Works of Thomas Hardy discussion
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Far From the Madding Crowd
Far from the Madding Crowd
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Far From the Madding Crowd 2nd Thread Chapters 9 - 20
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Original vignette to installment 3 for March 1874, by Helen Paterson
Chapters 9: The Homestead—A Visitor—Half-Confidences
Bathsheba’s farm had once been the home of the lord of the manor, with a small estate around it, though now it was more modest. Moss almost covered the gravel walk, giving a sleepy feeling to the place.
“Every window replied by a clang to the opening and shutting of every door, a tremble followed every bustling movement, and a creak accompanied a walker about the house, like a spirit, wherever he went.”
The 16th century house was old and creaky, and upstairs Bathsheba was with her servant and companion, sorting through dusty papers, books, bottles, and rubbish belonging to the previous owner (Bathsheba’s uncle). Liddy Smallbury was the maltster’s great-granddaughter, who was about her age. She was not as daring as Bathsheba, but when she was in earnest she could behave either naturally, or according to what she thought was her duty.
Maryann Money, the charwoman, was scrubbing outside, when Bathsheba asked her to pause: they could hear a horse trot up to the door. Liddy said indignantly that it was impertinent to ride right up to the house and not stop at the gate, but Bathsheba was intrigued as to who it might be.
Mrs. Coggan, the cook and housekeeper, opened the door to a deep voice. She went upstairs to say that Mr. Boldwood wanted to see her, but Bathsheba knew she was not dressed appropriately to meet a gentleman. She sent Mrs. Coggan to tell him she could not see him, as seemed polite, instead of the conventional (but sometimes untruthful) answer in town that a lady or gentleman was “not at home”, and Mrs. Coggan saw fit to add to add that her mistress was dusting bottles and couldn’t come down. The caller answered indifferently, saying that he simply wanted to ask if Fanny Robbin had been found, and on learning that there was no news, he left.
Bathsheba asked who this Mr. Boldwood was, and Liddy said he was a 40-year-old, unmarried gentleman farmer. He was kind and had put Fanny through school, so naturally still took an interest in her. Many young women had tried to have him court them, but to no avail. Teddy Coggan, a small boy, came up to the women, excited because Mr. Boldwood had given him a penny for opening the gate. The gentleman had asked if Miss Everdene was a staid woman, and Teddy had said yes, because he had been given the penny for it. Disconcerted at such a description (implying she was sedate, respectable, and unadventurous), Bathsheba spoke sharply to Maryann to go back to her errands.
Once alone, Liddy asked Bathsheba if anyone had ever wanted to marry her. After a pause, Bathsheba said that one man did once, but that he wasn’t quite good enough for her, although she liked him. They heard footsteps again, and through the window saw a crooked file of men approaching
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I get the impression that Bathsheba is rather dwarfed by this huge crumbling edifice. Clearly this farm will be one of the stable sites of the novel, around which the characters and their changing situations are clustered.
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Liddy and Bathsheba are friends, but also in an unequal position: Bathsheba can either agree to confide in Liddy, who came from the maltster’s family or as her employer, choose to withhold that camaraderie. We saw how Bathsheba peremptorily put Maryann in her place. Although she is the woman in authority, she is still involved in the domestic duties, helping out around the house, and only nominally distinguished from them. Overall I feel that Bathsheba’s position as a member of the middle class seems to be precarious at the moment.
Just as Gabriel deduced local information from those at the malthouse, now Bathsheba—also a newcomer—relies on the local knowledge of her servant and companion (Liddy) to learn more about the other characters in Weatherbury.
Teddy’s story does seem to suggest that Mr. Boldwood was curious about more than just Fanny’s well-being when he arrived at the porch. Should we be thinking about the avenues this opens up? From what we have learned, Mr. Boldwood does not seem to have much interest in women.
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Locations:
Bathsheba Everdene has inherited “Weatherbury Upper Farm” i.e. the house and the farm. In real life this is WATERSTON MANOR, upstream from Puddletown (“Weatherbury”):
Here's more information (no spoilers)
https://en.wikipedia.org/wiki/Waterst... It is of 17th century origin, incorporating a stone frontispiece from 1586. It was considerably damaged by fire in 1863, and largely rebuilt in the following year.
