"Far From The Madding Crowd" Blind Date Script.
"Far From The Madding Crowd" Blind Date Script. Graham: It's Blind Date! And here is your host, Miss Cilla Black! Cilla: Hello ladies and gentlemen, and welcome to Blind Date. In a moment we'll be meeting the lucky lady who gets to pick from one of these gorgeous guys! So, let's meet the boys! So, hello number 1; what's your name and where do you come from? Bo: Good Evening, Cilla. My name is William Boldwood, and I am from Weatherbury. C: Nice to meet you, William. So tell everyone a bit about yourself. Bo: Well, Cilla, I am a 42 year old bachelor, I own a large farm, and.... I'm incredibly wealthy! C: And, I understand, correct me if I'm wrong love, that you have had a nasty experience involving a Valentine's card? Bo: That is correct, Cilla. I once received a Valentine's card through in the mail, and I had no idea who the sender was. I was a little afraid, you see, it could have been anything. So, I erm, placed it on my mantelpiece. Well, then I couldn't stop thinking of it, so I stared at it for quite some time. C: How long for, love? Bo: For a matter of days, Cilla. C: Oh dear. Well I for one am always scared when the postman comes, I mean, when them bills get posted through my door I know I'm too terrified to open them for a week! C: Alright love, well, best of luck tonight, and please don't be scared of the date cards if you're picked 'cause we've only
"Far From the Madding Crowd" Why Did Bathsheba Send the Valentine and What Were the Consequences?
"Far From the Madding Crowd" By Thomas Hardy. Why Did Bathsheba Send the Valentine and What Were the Consequences? Chapter XIII Sortes Sanctorum: the valentine. Bathsheba is a beautiful young female farmer who gets noticed by everyone (men that is) and loves being the centre of attention. This is what is happening at the corn-market in Casterbridge. Bathsheba is not interested in anyone but enjoys the interest that everyone gives her. However she is aware that one person isn't taking any notice of her, yet she feels a slight attraction. "A very good-looking man, upright about forty," is how she describes this mysterious man. He is Farmer Boldwood, but Bathsheba doesn't know this. When Boldwood comes to the door Bathsheba is already curious. She doesn't even know him, nor has she ever met him but she is already questioning who he is and thinking of the possibility of marriage to him. The following is a quotation taken from the book when Boldwood comes to Bathsheba's door and her maid answers it. "Who is Mr. Boldwood?" said Bathsheba. "A gentleman - farmer at Upper Weatherbury." "Married?" "No, Miss." "How old is he?" "Forty I should say - very handsome - rather stern looking." "What a bother this dusting is! I am always in some unfortunate plight or other," Bathsheba said complainingly... This shows that Bathsheba almost has an imaginary checklist in
"How does Hardy treat gender roles in chapter 10 of Far from the Madding Crowd."
"How does Hardy treat gender roles in chapter 10 of Far from the Madding Crowd." Hardy uses many subtle and individual techniques to display gender roles within this chapter. In the main these reciprocate normal behaviour by having a woman in a superior position dominating a lot of men. This idea is known as subversion of gender, and this is the main technique used in this chapter. One must remember that at the time of writing this was sensational, as women were not considered self-reliant. The first thing the reader sees is the chapter heading, and in Hardy's case, he uses chapter headings as a summary for the chapter; "Mistress and Men" implies a Mistress holding power over men. It is this subversion of gender roles, which lends the attraction for ladies of leisure in the 1900s, and also generates humour; as at the time the thought of a woman in control of men would have been laughable. It also serves to impress upon the ladies of leisure that would have read this format of writing, that women could be self-reliant. This could have been seen as a dangerous ideal, as it promotes independence, something not required of the middle and upper class ladies of the time. The main technique Hardy used is the subversion of gender, and this is shown when Bathsheba speaks to the men. There is a reciprocation of gender roles; she shows independence and speaks to the men with great
Contrast the Character of Gabriel Oak with that of Frank Troy
Contrast the Character of Gabriel Oak with that of Frank Troy The characters of Gabriel Oak and Frank Troy make up two of the three bachelors who all pursue Bathsheba Everdene in Hardy's Far From The Madding Crowd. Both have different attitudes towards women and love and greatly contrasting personalities. As soon as he is introduced, Gabriel Oak is described as a "young man of sound judgment...and general good character". The name is a biblical reference to the Angel Gabriel and adds to the portrayal of Oak as a caring, respectable human being. He is not a complex character, but simple and uncomplicated. When he proposes to Bathsheba he straight away lays down his intentions, telling her Auntie, "I was going to ask her if she'd like to be married." When asking Bathsheba herself, he describes himself as "only an every-day sort of man" His kindness is reiterated in chapter seven when he meets Fanny. He shows concern for a lady whom he has never before met; "you ought to have a cloak on such a cold night". Gabriel agrees to keep the meeting secret, and insists she accepts his gift of a shilling. After this introduction, Hardy shows that despite his decency, Gabriel is not a puritan as he enjoys a drink and chat with the villagers in Warren's Malthouse. This chapter is also used to reveal details of other characters, and uses the villagers and minor characters as a chorus.
