Far from the Madding Crowd [NOOK Book]

Overview

Hardy's first masterpiece, this 1874 novel received wide acclaim upon publication and remains among the author's best-loved works. The tale of a passionate, independent woman and her three suitors, it explores Hardy's trademark themes: thwarted love, the inevitability of fate, and the encroachment of industrial society on rural life.
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Far from the Madding Crowd

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Overview

Hardy's first masterpiece, this 1874 novel received wide acclaim upon publication and remains among the author's best-loved works. The tale of a passionate, independent woman and her three suitors, it explores Hardy's trademark themes: thwarted love, the inevitability of fate, and the encroachment of industrial society on rural life.
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Editorial Reviews

From The Critics
Hardy's rustic tale of Bathsheba Everdean and her three suitors comes to life through Thorne's expert narrative performance. Hardy's works often change pace and character quickly, a point which Thorne uses advantageously to wind us through this insightful novel. Thorne's interpretation of the text removes the distance which so often exists between Victorian literature and the modern reader. Thorne's performance skills transcend age and gender. The listener can envision each of the workers as they talk and sing in the pub, and Thorne's choice of voices for the four main characters gives added depth and presence. Textual interpretation, pacing and vocal characterization all come together to make Thorne's reading an excellent addition to any collection. J.S.G. ©AudioFile, Portland, Maine
From the Publisher
“Far from the Madding Crowd is the first of Thomas Hardy’s great novels, and the first to sound the tragic note for which his fiction is best remembered.”
-Margaret Drabble
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Product Details

  • ISBN-13: 9788866610021
  • Publisher: Classic eBooks
  • Publication date: 5/24/2011
  • Sold by: Simplicissimus Book Farm
  • Format: eBook
  • File size: 2 MB

Meet the Author

Thomas Hardy
Thomas Hardy was born on 2 June 1840. His father was a stonemason. He was brought up near Dorchester and trained as an architect. In 1868 his work took him to St Juliot's church in Cornwall where he met his wife-to-be, Emma. His first novel, The Poor Man and the Lady, was rejected by publishers but Desperate Remedies was published in 1871 and this was rapidly followed by Under the Greenwood Tree (1872), A Pair of Blue Eyes (1873) and Far from the Madding Crowd (1874). He also wrote many other novels, poems and short stories. Tess of the D'Urbervilles was published in 1891. His final novel was Jude the Obscure (1895). Hardy was awarded the Order of Merit in 1920 and the gold medal of the Royal Society of Literature in 1912. His wife died in 1912 and he later married his secretary. Thomas Hardy died 11 January 1928.

Biography

Thomas Hardy was born on June 2, 1840, in the village of Higher Bockhampton, near Dorchester, a market town in the county of Dorset. Hardy would spend much of his life in his native region, transforming its rural landscapes into his fictional Wesses. Hardy's mother, Jemima, inspired him with a taste for literature, while his stonemason father, Thomas, shared with him a love of architecture and music (the two would later play the fiddle at local dances). As a boy Hardy read widely in the popular fiction of the day, including the novels of Scott, Dumas, Dickens, W. Harrison Ainsworth, and G.P.R. James, and in the poetry of Scott, Wordsworth, Byron, Shelley, Keats, and others. Strongly influenced in his youth by the Bible and the liturgy of the Anglican Church, Hardy later contemplated a career in the ministry; but his assimilation of the new theories of Darwinian evolutionism eventually made him an agnostic and a severe critic of the limitations of traditional religion.

Although Hardy was a gifted student at the local schools he attended as a boy for eight years, his lower-class social origins limited his further educational opportunities. At sixteen, he was apprenticed to architect James Hicks in Dorchester and began an architectural career primarily focused on the restoration of churches. In Dorchester Hardy was also befriended by Horace Moule, eight years Hardy's senior, who acted as an intellectual mentor and literary adviser throughout his youth and early adulthood. From 1862 to 1867 hardy worked in London for the distinguished architect Arthur Blomfeld, but he continued to study -- literature, art, philosophy, science, history, the classics -- and to write, first poetry and then fiction.