“Little Weatherbury” (where Farmer Boldwood is the respected bachelor tenant) is in real life DRUCE FARM in the PIDDLE VALLEY (I know, I know … ) about a mile north of Puddletown. Mr. Boldwood and Bathsheba are therefore neighbours.
“Classic Renaissance” in 16th architecture combines features of Gothic with Classic Revival.
Liddy Smallbury’s complexion was said to be like “a Terburg or a Gerard Douw” Gerard Terburg (1617-81) and Gerard Douw (1613-75) were both Dutch painters noted for their handling of colour.
A “Normandy pippin” is a variety of apple with a dull yellow skin.
a “thirtover” place (Mrs. Coggan’s description of the world) - contrary or unruly (dialect)
“pucker” (from Bathsheba) - a state of confusion (archaic|).
“I stand as a pelican in the wilderness!” (Maryann) - Psalms 102:6
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Jean, thanks so much for the picture of Waterston Manor! That's a wonderful help to me in picturing the Weatherbury setting in my mind.Also, thanks for the picture of Carey Mulligan as Bathsheba. Her facial expression really embodies some of the qualities I picture Bathsheba with: imperious, determined, and strong-willed. (She's not black-haired though, which Hardy says that Bathsheba is; and that's also a discrepancy evident in Julie Christie's 1967 portrayal of the character, although I like that adaptation. :-) )
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I also noticed this chapter is mostly about women. I thought it interesting when we meet the men, they are at rest in the malthouse. And when we meet the women, they are hard at work. I know the men work hard too, but Hardy didn't present them to us that way.
I worry that Bathsheba is getting her hands "dirty" - both literally and metaphorically - working with the staff. There must be a lot to sort through after her uncle's death. After the transition is complete, she will have to stop doing this kind of work if she is to be part of the "owner" class.
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I watched the first half hour of the 1967 movie and like Werner I noticed that Bathsheba was a blonde. Puzzlingly, that version also skips the first scene with Bathsheba in the cart, the scene where she and her aunt make it clear that a respectable lady should ride sidesaddle, and the scene in which Bathsheba lays back on the horse. Instead, they start with her galloping across the fields and hallooing Gabriel (whom she apparently already knows). I was disappointed since those incidents in the book tell us so much about Bathsheba's character
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However, as I remember, before "they start with her galloping across the fields and hallooing Gabriel (whom she apparently already knows)" Gabriel had called at the cottage, and spoken to her aunt, so the implication is that Bathsheba overheard his proposal even though they had not met. This is consistent with the book, and reveal her implusive nature.
Bionic Jean wrote: "Yes, it was a shame that was abbreviated in the earlier film, especially as we don't have any of Bathsheba's thoughts at this time to fill out her character.However, as I remember, before "they s..."
Sadly, no. The movie opens with Gabriel scolding his young dog who isn't following his commands and is worrying the sheep. Bathsheba appears over the crest of a hill (not riding sidesaddle) and shouts "Mr. Oak!" while waving to him. In the next scene he brings the lamb to the cottage and asks for her hand.
After Gabriel has courted her and been rejected, Bathsheba is shown leaving on a cart after her aunt has handed her a caged canary (no plants around her, no looking glass).
I do like what I've seen of the film, though! Beautiful cinematography and a strong soundtrack. For those who might be interested, it's on Youtube: https://www.youtube.com/watch?v=tJv3G...
Wow! Thanks all! When I read this chapter I thought it was rather odd — lots of description of the manor and of various people but I didn't see that it moved the story along much. I am so glad that you are perceptive enough to see all the symbolism in these few pages — I missed it!
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Ah yes, sorry! I had remembered it begins with that shocking scene, but had completely forgotten Bathsheba's presence there ... rather too much dramatic license used at that point, then.
But it captures the spirit of the novel, and out of the 3 was nominated for an Oscar (as I said in the intro. posts).
