Html2Feedbooks 1.1.1 → 1.3.1
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- data/.gitignore +4 -0
- data/Gemfile +4 -0
- data/Rakefile +1 -0
- data/bin/html2fb.rb +4 -7
- data/html2fb.gemspec +27 -0
- data/lib/{app.rb → html2fb/app.rb} +8 -9
- data/lib/{conf.rb → html2fb/conf.rb} +0 -0
- data/lib/{document.rb → html2fb/document.rb} +0 -0
- data/lib/{downloader.rb → html2fb/downloader.rb} +0 -0
- data/lib/{feedbooks.rb → html2fb/feedbooks.rb} +5 -6
- data/lib/{parser.rb → html2fb/parser.rb} +89 -49
- data/lib/html2fb/version.rb +3 -0
- data/lib/html2fb.rb +7 -0
- data/samples/107-h.htm +19642 -0
- data/samples/107-h2.htm +1259 -0
- data/samples/3049-h.htm +7787 -0
- data/samples/3058-h.htm +8732 -0
- data/samples/3258-h.htm +19894 -0
- data/samples/3258-h2.htm +686 -0
- data/samples/3469-h.htm +14024 -0
- data/samples/conf107-h.yml +27 -0
- data/samples/conf3049-h.yml +27 -0
- data/samples/conf3058-h.yml +27 -0
- data/samples/conf3258-h.yml +26 -0
- data/samples/conf3469-h.yml +32 -0
- metadata +41 -21
data/samples/107-h2.htm
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<title>The Project Gutenberg eBook of Far from the Madding Crowd, by Thomas Hardy</title>
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<h1 align="center">The Project Gutenberg eBook, Far from the Madding Crowd, by Thomas Hardy</h1>
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<pre>
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This eBook is for the use of anyone anywhere at no cost and with
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almost no restrictions whatsoever. You may copy it, give it away or
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re-use it under the terms of the Project Gutenberg License included
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with this eBook or online at <a href = "http://www.gutenberg.net">www.gutenberg.net</a></pre>
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<p>Title: Far from the Madding Crowd</p>
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<p>Author: Thomas Hardy</p>
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<p>Release Date: February, 1994 [eBook #107]</p>
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<p>Most recently updated: May 13, 2005</p>
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<p>Edition: 12</p>
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<p>Language: English</p>
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<p>Character set encoding: ISO-8859-1</p>
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<p>***START OF THE PROJECT GUTENBERG EBOOK FAR FROM THE MADDING CROWD***</p>
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<br><br><center><h3>E-text prepared by anonymous Project Gutenberg volunteers<br>
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and revised by Joseph E. Loewenstein, M.D.<br>
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<br>
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HTML version by Joseph E. Loewenstein, M.D.</h3></center><br><br>
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<center>
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<h1>FAR FROM THE MADDING CROWD</h1>
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<br>
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<h4>by</h4>
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<br>
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<h2>Thomas Hardy</h2>
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<br>
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<br>
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<br>
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<br>
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<h3>CONTENTS</h3>
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<br>
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<table cellpadding=2>
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<tr><td align="right" valign="top"> </td> <td><a href="#Preface" >Preface</a></td>
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<tr><td align="right" valign="top">I. </td> <td><a href="#1" >Description of Farmer Oak—An Incident</a></td>
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<tr><td align="right" valign="top">II. </td> <td><a href="#2" >Night—The Flock—An Interior—Another Interior</a></td>
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<tr><td align="right" valign="top">III. </td> <td><a href="#3" >A Girl on Horseback—Conversation</a></td>
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<tr><td align="right" valign="top">IV. </td> <td><a href="#4" >Gabriel's Resolve—The Visit—The Mistake</a></td>
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<tr><td align="right" valign="top">V. </td> <td><a href="#5" >Departure of Bathsheba—A Pastoral Tragedy</a></td>
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<tr><td align="right" valign="top">VI. </td> <td><a href="#6" >The Fair—The Journey—The Fire</a></td>
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<tr><td align="right" valign="top">VII. </td> <td><a href="#7" >Recognition—A Timid Girl</a></td>
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<tr><td align="right" valign="top">VIII. </td> <td><a href="#8" >The Malthouse—The Chat—News</a></td>
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<tr><td align="right" valign="top">IX. </td> <td><a href="#9" >The Homestead—A Visitor—Half-Confidences</a></td>
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<tr><td align="right" valign="top">X. </td> <td><a href="#10">Mistress and Men</a></td>
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<tr><td align="right" valign="top">XI. </td> <td><a href="#11">Outside the Barracks—Snow—A Meeting</a></td>
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<tr><td align="right" valign="top">XII. </td> <td><a href="#12">Farmers—A Rule—An Exception</a></td>
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<tr><td align="right" valign="top">XIII. </td> <td><a href="#13">Sortes Sanctorum—The Valentine</a></td>
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<tr><td align="right" valign="top">XIV. </td> <td><a href="#14">Effect of the Letter—Sunrise</a></td>
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<tr><td align="right" valign="top">XV. </td> <td><a href="#15">A Morning Meeting—The Letter Again</a></td>
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<tr><td align="right" valign="top">XVI. </td> <td><a href="#16">All Saints' and All Souls'</a></td>
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<tr><td align="right" valign="top">XVII. </td> <td><a href="#17">In the Market-Place</a></td>
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<tr><td align="right" valign="top">XVIII. </td> <td><a href="#18">Boldwood in Meditation—Regret</a></td>
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<tr><td align="right" valign="top">XIX. </td> <td><a href="#19">The Sheep-Washing—The Offer</a></td>
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<tr><td align="right" valign="top">XX. </td> <td><a href="#20">Perplexity—Grinding the Shears—A Quarrel</a></td>
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<tr><td align="right" valign="top">XXI. </td> <td><a href="#21">Troubles in the Fold—A Message</a></td>
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<tr><td align="right" valign="top">XXII. </td> <td><a href="#22">The Great Barn and the Sheep-Shearers</a></td>
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<tr><td align="right" valign="top">XXIII. </td> <td><a href="#23">Eventide—A Second Declaration</a></td>
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<tr><td align="right" valign="top">XXIV. </td> <td><a href="#24">The Same Night—The Fir Plantation</a></td>
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<tr><td align="right" valign="top">XXV. </td> <td><a href="#25">The New Acquaintance Described</a></td>
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<tr><td align="right" valign="top">XXVI. </td> <td><a href="#26">Scene on the Verge of the Hay-Mead</a></td>
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<tr><td align="right" valign="top">XXVII. </td> <td><a href="#27">Hiving the Bees</a></td>
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<tr><td align="right" valign="top">XXVIII. </td> <td><a href="#28">The Hollow Amid the Ferns</a></td>
