4. Far from the Madding Crowd.
The unruly Bathsheba, though almost pledged to Farmer Bold- wood, a ravingly passionate, middle-aged bachelor pretendant, who has suddenly started in mad pursuit of some unreal conception of woman, personified in Bathsheba, lightly runs off and marries Ser geant Troy, an illegitimate aristocrat, unscrupulous and yet sensitive in taking his pleasures. She loves Troy, he does not love her. All the time she is loved faithfully and persistently by the good Gabriel, who is like a dog that watches the bone and bides the time. Sergeant Troy treats Bathsheba badly, never loves her, though he is the only man in the book who knows anything about her. Her pride helps her to recover. Troy is killed by Boldwood; exit the unscrupulous, but discriminative, almost cynical young soldier and the mad, middle-aged pursuer of the Fata Morgana; enter the good, steady Gabriel, who marries Bathsheba because he will make her a good husband, and the flower of imaginative first love is dead for her with Troy’s scorn of her.
5. The Hand of Ethelberta.
Ethelberta, a woman of character and of brilliant parts, sets out in pursuit of social success, finds that Julius, the only man she is inclined to love, is too small for her, hands him over to the good little Picotee, and she herself, sacrificing almost cynically what is called her heart, marries the old scoundrelly Lord Mountclerc, runs him and his estates and governs well, a sound, strong pillar of established society, now she has nipped off the bud of her heart. Moral: it is easier for the butler’s daughter to marry a lord than to find a husband with her love, if she be an exceptional woman.
The Hand of Ethelberta is the one almost cynical comedy. It marks the zenith of a certain feeling in the Wessex novels, the zenith of the feeling that the best thing to do is to kick out the craving for “Love” and substitute commonsense, leaving sentiment to the minor characters.
This novel is a shrug of the shoulders, and a last taunt to hope, it is the end of the happy endings, except where sanity and a little cynicism again appear in The Trumpet Major, to bless where they despise. It is the hard, resistant, ironical announcement of personal failure, resistant and half-grinning. It gives way to violent, angry passions and real tragedy, real killing of beloved people, self-killing. Till now, only Elfride among the beloved, has been killed; the good men have always come out on top.
6. The Return of the Native.
This is the first tragic and important novel. Eustacia, dark, wild, passionate, quite conscious of her desires and inheriting no tradition which would make her ashamed of them, since she is of a novelistic Italian birth, loves, first, the unstable Wildeve, who does not satisfy her, then casts him aside for the newly returned Clym,
whom she marries. What does she want? She does not know, but it is evidently some form of self-realization; she wants to be herself, to attain herself. But she does not know how, by what means, so romantic imagination says, Paris and the beau monde. As if that would have stayed her unsatisfaction.
Clym has found out the vanity of Paris and the beau monde. What, then, does he want? He does not know; his imagination tells him he wants to serve the moral system of the community, since the material system is despicable. He wants to teach little Egdon boys in school. There is as much vanity in this, easily, as in Eustacia’s Paris. For what is the moral system but the ratified form of the material system? What is Clym’s altruism but a deep, very subtle cowardice, that makes him shirk his own being whilst apparently acting nobly; which makes him choose to improve mankind rather than to struggle at the quick of himself into being. He is not able to undertake his own soul, so he will take a commission for society to enlighten the souls of others. It is a subtle equivocation. Thus both Eustacia and he sidetrack from themselves, and each leaves the other unconvinced, unsatisfied, unrealized. Eustacia, because she moves outside the convention, must die; Clym, because he identified himself with the community, is transferred from Paris to preaching. He had never become an integral man, because when faced with the demand to produce himself, he remained under cover of the community and excused by his altruism.
His remorse over his mother is adulterated with sentiment; it is exaggerated by the push of tradition behind it. Even in this he does not ring true. He is always according to pattern, producing his feelings more or less on demand, according to the accepted standard. Practically never is he able to act or even feel in his original self; he is always according to the convention. His punishment is his final loss of all his original self: he is left preaching, out of sheer emptiness.
