The Fiddler of the Reels and Other Stories [NOOK Book]

Overview


Three of the finest of the author's numerous short stories include the title piece, a critically acclaimed tale of a romantic triangle; a comedy, "The Distracted Preacher"; and "The Three Strangers," a tribute to community life. Highly readable and accessible, these stories offer an excellent introduction to Hardy's work.
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The Fiddler of the Reels and Other Stories

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Overview


Three of the finest of the author's numerous short stories include the title piece, a critically acclaimed tale of a romantic triangle; a comedy, "The Distracted Preacher"; and "The Three Strangers," a tribute to community life. Highly readable and accessible, these stories offer an excellent introduction to Hardy's work.
Read More Show Less

Product Details

  • ISBN-13: 9780486148502
  • Publisher: Dover Publications
  • Publication date: 11/27/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 80
  • File size: 678 KB

Meet the Author

Thomas Hardy
Thomas Hardy
Victorian novelist and poet Thomas Hardy focused much of his work -- including classics like Far from the Madding Crowd (1874) and Tess of the d'Urbervilles (1891) on man's futile struggle against unseen forces. Of his rather unromantic outlook on life, Hardy once said, "Pessimism is, in brief, playing the sure game. You cannot lose at it; you may gain. It is the only view of life in which you can never be disappointed."

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

"The Fiddler of the Reels" and Other Stories


By THOMAS HARDY, Bob Blaisdell

Dover Publications, Inc.

Copyright © 1997 Dover Publications, Inc.
All rights reserved.
ISBN: 978-0-486-14850-2



CHAPTER 1

THE THREE STRANGERS


AMONG the few features of agricultural England which retain an appearance but little modified by the lapse of centuries, may be reckoned the long, grassy and furzy downs, coombs, or ewe-leases, as they are called according to their kind, that fill a large area of certain counties in the south and south-west. If any mark of human occupation is met with hereon, it usually takes the form of the solitary cottage of some shepherd.

Fifty years ago such a lonely cottage stood on such a down, and may possibly be standing there now. In spite of its loneliness, however, the spot, by actual measurement, was not three miles from a county-town. Yet that affected it little. Three miles of irregular upland, during the long inimical seasons, with their sleets, snows, rains, and mists, afford withdrawing space enough to isolate a Timon or a Nebuchadnezzar; much less, in fair weather, to please that less repellent tribe, the poets, philosophers, artists, and others who 'conceive and meditate of pleasant things.'

Some old earthen camp or barrow, some clump of trees, at least some starved fragment of ancient hedge is usually taken advantage of in the erection of these forlorn dwellings. But, in the present case, such a kind of shelter had been disregarded. Higher Crowstairs, as the house was called, stood quite detached and undefended. The only reason for its precise situation seemed to be the crossing of two footpaths at right angles hard by, which may have crossed there and thus for a good five hundred years. Hence the house was exposed to the elements on all sides. But, though the wind up here blew unmistakably when it did blow, and the rain hit hard whenever it fell, the various weathers of the winter season were not quite so formidable on the down as they were imagined to be by dwellers on low ground. The raw rimes were not so pernicious as in the hollows, and the frosts were scarcely so severe. When the shepherd and his family who tenanted the house were pitied for their sufferings from the exposure, they said that upon the whole they were less inconvenienced by 'wuzzes and flames' (hoarses and phlegms) than when they had lived by the stream of a snug neighbouring valley.

The night of March 28, 182-, was precisely one of the nights that were wont to call forth these expressions of commiseration. The level rainstorm smote walls, slopes, and hedges like the clothyard shafts of Senlac and Crecy. Such sheep and outdoor animals as had no shelter stood with their buttocks to the winds; while the tails of little birds trying to roost on some scraggy thorn were blown inside-out like umbrellas. The gable-end of the cottage was stained with wet, and the eavesdroppings flapped against the wall. Yet never was commiseration for the shepherd more misplaced. For that cheerful rustic was entertaining a large party in glorification of the christening of his second girl.