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<tr><td align="right" valign="top">XXIX. </td> <td><a href="#29">Particulars of a Twilight Walk</a></td>
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<tr><td align="right" valign="top">XXX. </td> <td><a href="#30">Hot Cheeks and Tearful Eyes</a></td>
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<tr><td align="right" valign="top">XXXI. </td> <td><a href="#31">Blame—Fury</a></td>
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<tr><td align="right" valign="top">XXXII. </td> <td><a href="#32">Night—Horses Tramping</a></td>
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<tr><td align="right" valign="top">XXXIII. </td> <td><a href="#33">In the Sun—A Harbinger</a></td>
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<tr><td align="right" valign="top">XXXIV. </td> <td><a href="#34">Home Again—A Trickster</a></td>
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<tr><td align="right" valign="top">XXXV. </td> <td><a href="#35">At an Upper Window</a></td>
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<tr><td align="right" valign="top">XXXVI. </td> <td><a href="#36">Wealth in Jeopardy—The Revel</a></td>
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<tr><td align="right" valign="top">XXXVII. </td> <td><a href="#37">The Storm—The Two Together</a></td>
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<tr><td align="right" valign="top">XXXVIII. </td> <td><a href="#38">Rain—One Solitary Meets Another</a></td>
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<tr><td align="right" valign="top">XXXIX. </td> <td><a href="#39">Coming Home—A Cry</a></td>
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<tr><td align="right" valign="top">XL. </td> <td><a href="#40">On Casterbridge Highway</a></td>
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<tr><td align="right" valign="top">XLI. </td> <td><a href="#41">Suspicion—Fanny Is Sent For</a></td>
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<tr><td align="right" valign="top">XLII. </td> <td><a href="#42">Joseph and His Burden—Buck's Head</a></td>
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<tr><td align="right" valign="top">XLIII. </td> <td><a href="#43">Fanny's Revenge</a></td>
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<tr><td align="right" valign="top">XLIV. </td> <td><a href="#44">Under a Tree—Reaction</a></td>
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<tr><td align="right" valign="top">XLV. </td> <td><a href="#45">Troy's Romanticism</a></td>
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<tr><td align="right" valign="top">XLVI. </td> <td><a href="#46">The Gurgoyle: Its Doings</a></td>
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<tr><td align="right" valign="top">XLVII. </td> <td><a href="#47">Adventures by the Shore</a></td>
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<tr><td align="right" valign="top">XLVIII. </td> <td><a href="#48">Doubts Arise—Doubts Linger</a></td>
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<tr><td align="right" valign="top">XLIX. </td> <td><a href="#49">Oak's Advancement—A Great Hope</a></td>
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<tr><td align="right" valign="top">L. </td> <td><a href="#50">The Sheep Fair—Troy Touches His Wife's Hand</a></td>
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<tr><td align="right" valign="top">LI. </td> <td><a href="#51">Bathsheba Talks with Her Outrider</a></td>
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<tr><td align="right" valign="top">LII. </td> <td><a href="#52">Converging Courses</a></td>
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<tr><td align="right" valign="top">LIII. </td> <td><a href="#53">Concurritur—Horae Momento</a></td>
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<tr><td align="right" valign="top">LIV. </td> <td><a href="#54">After the Shock</a></td>
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<tr><td align="right" valign="top">LV. </td> <td><a href="#55">The March Following—"Bathsheba Boldwood"</a></td>
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<tr><td align="right" valign="top">LVI. </td> <td><a href="#56">Beauty in Loneliness—After All</a></td>
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<tr><td align="right" valign="top">LVII. </td> <td><a href="#57">A Foggy Night and Morning—Conclusion</a></td>
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</table>
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</center>
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<center>
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<a name="Preface"></a>
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<br>
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<h3>PREFACE</h3>
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</center>
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<br>
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<p>In reprinting this story for a new edition I am reminded that it was
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in the chapters of "Far from the Madding Crowd," as they appeared
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month by month in a popular magazine, that I first ventured to adopt
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the word "Wessex" from the pages of early English history, and give
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it a fictitious significance as the existing name of the district
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once included in that extinct kingdom. The series of novels I
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projected being mainly of the kind called local, they seemed to
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require a territorial definition of some sort to lend unity to their
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scene. Finding that the area of a single county did not afford a
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canvas large enough for this purpose, and that there were objections
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to an invented name, I disinterred the old one. The press and the
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public were kind enough to welcome the fanciful plan, and willingly
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joined me in the anachronism of imagining a Wessex population living
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under Queen Victoria;—a modern Wessex of railways,
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the penny post, mowing and reaping machines, union workhouses, lucifer
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matches, labourers who could read and write, and National school
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children. But I believe I am correct in stating that, until the
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existence of this contemporaneous Wessex was announced in the present
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story, in 1874, it had never been heard of, and that the expression, "a
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Wessex peasant," or "a Wessex custom," would theretofore have been
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taken to refer to nothing later in date than the Norman Conquest.
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<p>I did not anticipate that this application of the word to a modern
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use would extend outside the chapters of my own chronicles. But the
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name was soon taken up elsewhere as a local designation. The first
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to do so was the now defunct <i>Examiner</i>, which, in the impression
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bearing date July 15, 1876, entitled one of its articles "The Wessex
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Labourer," the article turning out to be no dissertation on farming
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during the Heptarchy, but on the modern peasant of the south-west
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counties, and his presentation in these stories.