Thomasin and Venn have nothing in them turbulent enough to push them to the bounds of the convention. There is always room for them inside. They are genuine people, and they get the prize within the walls.
Wildeve, shifty and unhappy, attracted always from outside and never driven from within, can neither stand with nor without the established system. He cares nothing for it, because he is unstable, has no positive being. He is an eternal assumption.
The other victim, Clym’s mother, is the crashing-down of one of the old, rigid pillars of the system. The pressure on her is too great. She is weakened from the inside also, for her nature is non- conventional; it cannot own the bounds.
So, in this book, all the exceptional people, those with strong feelings and unusual characters, are reduced; only those remain who are steady and genuine, if commonplace. Let a man will for himself, and he is destroyed. He must will according to the established system.
The real sense of tragedy is got from the setting. What is the great, tragic power in the book? It is Egdon Heath. And who are the real spirits of the Heath? First, Eustacia, then Clym’s mother, then Wild- eve. The natives have little or nothing in common with the place.
What is the real stuff of tragedy in the book? It is the Heath. It is the primitive, primal earth, where the instinctive life heaves up. There, in the deep, rude stirring of the instincts, there was the reality that worked the tragedy. Close to the body of things, there can be heard the stir that makes us and destroys us. The heath heaved with raw instinct. Egdon, whose dark soil was strong and crude and organic as the body of a beast. Out of the body of this crude earth are born Eustacia, Wildeve, Mistress Yeobrigln, Clym, and all the others. They are one year’s accidental crop. What matters if some are drowned or dead, and others preaching or married: what matter, any more than the withering heath, the reddening berries, the seedy furze, and the dead fern of one autumn of Egdon? The Heath persists. Its body is strong and fecund, it will bear many more crops beside this. Here is the sombre, latent power that will go on producing, no matter what happens to the product. Here is the deep, black source from whence all these little contents of lives are drawn. And the contents of the small lives are spilled and wasted. There is savage satisfaction in it: for so much more remains to come, such a black, powerful fecundity is working there that what does it matter?
Three people die and are taken back into the Heath; they mingle their strong earth again with its powerful soil, having been broken off at their stem. It is very good. Not Egdon is futile, sending forth life on the powerful heave of passion. It cannot be futile, for it is eternal. What is futile is the purpose of man.
Man has a purpose which he has divorced from the passionate purpose that issued him out of the earth into being. The Heath threw forth its shaggy heather and furze and fern, clean into being. It threw forth Eustacia and Wildeve and Mistress Yeobright and Clym, but to what purpose? Eustacia thought she wanted the hats and bonnets of Paris. Perhaps she was right. The heavy, strong soil of Egdon, breeding original native beings, is under Paris as well as under Wessex, and Eustacia sought herself in the gay city. She thought life there, in Paris, would be tropical, and all her energy and passion out of Egdon would there come into handsome flower. And if Paris real had been Paris as she imagined it, no doubt she was right, and her instinct was soundly expressed. But Paris real was not Eustacia’s imagined Paris. Where was her imagined Paris, the place where her powerful nature could come to blossom? Beside some strong-passioned, unconfined man
, her mate.
Which mate Clym might have been. He was born out of passionate Egdon to live as a passionate being whose strong feelings moved him ever further into being. But quite early his life became narrowed down to a small purpose: he must of necessity go into business, and submit his whole being, body and soul as well as mind, to the business and to the greater system it represented. His feelings, that should have produced the man, were suppressed and contained, he worked according to a system imposed from without. The dark struggle of Egdon, a struggle into being as the furze struggles into flower, went on in him, but could not burst the enclosure of the idea, the system which contained him. Impotent to be, he must transform himself, and live in an abstraction, in a generalization, he must identify himself with the system. He must live as Man or Humanity, or as the Community, or as Society, or as Civilization. “An inner strenuousness was preying on his outer symmetry, and they rated his look as singular. . . . His countenance was overlaid with legible meanings. Without being thought-wom, he yet had certain marks derived from a perception of his surroundings, such as are not infrequently found on man at the end of the four or five years of endeavour which follow the close of placid pupilage. He already showed that thought is a disease of the flesh, and indirectly bore evidence that ideal physical beauty is incompatible with emotional development and a full recognition of the coil of things. Mental lu- minousness must be fed with the oil of life, even if there is already a physical seed for it; and the pitiful sight of two demands on one supply was just showing itself here.”
