Christian culture of the Egdon peasantry. She appears initially as a regal silhouette standing upon the barrow as twilight sets along the heath. This fuses her from the first with a Celtic pagan history and with associations of death, the barrow being an ancient burial site. Behind those “Pagan eyes, full of nocturnal mysteries” lies a soul with a sometimes demoniacal nature. She is, of course, rumored by Susan Nunsuch to be a witch, but that charge never rises much above petty gossip. Yet as much as Hardy discredits Susan, he craftily presents to us a witch-like Eustacia nonetheless. On the opening night of the novel, she “conjures” Wildeve, metaphorically transforming him from a frog into a man. She beckons him to her fire, comparing herself to the Witch of Endor: “‘I determined you should come; and you have come! I have shown my power’.” This scene, it should be noted, presages its later, more fatalistically determined repetition: Wildeve, signaling to Eustacia, releases a moth, which incinerates itself in her candle flame. Such uncanny, occult recurrences are woven throughout the text, never overt enough to convict Eustacia of witchery nor ever rationalized enough to render her innocent.This beauty who possesses a “true Tartarean dignity,” whose flowing hair “a whole winter did not contain darkness enough to form its shadow,” is shrouded in language of opacity, not only in her remnant diabolical associations, but also in her unreadability. As a being of contradiction, her “night-side of sentiment” speaks as much to the “witchly” as to the pitiable. Indeed, her associations with the mournful night and with elements of morbidity are also clear indications of her role as a tragic figure. She is helplessly and hopelessly trapped on Egdon Heath, and referring to her inability to tolerate this land, she naively utters her own ominous fate when she states, “I cannot endure the heath.” To be sure, she cannot, and the heath will eventually kill her.More than anything, Eustacia desires to move away from this place. Bovary-like in her wants and demands, she has sculpted a fantasy world to which she aches to belong. She attaches the highest values to Paris, “the centre and vortex of the fashionable world”; she imagines that city as the epitome of freedom and happiness. When the cosmopolitan Clym returns from France’s capital, Eustacia drops Wildeve for her new and (temporarily) unswerving goal: “She had come out to see a man who might possibly have the power to deliver her soul from a most deadly oppression. What was Wildeve? Interesting, but inadequate. Perhaps she would see a sufficient hero [Clym] tonight.” She will, so she believes, affix herself to this worldly traveler and finally find her way out of the heath.It is this self-serving and changeable nature that has motivated many critics to view Eustacia as petulant and adolescent. Seemingly setting out to achieve tragic status, she pines for an inconstant lover: “‘I should hate it to be all smooth. Indeed, I think I like you [Wildeve] to desert me a little once now and then. Love is the dismallest thing where the lover is quite honest.’” But more than she desires such vicissitudes, she pines for an adequate lover at all: “‘[Wildeve] does not suffice for my desire! . . . And I have no money to go alone! And if I could, what comfort to me? I must drag on next year, as I have dragged on this year, and the year after that as before. How I have tried and tried to be a splendid woman, and how destiny has been against me! . . . I do not deserve my lot!’” And while the emotions are probably genuine for this young woman of unfulfilled passions, one cannot help but note the whiny tone of self-absorption with which she views herself and her situation. She is inexperienced and selfish, and her childish side comes to the fore at times such as these.

Books - New and Used

The following guidelines apply to books:

  • New: A brand-new copy with cover and original protective wrapping intact. Books with markings of any kind on the cover or pages, books marked as "Bargain" or "Remainder," or with any other labels attached, may not be listed as New condition.
  • Used - Good: All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May include "From the library of" labels. Shrink wrap, dust covers, or boxed set case may be missing. Item may be missing bundled media.
  • Used - Acceptable: All pages and the cover are intact, but shrink wrap, dust covers, or boxed set case may be missing. Pages may include limited notes, highlighting, or minor water damage but the text is readable. Item may but the dust cover may be missing. Pages may include limited notes and highlighting, but the text cannot be obscured or unreadable.

Note: Some electronic material access codes are valid only for one user. For this reason, used books, including books listed in the Used – Like New condition, may not come with functional electronic material access codes.

Shipping Fees

  • Stevens Books offers FREE SHIPPING everywhere in the United States for ALL non-book orders, and $3.99 for each book.
  • Packages are shipped from Monday to Friday.
  • No additional fees and charges.

Delivery Times

The usual time for processing an order is 24 hours (1 business day), but may vary depending on the availability of products ordered. This period excludes delivery times, which depend on your geographic location.

Estimated delivery times:

  • Standard Shipping: 5-8 business days
  • Expedited Shipping: 3-5 business days

Shipping method varies depending on what is being shipped.  

Tracking
All orders are shipped with a tracking number. Once your order has left our warehouse, a confirmation e-mail with a tracking number will be sent to you. You will be able to track your package at all times. 

Damaged Parcel
If your package has been delivered in a PO Box, please note that we are not responsible for any damage that may result (consequences of extreme temperatures, theft, etc.). 

If you have any questions regarding shipping or want to know about the status of an order, please contact us or email to support@stevensbooks.com.

You may return most items within 30 days of delivery for a full refund.

To be eligible for a return, your item must be unused and in the same condition that you received it. It must also be in the original packaging.

Several types of goods are exempt from being returned. Perishable goods such as food, flowers, newspapers or magazines cannot be returned. We also do not accept products that are intimate or sanitary goods, hazardous materials, or flammable liquids or gases.

Additional non-returnable items:

  • Gift cards
  • Downloadable software products
  • Some health and personal care items

To complete your return, we require a tracking number, which shows the items which you already returned to us.
There are certain situations where only partial refunds are granted (if applicable)

  • Book with obvious signs of use
  • CD, DVD, VHS tape, software, video game, cassette tape, or vinyl record that has been opened
  • Any item not in its original condition, is damaged or missing parts for reasons not due to our error
  • Any item that is returned more than 30 days after delivery

Items returned to us as a result of our error will receive a full refund,some returns may be subject to a restocking fee of 7% of the total item price, please contact a customer care team member to see if your return is subject. Returns that arrived on time and were as described are subject to a restocking fee.

Items returned to us that were not the result of our error, including items returned to us due to an invalid or incomplete address, will be refunded the original item price less our standard restocking fees.

If the item is returned to us for any of the following reasons, a 15% restocking fee will be applied to your refund total and you will be asked to pay for return shipping:

  • Item(s) no longer needed or wanted.
  • Item(s) returned to us due to an invalid or incomplete address.
  • Item(s) returned to us that were not a result of our error.

You should expect to receive your refund within four weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days).

If you need to return an item, please Contact Us with your order number and details about the product you would like to return. We will respond quickly with instructions for how to return items from your order.


Shipping Cost


We'll pay the return shipping costs if the return is a result of our error (you received an incorrect or defective item, etc.). In other cases, you will be responsible for paying for your own shipping costs for returning your item. Shipping costs are non-refundable. If you receive a refund, the cost of return shipping will be deducted from your refund.

Depending on where you live, the time it may take for your exchanged product to reach you, may vary.

If you are shipping an item over $75, you should consider using a trackable shipping service or purchasing shipping insurance. We don’t guarantee that we will receive your returned item.

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