In ‘Far from the Madding Crowd’ how does Thomas Hardy convey the relationship between Bathsheeba and Gabriel Oak and how does he create mood, atmosphere and a sense of reality in chapters 20 and 21.
Alex Mills 10A 27.6.01
In 'Far from the Madding Crowd' how does Thomas Hardy convey the relationship between Bathsheeba and Gabriel Oak and how does he create mood, atmosphere and a sense of reality in chapters 20 and 21.
Bathsheeba is a beautiful woman and knows she is. She goes on to inherit a farm which only adds to her vanity and desire for authority. Oak is an honest shepherd who works at Bathsheeba's farm. By the time we get to this stage of the novel the relationship between Bathsheeba and Oak has history.
At the beginning of the plot Oak proposed to Bathsheeba and she turned him down, immediately making her the dominant one of the two, which she enjoys. However in chapter 20, Bathsheeba sends away one of her servants so she can talk to Oak alone about her conduct with Mr. Boldwood, a rich farmer who has fallen obsessively in love with her. By discussing this quite personal matter with Oak, Bathsheeba either wishes to subtly boast about her possible marriage to Boldwood - giving her the more dominant role again because she thinks Oak is still in love with her, or she thinks highly enough of Oak to talk about her private feelings with him - perhaps a true gesture of her real feelings.
When Bathsheeba first asks if the workers had commented on her conduct with Boldwood, Oak seemingly tries to avoid the subject:
"Yes, they did. You don't hold the shears right, miss"
Perhaps the polite Oak (he called Bathsheeba Miss) knows that their conversation will end in an argument, a situation he would benevolently try to avoid. Also, he may wish to avoid the subject because he doesn't wish to talk about another man's relationship with the woman that he loves, another delicate signal of true feelings. Not only does he verbally change the subject but as he says the above comment...
"Gabriel relinquished the winch, and enclosed Bathsheeba's two hands in his own. 'Incline the edge so', he said"
This intimate act is a gesture of Oak's care and love for Bathsheeba; he is acting as a teacher, which also suggests his kind regard and care. Hardy's use of the words 'relinquished', 'enclosed' and 'in his own' capture the powerful intimacy of the moment. Bathsheeba doesn't decline this straight away...
"Her hands were held thus for a peculiarly long time"
Hardy suggests another secret unveiling of true feelings but this ambiguously could be interpreted as Bathsheeba's teasing attitude towards men, for soon she promotes her authority once more and exclaims that she will not have her hands held. The romantic climax ends abruptly, and Hardy conveys this when the romantic language is replaced with a much more subdued and solemn tone as Oak 'retired, quietly' back to the winch.
Bathsheeba continues to press Oak to discover the workmen's comments and eventually Oak tells her that they all thought that she would be likely to marry Boldwood. Bathsheeba seems to have already known this when next she says: "I thought so", which leads me to think that she is involving Oak in her love life inappropriately suggesting she wants him to be a part of it. When she asks him to contradict these comments, involving him deeper, Oak is described as looking 'incredulous' and 'sad' which conveys his loving feelings towards her.
Oak then calls Bathsheeba by her Christian name, to which she replies aggressively "Miss Everdene to you". This is the point where she realises she hasn't done the right thing by leading Boldwood on, and is frightened that Oak will tell her this so she clutches on to her authority over Oak, her only advantage over him. Oak tells her he will not get involved and says calmly:
"I have already tried to please you too much for my own good"
Bathsheeba knows that Oak is attracted to her and adores this. Whilst Oak is in love with her, Bathsheeba feels she has control and a fair claim over him. As soon as he threatens this fact she gets upset. This conveys her spoilt and somewhat selfish nature, her hunger for authority but also love for Oak. She can't bear the fact that Oak has fallen out of love with her. Oak offers his opinion, which she stubbornly rejects out of spite. A narrative passage ...
