Far from the madding crowd - Close study of a passage from chapter 46: The Gurgoyle.

Frayer Walker

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 evidence of “Troy’s Romanticism” acts as Fanny’s protector.

Also the church is an “erection of fourteenth-century date.” In addition to the moral and religious centre of the village, the inhabitants of Weatherbury will have generations of relatives buried within its grounds. Connecting it to each member of the village. Therefore the destruction of Fanny’s grave becomes symbolic of the villager’s growing dislike and eventual dismissal of Troy. The feelings of “regret” felt by Oak and Boldwood build to the mass hatred of him. This is particularly true of the characters surrounding Bathsheba who are most affected by Troy’s deception and Fanny’s death. Specifically Boldwood and Oak who view him as the “greatest sinner.” Hardy represents this symbolically through the stream flowing from the gargoyle’s mouth which thickens “in substance” eventually cascading into the grave in a “ceaseless torrent.”

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This passage brings to and end Fanny’s illusioned infatuation with Troy shown by her constant belief that he will eventually marry her even when she meets him in the company of another woman on the “turnpike between Casterbridge and Weatherbury.” During life she was a weak and insignificant character as shown by Hardy’s reference to her as a “mere shade” during chapter 11. However in death, her role and effects on other characters becomes pivotal. Therefore the destruction of Troy’s efforts on her grave are symbolic of her finally conjuring the strength to reject his attentions.

Hardy uses this ...

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Hardy uses this scene as a metaphor for his resentment of cities and those who dwell on them. Therefore the rejection of Troy by Weatherbury, brought to the fore by the actions of the gargoyle, symbolise their rejection of the lifestyle for which Troy is a metaphor. The effects of the man made and manufactured on the otherwise unchanging rural landscape show this mistrust of urban life. For example Troy in “artificial red” has the effect of deep shadow in the inhabitants of Weatherbury. For example his desultory behaviour towards Fanny and Bathsheba, which results in the death of the former and a permanent change in character of the latter. This change of Bathsheba’s character is show by the fact the she ceases to “laugh” by the concluding chapters of the novel. The, man made, gargoyle directing “all its vengeance” into Fanny’s grave also shows destructive force. Artificiality of Troy and the gargoyle represents the deceptive and immoral aspects of urbanisation at the time of the novel. Therefore portraying Hardy’s animosity toward all that urban life stood for.

Instead Hardy favoured the rural landscape and lifestyle. This is shown by the fact that whilst he admires the “gothic art” and purpose of the church, he sees there “Great Barn” as its “superior.” This superiority is shown by the fact that the barn “embodied practices which had suffered no mutilation at the hands of time.” Hardy writes that the barn gives the viewer a “satisfied sense of…continuity.” It is this aspect of the country, which Hardy holds in the highest regard. Therefore characters such as Gabriel Oak are exceptional as they are at equilibrium with their surroundings and their honourable characteristics are unchanging through adversity. They also act as contrast to Troy who is referred to as “ a trickster” and whose character is under constant modification. Hardy uses this technique as it increases the connotations if Machiavellianism apparent in Troy’s character. It also heightens the fact that Troy is out of place and unsuited for the honourable, hard working class of men of rural lifestyle. Particularly apparent in chapter 36 where his “revel” puts a seasons work at risk. This sense of hatred and anger at cities and urban life even extends to the title of the novel. As “Far from the Madding crowd” suggests escape from the hectic and consuming lifestyle.

Metaphor for city and country life is one of the literary techniques Hardy uses. Whilst the use of imagery has great impact it is further emphasised by Hardy’s choice of evidence and vocabulary. For example the fact that the gargoyle is described as having vomited. Use of such forceful verbs personifies the lifeless, solid statue bringing the inanimate physically to life. This enables the reader to believe it capable of emotions such as “vengeance” which it is credited to be capable of experiencing. “Vomited” is also chosen for its unpleasant onomatopoeic quality and the repulsive connotations of disease and misery it creates.

Different verbs such as “rain fell” and the fact that fingers “pull open” the gargoyles mouth are examples of basic monosyllabic vocabulary. This type of language is sued as it adds simplistic impact to the point, which is being conveyed. However “accumulated” and “ornamental” are examples of Latinate polysyllabic vocabulary. This diction is used to explain fully and describe the scene to the reader. It is also used to give strength to his imagery.

Pathetic fallacy is also used shown in Hardy’s representation of the weather. For example the elements of night and “increasing rain” acts as a premonition for the ill events soon to occur in this passage. This image is previously shown in the night’s “sinister aspect” and rain of chapter 36. In this case it is a herald for the ill effects Troy is soon to have on the small village.

Each of the techniques Hardy uses build on the effect that this passage has on the novel as a whole. It completes the previous three chapters. “Fanny’s Revenge” is now complete, as she has had retribution on each of the character that played a part in her fall in life. “Under a Tree – Reaction” finalises Bathsheba disillusioned relationship with Troy shown by the fact that the ferns in the hollow are now “yellowing.” As such the gargoyle causing Troy to leave will have a lessened effect on her than if he had simply abandoned her without reason. Finally “Troy’s Romanticism” is finalised as Fanny rejects him and it becomes clear to him that in this passage that he is no longer wanted or needed. So in leaving “silently and unobserved” he leaves no physical trace of his existence behind to further trouble the inhabitants of Weatherbury. The chapters following this passage are also effected by the results it achieves. Firstly it increases the tension before the climax of the following scene where the reader believes Troy dead by his own hand. Secondly it also allows the characters of Weatherbury to in effect start over and recover from the effects Troy had. Finally in chapter 53 the fact that Troy has left only to return and blight Boldwood’s plans again full the farmer’s anger giving him the courage to kill Troy.

In conclusion Hardy’s style and literary techniques are characteristic of the gothic novel. Imagery and figurative language are highly prevent aspects, which emphasise each of his points as fully as possible. Diction and vocabulary also contribute to the highly visual impression formed by his reader. The passage also concludes the relationship between Fanny and Troy, whilst completing “Fanny’s Revenge.” Thus the novel is able to develop and new aspects can be drawn into the narrative, without becoming overshadowed by the domination of characters such as Troy.