In the early 1870s Hardy's first two published novels, Desperate Remedies and Under the Greenwood Tree, appeared to little acclaim or sales. With his third novel, A Pair of Blue Eyes, he began the practice of serializing his fiction in magazines prior to book publication, a method that he would utilize throughout his career as a novelist. In 1874, the year of his marriage to Emma Gifford of St. Juliot, Cornwall, Hardy enjoyed his first significant commercial and critical success with the book publication of Far from the Madding Crowd after its serialization in the Cornhill Magazine. Hardy and his wife lived in several locations in London, Dorset, and Somerset before settling in South London for three years in 1878. During the late 1870s and early 1880s, Hardy published The Return of the Native, The Trumpet-Major, A Laodicean, and Two on a Tower while consolidating his pace as a leading contemporary English novelist. He would also eventually produce four volumes of short stories: Wessex Tales, A Group of Noble Dames, Life's Little Ironies, and A Changed Man.

In 1883, Hardy and his wife moved back to Dorchester, where Hardy wrote The Mayor of Casterbridge, set in a fictionalized version of Dorchester, and went on to design and construct a permanent home for himself, named Max Gate, completed in 1885. In the later 1880s and early 1890s Hardy wrote three of his greatest novels, The Woodlanders, Tess of the d'Urbevilles, and Jude the Obscure, all of them notable for their remarkable tragic power. The latter two were initially published as magazine serials in which Hardy removed potentially objectionable moral and religious content, only to restore it when the novels were published in book form; both novels nevertheless aroused public controversy for their criticisms of Victorian sexual and religious mores. In particular, the appearance of Jude the Obscure in 1895 precipitated harsh attacks on Hardy's alleged pessimism and immorality; the attacks contributed to his decision to abandon the writing of fiction after the appearance of his last-published novel, The Well-Beloved.

In the later 1890s Hardy returned to the writing of poetry that he had abandoned for fiction thirty years earlier. Wessex Poems appeared in 1898, followed by several volumes of poetry at regular intervals over the next three decades. Between 1904 and 1908 Hardy published a three-part epic verse drama, The Dynasts, based on the Napoleonic Wars of the early nineteenth century. Following the death of his first wife in 1912, Hardy married his literary secretary Florence Dugdale in 1914. Hardy received a variety of public honors in the last two decades of his life and continued to publish poems until his death at Max Gate on January 11, 1928. His ashes were interred in the Poets' Corner of Westminster Abbey in London and his heart in Stinsford outside Dorchester. Regarded as one of England's greatest authors of both fiction and poetry, Hardy has inspired such notable twentieth-century writers as Marcel Proust, John Cowper Powys, D. H. Lawrence, Theodore Dreiser, and John Fowles.

Author biography from the Barnes & Noble Classics edition of Far from the Madding Crowd.

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    1. Date of Birth:
      June 2, 1840
    2. Place of Birth:
      Higher Brockhampon, Dorset, England
    1. Date of Death:
      January 11, 1928
    2. Place of Death:
      Max Gate, Dorchester, England
    1. Education:
      Served as apprentice to architect James Hicks

Read an Excerpt

Chapter One

Description of Farmer Oak-An Incident

When Farmer Oak smiled, the corners of his mouth spread till they were within an unimportant distance of his ears, his eyes were reduced to chinks, and diverging wrinkles appeared round them, extending upon his countenance like the rays in a rudimentary sketch of the rising sun.

His Christian name was Gabriel, and on working days he was a young man of sound judgment, easy motions, proper dress, and general good character. On Sundays he was a man of misty views, rather given to postponing, and hampered by his best clothes and umbrella: upon the whole, one who felt himself to occupy morally that vast middle space of Laodicean neutrality which lay between the Communion people of the parish and the drunken section,--that is, he went to church, but yawned privately by the time the congegation reached the Nicene creed, and thought of what there would be for dinner when he meant to be listening to the sermon. Or, to state his character as it stood in the scale of public opinion, when his friends and critics were in tantrums, he was considered rather a bad man; when they were pleased, he was rather a good man; when they were neither, he was a man whose moral colour was a kind of pepperand-salt mixture.