But did the face of Clym show that thought is a disease of flesh, or merely that in his case a dis-ease, an un-ease, of flesh produced thought? One does not catch thought like a fever: one produces it. If it be in any way a disease of flesh, it is rather the rash that indicates the disease than the disease itself. The “inner strenuousness”
of Clym’s nature was not fighting against his physical symmetry, but against the limits imposed on his physical movement. By nature, as a passionate, violent product of Egdon, he should have loved and suffered in flesh and in soul from love, long before this age. He should have lived and moved and had his being, whereas he had only his business, and afterwards his inactivity. His years of pupilage were past, “he was one of whom something original was expected,” yet he continued in pupilage. For he produced nothing original in being or in act, and certainly no original thought. None of his ideas were original. Even he himself was not original. He was over-taught, had become an echo. His life had been arrested, and his activity turned into repetition. Far from being emotionally developed, he was emotionally undeveloped, almost entirely. Only his mental faculties were developed. And, hid, his emotions were obliged to work according to the label he put upon them: a ready- made label.
Yet he remained for all that an original, the force of life was in him, however much he frustrated and suppressed its natural movement. “As is usual with bright natures, the deity that lies igno- miniously chained within an ephemeral human carcass shone out of him like a ray.” But was the deity chained within his ephemeral human carcass, or within his limited human consciousness? Was it his blood, which rose dark and potent out of Egdon, which hampered and confined the deity, or was it his mind, that house built of extraneous knowledge and guarded by his will, which formed the prison?
He came back to Egdon — what for? To re-unite himself with the strong, free flow of life that rose out of Egdon as from a source? No — ”to preach to the Egdon eremites that they might rise to a serene comprehensiveness without going through the process of enriching themselves.” As if the Egdon eremites had not already far more serene comprehensiveness than ever he had himself, rooted as they were in the soil of all things, and living from the root! What did it matter how they enriched themselves, so long as they kept this strong, deep root in the primal soil, so long as their instincts moved out to action and to expression? The system was big enough for them, and had no power over their instincts. They should have taught him rather than he them.
And Egdon made him marry Eustacia. Here was action and life, here was a move into being on his part. But as soon as he got her, she became an idea to him, she had to fit in his system of ideas. Ac cording to his way of living, he knew her already, she was labelled and classed and fixed down. He had got into this way of living, and he could not get out of it. He had identified himself with the system, and he could not extricate himself. He did not know that Eustacia had her being beyond his. He did not know that she existed untouched by his system and his mind, where no system had sway and where no consciousness had risen to the surface. He did not know that she was Egdon, the powerful, eternal origin seething with production. He thought he knew. Egdon to him was the tract of common land, producing familiar rough herbage, and having some few unenlightened inhabitants. So he skated over heaven and hell, and having made a map of the surface, thought he knew all. But underneath and among his mapped world, the eternal powerful fecundity worked on heedless of him and his arrogance. His preaching, his superficiality made no difference. What did it matter if he had calculated a moral chart from the surface of life? Could that affect life, any more than a chart of the heavens affects the stars, affects the whole stellar universe which exists beyond our knowledge? Could the sound of his words affect the working of the body of Egdon, where in the unfathomable womb was begot and conceived all that would ever come forth? Did not his own heart beat far removed and immune from his thinking and talking? Had he been able to put even his own heart’s mysterious resonance upon his map, from which he charted the course of lives in his moral system? And how much more completely, then, had he left out, in utter ignorance, the dark, powerful source whence all things rise into being, whence they will always continue to rise, to struggle forward to further being? A little of the static surface he could see, and map out. Then he thought his map was the thing itself. How blind he was, how utterly blind to the tremendous movement carrying and producing the surface. He did not know that the greater part of every life is underground, like roots in the dark in contact with the beyond. He preached, chinking lives could be moved like hen-houses from here to there. His blindness indeed brought on the calamity. But what matter if Eustacia or Wildeve or Mrs. Yeobright died: what matter if he himself became a mere rattle of repetitive words — what did it matter? It was regrettable; no more. Egdon, the primal impulsive body, would go on producing all that was to be produced, eternally, though the will of man should destroy the blossom yet in bud, over and over again. At last he must learn what it is to be at one, in his mind and will, with the primal impulses that rise in him. Till then.