Comparing Hardy extract and The Times article.
Comparing Hardy extract and The Times article In 'Far from the Madding Crowd', the author put great emphasis into using nature to describe the effects of the storm. The cleaving of the tree shows the storm's power and ferocity. The author also uses the actions of the neighbouring wild life to show their reaction towards the storm. They are fearful of the storm, "galloping about in the wildest maddest confusion". Their chaos is shown as they "fling their heels and tails high into the air, their heads to earth". In 'The Times' extract, most of the focus is on the uses of the visual and auditory senses to heighten the experience of the rollercoaster ride. It is easy to imagine the writer's experience though the ways that she portrays every detail of the rollercoaster, from "trundling away" off the rollercoaster, to the "hurtling through space", to the "drawing back towards the platform". She describes the "Tchika, tchika, thicka..." of the carriages clinking against each other as she approaches the zenith. You can relate to the way she feels as she trundles off, "like an egg in a carton". When she reaches the pinnacle, she describes the merry-go-rounds "no bigger than musical boxes," its coaster tracks "like Meccano toys". The 'Times' article also puts emphasis into the uses of the narrator and of the man behind her. The story is in first person narrative format. The narrator
Far from the madding crowd - Close study of a passage from chapter 46: The Gurgoyle.
Close study of a passage from chapter 46: The Gurgoyle Chapter 47 of "Far From the Madding Crowd" is written in a dramatic and sensationalist style, similar to the popular gothic novels of the time. The language and literary techniques used are closely related to this central theme of the passage. Hardy's novel was serialised there is a build up to the final climatic chapter of each series. This explains the increase in tension shown by the horrific description of the gargoyle and the increasing velocity of the "liquid parabola" it spouts into Fanny's grave. Increasing the readers' apprehension before the final scene of series 10 in which Troy's "Adventures by the shore" nearly result in his death. Gothic tradition is highlighted in this scene by detailed description of the church's architecture, for example the "exceptionally prominent" gargoyles. Included in the church's decoration, as they had become fashionable during the gothic revival. Also via figurative language such as "like ingredients in a cauldron" which adds to the gothic theme running through the passage by crating create an air of the supernatural. Gargoyles' uses were two-fold; firstly they acted as a drainage system, however more importantly their design was "grotesque" as this was believed to frighten malevolent spirits, thus acting as guardians. Therefore in this instance the gargoyle which destroys all
'Far from the madding crowd' is set in the late 1860s to the early 1870s in Wessex, a fictional county based heavily on Dorset.