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<p>Since then the appellation which I had thought to reserve to the
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horizons and landscapes of a merely realistic dream-country, has
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become more and more popular as a practical definition; and the
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dream-country has, by degrees, solidified into a utilitarian region
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which people can go to, take a house in, and write to the papers
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from. But I ask all good and gentle readers to be so kind as to
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forget this, and to refuse steadfastly to believe that there are any
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inhabitants of a Victorian Wessex outside the pages of this and the
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companion volumes in which they were first discovered.
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<p>Moreover, the village called Weatherbury, wherein the scenes of the
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present story of the series are for the most part laid, would perhaps
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be hardly discernible by the explorer, without help, in any existing
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place nowadays; though at the time, comparatively recent, at which
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the tale was written, a sufficient reality to meet the descriptions,
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both of backgrounds and personages, might have been traced easily
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enough. The church remains, by great good fortune, unrestored and
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intact, and a few of the old houses; but the ancient malt-house,
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which was formerly so characteristic of the parish, has been pulled
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down these twenty years; also most of the thatched and dormered
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cottages that were once lifeholds. The game of prisoner's base,
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which not so long ago seemed to enjoy a perennial vitality in front
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of the worn-out stocks, may, so far as I can say, be entirely unknown
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to the rising generation of schoolboys there. The practice of
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divination by Bible and key, the regarding of valentines as things of
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serious import, the shearing-supper, and the harvest-home, have, too,
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nearly disappeared in the wake of the old houses; and with them have
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gone, it is said, much of that love of fuddling to which the village
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at one time was notoriously prone. The change at the root of this
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has been the recent supplanting of the class of stationary cottagers,
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who carried on the local traditions and humours, by a population of
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more or less migratory labourers, which has led to a break of
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continuity in local history, more fatal than any other thing to the
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preservation of legend, folk-lore, close inter-social relations, and
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eccentric individualities. For these the indispensable conditions of
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existence are attachment to the soil of one particular spot by
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generation after generation.<br>
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<br>
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T. H.<br>
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<br>
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February 1895<br>
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<br>
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<br>
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<br>
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<a name="1"></a>
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<br>
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<br>
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<center>
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<h3>CHAPTER I<br>
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<br>
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Description of Farmer Oak—An Incident</h3>
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</center>
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<br>
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<p>When Farmer Oak smiled, the corners of his mouth spread till they
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were within an unimportant distance of his ears, his eyes were
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reduced to chinks, and diverging wrinkles appeared round them,
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extending upon his countenance like the rays in a rudimentary sketch
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of the rising sun.
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<p>His Christian name was Gabriel, and on working days he was a young
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man of sound judgment, easy motions, proper dress, and general good
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character. On Sundays he was a man of misty views, rather given to
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postponing, and hampered by his best clothes and umbrella: upon the
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whole, one who felt himself to occupy morally that vast middle space
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of Laodicean neutrality which lay between the Communion people of the
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parish and the drunken section,—that is, he went to church,
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but yawned privately by the time the congregation reached the Nicene
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creed, and thought of what there would be for dinner when he meant to
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be listening to the sermon. Or, to state his character as it stood in
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the scale of public opinion, when his friends and critics were in
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tantrums, he was considered rather a bad man; when they were pleased,
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he was rather a good man; when they were neither, he was a man whose
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moral colour was a kind of pepper-and-salt mixture.
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<p>Since he lived six times as many working-days as Sundays, Oak's
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appearance in his old clothes was most peculiarly his own—the
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mental picture formed by his neighbours in imagining him being always
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dressed in that way. He wore a low-crowned felt hat, spread out at the
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base by tight jamming upon the head for security in high winds, and a
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coat like Dr. Johnson's; his lower extremities being encased in
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ordinary leather leggings and boots emphatically large, affording to
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each foot a roomy apartment so constructed that any wearer might stand
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in a river all day long and know nothing of damp—their maker
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being a conscientious man who endeavoured to compensate for any
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weakness in his cut by unstinted dimension and solidity.
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<p>Mr. Oak carried about him, by way of watch, what may be called a
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small silver clock; in other words, it was a watch as to shape and
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intention, and a small clock as to size. This instrument being
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several years older than Oak's grandfather, had the peculiarity of
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going either too fast or not at all. The smaller of its hands, too,
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occasionally slipped round on the pivot, and thus, though the minutes
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were told with precision, nobody could be quite certain of the hour
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they belonged to. The stopping peculiarity of his watch Oak remedied
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by thumps and shakes, and he escaped any evil consequences from the
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other two defects by constant comparisons with and observations of
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the sun and stars, and by pressing his face close to the glass of his
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neighbours' windows, till he could discern the hour marked by the
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green-faced timekeepers within. It may be mentioned that Oak's fob
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being difficult of access, by reason of its somewhat high situation
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in the waistband of his trousers (which also lay at a remote height
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under his waistcoat), the watch was as a necessity pulled out by
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throwing the body to one side, compressing the mouth and face to a
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mere mass of ruddy flesh on account of the exertion required, and
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drawing up the watch by its chain, like a bucket from a well.
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<p>But some thoughtful persons, who had seen him walking across one of
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his fields on a certain December morning—sunny and exceedingly
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mild—might have regarded Gabriel Oak in other aspects than
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these. In his face one might notice that many of the hues and curves of
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youth had tarried on to manhood: there even remained in his remoter
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crannies some relics of the boy. His height and breadth would have
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been sufficient to make his presence imposing, had they been exhibited
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with due consideration. But there is a way some men have, rural and
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urban alike, for which the mind is more responsible than flesh and
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sinew: it is a way of curtailing their dimensions by their manner of
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showing them. And from a quiet modesty that would have become a
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vestal, which seemed continually to impress upon him that he had no
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great claim on the world's room, Oak walked unassumingly and with a
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faintly perceptible bend, yet distinct from a bowing of the shoulders.
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This may be said to be a defect in an individual if he depends for his
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valuation more upon his appearance than upon his capacity to wear well,
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which Oak did not.