The guests had arrived before the rain began to fall, and they were all now assembled in the chief or living room of the dwelling. A glance into the apartment at eight o'clock on this eventful evening would have resulted in the opinion that it was as cosy and comfortable a nook as could be wished for in boisterous weather. The calling of its inhabitant was proclaimed by a number of highly polished sheep-crooks without stems that were hung ornamentally over the fireplace, the curl of each shining crook varying from the antiquated type engraved in the patriarchal pictures of old family Bibles to the most approved fashion of the last local sheep-fair. The room was lighted by half-a-dozen candles, having wicks only a trifle smaller than the grease which enveloped them, in candlesticks that were never used but at high-days, holy-days, and family feasts. The lights were scattered about the room, two of them standing on the chimney-piece. This position of candles was in itself significant. Candles on the chimney-piece always meant a party.

On the hearth, in front of a back-brand to give substance, blazed a fire of thorns, that crackled 'like the laughter of the fool.'

Nineteen persons were gathered here. Of these, five women, wearing gowns of various bright hues, sat in chairs along the wall; girls shy and not shy filled the window-bench; four men, including Charley Jake the hedge-carpenter, Elijah New the parish-clerk, and John Pitcher, a neighbouring dairyman, the shepherd's father-in-law, lolled in the settle; a young man and maid, who were blushing over tentative pourparlers on a life-companionship, sat beneath the corner-cupboard; and an elderly engaged man of fifty or upward moved restlessly about from spots where his betrothed was not to the spot where she was. Enjoyment was pretty general, and so much the more prevailed in being unhampered by conventional restrictions. Absolute confidence in each other's good opinion begat perfect ease, while the finishing stroke of manner, amounting to a truly princely serenity, was lent to the majority by the absence of any expression or trait denoting that they wished to get on in the world, enlarge their minds, or do any eclipsing thing whatever—which nowadays so generally nips the bloom and bonhomie of all except the two extremes of the social scale.

Shepherd Fennel had married well, his wife being a dairyman's daughter from a vale at a distance, who brought fifty guineas in her pocket—and kept them there, till they should be required for ministering to the needs of a coming family. This frugal woman had been somewhat exercised as to the character that should be given to the gathering. A sit-still party had its advantages; but an undisturbed position of ease in chairs and settles was apt to lead on the men to such an unconscionable deal of toping that they would sometimes fairly drink the house dry. A dancing-party was the alternative; but this, while avoiding the foregoing objection on the score of good drink, had a counterbalancing disadvantage in the matter of good victuals, the ravenous appetites engendered by the exercise causing immense havoc in the buttery. Shepherdess Fennel fell back upon the intermediate plan of mingling short dances with short periods of talk and singing, so as to hinder any ungovernable rage in either. But this scheme was entirely confined to her own gentle mind: the shepherd himself was in the mood to exhibit the most reckless phases of hospitality.

The fiddler was a boy of those parts, about twelve years of age, who had a wonderful dexterity in jigs and reels, though his fingers were so small and short as to necessitate a constant shifting for the high notes, from which he scrambled back to the first position with sounds not of unmixed purity of tone. At seven the shrill tweedle-dee of this youngster had begun, accompanied by a booming ground-bass from Elijah New, the parish-clerk, who had thoughtfully brought with him his favourite musical instrument, the serpent. Dancing was instantaneous, Mrs. Fennel privately enjoining the players on no account to let the dance exceed the length of a quarter of an hour.

But Elijah and the boy in the excitement of their position quite forgot the injunction. Moreover, Oliver Giles, a man of seventeen, one of the dancers, who was enamoured of his partner, a fair girl of thirty-three rolling years, had recklessly handed a new crown-piece to the musicians, as a bribe to keep going as long as they had muscle and wind. Mrs. Fennel, seeing the steam begin to generate on the countenances of her guests, crossed over and touched the fiddler's elbow and put her hand on the serpent's mouth. But they took no notice, and fearing she might lose her character of genial hostess if she were to interfere too markedly, she retired and sat down helpless. And so the dance whizzed on with cumulative fury, the performers moving in their planet-like courses, direct and retrograde, from apogee to perigee, till the hand of the well-kicked clock at the bottom of the room had travelled over the circumference of an hour.