Thomas hardy was born in 1840 in Dorset which is located near Dorchester. Hardy's first important novel was Far from the Madding Crowd in which he successfully adapted to a traditional form to his own purposes, slightly changing it in the process. His novel states the importance of man's connection to, and understanding of, the natural world. The story is set in an agricultural rural community. He viewed the industrial revolution as a major threat to the communities he loved. The main character in this novel is a shepherd who is called Gabriel, this gives off a very pastoral mood in the novel. The plot develops complications when Bathsheba has love for three different men. Gabriel Oak who is the shepphard embodies Hardy's ideal of a life in harmony with the forces of the natural world. Throughout the entire novel there are unusual twists and turns and in the end Bathsheba ultimately marries Gabriel, whom she had turned away so long ago. In the story of all Thomas Hardy's novels, both love and fate play major roles. In the first chapter we are introduced to Gabriel oak. He is a young sheppard. The main incident starts when Gabriel is walking in the countryside and he sees a wagon travelling down the road, and sees this young attractive woman is sitting on top if it. The Waggoner comes to a halt when they reached the gatekeeper and they had to pay a fee of three pence but the
Some Victorian readers condemned Bathsheba as a ‘hussy’ who did not deserve to win Gabriel as a husband. Do you agree?
Rachael Crewe 11Mt Some Victorian readers condemned Bathsheba as a 'hussy' who did not deserve to win Gabriel as a husband. Do you agree??? In the dictionary, a 'hussy' is defined as: "woman of light or worthless character; pert girl." This definition, though being from a modern dictionary, I do not believe describes Bathsheba at all. Her character, being far from worthless, is strong, determined and often very stubborn. At the beginning of the novel, Bathsheba is naïve and childish, thinking only of herself and her immediate future. She shows this in her rejection of Gabriel Oak in the fourth chapter: 'I hate to be thought of as men's property in that way, though possibly I shall be had someday.' She does not think of Gabriel's feelings when she chases after him, but her own reputation. Not noticing his feelings and trying desperately to clear her name. Her lack of forward thinking is apparent and she later realises what she has done, trying to correct herself: 'There was no harm in hurrying to correct a piece of false news that had been told you' She is trying to excuse her rashness in chasing Gabriel up the hill. Although she meant no harm, she realises what she has done. Bathsheba may, in this case be thought of as slightly to free willed for society's liking, as she shows throughout the novel. However, she is merely strong willed and passionate about her beliefs:
Themes Presented In Far From The Madding Crowd
Themes Presented In Far From The Madding Crowd Thomas Hardy was born on 2nd June 1840 in Higher Bockampton, Dorset. His father was a builder and mason and his mother a former servant was a well read intelligent woman with a strong personality. Hardy was impressionable from a young age and as a country boy was surrounded by the traditional aspects of rural life with it's superstitions, folk lore, culture and past times. In 1856 Hardy worked with an architect and continued his studies under the guidance of a parish rector. This friendship has been thought to affect to the tone of "Far From The Madding Crowd". The book was published in 1874 and is one of his most well-known novels. His unique style is never more apparent in this novel with the focus on relationships in a rural community. In this essay I will be discussing the power of love as it is portrayed in "Far From The Madding Crowd". I will be discussing different aspects of love and themes which affect the key theme love in the novel. These themes include character and developement, atmosphere, language and authorial intrusions. From the start of the novel it is noted that Bathsheba is a very vain and unconventional character. Right from the start while on horseback she proved this. "A small swing looking glass was disclosed, in which she proceeded to survey herself attentively. She parted her lips and smiled". It is
In 'Far From the Madding Crowd', Thomas Hardy examines different types of love. Consider the relationships Bathsheba has with Gabriel, Boldwood and Troy; consider also Troy's relationship with Fanny Robin.
Stephan Seiler Date: 8/05/02 Set 2 Mr. Longman English literature: Novel Assignment no: Pre-1900 'Far From the Madding Crowd' Final Draft Actual word count: 1,216 Minimum word count: 600 Date due: 22/05/02 Assignment: In 'Far From the Madding Crowd', Thomas Hardy examines different types of love. Consider the relationships Bathsheba has with Gabriel, Boldwood and Troy; consider also Troy's relationship with Fanny Robin. What conclusions does Thomas Hardy wish us to draw about the nature of love? Support the points you make with close reference to the text. You must also mention the social context of the novel and any relevant literary tradition. Bathsheba is a very vain woman who likes to think very highly of herself, in the first appearance she makes in the novel, she is admiring herself in the mirror. The last word in Chapter 1 is 'vanity'. Hardy has established some of the features of two of