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"I have already tried to please you too much for my own good"
Bathsheeba knows that Oak is attracted to her and adores this. Whilst Oak is in love with her, Bathsheeba feels she has control and a fair claim over him. As soon as he threatens this fact she gets upset. This conveys her spoilt and somewhat selfish nature, her hunger for authority but also love for Oak. She can't bear the fact that Oak has fallen out of love with her. Oak offers his opinion, which she stubbornly rejects out of spite. A narrative passage follows, in which important points are raised.
"At this period the single opinion in the parish on herself and her doings that she valued as sounder as her own was Gabriel Oak's".
From this, we can tell how greatly she really does regard Oak. Bathsheeba is a very proud woman and if somebody's opinion is as significant as her own they must be important. Her proud nature could also explain her harshness when around Oak. If she acted naturally then she would convey her true feelings - which she would regard as a weakness.
The passage also explains how Bathsheeba knows how honest Oak is and although he is disappointed at Bathsheeba's rejection of him he would never try to mutilate any other man's chances of marrying her. She is the kind of woman that can get away with asking a man's honest opinion about a tender subject because she is so charming. In a way, she uses Oak's love of her against him, for she knows Oak would answer her honestly. However, Oak is the only person she trusts to give her a sound judgement and being a person who feels the need to nurture her reputation, Bathsheeba desperately needs to have an opinion.
Bathsheeba gives in, and out of desperation, asks Oak his opinion of her conduct - 'quietly': Hardy conveys her fearful feelings of the truth. Oak answers truthfully:
"That it is unworthy of any thoughtful, and meek, and comely woman."
Of course, Bathsheeba does not like this, and her face turns an 'angry crimson'. This indicates that Bathsheeba did not want Oak's opinion at all, just his approval. Oak's reprimanding makes Bathsheeba angry because she is the boss and likes having authority so much, and oak next says that he answered honestly to do her some good. They then break out into an argument and Hardy comments that:
"Bathsheeba had unmistakeably lost her temper, and Gabriel had never in his life kept his so well."
The above line is the reason why the discussion elevates into an argument. Oak's calmness fuels Bathsheeba's rage, and by not reacting to Bathsheeba's authoritative attempts Oak is able to annoy Bathsheeba even more. Bathsheeba twists Oak's comment of her unworthy conduct and brings it back on him, stating that she is only unworthy in Oak's eyes because she won't marry him. This is a cutting comment for Oak as he does still love her and his rejection is immediately evoked. Indeed, it would have been a cutting comment for anybody to make, except for Bathsheeba. She is so stubborn, so selfish and has such a need to be dominant that she will stop at nothing and nobody's feelings to win an argument. She is also feeling hurt because she thinks Oak does not love her any more, and this is where the irony of the whole situation lies. Bathsheeba is fighting Oak with feelings of rejection when really she is the one feeling rejected because she thinks that Oak does not love her.
Nearing the peak of their argument, Oak confronts her with the stark truth: saying that she has treated Boldwood unfairly and that she really has not been kind. This is the truth, which Bathsheeba cannot handle. Oak telling her the truth makes her feel angry and hurt and it is the result of this, which makes her tell Oak to leave the farm. She simply cannot bear to be told or criticized, especially by a man who works for her, and gets so upset she fires Oak from the farm without really meaning it.
Throughout the whole conversation, the two characters tones contrast, which adds to the mood. Bathsheeba's angry, commanding and abrupt tone of voice is made more apparent by Oak's great placidity. Also the fact that the grinding is going on throughout the scene adds to the atmosphere:
"...his words rising and falling in a regular swell and cadence as he stooped or rose with the winch,"
The narrative passages are written so precisely and true to life that they sound as if they had been written by the characters themselves, for they convey vivid thought and feeling, like the time Bathsheeba declines Oak's opinion of her conduct at first and then goes on to request it.