While these cheerful events were in course of enactment within Fennel's pastoral dwelling, an incident having considerable bearing on the party had occurred in the gloomy night without. Mrs. Fennel's concern about the growing fierceness of the dance corresponded in point of time with the ascent of a human figure to the solitary hill of Higher Crowstairs from the direction of the distant town. This personage strode on through the rain without a pause, following the little-worn path which, further on in its course, skirted the shepherd's cottage.

It was nearly the time of full moon, and on this account, though the sky was lined with a uniform sheet of dripping cloud, ordinary objects out of doors were readily visible. The sad wan light revealed the lonely pedestrian to be a man of supple frame; his gait suggested that he had somewhat passed the period of perfect and instinctive agility, though not so far as to be otherwise than rapid of motion when occasion required. At a rough guess, he might have been about forty years of age. He appeared tall, but a recruiting sergeant, or other person accustomed to the judging of men's heights by the eye, would have discerned that this was chiefly owing to his gauntness, and that he was not more than five-feet-eight or nine.

Notwithstanding the regularity of his tread there was caution in it, as in that of one who mentally feels his way; and despite the fact that it was not a black coat nor a dark garment of any sort that he wore, there was something about him which suggested that he naturally belonged to the black-coated tribes of men. His clothes were of fustian, and his boots hobnailed, yet in his progress he showed not the mud-accustomed bearing of hob-nailed and fustianed peasantry.

By the time that he had arrived abreast of the shepherd's premises the rain came down, or rather came along, with yet more determined violence. The outskirts of the little settlement partially broke the force of wind and rain, and this induced him to stand still. The most salient of the shepherd's domestic erections was an empty sty at the forward corner of his hedgeless garden, for in these latitudes the principle of masking the homelier features of your establishment by a conventional frontage was unknown. The traveller's eye was attracted to this small building by the pallid shine of the wet slates that covered it. He turned aside, and, finding it empty, stood under the pent-roof for shelter.

While he stood the boom of the serpent within the adjacent house, and the lesser strains of the fiddler, reached the spot as an accompaniment to the surging hiss of the flying rain on the sod, its louder beating on the cabbage-leaves of the garden, on the straw hackles of eight or ten beehives just discernible by the path, and its dripping from the eaves into a row of buckets and pans that had been placed under the walls of the cottage. For at Higher Crowstairs, as at all such elevated domiciles, the grand difficulty of housekeeping was an insufficiency of water; and a casual rainfall was utilized by turning out, as catchers, every utensil that the house contained. Some queer stories might be told of the contrivances for economy in suds and dish-waters that are absolutely necessitated in upland habitations during the droughts of summer. But at this season there were no such exigencies; a mere acceptance of what the skies bestowed was sufficient for an abundant store.

At last the notes of the serpent ceased and the house was silent. This cessation of activity aroused the solitary pedestrian from the reverie into which he had lapsed, and, emerging from the shed, with an apparently new intention, he walked up the path to the house-door. Arrived here, his first act was to kneel down on a large stone beside the row of vessels, and to drink a copious draught from one of them. Having quenched his thirst he rose and lifted his hand to knock, but paused with his eye upon the panel. Since the dark surface of the wood revealed absolutely nothing, it was evident that he must be mentally looking through the door, as if he wished to measure thereby all the possibilities that a house of this sort might include, and how they might bear upon the question of his entry.

In his indecision he turned and surveyed the scene around. Not a soul was anywhere visible. The garden-path stretched downward from his feet, gleaming like the track of a snail; the roof of the little well (mostly dry), the well-cover, the top rail of the garden-gate, were varnished with the same dull liquid glaze; while, far away in the vale, a faint whiteness of more than usual extent showed that the rivers were high in the meads. Beyond all this winked a few bleared lamplights through the beating drops—lights that denoted the situation of the county-town from which he had appeared to come. The absence of all notes of life in that direction seemed to clinch his intentions, and he knocked at the door.

Within, a desultory chat had taken the place of movement and musical sound. The hedge-carpenter was suggesting a song to the company, which nobody just then was inclined to undertake, so that the knock afforded a not unwelcome diversion.