I too appreciated the picture of the manor. I enjoyed this chapter which begins to develop some important women characters (I guess that is an assumption) and their relationships to each other. I think it also highlights that Bathsheba is in transition. Moving from a worker bee to boss.
I must admit that every time I read Bathsheba's last name, Everdene, I think of Katniss Everdene of the Hunger Games. Another young woman who has to learn to survive in circumstances that are new to her (an understatement, I know).
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Yes, nicely put! Moving on now to today's chapter, which follows more or less straight on.
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After changing, Bathsheba entered the old hall where the farmhands had gathered, and sat down. Liddy sat beside her. Bathsheba poured out some coins on the table, and announced that the bailiff was dismissed for thieving, and that she had decided to manage everything herself rather than hire a new bailiff. This was met with amazement. Then she asked if anyone had found Fanny. No one had; they had dragged the local pond and also made enquiries at Yalbury, but Billy Smallbury was not yet back from asking in Casterbridge.
Bathsheba called forward Joseph Poorgrass. and asked what he did on the farm and what he was paid for it. Then she gave him his earnings, plus ten shillings “as a small present”, as she was a newcomer. She blushed at her own generosity, and Henery Fray lifted his eyebrows. Next was Matthew Moon, and then Andrew Randle, a new man who stuttered, so Henery reported his earnings. Two women Temperance and Soberness were called to collect their wages. However when Henery answered Bathsheba’s enquiry about their work with a comment on their loose morals, he was sent back to his seat.
Laban Tall was summoned next, and his wife stepped up as well: saying that she spoke for her husband as he was simple: “a poor gawkhammer mortal”. She was forty but claimed to be younger, and her manner was shrill.
Henery Fray (trying to get back some of his “official” standing) said the new shepherd would need someone under him, and that Cain Ball would be a good choice, if the shepherd did not mind his youth. Gabriel said he did not mind, and Bathsheba asked how he came by his name; Henery said that it was because his mother did not know the Bible very well, and so she mixed up Cain and Abel at his christening and didn’t find out until it was too late. They soften the name though, by calling him Cainy. The poor woman cried and cried: she had been raised by heathen parents Henery said, so it wasn’t her fault.
Bathsheba asked Gabriel if he understood his duties. Gabriel said he did, but was “staggered by the remarkable coolness of her manner”. He wondered if it was because of her social rise from a cottage to a large house and fields.
Billy Smallbury arrived, saying that he had been delayed by the snowy weather. He told them that Fanny had run away with the soldiers. Her young man’s regiment had left for Melchester, but he still did not know his name. All he had managed to find out was that the soldier was higher than a private. Bathsheba said that someone should tell Mr. Boldwood.
As she rose to leave, she made a short speech saying that though she was a woman, she would do her best, and that no one should suppose that she could not tell the difference between good and bad goings on:
“I shall be up before you are awake; I shall be afield before you are up; and I shall have breakfasted before you are afield. In short, I shall astonish you all.”
So saying, Bathsheba left with a dignified air.
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We see Bathsheba officially greeting each one of them, continuing to play the role of a confident, cool authority figure. Her first words are:
“Now before I begin, men; said Bathsheba",
irrespective of the fact that there are women there. This seems to be making a point, and asserting her position. Nonetheless, there are a few moments of uncertainty, as when Bathsheba isn’t quite sure how generous she should be. The relationship between Laban and Susan Tall is such a contrast! Laban is also a man who is subject to the will of a woman, but in that case it is perceived as a comic role. If anything it highlights how Bathsheba is stepping out of gender norms for this time.
In addition to gender, new social positions and class differences seem to have driven a wedge between Gabriel Oak and Bathsheba Everdene although we can’t really tell whether this bothers Bathsheba, who has just accepted Gabriel’s new role and service quite coolly, almost as a right.
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"(All.) “No’m!”
(Liddy.) “Excellent well said.”
“I shall be up before you are awake; I shall be afield before you are up; and I shall have breakfasted before you are afield. In short, I shall astonish you all.”
(All.) “Yes’m!”
“And so good-night.”
(All.) “Good-night, ma’am.”