Since he lived six times as many working-days as Sundays, Oak's appearance in his old clothes was most peculiarly his own--the mental picture formed by his neighbours in imagining him being always dressed in that way. He wore a low-crowned felt hat, spread out at the base by tight jamming upon the head for security in high winds, and a coat like Dr. Johnson's; his lowerextremities being encased in ordinary leather leggings and boots emphatically large, affording to each foot a roomy apartment so constructed that any wearer might stand in a river all day long and know nothing of damp--their maker being a conscientious man who endeavoured to compensate for any weakness in his cut by unstinted dimension and solidity.

Mr. Oak carried about him, by way of watch, what may be called a small silver clock; in other words, it was a watch as to shape and intention, and a small clock as to size. This instrument being several years older than Oak's grandfather, had the peculiarity of going either too fast or not at all. The smaller of its hands, too, occasionally slipped round on the pivot, and thus, though the minutes were told with precision, nobody could be quite certain of the hour they belonged to. The stopping peculiarity of his watch Oak remedied by thumps and shakes, and he escaped any evil consequences from the other two defects by constant comparisons with and observations of the sun and stars, and by pressing his face close to the glass of his neighbours' windows, till he could discern the hour marked by the green-faced timekeepers within. It may be mentioned that Oak's fob being difficult of access, by reason of its somewhat high situation in the waistband of his trousers (which also lay at a remote height under his waistcoat), the watch was as a necessity pulled out by throwing the body to one side, compressing the mouth and face to a mere mass of ruddy flesh on account of the exertion required, and drawing up the watch by its chain, like a bucket from a well.

But some thoughtful persons, who had seen him walking across one of his fields on a certain December morning--sunny and exceedingly mild--might have regarded Gabriel Oak in other aspects than these. In his face one might notice that many of the hues and curves of youth had tarried on to manhood: there even remained in his remoter crannies some relics of the boy. His height and breadth would have been sufficient to make his presence imposing, had they been exhibited with due consideration. But there is a way some men have, rural and urban alike, for which the mind is more responsible than flesh and sinew: it is a way of curtailing their dimensions by their manner of showing them. And from a quiet modesty that would have become a vestal which seemed continually to impress upon him that he had no great claim on the world's room, Oak walked unassumingly and with a faintly perceptible bend, yet distinct from a bowing of the shoulders. This may be said to be a defect in an individual if he depends for his valuation more upon his appearance than upon his capacity to wear well, which Oak did not.

He had just reached the time of life at which "young" is ceasing to be the prefix of "man" in speaking of one. He was at the brightest period of masculine growth, for his intellect and his emotions were clearly separated: he had passed the time during which the influence of youth indiscriminately mingles them in the character of impulse, and he had not yet arrived at the stage wherein they become united again, in the character of prejudice, by the influence of a wife and family. In short, he was twenty-eight, and a bachelor.

The field he was in this morning sloped to a ridge called Norcombe Hill. Through a spur of this hill ran the highway between Emminster and Chalk-Newton. Casually glancing over the hedge, Oak saw coming down the incline before him an ornamental spring waggon, painted yellow and gaily marked, drawn by two horses, a waggoner walking alongside bearing a whip perpendicularly. The waggon was laden with household goods and window plants, and on the apex of the whole sat a woman, young and attractive. Gabriel had not beheld the sight for more than half a minute, when the vehicle was brought to a standstill just beneath his eyes.

"The tailboard of the waggon is gone, Miss," said the waggoner.