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<p>He had just reached the time of life at which "young" is ceasing to
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be the prefix of "man" in speaking of one. He was at the brightest
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period of masculine growth, for his intellect and his emotions were
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clearly separated: he had passed the time during which the influence
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of youth indiscriminately mingles them in the character of impulse,
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and he had not yet arrived at the stage wherein they become united
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again, in the character of prejudice, by the influence of a wife and
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family. In short, he was twenty-eight, and a bachelor.
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<p>The field he was in this morning sloped to a ridge called Norcombe
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Hill. Through a spur of this hill ran the highway between Emminster
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and Chalk-Newton. Casually glancing over the hedge, Oak saw coming
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down the incline before him an ornamental spring waggon, painted
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yellow and gaily marked, drawn by two horses, a waggoner walking
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alongside bearing a whip perpendicularly. The waggon was laden with
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household goods and window plants, and on the apex of the whole sat a
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woman, young and attractive. Gabriel had not beheld the sight for
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more than half a minute, when the vehicle was brought to a standstill
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just beneath his eyes.
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<p>"The tailboard of the waggon is gone, Miss," said the waggoner.
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<p>"Then I heard it fall," said the girl, in a soft, though not
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particularly low voice. "I heard a noise I could not account for
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when we were coming up the hill."
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<p>"I'll run back."
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<p>"Do," she answered.
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<p>The sensible horses stood—perfectly still, and the waggoner's
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steps sank fainter and fainter in the distance.
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<p>The girl on the summit of the load sat motionless, surrounded by
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tables and chairs with their legs upwards, backed by an oak settle,
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and ornamented in front by pots of geraniums, myrtles, and cactuses,
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together with a caged canary—all probably from the windows of
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the house just vacated. There was also a cat in a willow basket, from
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the partly-opened lid of which she gazed with half-closed eyes, and
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affectionately surveyed the small birds around.
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<p>The handsome girl waited for some time idly in her place, and the
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only sound heard in the stillness was the hopping of the canary up
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and down the perches of its prison. Then she looked attentively
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downwards. It was not at the bird, nor at the cat; it was at an
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oblong package tied in paper, and lying between them. She turned her
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head to learn if the waggoner were coming. He was not yet in sight;
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and her eyes crept back to the package, her thoughts seeming to run
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upon what was inside it. At length she drew the article into her
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lap, and untied the paper covering; a small swing looking-glass was
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disclosed, in which she proceeded to survey herself attentively. She
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parted her lips and smiled.
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<p>It was a fine morning, and the sun lighted up to a scarlet glow the
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crimson jacket she wore, and painted a soft lustre upon her bright
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face and dark hair. The myrtles, geraniums, and cactuses packed
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around her were fresh and green, and at such a leafless season they
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invested the whole concern of horses, waggon, furniture, and girl
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with a peculiar vernal charm. What possessed her to indulge in such
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a performance in the sight of the sparrows, blackbirds, and
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unperceived farmer who were alone its spectators,—whether the
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smile began as a factitious one, to test her capacity in that
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art,—nobody knows; it ended certainly in a real smile. She
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blushed at herself, and seeing her reflection blush, blushed the more.
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<p>The change from the customary spot and necessary occasion of such an
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act—from the dressing hour in a bedroom to a time of travelling
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out of doors—lent to the idle deed a novelty it did not
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intrinsically possess. The picture was a delicate one. Woman's
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prescriptive infirmity had stalked into the sunlight, which had clothed
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it in the freshness of an originality. A cynical inference was
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irresistible by Gabriel Oak as he regarded the scene, generous though
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he fain would have been. There was no necessity whatever for her
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looking in the glass. She did not adjust her hat, or pat her hair, or
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press a dimple into shape, or do one thing to signify that any such
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intention had been her motive in taking up the glass. She simply
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observed herself as a fair product of Nature in the feminine kind, her
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thoughts seeming to glide into far-off though likely dramas in which
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men would play a part—vistas of probable triumphs—the
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smiles being of a phase suggesting that hearts were imagined as lost
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and won. Still, this was but conjecture, and the whole series of
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actions was so idly put forth as to make it rash to assert that
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intention had any part in them at all.
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<p>The waggoner's steps were heard returning. She put the glass in the
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paper, and the whole again into its place.
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<p>When the waggon had passed on, Gabriel withdrew from his point of
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espial, and descending into the road, followed the vehicle to the
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turnpike-gate some way beyond the bottom of the hill, where the
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object of his contemplation now halted for the payment of toll.
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About twenty steps still remained between him and the gate, when he
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heard a dispute. It was a difference concerning twopence between the
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persons with the waggon and the man at the toll-bar.
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you would wish me not to when I told 'ee or I shouldn't ha'
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thought of doing it," he said, simply. "I have arranged for
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Little Weatherbury Farm and shall have it in my own hands at
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Lady-day. You know I've had a share in it for some time.
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Still, that wouldn't prevent my attending to your business
|
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as before, hadn't it been that things have been said about
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us."
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<p>"What?" said Bathsheba, in surprise. "Things said about you
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and me! What are they?"
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<p>"I cannot tell you."
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<p>"It would be wiser if you were to, I think. You have played
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the part of mentor to me many times, and I don't see why you
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should fear to do it now."
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<p>"It is nothing that you have done, this time. The top and
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tail o't is this—that I am sniffing about here, and
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waiting for poor Boldwood's farm, with a thought of getting
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you some day."
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<p>"Getting me! What does that mean?"
|
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+
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<p>"Marrying of 'ee, in plain British. You asked me to tell,
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so you mustn't blame me."
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+
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<p>Bathsheba did not look quite so alarmed as if a cannon had
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been discharged by her ear, which was what Oak had expected.
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"Marrying me! I didn't know it was that you meant," she
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said, quietly. "Such a thing as that is too absurd—too
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soon—to think of, by far!"
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+
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<p>"Yes; of course, it is too absurd. I don't desire any such
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thing; I should think that was plain enough by this time.
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Surely, surely you be the last person in the world I think
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of marrying. It is too absurd, as you say."
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<p>"'Too—s-s-soon' were the words I used."
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<p>"I must beg your pardon for correcting you, but you said,
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'too absurd,' and so do I."
