Far From the Madding Crowd. Томас Харди
in respect of its form or content. Several of the poems – indeed many – were produced before novel-writing had been thought of as a pursuit; but few saw the light till all the novels had been published. The limited stage to which the majority of the latter confine their exhibitions has not been adhered to here in the same proportion, the dramatic part especially have a very broad theatre of action. It may thus relieve the circumscribed areas treated in the prose, if such relief be needed. To be sure, one might argue that by surveying Europe from a celestial point of vision – as in The Dynasts – that continent becomes virtually a province – a Wessex, an Attica, even a mere garden – and hence is made to conform to the principle of the novels, however far it outmeasures their region. But that may be as it will.
The few volumes filled by the verse cover a producing period of some eighteen years first and last, while the seventeen or more volumes of novels represent correspondingly about four-and-twenty years. One is reminded by this disproportion in time and result how much more concise and quintessential expression becomes when given in rhythmic form than when shaped in the language of prose.
One word on what has been called the present writer’s philoso -phy of life, as exhibited more particularly in this metrical section of his compositions. Positive views on the Whence and the Wherefore of things have never been advanced by this pen as a consistent phil-o sophy. Nor is it likely, indeed, that imaginative writings extending over more than forty years would exhibit a coherent scientific theory of the universe even if it had been attempted – of that universe concerning which Spencer owns to the ‘paralyzing thought’ that possibly there exists no comprehension of it anywhere. But such objectless consistency never has been attempted, and the sentiments in the following pages have been stated truly to be mere impress ions of the moment, and not convictions or arguments.
That these impressions have been condemned as ‘pessimistic’ – as if that were a very wicked adjective – shows a curious muddle-mindedness. It must be obvious that there is a higher characteristic of philosophy than pessimism, or than meliorism, or even than the optimism of these critics – which is truth. Existence is either ordered in a certain way, or it is not so ordered, and conjectures which harmonize best with experience are removed above all comparison with other conjectures which do not so harmonize. So that to say one view is worse than other views without proving it erroneous implies the possibility of a false view being better or more expedient than a true view; and no pragmatic proppings can make that idolum specus stand on its feet, for it postulates a prescience denied to humanity.
And there is another consideration. Differing natures find their tongue in the presence of differing spectacles. Some natures become vocal at tragedy, some are made vocal by comedy, and it seems to me that to whichever of these aspects of life a writer’s instinct for expression the more readily responds, to that he should allow it to respond. That before a contrasting side of things he remains undemonstrative need not be assumed to mean that he remains unperceiving.
It was my hope to add to these volumes of verse as many more as would make a fairly comprehensive cycle of the whole. I had wished that those in dramatic, ballad, and narrative form should include most of the cardinal situations which occur in social and public life, and those in lyric form a round of emotional experiences of some completeness.
But The petty done, the undone vast!
The more written the more seems to remain to be written; and the night cometh. I realize that these hopes and plans, except possibly to the extent of a volume or two, must remain unfulfilled.
T.H.
October 1911
Chapter 1
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 judgement, 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 congregation 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 pepper-and-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 lower extremities 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 time-keepers 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, 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