Is this perhaps tongue-in-cheek, as when Thomas Hardy compares Gabriel, Bathsheba or other characters to those from Greek mythology? What do you think?
The final part of this scene, with the sobering news about Fanny, only creates a greater contrast with Bathsheba’s own confident, authoritative demeanour. Although some of the farm hands have expressed doubt about her ability to manage a farm on her own, as a woman, they seem—at least in her presence—to acknowledge her authority now.
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Temperance and Soberness “wimble haybonds” which means they twist hay into cord with a tool called a wimble.
“Early Flourballs and Thompson’s Wonderfuls” are varieties of potato. A “dibble” (as gardeners know) is a pointed stick for making holes in the soil.
“gawkhammer” - brainless (dialect - I love this word!)
“hustings” - perhaps these are just British; I’m not sure. They are temporary platforms upon which candidates for Parliament stand to address their constituents.
You will know this, but just to mention that Thomas Hardy relies upon his readers too, to know the story in Genesis of Cain and Abel. Cain murdered his brother Abel, though Cainy Ball’s mother thought it was Cain who was the holy, chosen victim. The villagers are familiar with the Bible, but this plays down its sacred solemnity, so it becomes a cruelly ironic joke.
“When in the writings of the later poets, Jove and his family are found to have moved from their cramped quarters on the peak of Olympus into the wide sky above it, their words show a proportionate increase of arrogance and reserve.”
This was the narrator’s comment when Gabriel was considering Bathsheba’s changed manner. In much classical Greek poetry, e.g. Homer or Euripides, the gods inhabit mount Olympus, the highest mountain in Greece. But by the 3rd century BCE and after, poets no longer took such myths seriously and tended to image divinities as inhabiting the heavens.
“The Route” - a military order to march to a particular destination by a certain route.
“Like a thief in the night” - 1 Thessalonians 5: 2. Billy Smallbury is comparing the British Government to Christ (unconsciously comical).
“thesmothete” (of Bathsheba) certain judges in ancient Athens.
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I really enjoyed this chapter. Much is revealed about each of the workers, and we see Bathsheba in a new light. I love that you headed this thread with that photo of Carey Mulligan, Jean. Prior to this, I had Julie Christie on and off in my mind, who fits as the coquette, but Mulligan is perfect here for this change in Bathsheba to someone confident and determined.It struck me that Hardy emphasized the power women had over men in these mens' stories, with Cainy's mother and Laban Tall's wife. I felt a little contrast to the vulnerability of Cainy and Tall when we see Gabriel in a resilient stance, "leaning against the doorpost with his arms folded." Even though she is his boss now, it feels like the power dynamic between these two has shifted, and he now has the upper hand. Am I imagining that?
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Interesting thoughts about Gabriel. I noticed that he has resumed his role as "watcher" of Bathsheba!
I am interested in the character Liddy. I am learning her anew after seeing her portrayal in the more recent 2015 movie with Carey Mulligan. Liddy is played by Jerrica Barden and I loved her character.
The picture I have managed to post is from a painting by Gerard Douw, which is the artist Thomas Hardy had in mind when he created her character. "The beauty her features might have lacked in form was amply made up for by perfection of hue, which at this winter-time was the softened ruddiness on a surface of high rotundity that we meet with in a Terburg or a Gerard Douw . . . " This painting is entitled "Girl with a Candle at a Window", and was painted during the mid 17th century.
Thanks for locating and sharing that picture, Lee! It brings Hardy's comment about the perfection of color in those 17th-century paintings to life wonderfully.
Henery Fray tries to insinuate himself into a position as Bathsheba's advisor. However, when Bathsheba asks if Temperence and Soberness Miller are "satisfactory" as workers, Henery Fray comments on their moral character ("as scarlet a pair as ever was") instead. Immediately, she rebuffs him. Bathsheba wants to maintain a professional tone, but she also seems to dislike that Henery judged their morality.This also reminded me of when we first met Bathsheba in the cart when, just after she has smiled at herself in the looking-glass, Hardy writes that "the sun lighted up to a scarlet glow the crimson jacket she wore, and painted a soft lustre on her bright face and dark hair."
