Gabriel Oak’s dog chases his herd of sheep off the side of a cliff. Oak goes on the road and happens to pass by a huge fire in hay-field. He helps and asks the owner if he can comeone as a shepherd. It happens to be the farm of Bathsheba Everdene, to whom Gabriel had proposed marriage before he lost his sheep. She hires him. Meanwhile, Boldwood tries to court her, but she rebuffs his advances. When Oak chastises her for this, she fires him, but rehires him when she needs his help saving her flock from “the bloat.” The seducer Sergeant Troy comes to town and beings to court Bathsheba, who falls in love with him despite her better judgment. It turns out that he actually loved her old servant Fanny Robbins, to whom he had proposed marriage but through a mix-up she had stood him up at the altar. He doesn’t accept her apologies. Troy and Bathsheba fin her on the road, and Troy gives her money, promising more in a couple days. She barely makes it to town, with the help of a dog. She dies. Bathsheba suspects Troy (Oak knows about everything all along) and keeps the coffin, which contains Fanny and her infant, in her house. Troy returns and tells Bathsheba that he will never love her. He leaves. Bathsheba promises to marry Boldwood in six years of Troy does not appear, but on the eve of the promise’s consummation, Troy returns to interrupt Boldwood’s Christmas party. He shoots Troy and tries to kill himself, but is prevented. He is saved from hanging by his friends, and is just imprisoned. Gabriel tenders his resignation, but then decides to stay, proposes marriage to Bathsheba, and they marry.
Time: Hardy frequently contrasts rustic time with city time, granting the peasant a “Present” which can encompass “three-or-four-score years”: “The citizen’s Then is the Rustic’s Now” (127). Also, Gabriel’s watch is able to mark the minutes with precision, while the hour hand slips around. There is thus a middle zone between exactitude of a time that would extract a labor down to the second [see EP Thompson on time and labor], but also a radical relativity of those minutes in relation to the entirety of the day. [Can also see in this an adumbration of Murphy’s internal sense of time…the hour striking between 20 and 30, for example.] How can we also see this as a potential solution to the problems of timing in Hardy’s novels? At the same time, perhaps, such inattention is the condition for their emergence.
Labor vs. pleasure: The terms used for describing the “substantial” relationship between Gabriel and Bathsheba:
Theirs was that substantial affection which arises (if any arises at all) when the two who are thrown together begin first by knowing the rougher sides of each other’s character, and not the best till further on, the romance growing up in the interstices of a mass of hard prosaic reality, (348)
Curious when read in light of “realism” more generally, since the novel itself verges on the board of realism and fantasy. The melodramatic ending turns the novel into a thriller more than some “naturalist” or even Eliotic portrayal of authentic psyches. But it is also another moment in which manner and matter becomes a problematized binary.
The little Valentine: one of the many “weird scenes” in this novel. Bathsheba finds a post card and just randomly sends it to Boldwood without thinking: the tragedy ensures. Another weird scene is when Fanny is dragged to town on the back of a dog. Relate to te weirdness of the boots in Tess, or in the barn with the bull in Casterbridge.