Far from the Madding Crowd Essay

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: â€Å"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: â€Å"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. â€Å"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. â€Å"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: â€Å"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: â€Å"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: â€Å"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: â€Å"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: â€Å"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: â€Å"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.