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Table of Contents

Biographical Note
Introduction
Map of Wessex
Author's Preface
1 Description of Farmer Oak - An Incident 1
2 Night - The Flock - An Interior - Another Interior 7
3 A Girl on Horseback - Conversation 15
4 Gabriel's Resolve - The Visit - The Mistake 24
5 Departure of Bathsheba - A Pastoral Tragedy 34
6 The Fair - The Journey - The Fire 40
7 Recognition - A Timid Girl 51
8 The Malthouse - The Chat - News 55
9 The Homestead - A Visitor - Half-Confidences 74
10 Mistress and Men 81
11 Outside the Barracks - Snow - A Meeting 88
12 Farmers - A Rule - An Exception 94
13 Sortes Sanctorum - The Valentine 100
14 Effect of the Letter - Sunrise 105
15 A Morning Meeting - The Letter Again 110
16 All Saints' and All Souls' 121
17 In the Market-Place 124
18 Boldwood in Meditation - Regret 127
19 The Sheep-Washing - The Offer 132
20 Perplexity - Grinding the Shears - A Quarrel 138
21 Troubles in the Fold - A Message 145
22 The Great Barn and the Sheep-Shearers 152
23 Eventide - A Second Declaration 163
24 The Same Night - The Fir Plantation 170
25 The New Acquaintance Described 177
26 Scene on the Verge of the Hay-Mead 181
27 Hiving the Bees 191
28 The Hollow Amid the Ferns 195
29 Particulars of a Twilight Walk 201
30 Hot Cheeks and Tearful Eyes 209
31 Blame - Fury 214
32 Night - Horses Tramping 223
33 In the Sun - A Harbinger 232
34 Home Again - A Trickster 240
35 At an Upper Window 251
36 Wealth in Jeopardy - The Revel 256
37 The Storm - The Two Together 265
38 Rain - One Solitary Meets Another 273
39 Coming Home - A Cry 277
40 On Casterbridge Highway 282
41 Suspicion - Fanny Is Sent For 289
42 Joseph and His Burden - Buck's Head 300
43 Fanny's Revenge 312
44 Under a Tree - Reaction 323
45 Troy's Romanticism 331
46 The Gurgoyle: Its Doings 336
47 Adventures by the Shore 344
48 Doubts Arise - Doubts Linger 347
49 Oak's Advancement - A Great Hope 353
50 The Sheep Fair - Troy Touches His Wife's Hand 359
51 Bathsheba Talks with Her Outrider 374
52 Converging Courses 383
53 Concurritur - Horae Momento 394
54 After the Shock 406
55 The March Following - "Bathsheba Boldwood" 411
56 Beauty in Loneliness - After All 416
57 A Foggy Night and Morning - Conclusion 426
Notes 433
Reading Group Guide 467
A Note on the Text 469
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Reading Group Guide

1. According to the scholar Howard Babb, Hardy’s depiction of Wessex “impinges upon the consciousness of the reader in many ways . . . as mere setting, or a symbol, or as a being in its own right.” How does environment serve as an integral part of this novel?

2. The title of Far from the Madding Crowd, borrowed from Thomas Gray’s “Elegy Written in a Country Churchyard, ” celebrates the “cool, sequestered” lives of rural folks. Is the title ironic or appropriate?

3. The rustics who work the land, tend the sheep, and gather at Warren’s malt house have been likened to a Greek chorus. Can you support this analogy? What function do the rustics serve in the novel?

4. Time is a theme that weaves throughout the story. One example may be found in Chapter XVI, when Frank Troy stands rigidly in All Saints Church awaiting Fanny’s delayed arrival while a “grotesque clockwork” agonizingly marks each passing moment. Where else does Hardy employ the theme of time, and what purpose does it serve?

5. In Chapter IV, Bathsheba tells Gabriel, “I want somebody to tame me; I am too independent: and you would never be able to, I know.” How is Bathsheba “tamed” over the course of the novel, and who is responsible for her transformation?