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<p>"I beg your pardon too!" she returned, with tears in her
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eyes. "'Too soon' was what I said. But it doesn't matter a
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bit—not at all—but I only meant, 'too soon.' Indeed,
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I didn't, Mr. Oak, and you must believe me!"
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<p>Gabriel looked her long in the face, but the firelight being
|
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+
faint there was not much to be seen. "Bathsheba," he said,
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tenderly and in surprise, and coming closer: "if I only knew
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one thing—whether you would allow me to love you and win
|
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|
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you, and marry you after all—if I only knew that!"
|
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+
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<p>"But you never will know," she murmured.
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|
+
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<p>"Why?"
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+
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<p>"Because you never ask."
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+
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<p>"Oh—Oh!" said Gabriel, with a low laugh of joyousness.
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+
"My own dear—"
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+
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<p>"You ought not to have sent me that harsh letter this
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+
morning," she interrupted. "It shows you didn't care a bit
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+
about me, and were ready to desert me like all the rest of
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|
+
them! It was very cruel of you, considering I was the first
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sweetheart that you ever had, and you were the first I ever
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|
+
had; and I shall not forget it!"
|
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|
+
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|
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<p>"Now, Bathsheba, was ever anybody so provoking," he said,
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|
+
laughing. "You know it was purely that I, as an unmarried
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man, carrying on a business for you as a very taking young
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|
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woman, had a proper hard part to play—more particular
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that people knew I had a sort of feeling for 'ee; and I
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fancied, from the way we were mentioned together, that it
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might injure your good name. Nobody knows the heat and fret
|
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|
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I have been caused by it."
|
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+
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<p>"And was that all?"
|
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|
+
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<p>"All."
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<p>"Oh, how glad I am I came!" she exclaimed, thankfully, as
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|
+
she rose from her seat. "I have thought so much more of you
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+
since I fancied you did not want even to see me again. But
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I must be going now, or I shall be missed. Why Gabriel,"
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|
+
she said, with a slight laugh, as they went to the door, "it
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seems exactly as if I had come courting you—how
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|
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dreadful!"
|
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|
+
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|
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<p>"And quite right too," said Oak. "I've danced at your
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+
skittish heels, my beautiful Bathsheba, for many a long
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+
mile, and many a long day; and it is hard to begrudge me
|
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|
+
this one visit."
|
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|
+
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<p>He accompanied her up the hill, explaining to her the
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|
+
details of his forthcoming tenure of the other farm. They
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|
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|
+
spoke very little of their mutual feeling; pretty phrases
|
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|
+
and warm expressions being probably unnecessary between such
|
|
504
|
+
tried friends. Theirs was that substantial affection which
|
|
505
|
+
arises (if any arises at all) when the two who are thrown
|
|
506
|
+
together begin first by knowing the rougher sides of each
|
|
507
|
+
other's character, and not the best till further on, the
|
|
508
|
+
romance growing up in the interstices of a mass of hard
|
|
509
|
+
prosaic reality. This
|
|
510
|
+
good-fellowship—<i>camaraderie</i>—usually
|
|
511
|
+
occurring through similarity of pursuits, is
|
|
512
|
+
unfortunately seldom superadded to love between the sexes,
|
|
513
|
+
because men and women associate, not in their labours, but
|
|
514
|
+
in their pleasures merely. Where, however, happy
|
|
515
|
+
circumstance permits its development, the compounded feeling
|
|
516
|
+
proves itself to be the only love which is strong as
|
|
517
|
+
death—that love which many waters
|
|
518
|
+
cannot quench, nor the floods
|
|
519
|
+
drown, beside which the passion usually called by the name
|
|
520
|
+
is evanescent as steam.
|
|
521
|
+
<br>
|
|
522
|
+
<br>
|
|
523
|
+
<br>
|
|
524
|
+
<a name="57"></a>
|
|
525
|
+
<br>
|
|
526
|
+
<br>
|
|
527
|
+
<center>
|
|
528
|
+
<h3>CHAPTER LVII<br>
|
|
529
|
+
<br>
|
|
530
|
+
A FOGGY NIGHT AND MORNING—CONCLUSION</h3>
|
|
531
|
+
</center>
|
|
532
|
+
<br>
|
|
533
|
+
<p>"The most private, secret, plainest wedding that it is
|
|
534
|
+
possible to have."
|
|
535
|
+
|
|
536
|
+
<p>Those had been Bathsheba's words to Oak one evening, some
|
|
537
|
+
time after the event of the preceding chapter, and he
|
|
538
|
+
meditated a full hour by the clock upon how to carry out her
|
|
539
|
+
wishes to the letter.
|
|
540
|
+
|
|
541
|
+
<p>"A license—O yes, it must be a license," he said to
|
|
542
|
+
himself at last. "Very well, then; first, a license."
|
|
543
|
+
|
|
544
|
+
<p>On a dark night, a few days later, Oak came with mysterious
|
|
545
|
+
steps from the surrogate's door, in Casterbridge. On the
|
|
546
|
+
way home he heard a heavy tread in front of him, and,
|
|
547
|
+
overtaking the man, found him to be Coggan. They walked
|
|
548
|
+
together into the village until they came to a little lane
|
|
549
|
+
behind the church, leading down to the cottage of Laban
|
|
550
|
+
Tall, who had lately been installed as clerk of the parish,
|
|
551
|
+
and was yet in mortal terror at church on Sundays when he
|
|
552
|
+
heard his lone voice among certain hard words of the Psalms,
|
|
553
|
+
whither no man ventured to follow him.
|
|
554
|
+
|
|
555
|
+
<p>"Well, good-night, Coggan," said Oak, "I'm going down this
|
|
556
|
+
way."
|
|
557
|
+
|
|
558
|
+
<p>"Oh!" said Coggan, surprised; "what's going on to-night
|
|
559
|
+
then, make so bold Mr. Oak?"
|
|
560
|
+
|
|
561
|
+
<p>It seemed rather ungenerous not to tell Coggan, under the
|
|
562
|
+
circumstances, for Coggan had been true as steel all through
|
|
563
|
+
the time of Gabriel's unhappiness about Bathsheba, and
|
|
564
|
+
Gabriel said, "You can keep a secret, Coggan?"