The way that Bathsheeba's eyes flash at Oak's, but never meet them is so significant as it primarily add realism, and also conveys their true feelings for one another. Another point is that they both know what affects the other: Oak stays calm, which makes Bathsheeba angrier, whilst she conjures up his feelings of rejection, which deeply affects Oak. They both seem to know each other so well, which I think is symbolic.
Bathsheeba's continual firm demands remind us of her controlling character and make the whole situation of her secret feelings for Oak and the moment where she fires him out of pride more justifiable. The biblical last line of the chapter echoes this point:
"...and he went away from her, as Moses left the presence of the Pharaoh"
The fact this line is linked to the Bible immediately adds power to it, and when we think of the situation, the two Biblical characters can be closely compared with Hardy's two characters. The dominant and mighty Pharaoh and the honest Moses.
At the beginning of the next chapter, which is about a day after the last situation, the local rustics run up to Bathsheeba to tell her that the sheep are critically ill. Quite a symbolic point I think - as soon as Oak leaves the farm, the sheep get ill. The rustics' conversation with their employer, Bathsheeba, not only adds to the excitement and suspense of the situation but more so it greatly adds reality. The language they use is dialectal, simple and un-advanced which gives the reader an insight into the real people of the area and their primitive way of life. As they are speaking to the well-educated and proper Bathsheeba, this is effectively emphasised.
When Bathsheeba's eyes first fall upon the dying flock, Hardy describes the sheep as being 'helpless', 'livid' and 'afflicted animals'. These strong words add to the gloom of the scene, and Hardy's description of Bathsheeba's 'sad, bursting heart' also creates despair.
The ailments of the flock are described vividly which makes the whole situation seem much more real:
"Many of them foamed at the mouth, their breathing quick and short, whilst the bodies of all were fearfully distended"
In Bathsheeba's moment of bewilderment, the rustics explain in their characteristic fashion that the only man in the area that could save them was Gabriel Oak. Immediately she protests:
"How dare you name that man in my presence!"
This shows that even a day after their argument, Oak is still very fresh on her mind. She rejects the rustics' idea of Oak and turns to Boldwood for help. This act avoids confrontation and also yet again promotes her authority, this time over her workers.
However, she quickly learns from the rustic people that Boldwood does not know the cure and that he sent for Oak when his sheep had the same disorder. Bathsheeba shouts at the workers and tells them to find somebody to cure the flock. This shows that she is too proud and stubborn to send for Oak, and does not want to, as it would show a weakness of her character.
"Never will I send for him-never!' she said firmly"
As she witnesses an ewe dying in front of her, she repeats the above but this time wringing her hands. This signifies that she is frustrated; frustrated at herself for being so stubborn and frustrated that the only man who can save her prime flock is the same man she has just fallen out with.
Hardy goes on to explain that with Bathsheeba the 'No, I won't' virtually means 'I think I must.' We have seen this inconsistency in Bathsheeba's personality in the previous chapter when she declined Oak's opinion of her conduct at first and then went on to request it. It is a similar circumstance. Bathsheeba is far too stubborn and proud for her own good as it too often makes her life more difficult. However her inconsistency is the sure sign that her quest for power is really a show and that she is a lot weaker and sensitive really, for here she gives in again.
"Laban - Jump on the Bay mare, and ride across, and say he (Oak) must return instantly-that I say so"
Bathsheeba's above statement shows how very conscious she is of looking weak. It is quite clear that she has had a change of heart and decides to do the right thing and get Oak, yet still she must speak in her authoritative manner, seemingly trying to cover up her sensitive, more weak decision.
As Laban rides towards where Oak is staying, Hardy names the places and features he passes on the way and on the way back. This is how Hardy conveys more of the area, naming places adds to the reality of the situation, and the reader can feel more involved and stimulated by the events occurring. The list of places also adds length to the passage where Laban rides to get Oak, which in turn adds to the suspense of the situation.