let him perish or preach. The great reality on which the little tragedies enact themselves cannot be detracted from. The will and words which militate against it are the only vanity.
This is a constant revelation in Hardy’s novels: that there exists a great background, vital and vivid, which matters more than the people who move upon it. Against the background of dark, passionate Egdon, of the leafy, sappy passion and sentiment of the woodlands, of the unfathomed stars, is drawn the lesser scheme of lives: The Return of the Native, The Woodlanders, or Two on a Tower. Upon the vast, incomprehensible pattern of some primal morality greater than ever the human mind can grasp, is drawn the little, pathetic pattern of man’s moral life and struggle, pathetic, almost ridiculous. The little fold of law and order, the little walled city within which man has to defend himself from the waste enormity of nature, becomes always too small, and the pioneers venturing out with the code of the walled city upon them, die in the bonds of that code, free and yet unfree, preaching the walled city and looking to the waste.
This is the wonder of Hardy’s novels, and gives them their beauty. The vast, unexplored morality of life itself, what we call the immorality of nature, surrounds us in its eternal incomprehensibility, and in its midst goes on the little human morality play, with its queer frame of morality and its mechanized movement; seriously, portentously, till some one of the protagonists ch
ances to look out of the charmed circle, weary of the stage, to look into the wilderness raging round. Then he is lost, his little drama falls to pieces, or becomes mere repetition, but the stupendous theatre outside goes on enacting its own incomprehensible drama, untouched. There is this quality in almost all Hardy’s work, and this is the magnificent irony it all contains, the challenge, the contempt. Not the deliberate ironies, little tales of widows or widowers, contain the irony of human life as we live it in our self-aggrandized gravity, but the big novels, The Return of the Native, and the others.
And this is the quality Hardy shares with the great writers, Shakespeare or Sophocles or Tolstoi, this setting behind the small action of his protagonists the terrific action of unfathomed nature; setting a smaller system of morality, the one grasped and formulated by the human consciousness within the vast, uncomprehended and incomprehensible morality of nature or of life itself, surpassing human consciousness. The difference is, that whereas in Shakespeare or Sophocles the greater, uncomprehended morality, or fate, is ac tively transgressed and gives active punishment, in Hardy and Tolstoi the lesser, human morality, the mechanical system is actively transgressed, and holds, and punishes the protagonist, whilst the greater morality is only passively, negatively transgressed, it is represented merely as being present in background, in scenery, not taking any active part, having no direct connexion with the protagonist. CEdipus, Hamlet, Macbeth set themselves up against, or find themselves set up against, the unfathomed moral forces of nature, and out of this unfathomed force comes their death. Whereas Anna Kare- nina, Eustacia, Tess, Sue, and Jude find themselves up against the established system of human government and morality, they cannot detach themselves, and are brought down. Their real tragedy is that they are unfaithful to the greater unwritten morality, which would have bidden Anna Karenina be patient and wait until she, by virtue of greater right, could take what she needed from society; would have bidden Vronsky detach himself from the system, become an individual, creating a new colony of morality with Anna; would have bidden Eustacia fight Clym for his own soul, and Tess take and claim her Angel, since she had the greater light; would have bidden Jude and Sue endure for very honour’s sake, since one must bide by the best that one has known, and not succumb to the lesser good.
Complete Works of D.H. Lawrence Page 878