|
|
565
|
+
|
|
566
|
+
<p>"You've proved me, and you know."
|
|
567
|
+
|
|
568
|
+
<p>"Yes, I have, and I do know. Well, then, mistress and I
|
|
569
|
+
mean to get married to-morrow morning."
|
|
570
|
+
|
|
571
|
+
<p>"Heaven's high tower! And yet I've thought of such a thing
|
|
572
|
+
from time to time; true, I have. But keeping it so close!
|
|
573
|
+
Well, there, 'tis no consarn of of mine, and I wish 'ee joy
|
|
574
|
+
o' her."
|
|
575
|
+
|
|
576
|
+
<p>"Thank you, Coggan. But I assure 'ee that this great hush
|
|
577
|
+
is not what I wished for at all, or what either of us would
|
|
578
|
+
have wished if it hadn't been for certain things that would
|
|
579
|
+
make a gay wedding seem hardly the thing. Bathsheba has a
|
|
580
|
+
great wish that all the parish shall not be in church,
|
|
581
|
+
looking at her—she's shy-like and nervous about it, in
|
|
582
|
+
fact—so I be doing this to humour her."
|
|
583
|
+
|
|
584
|
+
<p>"Ay, I see: quite right, too, I suppose I must say. And you
|
|
585
|
+
be now going down to the clerk."
|
|
586
|
+
|
|
587
|
+
<p>"Yes; you may as well come with me."
|
|
588
|
+
|
|
589
|
+
<p>"I am afeard your labour in keeping it close will be throwed
|
|
590
|
+
away," said Coggan, as they walked along. "Labe Tall's old
|
|
591
|
+
woman will horn it all over parish in half-an-hour."
|
|
592
|
+
|
|
593
|
+
<p>"So she will, upon my life; I never thought of that," said
|
|
594
|
+
Oak, pausing. "Yet I must tell him to-night, I suppose, for
|
|
595
|
+
he's working so far off, and leaves early."
|
|
596
|
+
|
|
597
|
+
<p>"I'll tell 'ee how we could tackle her," said Coggan. "I'll
|
|
598
|
+
knock and ask to speak to Laban outside the door, you
|
|
599
|
+
standing in the background. Then he'll come out, and you
|
|
600
|
+
can tell yer tale. She'll never guess what I want en for;
|
|
601
|
+
and I'll make up a few words about the farm-work, as a
|
|
602
|
+
blind."
|
|
603
|
+
|
|
604
|
+
<p>This scheme was considered feasible; and Coggan advanced
|
|
605
|
+
boldly, and rapped at Mrs. Tall's door. Mrs. Tall herself
|
|
606
|
+
opened it.
|
|
607
|
+
|
|
608
|
+
<p>"I wanted to have a word with Laban."
|
|
609
|
+
|
|
610
|
+
<p>"He's not at home, and won't be this side of eleven o'clock.
|
|
611
|
+
He've been forced to go over to Yalbury since shutting out
|
|
612
|
+
work. I shall do quite as well."
|
|
613
|
+
|
|
614
|
+
<p>"I hardly think you will. Stop a moment;" and Coggan
|
|
615
|
+
stepped round the corner of the porch to consult Oak.
|
|
616
|
+
|
|
617
|
+
<p>"Who's t'other man, then?" said Mrs. Tall.
|
|
618
|
+
|
|
619
|
+
<p>"Only a friend," said Coggan.
|
|
620
|
+
|
|
621
|
+
<p>"Say he's wanted to meet mistress near church-hatch
|
|
622
|
+
to-morrow morning at ten," said Oak, in a whisper. "That he
|
|
623
|
+
must come without fail, and wear his best clothes."
|
|
624
|
+
|
|
625
|
+
<p>"The clothes will floor us as safe as houses!" said Coggan.
|
|
626
|
+
|
|
627
|
+
<p>"It can't be helped," said Oak. "Tell her."
|
|
628
|
+
|
|
629
|
+
<p>So Coggan delivered the message. "Mind, het or wet, blow or
|
|
630
|
+
snow, he must come," added Jan. "'Tis very particular,
|
|
631
|
+
indeed. The fact is, 'tis to witness her sign some law-work
|
|
632
|
+
about taking shares wi' another farmer for a long span o'
|
|
633
|
+
years. There, that's what 'tis, and now I've told 'ee,
|
|
634
|
+
Mother Tall, in a way I shouldn't ha' done if I hadn't loved
|
|
635
|
+
'ee so hopeless well."
|
|
636
|
+
|
|
637
|
+
<p>Coggan retired before she could ask any further; and next
|
|
638
|
+
they called at the vicar's in a manner which excited no
|
|
639
|
+
curiosity at all. Then Gabriel went home, and prepared for
|
|
640
|
+
the morrow.
|
|
641
|
+
|
|
642
|
+
|
|
643
|
+
<br><br><br>
|
|
644
|
+
<p>"Liddy," said Bathsheba, on going to bed that night, "I want
|
|
645
|
+
you to call me at seven o'clock to-morrow, In case I
|
|
646
|
+
shouldn't wake."
|
|
647
|
+
|
|
648
|
+
<p>"But you always do wake afore then, ma'am."
|
|
649
|
+
|
|
650
|
+
<p>"Yes, but I have something important to do, which I'll tell
|
|
651
|
+
you of when the time comes, and it's best to make sure."
|
|
652
|
+
|
|
653
|
+
<p>Bathsheba, however, awoke voluntarily at four, nor could she
|
|
654
|
+
by any contrivance get to sleep again. About six, being
|
|
655
|
+
quite positive that her watch had stopped during the night,
|
|
656
|
+
she could wait no longer. She went and tapped at Liddy's
|
|
657
|
+
door, and after some labour awoke her.
|
|
658
|
+
|
|
659
|
+
<p>"But I thought it was I who had to call you?" said the
|
|
660
|
+
bewildered Liddy. "And it isn't six yet."