6. How does the subordinate plot concerning Fanny Robin and Sergeant Troy serve as a contract to the main storyline?

7. What do Bathsheba Everdene and Fanny Robin have in common, and how do they differ? And what does Hardy’s portrayal of these two women reveal about Victorian moral standards?

8. In Gabriel Oak, Sergeant Troy, andFarmer Boldwood, Hardy has depicted three very different suitors in pursuit of Bathsheba Everdene. What distinguishes each of these characters, and what values does each of them represent?

9. Two particular episodes in Far from the Madding Crowd are often cited for their profound sensuality: Sergeant Troy’s seduction of Bathsheba through swordplay (Chapter XXVIII), and Gabriel’s sheep-shearing scene (Chapter XXII). What elements does Hardy employ to make these scenes so powerful?

10. At the end of the novel, Hardy describes the remarkable bond between Gabriel and Bathsheba: “Theirs was that substantial affection which arises . . . when the two who are thrown together begin first by knowing the rougher sides of each other’s character, and not the best till further on, the romance growing up in the interstices of a mass of hard, prosaic reality.” How does this relationship serve as a contrast to other examples of love and courtship throughout the novel? Consider Bathsheba and her three suitors, as well as Fanny Robin and Sergeant Troy.

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Sort by: Showing 1 – 17 of 14 Customer Reviews
  • Posted November 10, 2008

    more from this reviewer

    I Also Recommend:

    Not for the average modern reader

    I picked up Far From the Madding Crowd in my quest to read more classic literature. It took quite awhile for me to work my way through this book. I almost quit reading it several times. The writing style definitely takes some concentration. I felt more comfortable with the 'prose' after about ten chapters of reading. Some of the sentences stretch on for an entire paragraph (which takes some getting used to). The next sentence is a typical example of the sentence structure: "For dreariness nothing could surpass a prospect in the outskirts of the city of Melchester at a later hour on this same snowy evening - if that may be called a prospect of which the chief constituent was darkness." This book is not for the average modern reader.

    2 out of 2 people found this review helpful.

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  • Posted March 19, 2011

    What a great story

    When I started reading this book, many people commented that they made a movie from it. I was starting the book at the time and thought, "Really?", because the first chapters are rather slow with few interesting parts.

    Thank goodness I don't give up on books I start because this tale of a sheep herder, a girl whom he falls in love, and their interwoven lives within a rural English farming town (including a classic English gentlemen) was superbly captivating.

    I also liked the overarching theme that failures in life, though dark and fearful, can be the commencement of something greater and better for someone in the future.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 15, 1999

    A TRUE CLASSIC

    I stumbled on this book in a small public library. After reading several chapters, I ordered it as I knew I would want a copy permanently on my bookshelf. This book is superb. The descriptions of the 19th century country side are crafted as only a master could. I savoured this novel and the tale has continued to haunt me. I probably would not have enjoyed it in my younger days but now relished the impressions Hardy paints for us of time and place. I highly recommend it.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 16, 2009

    It was alright...

    The plot was kind of slow, and the character relationships got confusing as the book went on. But overall it was just alright, nothing I would reccomend for other teens such as myself.

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  • Anonymous

    Posted March 11, 2003

    Excellent 19th Century Literary Masterpiece

    I greatly enjoyed this novel, not so much for its stark stoicism, but rather for the array of characters who make the book one to remember. Hardy does an excellent job of building his characters, making them dynamic in many respects, while retaining a certain sense of humaness and realism. 'Far from the Madding Crowd' is a novel that you can read time and time again; I highly recommend it for readers who love 19th century British lit, the works of Emily and Charlotte Bronte, or Dickens.

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  • Anonymous

    Posted July 30, 2002

    This book was about ME!

    This book although boring for me at the first chapter, it became like my diary. I could really relate to this book in the sense that I was living Batshebas life while i was reading this book. I recommend it to all my girlfriends. This book doesn't teach you morals or anything but it has this message that you have to figure it after you read the book!Trust me it's worth your time!

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