Bathsheba, like Gabriel with his flock, decides to take charge of her farm herself rather than trust it to someone else.
Lee wrote: "I am interested in the character Liddy. I am learning her anew after seeing her portrayal in the more recent 2015 movie with Carey Mulligan. Liddy is played by Jerrica Barden and I loved her charac..."Thank you for that, Lee!
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"
That's an interesting question, Jean. I do think Hardy's reference here is tongue-in-cheek; equating Bathsheba's attempt to acquire an air of authority, to the "airs" adopted by Jove's family as they moved "upward" to their home in the sky.
So far there have been many Greek mythology references in FFTMC. Whenever I see one of those references, it makes me think of that last line of "Tess of the D’Urbervilles" that you mentioned:
"the President of the Immortals, in Aeschylean phrase, had ended his sport with Tess.'
Which makes me wonder about Hardy comparing Bathsheba to the Greek Gods. Is she tempting fate by trying to rise too high in her world? And is he subtly planting that seed for the readers? I'm not certain about any of this right now. It's just that Jean's question got me thinking . . . .
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I hadn't made that connection, Erich. Great insight!
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Erich - Great observation about the parallel between Gabriel and Bathsheba, and how they are both self-reliant at heart.
Bridget - "Is [Bathsheba] tempting fate by trying to rise too high in her world?"
This is an excellent question for us to ponder. Thank you!
So now we move on to a different place, and different characters ...
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On a dark, snowy night, in a “certain town and military station, many miles north of Weatherbury”, it seemed that the cloudy heavens and white earth were closing in on each other. A clock struck ten and a small outline could be see moving on the path. It was bordered on the left hand by a river, behind which rose a high wall. The figure counted the windows on the high wall, then stopped to throw some snow at the fifth window along, albeit inaccurately.
"Fanny Robin near the military barracks at Casterbridge" - Helen Paterson - March 1874
A male voice finally emerged and asked who was there. The little figure asked for Sergeant Troy, and a suspicious voice identified himself as such. It was his wife, Fanny Robbin, the figure cried, as she called his name (Frank) with emotion.
Yet they spoke in tones which are not that of husband and wife, the narrator commented. Fanny asked Troy to come down, and he said that although of course he was happy to see her, he could not come out, and was surprised to see her there. Fanny asked when something would be:
“It weighs me to the earth. It makes me say what ought to be said first by you.”
Troy replied that he didn’t quite remember promising, but that she would have to get proper clothes before they could be married, adding that the banns would have to be published in both his parish and hers. Fanny began to cry, saying that he did promise, and he says if he did so they will be married. He had just forgotten to ask permission from the officers and was surprised that she had come so unexpectedly.
Fanny apologised for worrying him, and asked him to come see her the next day at Mrs. Twills’s in North Street:
“I don’t like to come to the Barracks. There are bad women about, and they think me one.
He agreed and shut the window. Male voices, laughing, could be heard inside.
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“The vast arch of cloud above was strangely low, and formed as it were the roof of a large dark cavern, gradually sinking in upon its floor;”
At Abbotsbury swannery yesterday, just 9 miles south of where this episode takes place, the winds were 56 miles per hour, and many nests were swept away to the sea. (Don’t worry - the swanherds saved the very few eggs laid so far, and will rebuild nests tomorrow!) So just before this tempest, the threatening weather would have been just as Thomas Hardy describes.
And this one I could feel too:
“The bell was in the open air, and being overlaid with several inches of muffling snow, had lost its voice for the time.”
I liked the personification of the water as well. Which did you like?
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Throughout this passage, Fanny’s earnestness contrasts with Troy’s more cavalier attitude regarding their relationship. Fanny has thought of everything, and saved money for their wedding, whereas Troy cannot even recall having promised to get married. Still, he seems to want to appease her enough to maintain their relationship and to agree to see her the next day. The soldiers’ laughs nonetheless imply that they, at least, think the relationship to be less than serious.