|
|
661
|
+
|
|
662
|
+
<p>"Indeed it is; how can you tell such a story, Liddy? I know
|
|
663
|
+
it must be ever so much past seven. Come to my room as soon
|
|
664
|
+
as you can; I want you to give my hair a good brushing."
|
|
665
|
+
|
|
666
|
+
<p>When Liddy came to Bathsheba's room her mistress was already
|
|
667
|
+
waiting. Liddy could not understand this extraordinary
|
|
668
|
+
promptness. "Whatever <i>is</i> going on, ma'am?" she said.
|
|
669
|
+
|
|
670
|
+
<p>"Well, I'll tell you," said Bathsheba, with a mischievous
|
|
671
|
+
smile in her bright eyes. "Farmer Oak is coming here to
|
|
672
|
+
dine with me to-day!"
|
|
673
|
+
|
|
674
|
+
<p>"Farmer Oak—and nobody else?—you two alone?"
|
|
675
|
+
|
|
676
|
+
<p>"Yes."
|
|
677
|
+
|
|
678
|
+
<p>"But is it safe, ma'am, after what's been said?" asked her
|
|
679
|
+
companion, dubiously. "A woman's good name is such a
|
|
680
|
+
perishable article that—"
|
|
681
|
+
|
|
682
|
+
<p>Bathsheba laughed with a flushed cheek, and whispered in
|
|
683
|
+
Liddy's ear, although there was nobody present. Then Liddy
|
|
684
|
+
stared and exclaimed, "Souls alive, what news! It makes my
|
|
685
|
+
heart go quite bumpity-bump!"
|
|
686
|
+
|
|
687
|
+
<p>"It makes mine rather furious, too," said Bathsheba.
|
|
688
|
+
"However, there's no getting out of it now!"
|
|
689
|
+
|
|
690
|
+
<p>It was a damp disagreeable morning. Nevertheless, at twenty
|
|
691
|
+
minutes to ten o'clock, Oak came out of his house, and
|
|
692
|
+
|
|
693
|
+
|
|
694
|
+
<br><br><br>
|
|
695
|
+
<blockquote><blockquote>
|
|
696
|
+
|
|
697
|
+
|
|
698
|
+
Went up the hill side<br>
|
|
699
|
+
|
|
700
|
+
|
|
701
|
+
With that sort of stride<br>
|
|
702
|
+
A man puts out when walking in search of a bride,<br>
|
|
703
|
+
</blockquote></blockquote>
|
|
704
|
+
<br>
|
|
705
|
+
|
|
706
|
+
|
|
707
|
+
and knocked Bathsheba's door. Ten minutes later a large and
|
|
708
|
+
a smaller umbrella might have been seen moving from the same
|
|
709
|
+
door, and through the mist along the road to the church.
|
|
710
|
+
The distance was not more than a quarter of a mile, and
|
|
711
|
+
these two sensible persons deemed it unnecessary to drive.
|
|
712
|
+
An observer must have been very close indeed to discover
|
|
713
|
+
that the forms under the umbrellas were those of Oak and
|
|
714
|
+
Bathsheba, arm-in-arm for the first time in their lives, Oak
|
|
715
|
+
in a greatcoat extending to his knees, and Bathsheba in a
|
|
716
|
+
cloak that reached her clogs. Yet, though so plainly
|
|
717
|
+
dressed, there was a certain rejuvenated appearance about
|
|
718
|
+
her:—
|
|
719
|
+
|
|
720
|
+
|
|
721
|
+
<br><br><br>
|
|
722
|
+
<blockquote><blockquote>
|
|
723
|
+
As though a rose should shut and be a bud again.
|
|
724
|
+
</blockquote></blockquote>
|
|
725
|
+
<br>
|
|
726
|
+
|
|
727
|
+
|
|
728
|
+
<p>Repose had again incarnadined her cheeks; and having, at
|
|
729
|
+
Gabriel's request, arranged her hair this morning as she had
|
|
730
|
+
worn it years ago on Norcombe Hill, she seemed in his eyes
|
|
731
|
+
remarkably like a girl of that fascinating dream, which,
|
|
732
|
+
considering that she was now only three or four-and-twenty,
|
|
733
|
+
was perhaps not very wonderful. In the church were Tall,
|
|
734
|
+
Liddy, and the parson, and in a remarkably short space of
|
|
735
|
+
time the deed was done.
|
|
736
|
+
|
|
737
|
+
<p>The two sat down very quietly to tea in Bathsheba's parlour
|
|
738
|
+
in the evening of the same day, for it had been arranged
|
|
739
|
+
that Farmer Oak should go there to live, since he had as yet
|
|
740
|
+
neither money, house, nor furniture worthy of the name,
|
|
741
|
+
though he was on a sure way towards them, whilst Bathsheba
|
|
742
|
+
was, comparatively, in a plethora of all three.
|
|
743
|
+
|
|
744
|
+
<p>Just as Bathsheba was pouring out a cup of tea, their ears
|
|
745
|
+
were greeted by the firing of a cannon, followed by what
|
|
746
|
+
seemed like a tremendous blowing of trumpets, in the front
|
|
747
|
+
of the house.
|
|
748
|
+
|
|
749
|
+
<p>"There!" said Oak, laughing, "I knew those fellows were up
|
|
750
|
+
to something, by the look on their faces"
|
|
751
|
+
|
|
752
|
+
<p>Oak took up the light and went into the porch, followed by
|
|
753
|
+
Bathsheba with a shawl over her head. The rays fell upon a
|
|
754
|
+
group of male figures gathered upon the gravel in front,
|
|
755
|
+
who, when they saw the newly-married couple in the porch,
|
|
756
|
+
set up a loud "Hurrah!" and at the same moment bang again
|
|
757
|
+
went the cannon in the background, followed by a hideous
|
|
758
|
+
clang of music from a drum, tambourine, clarionet, serpent,
|
|
759
|
+
hautboy, tenor-viol, and double-bass—the only remaining
|
|
760
|
+
relics of the true and original
|
|
761
|
+
Weatherbury band—venerable worm-eaten
|
|
762
|
+
instruments, which had celebrated in
|
|
763
|
+
their own persons the victories of Marlborough, under the
|
|
764
|
+
fingers of the forefathers of those who played them now.
