FREE ESSAY ON "...HAPPINESS WAS BUT THE OCCASIONAL EPISODE IN A GENERAL DRAMA OF PAIN.": MICHAEL HENCHARD AS A TRAGIC HERO

"...HAPPINESS WAS BUT THE OCCASIONAL EPISODE IN A GENERAL DRAMA OF PAIN.": MICHAEL HENCHARD AS A TRAGIC HERO

In Thomas Hardy's The Mayor Of Casterbridge, Michael Henchard represents an incarnation of
the Classical 'tragic hero.' In Greek literature, a tragic hero is a well-known and
respected individual whose tragedy usually involves some kind of fall from glory. His
downfall has been precipitated by his own flaw of character or judgment, some mistake or
series of mistakes that has serious consequences. A key element is that the hero's
experiences don't simply end with the mistake or catastrophe; true tragic heroes must
come to discover or recognize what has happened to them and ultimately pay their
ramifications. Surely such a description fits the hubristic Michael Henchard and maps out
the tale of events set forth in The Mayor Of Casterbridge. 
The definition of a tragic hero includes his fall from glory, which in early 20th century
literature would be social-class related. Henchard's rapid decline from Mayor to pauper
qualifies as such a fall. It is even more of a tragedy since there was so much
embarrassment and scandal surrounding his deterioration from a pillar of the town of
Casterbridge. "Everybody else, from the Mayor to the washerwoman, shone in new vesture
according to means; but Henchard had doggedly retained the fretted and weather-beaten
garments of bygone years." (Page 261) His ragged appearance at a royal procession shows
just how deep he had fallen into depression and oblivion. 
Though modern usage of the word 'hero' indicates a nobler persona, at its roots a hero is
simply the main character of any story, and not necessarily a knight in shining armor. A
tragic hero's sad story comes from his own flaws, and Michael Henchard was certainly not
lacking in faults and poor judgments. Often he displays impulsiveness, which always
results in bringing him closer to his demise. As with selling his wife, deciding to hide
his past grievances, and buying over-priced grain, Henchard's lack of self-control
worsens each situation. He is also a very proud man, which turns into simple
stubbornness. On page 259 he indignantly proclaims: "'I'll welcome his royal highness, or
nobody shall!'" showing his childish need for control and superiority. His poor judgment
in dealing with his feud with Donald Farfrae shows what a weak character he really is.
All of Henchard's offensive qualities gradually alienate all those around him. 
The final characteristic of a tragic hero's saga is his realization of his mistake as
well as the endurance of the consequences. In Henchard's case, the original mistake was
the sale of his wife Susan two decades prior. His affliction begins almost immediately as
his mistake is realized; he vows to abstain from alcohol for twenty-one years ("'...being
a year for every year that I have lived.'" Page 25) But, as the reader begins to realize,
Henchard has only gone through the motions of repentance, and as soon as he is faced with
adversity, his rougher qualities still surface. "...it was still a part of his
[Henchard's] nature to extenuate nothing, and live on as one of his own worst
accusers."(Page 322) So since his self-inflicted punishment is only half-hearted, Hardy
has Fate or Consequence step in to sufficiently burden him with hardships until his
death. 
The theme and spirit of tragedy found a new vehicle in the novel in the 19th century, its
form being originally used only in plays. Thomas Hardy has been quoted as comparing the
rural setting of this and other of his novels to the stark and simple setting of the
Greek theater, giving his novels something of that drama's intensity and sharpness of
focus. This grimly pessimistic view of man's nature qualifies Michael Henchard as a
Classical Tragic Hero; his own inner faults ultimately bring him down from his high post.
Darkness and doubt blanket the tale with Michael Henchard's forever unresolved and
unpredictable capacities for good, and for evil. 
Bibliography
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