On Laban's return Bathsheeba sees that Oak is not with him, and Laban's face is described as tragic, a dramatic word, which makes the reader think the worst.
Laban explains that Oak would not come unless Bathsheba asked in a civil and proper manner, which annoys Bathsheeba - Oak knows this. As much as Bathsheeba tries to control Oak, it is clear that Oak is in control this time. Her real sensitive and feminine personality is shown as another sheep falls dead and Bathsheeba bursts into tears - another indication that she is not really strong and infinitely stubborn. Bathsheeba admits to her need for control and cover-up stubborn attitude when she murmurs:
"O, it is a wicked cruelty to me-it is-it is! And he drives me to do what I wouldn't"
This refers to her having to talk to Oak, whom she has only just sacked, as if she was politely asking a favour, and it is this sign of weakness that she hates so much.
Bathsheeba decides to write Oak a short note, and Hardy conveys that it is heartfelt by describing her sobs and bursts of crying whilst she writes it. At the bottom of the note, driven by the drama of the time she conveys her first open passionate feelings toward Oak:
"Do not desert me, Gabriel!"
It is now clear that Bathsheeba does have close feelings towards Oak and is appealing to him right from her heart. The reader is not familiar with this highly feminine and sensitive side to Bathsheeba, which, again, adds to the whole drama of the scene.
Oak responds this time, which conveys how strongly her emotional note appealed to the man who is in love with her, and cannot bear the thought of deserting her. Bathsheeba's feminine charm had worked and she knew it for Hardy clearly states:
"She knew from the look of his face which sentence of her note had brought him"
After all of her powerful signs of affection, Bathsheeba still cannot face ceasing her commanding tone. Her first words to Oak:
"O, Gabriel, how could you serve me so unkindly!"
The flock is again described as Oak sees it: as turgid, prostrate forms. Hardy uses such striking words to fuel the reader's suspense. Oak then gets to work, and the method he uses to cure the sheep is described in clear detail, which makes it more realistic. Oak manages to save the flock:
"When the love-led man had ceased from his labours Bathsheeba came and looked him in the face"
This line is important because it shows that all the effort Oak had just put in to save over fifty sheep was all driven by his love for Bathsheeba. It also contrasts from the end of the previous chapter because they look at each other, instead of avoiding eye contact, which conveys the romance conjured up by the heroic actions of Oak for the woman he loves, and her realisation of this.
The chapter ends with Bathsheeba asking Oak to return to the farm, which he agrees to, and the last line, again contrasting with the previous chapter, conveying how Bathsheeba really feels:
"And she smiled on him again."
Interestingly, the two chapters I have looked at above convey a cycle of the relationship between the two main characters. Everything starts off amicably before a crescendo of cutting comments result in an argument and the sacking of Oak. However, the occurrence of the flock's disorder makes Bathsheeba realise that she regrets sacking him and that she did it out of anger. After Oak saves the flock Bathsheeba is very grateful and their relationship becomes friendly again.
Bathsheeba, as you have seen, is a very strong character and throughout the extract tries hard to control Oak. However, the situation develops, she ends up sacking him and then depending on him. Having noticed this, I also realised that this happens again in the book.
At the beginning she rejects him as a husband, but then it is the actions of Oak who put out a serious fire, which begins at her new farm. This can be linked to the above extract: Oak gets rejected and then depended on by Bathsheeba.
Similarly - the night that Bathsheeba and her husband, sergeant Troy, celebrate their marriage is the same night that Oak saves the Harvest from a freak storm. Once again, Bathsheeba has denied Oak, but it is he who she depends upon in the end.
In a way the whole book is based on the cycle conveyed in this extract. Bathsheeba continually rejects Oak, first for Boldwood, then for Troy. Oak's continual work on the farm keep it going whilst Bathsheeba's marriage fails, and she turns to Oak for comfort: depending on him. Oak's devotion finally pays off in the end though, when eventually he does marry his true love, Bathsheeba Everdene.