'Walk in!' said the shepherd promptly.

The latch clicked upward, and out of the night our pedestrian appeared upon the door-mat. The shepherd arose, snuffed two of the nearest candles, and turned to look at him.

Their light disclosed that the stranger was dark in complexion and not unprepossessing as to feature. His hat, which for a moment he did not remove, hung low over his eyes, without concealing that they were large, open, and determined, moving with a flash rather than a glance round the room. He seemed pleased with his survey, and, baring his shaggy head, said, in a rich deep voice, 'The rain is so heavy, friends, that I ask leave to come in and rest awhile.'

'To be sure, stranger,' said the shepherd. 'And faith, you've been lucky in choosing your time, for we are having a bit of a fling for a glad cause—though, to be sure, a man could hardly wish that glad cause to happen more than once a year.'

'Nor less,' spoke up a woman. 'For 'tis best to get your family over and done with, as soon as you can, so as to be all the earlier out of the fag o't.'

'And what may be this glad cause?' asked the stranger.

'A birth and christening,' said the shepherd.

The stranger hoped his host might not be made unhappy either by too many or too few of such episodes, and being invited by a gesture to a pull at the mug, he readily acquiesced. His manner, which, before entering, had been so dubious, was now altogether that of a careless and candid man.

'Late to be traipsing athwart this coomb—hey?' said the engaged man of fifty.

'Late it is, master, as you say.—I'll take a seat in the chimney-corner, if you have nothing to urge against it, ma'am; for I am a little moist on the side that was next the rain.'

Mrs. Shepherd Fennel assented, and made room for the self-invited comer, who, having got completely inside the chimney-corner, stretched out his legs and his arms with the expansiveness of a person quite at home.

'Yes, I am rather cracked in the vamp,' he said freely, seeing that the eyes of the shepherd's wife fell upon his boots, 'and I am not well fitted either. I have had some rough times lately, and have been forced to pick up what I can get in the way of wearing, but I must find a suit better fit for working-days when I reach home.'

'One of hereabouts?' she inquired.

'Not quite that—further up the country.'

'I thought so. And so be I; and by your tongue you come from my neighbourhood.'

'But you would hardly have heard of me,' he said quickly. 'My time would be long before yours, ma'am, you see.'

This testimony to the youthfulness of his hostess had the effect of stopping her cross-examination.

'There is only one thing more wanted to make me happy,' continued the newcomer. 'And that is a little baccy, which I am sorry to say I am out of.'

'I'll fill your pipe,' said the shepherd.

'I must ask you to lend me a pipe likewise.'

'A smoker, and no pipe about 'ee?'

'I have dropped it somewhere on the road.'

The shepherd filled and handed him a new clay pipe, saying, as he did so, 'Hand me your baccy-box—I'll fill that too, now I am about it.'

The man went through the movement of searching his pockets.

'Lost that too?' said his entertainer, with some surprise.

'I am afraid so,' said the man with some confusion. 'Give it to me in a screw of paper.' Lighting his pipe at the candle with a suction that drew the whole flame into the bowl, he resettled himself in the corner and bent his looks upon the faint steam from his damp legs, as if he wished to say no more.

Meanwhile the general body of guests had been taking little notice of this visitor by reason of an absorbing discussion in which they were engaged with the band about a tune for the next dance. The matter being settled, they were about to stand up when an interruption came in the shape of another knock at the door.

At sound of the same the man in the chimney-corner took up the poker and began stirring the brands as if doing it thoroughly were the one aim of his existence; and a second time the shepherd said, 'Walk in!' In a moment another man stood upon the straw-woven door-mat. He too was a stranger.


(Continues...)

Excerpted from "The Fiddler of the Reels" and Other Stories by THOMAS HARDY, Bob Blaisdell. Copyright © 1997 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

Title Page,
Copyright Page,
Note,
THE THREE STRANGERS,
THE DISTRACTED PREACHER,
THE FIDDLER OF THE REELS,
DOVER · THRIFT · EDITIONS,

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