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The 11th Dragoon Guards were stationed at “Casterbridge” Barracks, before being posted further up country. In real life the old artillery barracks on the east side of POUNDBURY Road, DORCHESTER, known as the MARABOUT BARRACKS were built in 1794-95. (The present infantry barracks off BRIDPORT (“Port Bredy”) Road were not built until the late 1870s.)
“Calling the Banns” :
In England, the “banns” or notice of intended marriage have to be read on 3 successive Sundays in parish churches of both parties (or other places of worship, or registry offices). An exception to this rule may be by obtaining a special license from the bishop of the diocese or his designate. This is why couples used to run away to Gretna Green to get married secretly, as Gretna Green is in Scotland and therefore has no such law.
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I'm *almost* caught up. As for "hustings" (chapter 10), it's almost exclusively an "only in newspapers" word in the States. The New York Times used it earlier this year in an article about Joe Biden's campaign style, but it seems like it's used less and less.
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I totally missed that word while reading chapter 10. I just went and looked it up. Actually, a very cool word. Sad to see it loosing relevance. Thanks for pointing it out Keith!
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It starts are really dark. Literally with: "a prospect of which the chief constituent was darkness" and figuratively with "hope sinks to misgiving; and faith to hope". I really love that last bit, faith being downgraded to hope. Brilliant writing.
I didn't much care for the narrator's description of Fanny's ability to throw snow "with such utter imbecility". That seemed a little over the top and mean to say of Fanny.
The fact that Fanny proposes to Frank, struck me as yet one more gender reversal. Seems to be a lot of that in the last couple chapters.
Bridget commented: "I didn't much care for the narrator's description of Fanny's ability to throw snow "with such utter imbecility". That seemed a little over the top and mean to say of Fanny."Yes, it's the 19th century way of a man saying, "She throws like a girl." A real put-down.
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Yes, that made me cross too. When teaching hundreds of kids to throw small balls over the years, the girls were sometimes a bit inept to start with, and the boys were more accurate as a rule. But since the girls almost always improved, I put it down to parents not playing ball games quite as much with the their daughters. On the other hand the girls showed a marked preference to catching large balls with the hand rather than the foot - and again, I put it down to culture - as there are some great female footballers in league football now.
Its all a bit anecdotal but I do feel Thomas Hardy overstated this so much that it is yet another example of the misogyny in this novel, which thankfully he toned down later. There seem to be numerous little snide asides or assumptions
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I love that too Bridget, and as you say it is so easy to miss these little gems of writing, and a perfect example of how the weather can affect our mood, and even our general view of the world, temporarily.
So on to today's chapter, and another change of scene and mood.
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The next day was the market day in the cornmarket at Casterbridge. Burly men carried saplings with which to poke pigs and sheep as they move throughout the hall. Only one woman glided among them, and heads turned as she walked through. She started with the two or three farmers she knew, but then moved on, gaining confidence to negotiate with others and show them her own sample bags. Her eyes were soft, though her face suggested defiance and determination, and her manner was professional. She held her own regarding prices, haggling adeptly, but the narrator commented that her manner was distinctly feminine.
“Among these heavy yeomen a feminine figure glided—the single one of her sex that the room contained. She moved between them as a chaise between carts, was heard after them as a romance after sermons, and was felt among them like a breeze among furnaces. It had required a little determination—far more than she had at first imagined—to take up a position here, for at her first entry the lumbering dialogues had ceased, nearly every face had been turned towards her, and those that were already turned rigidly fixed there.”
Other farmers asked who she was, and remarked that it was a shame she was so headstrong, even if she did lighten up the place. But she was handsome and would soon be married off, they agreed. Still, she looked as powerful as a queen or a sister of Jove among these men. But there was one exception among the farmers—one with full Roman features, an air of dignity and calm. Bathsheba was irked despite herself, and convinced that he must be unmarried, though he was around forty years old.
“He was a gentlemanly man, with full and distinctly outlined Roman features, the prominences of which glowed in the sun with a bronze-like richness of tone. He was erect in attitude, and quiet in demeanour. One characteristic pre-eminently marked him—dignity.”
