Eustacia Vye may be considered androgynous for her passion, rebelliousness, and refusal to accept the confines of Egdon. She exists in a state of untamed romantic emotion and fantasy, and has little concern for the effects of her actions. These characteristics of Eustacia make her less typical of women during the Victorian Era, but the scene in which her androgynous behavior is most evident occurs during the Mummer's play, when the woman disguises herself in men's clothing: "I can get boys clothes--at least all that would be wanted besides the mumming dress. . . let me take your place for an hour or two on Monday night" ( The Return of the Native , Chap. IV). Cross dressing illustrates the gender blurring so prevalent in the novels of Thomas Hardy.
Tess Durberfield is another androgynous character recognized as such in her rejection of typically feminine characteristics. D.H. Lawrence maintains that Tess "despised herself in the flesh, despising the deep female that she was" (Lawrence 440). The woman is also well-informed, versatile, and learns quickly, traits normally associated with males during the time. She has expectations beyond marriage, and yearns to "taste anew sweet independence at any price" ( Tess of the D'Urbervilles , Chap. XIV).
In Jude the Obscure, Sue Bridehead is represented in a gender-neutral way. She is considered a tomboy in mannerisms, joining boys in their exploits. A comrade, Sue has a "curious unconsciousness of gender" and mixes with males "almost as one of their own sex" (Wright 120). Like Eustacia, Sue also dresses in men's clothing
When Hardy introduces Marty South, in The Woodlanders the girl is cutting off her most feminine characteristic-- her hair. In this act, she severs herself from the female community and becomes truly androgynous. Marty exhibits characteristics typically associated with men when she takes on the responsibility of her father and performs his physical labor. Socially, Marty ostracizes herself from the other girls; on a Midsummer's Eve, she chooses not to join her female counterparts in their frolic on the heath. Southerington describes Marty as "the only triumphant character of the work, in whom the extinction of sexuality is so marked that it appears as an impractical recommendation from the author" (Southerington 123). Marty may be considered the epitome of androgyny in the works of Hardy, for her name, appearance, and behavior all display characteristics typical of males.
In his novels, Hardy establishes ideas which oppose the norms of the Victorian Era. He creates ideals of social change and focuses his novels around a strong, independent woman, whose characteristics are often masculine. He depicts female characters as strong-willed heroes, rather than passive heroines, and allows them to succeed through their own accomplishments. Though many of Hardy's characters display traits not typically associated with their own particular sex, Eustacia, Tess, Sue, and Marty may be considered the most androgynous individuals.
Lawrence, D.H. , Phoenix: The Posthumous Papers of D.H. Lawrence , Viking Press, New York, 1936.
Morgan, Rosemarie, Women and Sexuality in the Novels of Thomas Hardy , Routeledge, New York, 1988.
Southerington, Frank Rodney, Hardy's Vision of Man , Barnes and Noble, New York, 1971.
Wright, T.R., Hardy and the Erotic , St. Martin's Press, New York, 1989