"Hardy evokes a graphic dimension in us and then, apparently without realizing the danger in doing so, allows another Eustacia to enter his novel. This Eustacia emerges, through a coherent pattern of words and actions like a creature unfit for the lonely heights of tragedy." In his essay "The Other Eustacia", Robert Evans argues that, through allusions to Greek tradition, Hardy sets the stage for a classical tragedy, but then disappoints his readers with a character more on the level of the average rebellious teenager. Evans writes: "This then is the other Eustacia, an emotionally unstable teenager given to self-pity and melancholy, fundamentally cold and selfish." He supports his arguments with examples of Eustacia's behavior. She loves Clym as a source of momentary passion and fails to comfort him in his time of need due to her own self-pity. Furthermore, Evans accuses Eustacia of "petulance and childishness" in her willingness to trample on Thomasin Yeobright to achieve her own personal pleasure. Since Evans's analysis concludes that Eustacia's downfall is the result of her shortcomings as an immature, romantic, and melancholy adolescent, he believes The Return of the Native lacks the grandeur of true tragic narrative. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Robert Evans fails to produce a workable explanation of Hardy's portrayal of Eustacia because he chooses to focus on the contradictions rather than the connections between the "queen of the night" and the "courtly suitor." Eustacia, the rebel social, and the tragic heroine work together to produce a thematic representation of the conflict between individual and community This interpretation of the double image of Eustacia realizes the potential of the novel and supports the tragic proportions suggested throughout the work "courtly suitor", which Evans criticizes for undermining the tragedy of the novel, plays a key role in developing a realistic human image of Eustacia. As an author interested in presenting an authentic representation of the human condition, Hardy explores the tragic clash between the Eustacia's passionate dreams and the harsh reality of the world she lives in. Careful examination of her background and situation refutes criticisms of her actions as selfish or ridiculous. Evans attacks his lack of concern for Thomasin when he tries to seduce Wildeve. His actions may seem self-centered, but in reality his reaction is natural for someone without community influence. The women of the moor hate Eustacia because her beauty endangers the security of their marriages and the future of their children. Trying to protect her son from Eustacia, Mrs. Yeobright expresses her suspicions: "Miss Vye is in my opinion too lazy to be charming. I have never heard of her being of any use to herself or to other people. The good girls don't do that." they are treated like witches even on Egdon" (Hardy 237). Eustacia does not practice witchcraft, but her ability to bewitch men turns her into the avowed enemy of the women around her. Although she charms men, their idolatry does not provide her not even normal relationships. To them she represents the goddess far above their own earthly existence, "a romantic and sweet vision, barely embodied" (397). a normal family that provides her with the human relationships that she lacks due to her earthly existence. As a social outcast and orphan, Eustacia finds herself understandably isolated from the people who could teach her the values ​​of Christian charity Yes, 1985.