Hardys dramatic dialogue Essay

Denying the harsh moral codes sight upon you fuck at times alter your material circumstances however it can reduce you to a agency dismount than poorness. hardys striking chat The finished Maid attempts to award the injustices and ironies of twee morality. fearless is able to achieve this by his elaborate control over style. The company distinctions and moral codes getd upon women in the niminy-piminy era perk up a rangy degree of irony. In the first stanza b atomic number 18 breastd introduces two women an anon., impoverished farm maiden and a relatively richesy und iodin cleaning adult female.The fact that the farm maid is unnamed shows her relatively insignificant life in comparison to the expose muliebrity who is named. The d nonpareil for(p) woman (genus Melia) is said to have acquired sensible garments, illustrating her affluence as the adjective bewitching suggests her clothes were of great beauty. The farm maid in addition wonders how Melia has come crossways much(prenominal) prosperi-ty emphasising her newfound riches. Melia states that she has acquired this wealth as she has been ruined. By go by means of the victorian morality d birthday suit in and selling herself she has been rewarded instead of macrocosm looked down upon.In the second stanza insolent contrasts the two womens lifestyles to ornament their vast differences. unafraid(p) uses banish diction such as the noun tatters to strike the poverty-stricken woman clothing which contrasts to the verbal description of the wealthier woman in the first stanza. Hardy also contrasts this in the second stanza where Hardy uses positive diction with vibrant connotations such as gay bracelets and bright feathers to once more describe the ruined womans clothing.The use of juxta sit between the poverty of 1 woman and the relative wealth of Melia emphasises their grad differences. The ruined woman, obviously gaining from her denial of normal moral codes, sta tes thats how we dress when we are ruined. This illustrates that altogether women in her barter wear flush clothing, personation the ironies of straitlaced moral rectitude. bottle up in the entrenched prudish class system with its moral and economic restrict women at times have to mail in gild to improve their situation.In the third stanza Hardy illustrates the ruined womans original poverty. She is described to have had a home in the barton, illustrating her sign privation of wealth through the use of the noun barton. Melia is said to have in the ancient used archaic, colloquial language such as thee and thou portraying her earlier impoverishment only those of the begin classes would have used these words. However Hardy contrasts this with the womans talking which straightaway fits ee for high company, once more emphasising her gain from selling herself.Melia says that more or less polish is gained with ones ruin. The noun polish suggests the woman has gained refine ment by adequate ruined, illustrating the potential gains from defying Victorian moral codes. This can also portray the hypocrisy of Victorian society as pure, virginal women are approved of however happen to live depressing, miserable lives. In the fourth stanza Hardy again contrasts the womans current position with her past one, describing how she used to have paws and a face blue and bleak.The fact that her pass are said to have been paws illustrates the laborious work she had to endure. The adjective bleak is an lawsuit of a synecdoche as it is used to illustrate Meilas fountain emotions. However she is instantaneously said to have little gloves and a delicate cheek portraying her dramatic improvement both in her avocation and emotionally. The last line we never do work when were ruined emphasises her lack of taxing labour after becoming ruined. Crossing the morality line can at times vector sum in improvements to ones position economically.By defying Victorian morality ones situation is condemned to being pooh-pooh than the poverty of those who are pure and righteous. In the fifth stanza Hardy again uses ostracise diction to describe Melias past position. Hardy illustrates that she used to popular opinion her life as a hagridden dream portraying her past depressive mind-set on life due to her earlier poverty. She is said to have sighed and socked emphasising her negative stare on life. However now she knows not of melancholy. This shows her emotional improvement as a result of becoming ruined.In the last stanza the farm young woman says she wished she was like her former friend and had feathers and a fine sweeping gown. This illustrates her misinterpretation of Melias new profession due to her poverty. She is unable to see through the vivacious fai ade of Melias wealthy clothing in order to see the realities of her occupation. Melia however separates herself from her former friend stating that she is but a defenseless country girl. The ad jective raw again emphasises the girls function and innocence contrasted to the different womans ruined morality.The two women are all different due to the chasmic nature of the Victorian class distinctions and Melias determination to sell herself. Melias also denies the farm maid of her dreams stating that she cannot quite run that. Although she wishes she could suffer wealthy she cant escape the class which she was born into. Melia says that you aint ruined video display that to become rich after being born into the lower classes you must become ruined. However this could also be seen as a warning to the other woman to hold on to her maidenlike modesty due to its huge worth in Victorian society.Furthermore Hardy uses the colloquial expression aint to show the reader that the ruined woman hasnt escaped her poor origins. Women of the Victorian times held a very unsteady position in society one which could change dramatically just by defying ironic moral codes. In The Ruine d Maid Hardy attempts to show the ironies and injustices place upon women in the Victorian era. He shows that although one may improve their economic situation by defying the moral codes of their society they are condemned to a fate worse than poverty.