|
|
765
|
+
The performers came forward, and marched up to the front.
|
|
766
|
+
|
|
767
|
+
<p>"Those bright boys, Mark Clark and Jan, are at the bottom of
|
|
768
|
+
all this," said Oak. "Come in, souls, and have something to
|
|
769
|
+
eat and drink wi' me and my wife."
|
|
770
|
+
|
|
771
|
+
<p>"Not to-night," said Mr. Clark, with evident self-denial.
|
|
772
|
+
"Thank ye all the same; but we'll call at a more seemly
|
|
773
|
+
time. However, we couldn't think of letting the day pass
|
|
774
|
+
without a note of admiration of some sort. If ye could send
|
|
775
|
+
a drop of som'at down to Warren's, why so it is. Here's
|
|
776
|
+
long life and happiness to neighbour Oak and his comely
|
|
777
|
+
bride!"
|
|
778
|
+
|
|
779
|
+
<p>"Thank ye; thank ye all," said Gabriel. "A bit and a drop
|
|
780
|
+
shall be sent to Warren's for ye at once. I had a thought
|
|
781
|
+
that we might very likely get a salute of some sort from our
|
|
782
|
+
old friends, and I was saying so to my wife but now."
|
|
783
|
+
|
|
784
|
+
<p>"Faith," said Coggan, in a critical tone, turning to his
|
|
785
|
+
companions, "the man hev learnt to say 'my wife' in a
|
|
786
|
+
wonderful naterel way, considering how very youthful he is
|
|
787
|
+
in wedlock as yet—hey, neighbours all?"
|
|
788
|
+
|
|
789
|
+
<p>"I never heerd a skilful old married feller of twenty years'
|
|
790
|
+
standing pipe 'my wife' in a more used note than 'a did,"
|
|
791
|
+
said Jacob Smallbury. "It might have been a little more
|
|
792
|
+
true to nater if't had been spoke a little chillier, but
|
|
793
|
+
that wasn't to be expected just now."
|
|
794
|
+
|
|
795
|
+
<p>"That improvement will come wi' time," said Jan, twirling
|
|
796
|
+
his eye.
|
|
797
|
+
|
|
798
|
+
<p>Then Oak laughed, and Bathsheba smiled (for she never
|
|
799
|
+
laughed readily now), and their friends turned to go.
|
|
800
|
+
|
|
801
|
+
<p>"Yes; I suppose that's the size o't," said Joseph Poorgrass
|
|
802
|
+
with a cheerful sigh as they moved away; "and I wish him joy
|
|
803
|
+
o' her; though I were once or twice upon saying to-day with
|
|
804
|
+
holy Hosea, in my scripture manner, which is my second
|
|
805
|
+
nature, 'Ephraim is joined to idols: let him alone.' But
|
|
806
|
+
since 'tis as 'tis, why, it might have been worse, and I feel
|
|
807
|
+
my thanks accordingly."
|
|
808
|
+
<br>
|
|
809
|
+
<br>
|
|
810
|
+
<br>
|
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811
|
+
<br>
|
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812
|
+
<br>
|
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813
|
+
<center>
|
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814
|
+
<h3>NOTES</h3>
|
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815
|
+
</center>
|
|
816
|
+
<br>
|
|
817
|
+
|
|
818
|
+
<blockquote class="footnote">
|
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819
|
+
<a id="footnote1" name="footnote1"></a> <b>Footnote 1</b>:
|
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820
|
+
|
|
821
|
+
<p class="footnote">This phrase is a conjectural emendation
|
|
822
|
+
of the unintelligible expression, "as the Devil said to the Owl,"
|
|
823
|
+
used by the natives.
|
|
824
|
+
<br><a href="#footnotetag1">(return)</a>
|
|
825
|
+
</blockquote>
|
|
826
|
+
|
|
827
|
+
<blockquote class="footnote">
|
|
828
|
+
<a id="footnote2" name="footnote2"></a> <b>Footnote 2</b>:
|
|
829
|
+
|
|
830
|
+
<p class="footnote">The local tower and churchyard do not
|
|
831
|
+
answer precisely to the foregoing description.
|
|
832
|
+
<br><a href="#footnotetag2">(return)</a>
|
|
833
|
+
</blockquote>
|
|
834
|
+
|
|
835
|
+
<blockquote class="footnote">
|
|
836
|
+
<a id="footnote3" name="footnote3"></a> <b>Footnote 3</b>:
|
|
837
|
+
|
|
838
|
+
<p class="footnote">W. Barnes
|
|
839
|
+
<br><a href="#footnotetag3">(return)</a>
|
|
840
|
+
</blockquote>
|
|
841
|
+
|
|
842
|
+
<blockquote class="footnote">
|
|
843
|
+
<a id="footnotea" name="footnotea"></a> <b>Transcriber's note a</b>:
|
|
844
|
+
|
|
845
|
+
<p class="footnote">Alternate text: appears in all three
|
|
846
|
+
editions on hand:<br>
|
|
847
|
+
<br>"'Tis a' awkward gift for a man, poor soul," said the
|
|
848
|
+
maltster. "And ye have suffered from it a long time, we
|
|
849
|
+
know."<br>
|
|
850
|
+
<br>
|
|
851
|
+
"Ay, ever since..."
|
|
852
|
+
<br><a href="#footnotetaga">(return)</a>
|
|
853
|
+
</blockquote>
|
|
854
|
+
|
|
855
|
+
<blockquote class="footnote">
|
|
856
|
+
<a id="footnoteb" name="footnoteb"></a> <b>Transcriber's note b</b>:
|
|
857
|
+
|
|
858
|
+
<p class="footnote">Greek word meaning "it is finished"
|
|
859
|
+
<br><a href="#footnotetagb">(return)</a>
|
|
860
|
+
</blockquote>
|
|
861
|
+
|
|
862
|
+
|
|
863
|
+
|
|
864
|
+
<br>
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865
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<br>
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866
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<hr noshade>
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