After the market, Bathsheba told Liddy that it was as bad as being married, with all eyes on her. Liddy agreed that men were always likely to ogle women. Bathsheba carelessly asked about the one handsome man who did not seem interested in her. As he rode past them, his eyes fixed forward Liddy exclaimed that it was Farmer Boldwood. Bathsheba said that he was an interesting man, and Liddy agreed that everyone thought so. She explained that he met a bitter disappointment when young, jilted by a woman, but Bathsheba remarked that that was always what people said—he was just as likely to be reserved by nature, even if it was more romantic to think that he had been treated badly. Perhaps it was somewhere between the two, she thought, and Liddy agreed with her mistress.
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The chapter title "Farmers—A Rule—An Exception" focuses our attention on this. Bathsheba enjoys the attention that she is getting from the other farmers. Although she tells herself she wants to be considered the same as anyone else, she still feels slightly piqued by the fact that one person at least seems immune to her appearance.
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Now Bathsheba learns that the one person who seemed immune to her charms was the Farmer Boldwood whose voice she had heard so recently. Here she and Liddy take on the position of friends rather than of mistress and servant, but in the end Liddy completely changes what she had said, which implies she is aware that her mistress would not like her to say what she really thinks.
How did you feel about this? Did you feel that Liddy was playing safe here, in switching round completely from what she had said, in order to keep her mistress sweet? She occupies quite a difficult position; neither that of a true friend, nor just a paid employee carrying out her mistress's wishes. But I am not sure that Bathsheba recognises the distinction, rather assuming that others will agree with her as her right.
I like this way of showing Bathsheba’s pride by the events, rather than the narrator pontificating and instructing us as to how things are. The next post gives an example of what I mean.
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“Strange to say of a woman in full bloom and vigour, she always allowed her interlocutors to finish their statements before rejoining with hers…”
i.e. confident women always interrupt rather than listening to an argument first. The narrator continues:
“In arguing on prices, she held to her own firmly, as was natural in a dealer, and reduced theirs persistently, as was inevitable in a woman”.
Referring to women’s “manipulative wiles” perhaps? Although this could just as easily be a comment on men’s susceptibility to them, which would of course be another generalisation, this time of a perceived male "type".
The rest of the paragraph does relate to Bathsheba as an individual, so I have no quarrel with that. It is when the narrator persists in making judgements of all women, extrapolating from the behaviour of one, that I object. Sometimes it is not even that, but as here, an edict from on high.
As 21st century readers we are more aware of different attitudes to gender. Would we have been as aware of this dictatorial style of writing if Thomas Hardy had been espousing views we agree with? Certainly this is not "persuasive literature" as we understand the term, but was Thomas Hardy merely preaching to the converted?
Do you agree with these thoughts on Thomas Hardy's style? Disagree? Or find the question irrelevant?
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Back to chapter 11 for a minute, I'm ashamed to say it took many times trying before I could read it without my eyes glazing over. I wanted him to tell me why I was there before going into such dense description!But to this chapter, I think your question is very relevant, Jean. It seems Hardy's style is along the lines of "preaching to the converted" as you say. In my lifetime, I've noticed these assumptions made in general conversation lessen over time, but they used to be so common. (And that makes me wonder what we say in common parlance today that will be questioned in the future.) As long as Hardy's characters are individuals, maybe they play a role in (unconsciously?) questioning his views.
Works of Thomas Hardy
Books mentioned in this topic
Jane Eyre (other topics)The Two Gentlemen of Verona (other topics)
Under the Greenwood Tree (other topics)
Tess of the D’Urbervilles (other topics)
Tess of the D’Urbervilles (other topics)
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Authors mentioned in this topic
Thomas Hardy (other topics)Thomas Hardy (other topics)
Thomas Hardy (other topics)
Ronald P. Draper (other topics)
Thomas Hardy (other topics)
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2nd Thread: Chapter 9 - 20
Bathsheba Everdene (Carey Mulligan, 2015)
Here are LINKS TO EACH CHAPTER SUMMARY, for ease of location
Installment 3:
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Installment 4: (beginning)
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20