In the past, I have not been the most enthusiastic reader of Thomas Hardy’s work. Having read Tess of the D’Urbervilles for “fun” in the Summer, I had decided never to look at his work again, until, of course, I was set Far From The Madding Crowd as a text. Karma, thank you. The impression I was left with was not…great: the heavy and somewhat pointless descriptions of landscape dominating the novel just did not enrapture me. But you know all this! The real question is- am I glad that I had to study this, in the end?
It is obvious that I would never have chosen Hardy to study, which as someone who is enthusiastic about English literature, is problematic. Not only is he an acclaimed (although not hugely by me) poet, (I studied Neutral Tones at GCSE) but he is also one of the most acclaimed Victorian writers. Just like Dickens and Steinbeck, he is one of those white men whose work one simply must read if they are to consider themselves learnèd. Or so that was the impression I have been given throughout my schooling (so far), and really it is the only impression that matters considering that this is the institution which sets you up for the sadly all-important exams. So it was a book unwelcomed to my psyche, being both pastoral and Victorian, but ultimately I learnt 2 lessons:
Lesson one: Hardy has an excellent use of perspective
Often there is a sense of distortion in his work: in Oak’s first introduction to Bathsheba, a “small swing looking-glass was disclosed, in which she proceed to survey herself attentively”. Here, like in many other parts of the novel, the reader is viewing Gabriel viewing Bathsheba viewing herself, and it is this layering which creates an almost cinematic effect. All the attention is on her, but without fanfare or exclamation marks!!!! With writing, unlike film, the idea of selective viewing is not often touched upon. Here is why:
This film still, from Carol (2015) would be very hard to put into writing, due to the obscured nature of the model/ actress herself and the nature of the reflection. Thus for Hardy to be able to explore perspective in that way is admirable.
Lesson two: it is actually unclear if he really was a feminist at this point, despite many fervent claims
This is concerning Far From the Madding Crowd, because of course in Tess of the D’Urbervilles he is does prove himself otherwise. But in this earlier context, it is uncertain if the plot actually supports Bathsheba taking on her own farm, and therefore the idea of “the women in the role of responsibility” that she represents. She is portrayed as, unusually for the context, a woman independent from the authority of men, by owning a farm. This ownership was given to her, not earned, through her uncle’s will, which means that Bathsheba’s use of this power is even more important. If she had bought the farm herself, and then failed, at least some merit would be given to her for being able to make the money to buy the farm in the first place. But here, she is simply being given an opportunity on a platter, and as it is clear to see, she squanders it. She almost lets all her sheep die from an illness, simply due to pride, and she spends the entire novel being swept away by various men than tending to her farm.
It is as if Bathsheba is incompetent, because when every time she checked the farm at night, Gabriel “almost constantly preceded her in this tour every evening, watching her affairs”. Whilst this may be attributed to devotion, there is also a sense of her lack of skill. As if Gabriel is also following her just in case she misses something, because that is what was expected of women. What is more, when Bathsheba is at the marketplace, instead of focusing on her work, Hardy portrays her as being purely vain and concerned that there is a “black sheep among the flock” because one man was not looking at her. It is this scene where Bathsheba had a chance to assert herself in the an all-male environment, and yet instead Hardy chooses to portray her as wasting her time, despite all the power and opportunity she has been given.
Even if that interpretation is wrong, the narrator is highly sexist, making claims like: “women are never tired of bewailing man’s fickleness in love, but they only seem to snub his constancy”, or how she was a “novelty among women- one who finished a thought before beginning the sentence which was to convey it”and also “the numerous evidences of her power to attract were only thrown into greater relief by a marked exception. Women seem to have eyes in ribbons for such matters as these”. It could be argued that the narrator does not reflect Hardy’s true feelings: that these harsh, sweeping generalisations are what Hardy expects the public want to hear. But this does not make sense. Nowhere else in the novel does the narrator explicitly express an opinion, or pass judgement in this way. Therefore the narrator is not a character, which means that the things they say are assumed to be true. Thus one cannot assume that Hardy included this bias consciously, and therefore that he was, at this point in his writing, still not the feminist that he is lauded as being today, in light of the casually sexist narrator and Bathsheba’s failure to handle the responsibility she has be given- which is normally only given to a man- thus suggesting that women as a group were incapable of labour.
Overall, although it was interesting to pull apart the themes of the novel in seminars and to make presentations upon the characters, reading Far From the Madding Crowd was an unsatisfying experience. The story was initially drab, and the plot finishes off incredulously, and although Hardy had the perfect opportunity to create a heroine, instead he makes a fool.